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1855

Concert Advertisements and Reviews - 1855.

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Monday, 8 January 1855 : Mr. Dando's First Quartet Concert.

Quartet Concerts-Crosby Hall.- The first of Mr. Dando's annual series of six, took place on Monday evening. The engagements were Miss Dolby and Mr. Lindsay Sloper. Haydn's quartet (No. 75) opened the concert. Mr. Sloper's fantasia, for voice and pianoforte, called " The Lady and the Nightingale," was performed by himself and Miss Dolby, with excellent effect. Beethoven's trio in D (No. 1, Op. 70), Mozart's quartet in B flat (No. 3), and Mendelssohn's in E minor, were the instrumental features. (The Musical world, Saturday, 13 January 1855)

Wednesday, 7 February 1855 : Milliners' and Dressmakers' Provident and Benevolent Institution's Fifth Annual Entertainment (Evening) at Hanover-Square Rooms.

MILLINERS and DRESSMAKERS' PROVIDENT and BENEVOLENT INSTITUTION, 32, Sackville-street.-The Directors have great satisfaction in announcing that their FIFTH ANNUAL ENTERTAINMENT to the Members and Friends of the above Institution, under the immediate patronage of her Most Gracious Majesty the Queen, will be given at the Hanover-square Rooms, on Wednesday Evening, February 7, 1855, to commence at Eight o'clock precisely, on which occasion the following distinguished artistes have kindly consented to appear:-Madame Anna Thillon, Miss Birch, Madame Weiss. Miss Messent, and Miss Lascelles; Mr. Augustus Braham, Mr. Weiss, and Mr. Frank Bodda. Instrumental performers - Pianoforte, Mdlle. Coulon; Harp, Mr. T. H. Wright; Concertina, Mr. George Case; Sax Horns, the Messrs. Distin. Conductor, Mr. Lindsay Sloper. Reserved seats, 7s. each, may be secured on early application to the Committee; or of Robert Ollivier, 19, Old Bond-street.-WILLIAM SHUTER, 32, Sackville-street, Hon. Sec. (The Times, Wednesday, 31 January 1855) (Also: Morning Post, Monday, 5 February 1855; Illustrated London News, Saturday, 3 February 1855; Daily News, Thursday, 1 February 1855; Morning Post, Wednesday, 7 February 1855; Morning Chronicle (1801), Friday, 2 February 1855.)

HANOVER-SQUARE ROOMS. The fifth annual concert in aid of the funds of the Milliners' and Dressmakers' Provident Institution took place last evening at the above rooms. The names of those artists who kindly consented to give their services in so good a cause deserve to be recorded. The vocalists were Madame Anna Thillon, Miss Birch, Miss Messent, Madame Weiss, Mr. Augustus Braham. Mr. Frank Bodda, and Mr. Weiss; the instrumentalists, the Messrs. Distin (Sax-horns), Mr. George Case (concertina), Mr. T. H. Wright (harp), Mdlle. Coulon, Mr. Cusins, and Mr. Lindsay Sloper (pianoforte). The programme, though it contained no important novelty, was judiciously varied and interesting. The peculiar nature of the entertainment, of course, prevents our entering into a critical analysis of its merits; but we may nevertheless, mention certain efforts whose remarkable excellence would, under any circumstances, have commanded our admiration, and which it were strange indeed not to eulogise, simply because they were made for a charitable purpose. These were-Madame Anna Thillon's vivacious and spirituel version of the charming air, " Ah Quelle Nuit," from Auber's "Domino Noir," which was thoroughly imbued with the spirit of the Parisian Opera Comique, of which the fair singer was once so bright an ornament; the "My Pretty Jane" of Mr. Augustus Braham. so well sung.as to elicit a rapturous encore, Miss Birch's artistic execution of Bellini"s "Qui la Voce ;" Miss Messent's delivery of Wallace's popular ballad, "Scenes that are brightest" (redemanded); Madlle. Coulon's skilful performance of Liszt's extremely difficult fantasia, "Les Patineurs;" and the manly and expressive rendering, by Mr. Weiss, of a musicianly and graphically descriptive song, composed by himself, and entitled " The Village Blacksmith." In addition, we must also specially commend Madame Weiss for her choice of two such classic compositions as the "Per Pieta" of Beethoven, and the canzonet, '; My mother bids me bind my hair," of Haydn, and still more for the justice she did them. The first part of the concert was conducted by Mr. Lindsay Sloper, the celebrated pianist; and the second by Mr. Cusins, a young artist of mark and likelihood. The rooms were crowded. (Morning Post, Thursday, 8 February 1855)

Hanover-square Rooms. - The fifth annual concert in aid of the funds of the Milliners' and Dressmakers' Provident Institution took place last evening at the above rooms. The names of those artists who "kindly consented" to give their services in so good a cause deserve to be recorded. The vocalists were Madame Anna Thillon, Miss Birch, Miss Messent, Madame Weiss, Mr. Augustus Braham, Mr. Frank Bodda, and Mr. Weiss ; the instrumentalists, the Messrs. Distin (sax-horns), Mr. George Case (concertina), Mr. T. H. Wright (harp), Mdlle. Coulon, Mr. Cusins, and Mr. Lindsay Sloper (pianoforte). The programme, though it contained no important novelty, was judiciously varied and interesting. The rooms were crowded. (The Standard, Thursday, 8 February 1855)

Thursday, 15 March 1855 : Mr. J. Ella's Third Musical Winter Evening at Willis's Rooms, King-Street, St. James's.

MUSICAL WINTER EVENINGS. THURSDAY, March 15.- Quartet, Spohr ; Piano Quartet, F minor, Mendelssohn ; Quintett, E flat, Mozart ; melodies, violin and piano. Artistes- Molique, Goffrie, Hill, Piatti, and Lindsay Sloper. Family tickets, one guinea; and single admissions, half-a-guinea, at Cramer's, Chappell's, and Ollivier's. J. ELLA, Director. (Morning Post, Thursday, 8 March 1855) (Also: Morning Post, Tuesday, 13 March 1855; Morning Post, Saturday, 10 March 1855; Morning Chronicle (1801), Tuesday, 13 March 1855.)

MUSICAL WINTER EVENINGS. - THURSDAY, March 15. - Quartett, Spohr, Piano; Quartett, F minor, Mendelssohn; Quintett, E flat, Mozart; Melodies, Violin and Piano. Artists: Molique, Goffrie, Hill, Piatti, and Lindsay Sloper. - Family Tickets, One Guinea; and Single Admissions, Half-a-Guinea; at Cramer's, Chappell's, and Ollivier's. J. ELLA, Director. (The Athenaeum, Saturday, 10 March 1855)

MUSICAL WINTER EVENINGS, Thursday, March 15. Quartet, Spohr ; Piano Quartet, F minor. Mendelssohn ; Quintet, E flat. Mozart ; Melodies, Violin and Piano. Artists - Molique, Goffrie, Hill, Piatti, and Lindsay Sloper. Family Tickets, One Guinea ; single Admissions, Half-a-Guinea, Cramer's, Chappell's, and Ollivier's. - J. ELLA, Director. (The Musical world, Saturday, 10 March 1855)

MUSICAL WINTER EVENINGS. TOMORROW (THURSDAY), March 15.- Quartet, Spohr ; Piano Quartet, F minor, Mendelssohn ; Quintett, E flat, Mozart ; melodies, violin and piano. Artistes- Molique, Goffrie, Hill, Piatti, and Lindsay Sloper. Family tickets, one guinea; and single admissions, half-a-guinea, at Cramer's, Chappell's, and Ollivier's. J. ELLA, Director. (Daily News, Wednesday, 14 March 1855) (Also: Morning Post, Wednesday, 14 March 1855.)

MUSICAL WINTER EVENINGS. THIS EVENING (THURSDAY), - Quartet, Spohr ; Piano Quartet, F minor, Mendelssohn ; Quintett, E flat, Mozart ; melodies, violin and piano. Artistes- Molique, Goffrie, Hill, Piatti, and Lindsay Sloper. Family tickets, one guinea; and single admissions, half-a-guinea, at Cramer's, Chappell's, and Ollivier's. J. ELLA, Director. (Morning Post, Thursday, 15 March 1855)

ELLA'S WINTER EVENINGS.-The third of these elegant entertainments was given last night at Willis's Rooms. The programme contained Spohr's quartet in A minor, Mendelssohn's second pianoforte quartet in F minor, Mozart's quintet in E flat, and two melodies by Molique for the violin and piano. the performers were: first and second violins, Messrs. Molique and Goffrie; first and second tenors, Messrs. Hill and Webbe; violoncello, Signor Piatti; and pianoforte, Mr. Lindsay Sloper. The works above-named are all masterpieces of their respective composers, and their execution was as perfect as could be imagined. Spohr's quartet is remarkable for the beauty of its air with variations, and the strong national character of its Spanish rondo. Mendelssohn's pianoforte quartet is a wonderful composition. Written at the age of fourteen, it is little inferior in boldness, originality, and masterly construction to the finest pieces of Mozart and Beethoven. It is excessively difficult, and can be executed only by performers of the highest class. Mozart's quintet is one of the most charming of his works; it is full of lovely melodies for all the instruments, and displayed, in an especial manner, the rich and beautiful tones of Piatti's violoncello. We have no finer performer of classical music than Herr Molique. He is not what may be called a dashing player, but his powers of execution enable him to meet with facility the utmost demands that can be made upon them; his style is chaste and highly finished, and he never fails to bring out the full and true meaning of his author. The room was well filled, and the company, as usual at these entertainments, was highly fashionable as well as musical. (Daily News, Friday, 16 March 1855)

Mr. Ella's Musical Winter Evenings. MR. ELLA evidently does not belong to that exclusive school of criticism which is so scantily endowed with the faculty of general appreciation, that any praise it may bestow on one' composer or one work of art is so much deducted from the tribute it can afford to any other. His admiration of Mendelssohn does not make him despise Spohr ; and however lovingly he may enlarge on the marvels of Beethoven's genius, he still thinks Haydn and Mozart worth hearing, and gives them their due share of attention accordingly. The third concert of the present series afforded an interesting study of three styles, each equally admirable in its way-that of Spohr, of Mendelssohn, and Mozart. Viewed in this light, we hardly remember a more instructive performance. The selection was as follows,-Quartet, A minor (op. 68). Spohr; Quartet F minor (op. 2),piano, violin, viola, and violoncello, E Mendelssohn ; Quintet, flat, Mozart. Herr Molique was first violin on this occasion instead of Herr Ernst, and most ably he sustained his high reputation as a well-read musician and a consummate artist. In the rest of the quartet party there was no change, nor indeed would it be easy to make a change for the better. Long practice together has given them the disciplined unanimity which can be attained in no other way. We were much pleased with the with the two melodies for violin and piano, performed for the first time on this occasion, and we can hardly give them higher praise than by declaring them worthy of their predecessors… praise amount of really good chamber music of this class is so small, that such excellent contributions to it should be heartily welcomed. The pianist was Mr. Lindsay Sloper, who performed his part very creditably ; but Herr Pauer is his superior in every essential of good pianoforte playing. By the way, was not the Finale of Mendelssohn's Quartet taken a shade too fast? (Atlas, Saturday, 17 March 1855)

MUSICAL WINTER EVENINGS. The third concert (on Thursday, the 15th inst.), which we were unable to notice last week, offered a most agreeable selection, and a performance pretty nearly perfect. Quartet (A minor, Op. 58), Spohr. Quartet (F minor, Op. 2), Mendelssohn. Quintet (E flat), Mozart. Melodies for Violin and Pianoforte (Op. 47), Molique. Spohr's quartet (we hear too little of Spohr) was both charming and refreshing. It is becoming the fashion with a certain coterie (originated among the Jesuits of Leipsic, of course), to underrate this fine and genial master, with all his mannerisms, one of those to whom the art is most indebted. Herr Molique was in glorious play. Of all the great violinists it is he who enters most fully into the spirit of Spohr's quartets, and plays them with the greatest perfection. We were charmed beyond measure with his performance of the one chosen for the present occasion. Every movement - the flowing moderato, the pleasantly varied and in itself pleasant theme, the sparkling rondo (Spanish to the last ; yet Spohr, according to the Jesuits, has no character, but only an insipid manner peculiar to himself) - was admirably "interpreted" (that is the right word) by Molique, who was supported with the utmost efficiency by Messieurs Goffrie, Hill, and Piatti, on the second violin, tenor, and bass. The quartet, we repeat, was quite refreshing. How twice effective was the early work by Mendelssohn (composed at thirteen years of age-not fifteen, as a contemporary relates with very natural astonishment*), coming after music so utterly unlike it. This, too, was played to a nicety. A more pure and delicate execution, a more light and brilliant finger, a more thoroughly unaffected (and unobtrusive) style than that of Mr. Lindsay Sloper cannot be cited among existing pianists. He has spirit, too, and lots of it, as he proved by his reading of the passionate allegro, and the finale so full of youthful and vigorous fire. This quartet, and that of Spohr, were presented for the first - we trust not the last - time at Mr. Ella's sittings. By their loud applause, the audience of connoisseurs, select and fashionable as usual, showed their appreciation of the music of both masters, and their entire satisfaction with the executants. Mozart's fine quartet (in which Mr. Webb joined the players we have named, as second viola, in the most efficient manner) was a treat of another kind. Mozart all over, the learning and ingenuity of this quintet are only surpassed by the fancy in which it abounds. But we need not go into a lengthy description of a masterpiece so well known. The performance of Herr Molique and his coadjutors was irreproachable from beginning to end. Molique, by the way, is quite as much in his element with the chamber music of the "Child" of Saltzburgh, as with that of the "Stupid " of Cassel. The "Melodies" for violin and piano, in MS., are welcome additions to those rare little gems already published by Herr Molique under the same title. They are equally a boon to violinists and pianists. Played to admiration by the composer and Mr. Sloper, they fairly enchanted the audience, who dispersed, filled with gratification at the refined and well-varied entertainment Mr. Ella had provided for them. * The Ottetto was composed at the age of fifteen ! (The Musical world, Saturday, 24 March 1855)

Wednesday, 28 March 1855 : New Philharmonic Society's Second Second Grand Performance (Evening) at Exeter Hall.

EXETER-HALL.- Her Most Gracious Majesty the QUEEN, and his Royal Highness PRINCE ALBERT, have been pleased to grant their especial patronage to the SECOND GRAND PERFORMANCE by the NEW PHILHARMONIC SOCIETY on WEDNESDAY, March 28, in AID of the FUNDS of ST. MARY'S HOSPITAL, Paddington. Programme- Beethoven's Symphony in C minor ; Mendelssohn's Concerto iv D ; Weber's Overtures, "Oberon" and " Ruler of the Spirits ;" selections from "Comus," C. E. Horsley Part Song, Reissiger, with chorus of 300 voices. Vocalists- Madam Anna Thillon and Miss Stabbach. Violin, Herr Ernst; pianoforte . Mr. Lindsay Sloper. Conductor, Dr. Wylde.- Stall tickets, one guinea; reserved seats, west gallery, 10s. 6d.- May be had of Messrs. Cramer, Beale, and Co.; Messrs. Keith, Prowse, and Co ; and at St. Mary's Hospital.- Subscriptions to the Society, 2l. 2s. west gallery, 1l.. 1s.- Subscribers now joining will receive two tickets, to make up the number of six admissions, to which they are entitled for their subscription. (Morning Post, Monday, 19 March 1855) (Also: London Daily News, Monday, 19 March 1855; Morning Advertiser, Tuesday, 27 March 1855.)

PHILHARMONIC SOCIETY, Exeter.-The SECOND GRAND PERFORMANCE will take place TO-MORROW, March 28, under the especial patronage of Her Most Gracious Majesty the QUEEN and His Royal Highness Prince ALBERT, the proceeds to be given in AID of the FUNDS FOR MARY'S HOSPITAL, Paddington. Programme Beethoven's Symphony in C minor; Mendelssohn's Concerto in D; Weber's Overtures, "Oberon," and "Ruler of the Spirits ;" selections from "Comus," C. E. Horsley; part song, Reissiger, chorus of 300 voices. Vocalists: Madame Anna Thillon, Miss Stabbach, and Mr. Hamilton Braham. Violin, Herr Ernst; pianoforte, Mr. Lindsay Sloper. Conductor, Dr. Wylde. Stall tickets, £1 1s. reserved seats, west gallery, 10s. 6d. May be had of Messrs. Cramer, Beale, and Co.; Messrs. Keith, Prowse, .and Co.; and at St. Mary's Hospital. Subscriptions to the Society, £2 2s.; west gallery, £1 1s. Subscribers now joining will receive two tickets to make up the number of six admissions, to which they are entitled for their subscription. (Atlas, Saturday, 24 March 1855) (Also: The Athenaeum, Saturday, 24 March 1855; Morning Advertiser, Wednesday, 28 March 1855.)

NEW PHILHARMONIC SOCIETY, EXETER HALL, - The Second Grand Performance will take place on Wednesday, March 28th, under the especial Patronage of Her Most Gracious Majesty the Queen and His Royal Highness Prince Albert, the proceeds to be given in aid of the funds of St. Mary's Hospital. Paddington. Programme - Beethoven's Symphony in C minor, Mendelssohn's Concerto in D, Weber's Overtures "Oberon" and "Ruler of the Spirits," selections from "Comus"(C. E. Horsley), Part song (Reissiger). Chorus of 300 Voices. Vocalists - Madame Anna Thillon, Miss Stabbach. Violin - Herr Ernst. Pianoforte - Mr. Lindsay Sloper. Conductor-Dr. Wylde. Stall Tickets, One Guinea; Reserved Seats. West Gallery, 10s 6d.; may be had at Messrs. Cramer, Beale. and Co; Messrs. Keith, Prowse, and Co.; and at St. Mary's Hospital. Subscription to the Society. £2 2s.; West Gallery, £1 1s. Subscribers now joining will receive Two Tickets to make up the number of Six Admissions to which they are entitled for their subscription. (The Musical World, Saturday, 24 March 1855)

NEW PHILHARMONIC SOCIETY, Exeter Hall.-The SECOND GRAND PERFORMANCE will take place TO-MORROW, March 28, under the especial patronage of Her Most Gracious Majesty the QUEEN and His Royal Highness Prince ALBERT, the proceeds to be given in AID of the FUNDS FOR MARY'S HOSPITAL, Paddington. Programme Beethoven's Symphony in C minor; Mendelssohn's Concerto in D; Weber's Overtures, "Oberon," and "Ruler of the Spirits ;" selections from "Comus," C. E. Horsley; part song, Reissiger, chorus of 300 voices. Vocalists: Madame Anna Thillon, Miss Stabbach, and Mr. Hamilton Braham. Violin, Herr Ernst; pianoforte, Mr. Lindsay Sloper. Conductor, Dr. Wylde. Stall tickets, £1 1s. reserved seats, west gallery, 10s. 6d. May be had of Messrs. Cramer, Beale, and Co.; Messrs. Keith, Prowse, .and Co.; and at St. Mary's Hospital. Subscriptions to the Society, £2 2s.; west gallery, £1 1s. Subscribers now joining will receive two tickets to make up the number of six admissions, to which they are entitled for their subscription. (Morning Chronicle (1801), Tuesday, 27 March 1855)

NEW PHILHARMONIC SOCIETY, Exeter Hall.-The SECOND GRAND PERFORMANCE will take place THIS DAY, March 28, under the especial patronage of Her Most Gracious Majesty the QUEEN and His Royal Highness Prince ALBERT, the proceeds to be given in AID of the FUNDS FOR MARY'S HOSPITAL, Paddington. Programme Beethoven's Symphony in C minor; Mendelssohn's Concerto in D; Weber's Overtures, "Oberon," and "Ruler of the Spirits ;" selections from "Comus," C. E. Horsley; part song, Reissiger, chorus of 300 voices. Vocalists: Madame Anna Thillon, Miss Stabbach, and Mr. Hamilton Braham. Violin, Herr Ernst; pianoforte, Mr. Lindsay Sloper. Conductor, Dr. Wylde. Stall tickets, £1 1s. reserved seats, west gallery, 10s. 6d. May be had of Messrs. Cramer, Beale, and Co.; Messrs. Keith, Prowse, .and Co.; and at St. Mary's Hospital. Subscriptions to the Society, £2 2s.; west gallery, £1 1s. Subscribers now joining will receive two tickets to make up the number of six admissions, to which they are entitled for their subscription. (Morning Chronicle (1801), Wednesday, 28 March 1855)

NEW PHILHARMONIC SOCIETY, Exeter Hall.-The SECOND GRAND PERFORMANCE will take place THIS EVENING, March 28, under the especial patronage of Her Most Gracious Majesty the QUEEN and His Royal Highness Prince ALBERT, the proceeds to be given in AID of the FUNDS FOR MARY'S HOSPITAL, Paddington. Programme Beethoven's Symphony in C minor; Mendelssohn's Concerto in D; Weber's Overtures, "Oberon," and "Ruler of the Spirits ;" selections from "Comus," C. E. Horsley; part song, Reissiger, chorus of 300 voices. Vocalists: Madame Anna Thillon, Miss Stabbach, and Mr. Hamilton Braham. Violin, Herr Ernst; pianoforte, Mr. Lindsay Sloper. Conductor, Dr. Wylde. Stall tickets, £1 1s. reserved seats, west gallery, 10s. 6d. May be had of Messrs. Cramer, Beale, and Co.; Messrs. Keith, Prowse, .and Co.; and at St. Mary's Hospital. Subscriptions to the Society, £2 2s.; west gallery, £1 1s. Subscribers now joining will receive two tickets to make up the number of six admissions, to which they are entitled for their subscription. (Morning Post, Wednesday, 28 March 1855)

NEW PHILHARMONIC SOCIETY. The second concert, last evening, was in aid of the funds of St. Mary's Hospital. It consisted of the following e pieces: PART I. Overture-" Coriolanus" - Beethoven. Selection from "The Ruins of Athens" - Beethoven. s Aria -"Non temer," Madame Anna Thillon - Mozart. Concerto in D minor, Mr. Lindsay Sloper - Mendelssohn. Symphony in C minor - Beethoven. Part Song-"O Hills, O Vales of Pleasure" - Mendelssohn. PART II Overture-"Oberon" - Weber. Selection from "Comus" - C. E. Horsley. Fantasia (Othello), Violin, Herr Ernst - Ernst. Recit. and Rondo-"Arriere, arriere!" Madame Ana Thillon (L'Étoile du Nord) - Meyerbeer. Overture-"Ruler of the Spirits" - Weber. Conductor-Dr. Wylde. This was, upon the whole, a fine selection; and also upon the whole excellently performed. Beethoven's overture to Coriolanus has been seldom heard in this country. It was written for a German tragedy on the same subject as Shakspeare's play, and is a striking composition, full of melancholy grandeur. The selection from Beethoven's "Ruins of Athens" comprised the chorus, "Daughter of mighty Jove ;" the duet of Greek slaves, which was sung by Miss Stabbach and Mr. Hamilton Braham; and the wild and original "Chorus of Dervishes." We have heard these pieces given with greater effect. The pathos of the duet did not seem to be felt by the singers, and the chorus of Dervishes was rattled through so rapidly that its distinctness and, consequently, its character were lost. Mendelssohn's concerto was most admirably played by Mr. Lindsay Sloper, who is one of the most accomplished pianists of the day. His tone was full and resonant; his execution clear, firm, and articulate; and his style animated and expressive. To bear so beautiful a work performed in a manner so masterly was indeed a high pleasure. Nothing more unsuitable to Madame Thillon could possibly have been chosen than Mozart's "Non temer." This florid, dashing singer, is quite at home in the music of the modern French opera; but Mozart is quite out of her way. If she did not sing it well, therefore, it was not at all surprising. The fine obligato accompaniment was exceedingly well played by Mr. Aguilar; but very absurdly, there were orchestral parts played along with it. This was quite contrary to the composer's intention, which was that this air should be accompanied on the pianoforte alone. The pianoforte obligato part is complete in itself, and any addition only spoils it. Beethoven's orchestral chef d'oeuvre, the Symphony in C minor, was performed in a manner which did great honour to the conductor and the orchestra. The tempi of the different movements were taken with great judgment; attention was paid to all the nuances of expression and effect; and the power, grandeur, beauty, and pathos of this matchless work were fully developed. Mendelssohn's charming part-song was sung with praiseworthy correctness, and encored; but its effect would have been still better had one-half or one-third of the voices been employed. Such music demands a lightness and delicacy which cannot be obtained from so great a multitude. Mr. Horsley's "Comus " is a work of much merit; but he has erred, we think, in treating musically passages never intended for music. Miss Stabbach delivered the long recitative "This way the noise was," extremely well; but this fine monologue was meant to be spoken, not sung; and no notes of a singer, in poetry of this kind, will ever equal, either in beauty or expression, the simple melody of speech. The air, " Sweet Echo," is remarkable for its ingenious and fanciful instrumentation; but we cannot help preferring the famous bold air of Dr. Arne. The March of Comus and his crew of revellers is full of character, and had great effect. Weber's Overture, "The Ruler of the Spirits," formed the conclusion of a very excellent concert. (Daily News, Thursday, 29 March 1855)

NEW PHILHARMONIC SOCIETY. The second concert of the season took place last night, at Exeter Hall, under the direction of Dr. Henry Wylde- the principal vocalists being Miss Stabbach, Mr. Hamilton Braham. and Madame Anna Thillon ; the solo instrumentalists, Herr Ernst (violin), and Mr. Lindsay Sloper (piano). These, together with a very fine orchestra, including our best performers, and numbering upwards of 100, and a chorus of 300 voices, formed the executive attractions of the evening ; and that the works selected afforded full scope to their various abilities the following scheme will show. Part I. Overture to " Coriolanus," and selection from "The Ruins of Athens'' (Beethoven). Aria, " Non Temer," Madame Anna Thillon (piano obligato, Mr. Aguilar). Mozart's Concerto in D minor; piano, Mr. Lindsay Sloper- Mendelssohn. Symphony in C minor- Beethoven. Part II. Chorus, "Oh Hills, oh Vales!"- Mendelssohn. Overture to "Oberon" - Weber. Selection from "Comus'"- Horsley. Fantasia on themes from Rossini's "Otello" (Ernst). Rondo, "II sonne et resonne," from " L'Étoile du Nord"" (Mme. Anna Thillon) -Meyerbeer. Overture to "The Ruler of the Spirits"- Weber. We were extremely glad to find so copious a selection from the greatest modern master, Beethoven, and can award high praise to the manner in which it was performed. The noble overture to "Coriolanus," with which the concert opened, was creditably, if not finely, played ; but the rendering of the wonderfully characteristic music from "The Ruins of Athens," especially of the chorus of Dervishes, "Thou hast spread forth arms," one of its author's most striking inspirations, was much better, and that of the colossal C minor symphony best of all. Here, indeed, the conductor seemed to be quite familiar with nearly all the manifold beauties of the score, and discharged his onerous duties with an appreciative spirit and practical skill, which left out very little to desire. We have never heard this stupendous production more worthily executed, which is saying a great deal, considering that it is more frequently performed, at least in London, than any of Beethoven's other symphonies. We have only one exception to make to this general eulogy. The fugal passages in C major, forming the second part of the scherzo, were taken a shade too fast- an error that was more particularly apparent in the bass part-, which could not possibly be articulated with due clearness and accent at so rapid a pace. But for this, the performance: would have readied that supreme and rare degree of excellence that defies reproach. We should have preferred to hear Mozart's beautiful cantata given according to the author's original intention; that is, without orchestral accompaniment, especially as the obligato pianoforte part was in the hands of an excellent artist, Mr. Aguillar. It might, moreover, have been sung with purer taste. The musicianly style and faultless mechanism of Mr. Lindsay Sloper, one of the few consummate masters of the piano, which this or any other country can boast, were delightfully exemplified in Mendelssohn's Concerto. A little more fire and abandon would have rendered this performance perfect: for no charm was wanting which correct reading, refined taste, and exquisite finish could confer. A most praiseworthy feature in the published manifesto of the New Philharmonic Society, and one which distinguishes it most honourably from the old, is the determination to afford a fair hearing to our much neglected native composers; in pursuance of which, a selection from Mr. Charles Horsley's music to Milton's "Comus" (first performed at the composer's annual concert last year) was given on this occasion. It consisted of the chorus, " Come, let the rites begin." the accompanied recitative, "This way the noise was," the song, "Sweet Echo," and the " March of Comus and his rabble rout." In all these pieces we discover the well-instructed mind of an intellectual and conscientious musician. The song, which was charmingly rendered by Miss Stabbach, one of our best concert-vocalists, is in every respect admirable, though chiefly remarkable for its imaginative and beautiful instrumentation, whilst the chorus and march. though never in the highest degree illustrative of Milton's picturesque poetry, and not always even appropriate to his words, or expressive of his meaning, as, for instance, where Mr. Horsley has wedded a somewhat solemn and lugubrious music to the lines - "Come, knit Hands and heat the ground in a light fantastic round.'' Still these, inferior though they be to the song in sentiment, are artistically wrought, and possess, as mere music, many striking merits, upon which we would willingly dilate, were greater space at our command. The composer conducted his own works, and was warmly applauded on entering and quitting the orchestra. Mr. Hamilton Braham was heard to advantage in the duet, "Faultless yet toiling," belonging to "The Ruins of Athens," the soprano part being well sung by Miss Stabbach; Herr Ernst, as usual, enchanted the audience by his wonderful dexterity and deeply poetical "singing" on the violin, and Madame Anna Thillon fully redeemed her artistic character, slightly damaged, by an almost meretricious reading of Mozart, in Meyerbeer's song from "L'Étoile du Nord," to which she did the amplest justice. On the whole, this was a most delightful concert, every way creditable to the directors; and we are happy to state that the receipts realised the large sum of £200 for that excellent institution. St. Mary's Hospital. The hall was crowded in every part. (Morning Post, Thursday, 29 March 1855)

The NEW PHILHARMONIC Society had their concert (also the second of the season) on Wednesday evening, at Exeter Hall. The performance was in aid of the funds of St. Mary's Hospital; in pursuance of the plan, adopted by the Society this season, of bestowing the profits of their concerts on charitable establishments. The Hall was crowded; partly owing, at least, to this cause; for the concert, though good, presented no remarkable feature. The principal piece of the evening, Beethoven's symphony in C minor, is quite familiar to every amateur; but it was exceedingly well performed, and showed in a favourable light Dr. Wylde's abilities as a conductor. Next in interest to it was Mendelssohn's pianoforte concerto in D minor, performed by a native musician, Mr. Lindsay Sloper, who merited, and obtained, a reception as warm as could have been given to any foreign pianist of the day. A selection from Mr. C. Horsley's music to Milton's Comus was much applauded, partly because Mr. Horsley is a native composer. He is deservedly esteemed as a young musician of talent; but it was somewhat presumptuous to meddle with a subject already treated by Dr. Arne, in whose charming music (though too much forgotten now-a-days) there is a freshness that can never fade. (John Bull, Saturday, 31 March 1855) (Also: John Bull, Saturday, 31 March 1855; John Bull, Monday, 2 April 1855.)

The New Philharmonic Concert-also the second of the season-was given at Exeter-hall on Wednesday evening. Its programme was follows: Overture-"Coriolanus" - Beethoven; Selection from The Ruins of Athens - Beethoven; Aria-" Non temer," Madame Anna Thillon - Mozart; Concerto in D Minor - Mr. Lindsay Sloper - Mendelssohn; Symphony in C Minor - Beethoven; Part Song-"O Hills! O Vales of Pleasure!" - Mendelssohn " PART II. Overture Oberon Selection from Comus Fantasia- Othello (Violin), Herr Ernst Recit. and Rondo Arriere, arriere! Madame Anna Thillon ("L'Etoile du Nord ") Meyerbeer. Overture-" Ruler of the Spirits .. .. Weber. The concert was announced to be in aid of the funds of St. Mary 's Hospital ; and this charitable object, in addition to the attraction of the programme, drew a great assemblage. There being not a single feature of novelty, there is very little room for remarks. Mr. Wylde acquitted himself very ably as Conductor, and the orchestral music-particularly Beethoven's magnificent Symphony in Minor -was admirably performed. Mr. Lindsay Sloper, too, gained golden opinions by his masterly execution of Mendelssohn's Pianoforte Concerto in D Minor. Other parts of the concert were less satisfactory. The selection from the Ruins of Athens was not effective ; the most striking part of it, the wild "Chorus of Dervishes" was spoiled by the excessive rapidity with which it was hurried through. Madame Thillon could not sing Mozart's beautiful air. Mozart is not in her way-it is in the Opera Comique that she is at home. After Mendelssohn's concerto, another instrumental solo was de trop, and it must have been by no means pleasant to Ernst to play amid the bustle of people going away. Horsley's music from Comus" made no impression. The music is clever but he erred in taking a subject already treated by such a man as Dr. Arne. (Illustrated London News, Saturday, 31 March 1855)

New Philharmonic Society. -The second concert of the present season took place on Wednesday evening, and we were glad to observe that the attendance was even more numerous than on the former occasion. The proceeds of the performance were announced to be devoted in aid of the funds of that excellent institution, St. Mary's Hospital, which is under the especial patronage of Her Majesty and several members of the Royal Family. The first part opened with Beethoven's overture to Coriolanus, in C minor, a work full of power and beauty as well as originality. It was very finely rendered and was warmly applauded. This was followed by a selection from The Ruins of Athens, another of Beethoven's grand compositions but little known to the amateur. The chorus, Daughter of mighty Jove, arise !" was sung with great effect as well as with accuracy of intonation, that left little to be desired. The duett (two Greek Slaves) Faultless yet toiling" was entrusted to Miss Stabbach and Mr. H. Braham, and was creditably performed -the lady being entitled to the greater share of praise. The chorus of Dervishes (for the tenors and basses) is a splendid piece of dramatic painting, which both chorus and band gave with characteristic spirit that was startling. Madame Anna Thillon essayed Mozart's beautiful aria "Non temer amato bene" (with the recitative); but though her ringlets are as profuse and her smile as stereotyped as ever, her sojourn in the United States and California has not been without its influence on her voice. Mr. Aguilar's pianoforte obligato would have been better appreciated had not the band also played Mendelssohn's concerto in D minor for pianoforte and orchestra had full justice at the hands of Mr. Lindsay Sloper and the band, - but the pianoforte appeared to us first rate neither in tone nor power. The grand piece of the evening was decidedly Beethoven's marvellous symphony in C minor, the sound reading of which by Dr. Wylde, and the nearly faultless execution by the band, gave us the greatest satisfaction. Between the parts, Mendelssohn's exquisite partsong, "O hills, O vales," was (by desire) again sung by the choir, unaccompanied ; and this time, the voices being brought forward and closer together, the effect was very much better; but we still differ to the tempo in which it is taken, and could have wished that the voices had all been desired never to exceed mf. The second part opened with Weber's everwelcome overture Oberon, very well given. A selection from Dr. Horsley's Comus, was conducted by the composer with great vigour, and in it there was much to please, difficult as the entire subject is for successful musical treatment. Miss Stabbach sang the long and difficult declamatory recitative This way the noise with considerable energy and expression, which more than once elicited applause, and sang the song Sweet Echo very pleasingly. The March of Comus and his Rabble Rout was spiritedly played by the band. Herr Ernst's fantasia on the violin was very tantalizing-his execution and tone very much to be admired, but the music itself wanting connection and theme, and ending feebly. Why not give his audiences in Exeter Hall something more legitimate and classical ? Of Madame Thillon's recitative and and rondo from L'Etoile du Nord we cannot speak highly: it was rattle without taste or genuine archiness. The concert was brought to a very successful conclusion with Weber's overture to Ruler of the Spirits. (Windsor and Eton Express, Saturday, 31 March 1855)

The second of the concerts of the New Philharmonic Society took place at Exeter Hall on Wednesday evening. Dr. Wylde, conductor. The first piece was Beethoven's overture to Coriolanus, which is not frequently heard in this country. The grand symphony in C minor was admirably performed. Mendelssohn's concerto in D minor was well played by Mr. Lindsay Sloper. Madame Thillon was the chief vocalist. The surplus proceeds of the concert were for the benefit of St. Mary's Hospital, Paddington. (The Literary gazette : A weekly journal of literature, science, and the fine arts, Saturday, 31 March 1855)

NEW PHILHARMONIC SOCIETY. The second concert, on Wednesday night, in a pecuniary point of view, was more successful than any concert ever given by the new Society. Nearly £400 was realized, after all expenses paid, for the funds of St. Mary's Hospital, Paddington, in aid of which the profits were to be devoted. Exeter Hall was filled in every part, as though it was a Messiah, or an Elijah night. Her Majesty and Prince Albert, too, patronised the concert ; so that there were abundant reasons why Wednesday night last should be successful. The programme, which we annex, could not fail to enhance the attractions:- Part I. Overture (Coriolanus) - Beethoven. Selection (Ruins of Athens) - Beethoven. Aria (Non Temer) - Mozart. Concerto (in D minor) - Mendelssohn. (Pianoforte, Mr. Lindsay Sloper). Symphony (C minor) - Beethoven. Part Song (Chorus) - Mendelssohn Part II Overture (Oberon) - Weber Selection (Comus) - C. E. Horsley Fantasia (Othello) (Violin, Herr Ernst) - Ernst Recit and Rondo (L'Étoile du Nord) - Meyerbeer Overture (Ruler of the Spirits) - Mendelssohn. The great point in the performance was Beethoven's symphony, which we have rarely heard executed with more fire and precision, and in which the conductor proved himself quite equal to the task of directing a vast orchestra. A more faithful reading of the C minor symphony could hardly have been obtained. The impression was unanimous, and every movement was greeted with loud applause. Mendelssohn's concerto could not have been entrusted to more efficient hands than those of Mr. Lindsay Sloper, whose refined taste, brilliant execution, and perfect finish of style, were never more conspicuous. Mr. Sloper did well to select the second pianoforte concerto, which is so much less common to musical audiences than the first, although perhaps the first would have been easier understood by the patrons of St. Mary's Hospital. He played on a Broadwood pianoforte, of a calibre which the French would call "desespirant " for the makers. The finale was a prodigious display of clear and rapid execution, of which every note, in arpeggio and melody, was heard with the utmost distinctness. At the end, Mr. Sloper was warmly applauded. The selections from the Ruins of Athens included the introductory chorus, the plaintive duet of the Greek slaves, and the wild and imaginative chorus of Dervishes. The duet was nicely sung by Miss Stabbach and Mr. Hamilton Braham, and the last chorus remarkably well executed by the chorus (which numbered nearly 200) and the band. The selection from Comus was extremely clever, extremely melodious, well instrumented, characteristic, and not like Mendelssohn. Every justice was done to Mr. Horsley, who conducted the performance himself. Miss Stabbach sang the accompanied recitative, "This way the noise was," and the very graceful and flowing air which follows, "Sweet Echo," in her best manner, and with decided effect. The chorus, "Come, let our rites begin," which indicates a real dramatic feeling, and the march of Comus and his rabble, full of spirit and idea, were also effectively given. On the whole Mr. Horsley's position as a musician of talent was once more confirmed in a very unqualified manner by the selection from his masque of Comus. Herr Ernst played his celebrated Otetto fantasia as grandly as ever, and with his usual effect. He was rapturously applauded at the end. Mad. Anna Thillon sang two songs - Mozart's "Non temer " and the popular rondo from L'Étoile du Nord. In the last she was most successful. The first was unsuited to her, and was mutilated in an extraordinary fashion - the slow movement omitted, and the accompaniments allotted partly to the orchestra and partly to the pianoforte. What would Mozart have said? Happily the pianoforte obbligato was entrusted to no less able and intelligent a performer than Mr. Aguilar. The great success of one of Mendelssohn's beautiful part-songs at the first concert justified the directors in introducing another at the second. This was the charming "O hills, O dales," which was capitally sung by the chorus, and unanimously redemanded. The three overtures were Beethoven's Coriolanus, Weber's Oberon, and The Ruler of the Spirits. All were finely played, more especially Oberon. The most interesting, because the least hacknied, was the Coriolanus, which, though composed for a forgotten German tragedy, is instinct with a peculiar fire, passion and fitful impetuosity, as though Beethoven had thought of presenting a musical suggestion of the character of Shakspere's proud and passionate Roman. On the whole, the concert was a fine one, but the programme bordered too closely on the Old Philharmonic style. Dr. Wylde and the directors must " 'ware" "convention." They began by being reformers, and must not fallback on "conservatism." They have led their subscribers to expect new works, and they do expect them. The subscribers, it must be remembered, are not quidnuncs, bag-wigs, and past-worshippers. The New Philharmonic must continue to show an onward tendency. Stand-still would be as fatal as retrogression. Must we assume the station and rank of policeman to the Young Society, and cease not to cry - "Move on?" We hope not. The Requiem and mass of Cherubini, the Faust and Romeo (or rather Juliet-she is happiest painted), of Berlioz, and a dozen more new and important works, which Dr. Wylde and his advisers have been instrumental in bringing before the London musical amateurs, forbid ! (The Musical world, Saturday, 31 March 1855)

The New Philharmonic concert presented no novelty whatever, and therefore requires less notice. Its great feature was Beethoven's symphony in C minor; indubitably the grandest orchestral composition in existence. Dr. Wylde has improved as a conductor since he first assumed the baton at these concerts. His reading of this great work was intelligent and satisfactory; and the orchestra played superbly. Mendelssohn's pianoforte concerto in D minor was very finely performed by Mr. Lindsay Sloper, and perfectly well accompanied by the band. (Spectator, Saturday, 31 March 1855)

The charitable tendency of the New Philharmonic has been displayed in favour of St. Mary's Hospital, Paddington. The selection of music of the second concert on Wednesday, last was irreproachable. Beethoven's Symphony in C minor, with Lindsay Sloper to perform Mendelssohn's Concerto in D, and Ernst on the violin, would prove sufficient attraction for any person, reasonably fond of good music. (The Critic, Monday, 2 April 1855)

Thursday, 29 March 1855 : Mr. J. Ella's Fourth Musical Winter Evening at Willis's Rooms, King-Street, St. James's.

Thursday night … The programme contained a quartet A minor, Mendelssohn's second pianoforte quartet in F minor, quintet in flat, and two by Molique for the violin and piano. The performers were : first and second violins, Messrs. and Goffrie, first and second tenors. Messrs. Hill and violoncello, Signor Piatti; and pianoforte, Mr. Lindsay Sloper. (Bell's Weekly Messenger, Monday, 19 March 1855)

MUSICAL WINTER EVENINGS. THURSDAY, March 29, Willis's Rooms.- Quartet, Op. 44 Molique: Trio, Op. 99, Schubert ; Quartet. No. 6, Beethoven; Solo, violoncello; Duet for two pianos, from "Preciosa," Mendelssohn and Moscheles. Artistes- Molique (1st), Ernst (2d Act), Goffrie Hill, Paver, and Lindsay Sloper. Tickets, half-a-guinea, to be had of Cramer and Co., Chappell and Co., and Ollivier. J. ELLA, Director. (The Athenaeum, Saturday, 24 March 1855) (Also: The Athenaeum, Saturday, 24 March 1855; Morning Post, Monday, 26 March 1855; Morning Chronicle (1801), Tuesday, 27 March 1855; Morning Post, Tuesday, 27 March 1855; Morning Post, Tuesday, 27 March 1855.)

MUSICAL WINTER EVENINGS. TOMORROW, March 29, Willis's Rooms.- Quartet, Op. 44 Molique: Trio, Op. 99, Schubert ; Quartet. No. 6, Beethoven; Solo, violoncello; Duet for two pianos, from "Preciosa," Mendelssohn and Moscheles. Artistes- Molique (1st), Ernst (2d Act), Goffrie Hill, Paver, and Lindsay Sloper. Tickets, half-a-guinea, to be had of Cramer and Co., Chappell and Co., and Ollivier. J. ELLA, Director. (Morning Post, Wednesday, 28 March 1855)

MUSICAL WINTER EVENINGS. THIS EVENING, March 29, Willis's Rooms.- Quartet, Op. 44 Molique: Trio, Op. 99, Schubert ; Quartet. No. 6, Beethoven; Solo, violoncello; Duet for two pianos, from "Preciosa," Mendelssohn and Moscheles. Artistes- Molique (1st), Ernst (2d Act), Goffrie Hill, Paver, and Lindsay Sloper. Tickets, half-a-guinea, to be had of Cramer and Co., Chappell and Co., and Ollivier. J. ELLA, Director. (Morning Post, Thursday, 29 March 1855)

MUSICAL WINTER EVENINGS. The last "sitting" was sat on Thursday evening, in Willis's Rooms, by an elegant and numerous company. The performance was as good as the programme, which is saying much, and the audience able to appreciate both, which is saying more. The selection was as follows :- Quartet, A minor, Op. 44 (No. 8) - Molique Trio, B flat, Op. 99 (No. 1) - Schubert Quartet, No. 6, Op. 18 - Beethoven Solo, violoncello - Piatti Duet, for two pianofortes - Mendelssohn and Moscheles To hear Molique in one act, and Ernst in the other, was a treat such as amateurs of the violin seldom enjoy. Both so great, and yet so opposite ; both so true, and yet with a different eloquence ! Their instruments spoke, as it were, two distinct languages, each harmonious and beautiful, yet each with another accent, fall, and cadence. Such artists cannot be rivals - but friends, emulating the one the other, in a love for art and a zealous desire to elevate it. The two quartets were equally at variance. Molique's (a new one, and played for the first time - which impels us to thank Mr. Ella for swallowing his own words), so learned, ingenious, and full of grace ; Beethoven's, so impulsive, playful, energetic, and even simple ? Masterpieces both, flowing from widely distant springs of thought and feeling, they impressed the audience in almost an equal measure. Both were gloriously executed - the first led by the admirable composer himself, the second by the imaginative Ernst - and both were hotly applauded. Goffrie, Hill, and Piatti were, as usual, irreproachable. Herr Pauer exhibited the utmost vigour and animation in his performance of Schubert's interesting and very unequal trio (given for the first time - which impels us to thank Mr. Ella for swallowing his own words), which evidently pleased the auditors, and deserves to be brought forward at the "sittings " of the Musical Union, which will be sat shortly by the aristocratic Patrons of the Director. The famous duet of Mendelssohn-Moscheles, or Moscheles-Mendelssohn (the variations on Weber's Gipsy Chorus in Preciosa) was famously interpreted by Mr. Lindsay Sloper and Herr Pauer ; but the tutti absolutely want the orchestra. We do not dislike it (how can we ?) in this form, yet it is far better in the original. This duet was first played at one of the late Mr. Mori's concerts, in the then King's Theatre Concert-Room, by the composers themselves, more than twenty years ago. The violoncello solo of Sig. Piatti was a miracle - of tone, style, and execution. And thus terminated brilliantly the fourth series of Musical Winter Evenings. (The Musical world, Saturday, 31 March 1855)

MUSICAL WINTER EVENINGS, Thursday, March 29. Willis's Rooms.- Quartet, Op. 44, Molique ; Trio, Op. 99, Schubert; Quartet, No. 6. Beethoven; Solo Violoncello; Duet for two Pianos, from "Preciosa." Mendelssohn and Moscheles. Artists - Molique (1st), Ernst (2nd act), Goffrie, Hill, Piatti, Pauer, and Lindsay Sloper. Tickets, Half-a-Guinea; to be had of Cramer and Co., Chappell and Co., and Ollivier.- J. ELLA, Director. (The Musical World, Saturday, 31 March 1855)

The fourth, and last, of Mr. Ella's winter evenings (which we were unable to attend, much to our regret) appears to have been unusually interesting. Besides, a trio by Schubert, a quartet by Beethoven, a violoncello solo, and a pianoforte duet, a new quartet by Molique was performed for the first time. This work is highly eulogised in Mr. Ella's programme, but not more highly than it deserves, if it be a worthy successor of the numerous former works of the same excellent composer and admirable violinist. The performers in the course of the evening were Messrs. Ernst, Molique, Goffrie, Hill, Piatti, Pauer, and Lindsay Sloper. (Atlas, Saturday, 7 April 1855)

Tuesday, 3 April 1855 : Fifth Grand Annual Concert at Sadler's Wells Theatre.

SADLER'S WELLS THEATRE.- FIFTH GRAND ANNUAL CONCERT.- Unprecedented Attraction, for One Night only, TO-MORROW, April 3,-Messrs. Sims Reeves, Weiss, Miranda, Herr Reichardt and Herr Formes; Mrs. Sims Reeves, Miss Dolby, Madame Anna Thillon, Madame Weiss, Misses Brougham and McAlpine, Miss Rebecca Isaacs, Miss Julia Bleaden, Miss Emily Macnamara, Miss Stabbach, Madame Rita Favanti, Madlle. Jenny Barr, Madame Rudersdorf, and Madame Clara Novello. Instrumental Solo Performers Herr Ernst, M. Sainton, Herr Molique, Miss Kate Delany, and Madlle. Coulon; the celebrated Chanteurs Montaguards, Distin and Sons' Flugel Horn Band. Conductors-Lindsay Sloper, Herr Ganz, and Mr. Benedict.-Boxes, 3s. and 4s.; Pit, 2s.; Gallery, 1s. Tickets and places to be had of Mr. Austin, at the Box-office of the Theatre, from 11 till 4. (Morning Advertiser, Monday, 2 April 1855)

Wednesday, 11 April 1855 : Mr. R. Harold Thomas's Soirée Musicale at 30, Welbeck-Street.

PROGRAMME of Mr. R. HAROLD THOMAS' SOIREE MUSICALE, at 30, Welbeck-street, To-morrow (WEDNESDAY), April 11, commencing at half-past eight o'clock :- Part I. - Duo, pianoforte and violoncello (Op. 17), Mr. R. Harold Thomas and Signor Piatti - Mendelssohn; Recit ed Aria, "Alcandro lo confesso,'' "Non so dondaviene," Miss Dolby - Mozart ; Duett, Miss E. Birch and Miss Dolby - Winter; Songs, "To Chloe in sickness," "May dew," Miss Poole - W. S. Bennett; Sonata, pianoforte and violin (No. 2, Op. 23), Mr. R. Harold Thomas and M. Sainton - Beethoven. Part II. - Morceau de Salon, pianoforte, "La Cascade," Mr. R. Harold Thomas - Pauer ; Song, "Whither," Miss Eliza Birch - R. H. Thomas; Fantasia, for voice and pianoforte, "The lady and the nightingale," Miss Dolby and Mr. Cusins - L. Sloper; Duett, "Barcarole," from 4th Concerto (arranged by the composer for four hands), Mr. W. Sterndale Bennett and Mr. Thomas - W. S. Bennett; Song (MS.), Miss Poole - R. H. Thomas; Solos, "Scene de Ballet," "Sketch," Mr. R. H. Thomas - R. H. Thomas. At the Pianoforte, Mr. W. G. Cusins. (Morning Post, Tuesday, 10 April 1855)

PROGRAMME of Mr. R. HAROLD THOMAS' SOIREE MUSICALE, at 30, Welbeck-street, THIS EVENING (WEDNESDAY), April 11, commencing at half-past eight o'clock :- Part I. - Duo, pianoforte and violoncello (Op. 17), Mr. R. Harold Thomas and Signor Piatti - Mendelssohn; Recit ed Aria, "Alcandro lo confesso,'' "Non so dondaviene," Miss Dolby - Mozart ; Duett, Miss E. Birch and Miss Dolby - Winter; Songs, "To Chloe in sickness," "May dew," Miss Poole - W. S. Bennett; Sonata, pianoforte and violin (No. 2, Op. 23), Mr. R. Harold Thomas and M. Sainton - Beethoven. Part II. - Morceau de Salon, pianoforte, "La Cascade," Mr. R. Harold Thomas - Pauer ; Song, "Whither," Miss Eliza Birch - R. H. Thomas; Fantasia, for voice and pianoforte, "The lady and the nightingale," Miss Dolby and Mr. Cusins - L. Sloper; Duett, "Barcarole," from 4th Concerto (arranged by the composer for four hands), Mr. W. Sterndale Bennett and Mr. Thomas - W. S. Bennett; Song (MS.), Miss Poole - R. H. Thomas; Solos, "Scene de Ballet," "Sketch," Mr. R. H. Thomas - R. H. Thomas. At the Pianoforte, Mr. W. G. Cusins. (Morning Post, Wednesday, 11 April 1855)

Monday, 16 April 1855 : Philharmonic Society's Third Concert (Evening) at Hanover-Square Rooms.

PHILHARMONIC SOCIETY.- The subscribers and the public are respectfully informed that the THIRD CONCERT will take place, at the Hanover-square Rooms, on MONDAY next, the 16th instant. Programme: Sinfonia in A, No. 2, Mendelssohn; Concerto, pianoforte, in B flat, No. 2, Mr. Lindsay Sloper - Beethoven; Overture, Euryanthe - Weber; Sinfonia in C minor, No. 5 - Beethoven; Overture, "Les Deus Journees"- Cherubini. Vocal Performers: Madame Rudersdorff and Herr Formese. Conductor, Herr Richard Wagner.-To begin at 8: doors open at half past seven, single tickets £1 1s.,double tickets £1 10s., triple tickets, £2 5s.; to be had of Messrs ADDISON and HOLLIER'S, 210, Regent-street (Daily News, Wednesday, 11 April 1855) (Also: Morning Post, Thursday, 12 April 1855; Morning Chronicle (1801), Friday, 13 April 1855.)

PHILHARMONIC SOCIETY. - The Subscribers and the Public are respectfully informed that the THIRD CONCERT will take place at the HANOVER-SQUARE ROOMS, on MONDAY NEXT, the 16th inst. Programme:- Sinfonia, in A No. 2, Mendelssohn; Concerto, pianoforte, in B flat, No. 2, Mr. Lindsay Sloper, Beethoven; Overture, Euryanthe, Weber; Sinfonia in C minor, No. 5, Beethoven; Overture, "Les Deux Journees," Cherubini. Vocal Performers:- Madame Rudersdorff and Herr Formes. Conductor: Herr RICHARD WAGNER. To commence at Eight; doors open at half past Seven. Single Tickets, £1 1s.; Double Tickets, £1 10s.; Triple Tickets, £2 5s., to be had at Messrs. Addison and Hollier's, 210, Regent-street. (John Bull, Saturday, 14 April 1855) (Also: John Bull, Saturday, 14 April 1855.)

PHILHARMONIC SOCIETY. - The Subscribers and the Public are respectfully Informed that the THIRD CONCERT will take place, at the Hanover Square Rooms, on Monday next, the 10th instant. Programme : Sinfonia in A, No. 2 - Mendelssohn; Concerto, pianoforte, in B flat, No. 2, Mr. Lindsay Sloper - Beethoven; Overture, Euryanthe - Weber; Sinfonia In C minor, No. 5 - Beethoven; Overture, "Les Deux Journees " - Cherubini. Vocal Performers: Madame Rudersdorff and Herr Formes. Conductor: Herr Richard Wagner. - To begin at 8; doors open at half past 7. Single tickets, 1l.. 1s.; double tickets, 1l.. 10s.; triple tickets, 2l. 5s., to be had at Messrs. Addison and Hollier's, 210, Regent Street. (Spectator, Saturday, 14 April 1855)

PHILHARMONIC SOCIETY.- The subscribers and the public are respectfully informed that the THIRD CONCERT will take place, at the Hanover-square Rooms, THIS EVENING (MONDAY). Programme: Sinfonia in A, No. 2, Mendelssohn; Concerto, pianoforte, in B flat, No. 2, Mr. Lindsay Sloper - Beethoven; Overture, Euryanthe - Weber; Sinfonia in C minor, No. 5 - Beethoven; Overture, "Les Deus Journees"- Cherubini. Vocal Performers: Madame Rudersdorff and Herr Formese. Conductor, Herr Richard Wagner.-To begin at 8: doors open at half past seven, single tickets £1 1s.,double tickets £1 10s., triple tickets, £2 5s.; to be had of Messrs ADDISON and HOLLIER'S, 210, Regent-street (Morning Post, Monday, 16 April 1855)

PHILHARMONIC CONCERTS. The following selection was performed last night, at the Hanover-square Rooms, by the Philharmonic Society - the occasion of the third meeting : - Part I. Sinfonia in A, No. 2 - Mendelssohn. Aria, " Va sbramando," Mr. Weiss Spohr. Concerto, pianoforte, B flat, Mr. L. Sloper - Beethoven. Aria, "Bald schlagt," Rudersdorff - Mozart. Overture, "Euryanthe" Weber. Part II Sinfonia in C minor, No. 5 Beethoven. Recit. & Aria, "Ja, ich fuhl'es," Madame Rudersdorff - Spohr. Overture, " Les Deux Journees " Cherubini. Nothing finer of their class exists than the above two symphonies, while they may be equally characterised as being among the noblest specimens that we have of the orchestral writing of the inspired composers whose names they bear. Herr Wagner conducted them both in the same spirit of originality and independence that he has. The pianoforte concerto in B flat of Beethoven, one of the early works of the great master, is not so well known to the public as those in E flat and C minor. It could not possibly have been entrusted to a better performer than Mr. Lindsay Sloper, who is rapidly taking a lofty position as an interpreter of the highest class of pianoforte music. A more finished delivery of an important work has never been heard, a touch at once delicate, resonant, and beautiful, and purity of feeling, spoilt by no conceits or affectations, being throughout visible. The concerto, in a word, was given to admiration, and our accomplished English hitherto manifested. His readings were frequently at artist retired amid much genuine applause. The vocalisms, as usual, do not invite much commentary. Madame Rudersdorff, executed the immensely-difficult aria from the Zauberflote with her accustomed largeness of style; though her best success was the scena from Faust, which she impregnated with no little dramatic colour. Herr Formes, who was to have sung the "Va sbramando," was prevented doing so by indisposition ; but his place was adequately filled by Mr. Weiss. (The Standard, Tuesday, 17 April 1855) (Also: The Standard, Tuesday, 17 April 1855.)

PHILHARMONIC SOCIETY. The third concert took place last evening. The programme was as follows: PART I. Sinfonia in A, No. 2 - Mendelssohn, Aria, "Va sbramando," Mr. Weiss (Faust) - Spohr. Concerto, Pianoforte, in B flat, Op. 19, Mr. Lindsay Sloper - Beethoven. Aria, "Bald schlagt die Abschieds stunde," Madame Rudersdorff - Mozart. Overture, "Euryanthe" - Weber. PART II. Sinfonia in C minor, No. 5 - Beethoven. Recit.- "Im wechsel immerdar" Madame Rudersdorff (Faust) - Spohr. Overture, Les Deux Journees - Cherubini. Conductor, Herr Richard Wagner. Herr Formes, who was engaged to sing at this concert, having been prevented by indisposition from appearing, some alterations were necessarily made in the plan of the performance originally announced. Mr. Weiss, instead of Herr Formes, sang the aria. " va, s'bramando." And the scena from Faust, in the second part, was sung by Madame Rudersdorff place of the duet from Der Alchymist, which was to have been sung by that lady and Formes. The concert did not at all suffer from these changes. Mendelssohn's "Italian Symphony," the finest of his D orchestral works, was played with an effect not surpassed on any former occasion. The times of the different movements were taken as we have been accustomed to hear them, excepting the "Saltarello " at the end, which was quicker; yet, in the rapid, impetuous whirl of the Neapolitan dance, the utmost distinctness was preserved. In Beethoven's great symphony in C minor, Herr Wagner produced some unusual effects, by retardations and accelerations of the time, which appeared to us to be exceedingly beautiful, and quite legitimate. The final movement, the triumphal march, was taken very quick, and with immense energy. Throughout the whole symphony its lofty character was nobly sustained, and we never were more strongly impressed with its grandeur and power. Beethoven's pianoforte concerto, played by Mr. Lindsay Sloper, is one of the composer's early works, and has been very seldom performed in this country. Considering its exceeding beauty, the neglect it has met with is unaccountable; and Mr. Sloper showed his taste and judgment in choosing it on this occasion. It is very much in the style of Mozart, whom Beethoven, in his early productions, seems to have made his chief model; but the fiery and original genius of the composer is very apparent throughout. Mr. Sloper's playing was exquisite; beautifully clear and articulate, rich in tone, finely phrased, and full of grace and expression. He was most warmly applauded. Mr. Weiss sang the " Va sbramando " admirably, though it is not entirely suited to his voice. Madame Rudersdorff who appeared for the first time at a Philharmonic Concert, had a great and well-merited success. The first air she sang is a musical curiosity. It was written by Mozart for the part of Pamina, in the Zauberflote, but not sung, because the performer had not sufficient execution of it. It is in the style of the two well known airs in the part of the Queen of Night, and contains passages of the same kind, and nearly as difficult. It is, moreover, a beautiful composition, and bears the stamp of Mozart in every bar. Madame Rudersdorff conquered all its difficulties, and displayed all its beauties. She was still more successful in the magnificent scena from Faust, which she gave with such splendour of voice, such energetic declamation, so much dramatic power, and such finished execution, that the audience were delighted, and enthusiastic in their applause. Great versatility seems to be one of Madame Rudersdorff's qualities. A few weeks ago she achieved a similar success at Exeter-hall in, in Judas Maccabeus. Taken as a whole, this was a concert of the highest order, both in regard to selection and performance. (Daily News, Tuesday, 17 April 1855)

PHILHARMONIC CONCERTS. Third Concert, Monday, April 16th. PART I. Sinfonia in A; No. 2 --- Mendelssohn. Aria, "Va sbramando," Mr Weiss, Faust - Spohr. Concerto, pianoforte, in B flat, Op. 19, Mr Lindsay Sloper - Beethoven. Aria, "Bild schlagt die Abschieds stunde," Madame Rudersdorff - Mozart. Overture, "Euryanthe" - Weber. PART II. Sinfonia in C minor; No. 5 - Beethoven. Recit. and Aria, " Ja, ich fuhl'es,' Madame Rudersdorff, Faust - Spohr. Overture, Les Deux Journees - Cherubini. The Symphonies and Overtures, all masterpieces of their respective composers, were executed with the precision, spirit, and effect that so peculiarly characterise this band. The conductor, M. Wagner, and his forces, seemed to be perfectly d'accord, a consummation to be doubtless ascribed to a just and mutual conception of the designs of the four great musicians whose thoughts and modes of expressing them they had to interpret. The Concerto of Beethoven, though neither the most popular nor the best of his three, is a fine work, and had every advantage given it that the studiously correct performance of Mr Lindsay Sloper, supported by a most judicious accompaniment, could afford. Thus supplied with five chefs-d'oeuvre out of eight pieces, the audience had, perhaps, no inclination to complain of the vocal portion of the selection, which certainly bore no favourable comparison with that of the instrumental. The very scant air from Faust is good in its proper place, but essentially theatrical. Mr Weiss, however, did his best to make it acceptable in a concert room. The aria, originally composed for the Zauberflote, but wisely cast aside by Mozart, should be allowed to remain on the discarded list; it is a senseless bravura. The Scena, in the second part, is a remarkably fine dramatic composition, and as such the ranting conclusion may have some meaning. The slow movement always charms, whenever delivered with taste and feeling. But why should this masterly work be now ever sung to rough German words, when it may be heard in the euphonious language to which it has been so exceedingly well adapted, and in which it is almost invariably performed, except in the land of its birth? The above program shows only three vocal pieces :-the first "as brief as the posy of a ring;" the second unworthy of its composer, as he well knew ; and the third (as also the other two) in a tongue unintelligible to nineteen-twentieths of the audience ! (Examiner, Saturday, 21 April 1855)

The third concert of the PHILHARMONIC SOCIETY took place at the Hanover-square Rooms on Monday evening. The programme was as follows:- PART I. Sinfonia in A, No. 2 - Mendelssohn. Aria, "Va s'bramando," Mr. Weiss (Faust) - Spohr. Concerto, Pianoforte, in B flat, Op. 19, Mr. Lindsay Sloper - Beethoven. Aria, "Bald schlagt die Abschieds stunde," Madame Rudersdorff - Mozart. Overture, "Euryanthe" - Weber. PART II. Sinfonia in C minor, No. 5 - Beethoven. Recit, "Im Wechsel immerdar" Aria, "Ja, ich fuhl'es" Madame Rudersdorff (Faust) - Spohr. Overture, "Les Deux Journees - Cherubini. Conductor, Herr Richard Wagner. This, as our musical readers will perceive, was a fine selection; and the performance, too, was excellent. Herr Wagner, the new conductor, showed himself thoroughly competent to stand at the head of a great orchestra. The grand orchestral pieces of Mendelssohn and Beethoven were performed with a precision, firmness, and effect which left nothing to be desired. Mr. Lindsay Sloper's execution of the concerto was masterly, and showed Mr. Sloper to be one of the most accomplished pianists of the day. Madame Rudersdorff, who appeared at these concert's for the first time, was highly successful, especially in the scena from Spohr's Faust, which she sang with great beauty and dramatic power. (John Bull, Saturday, 21 April 1855) (Also: John Bull, Saturday, 21 April 1855.)

The Third Philharmonic Concert took place on Monday. The programme presented little novelty, but its contents, both instrumental and vocal, were of the highest order. The symphonies were Mendelssohn's second in A, and Beethoven's in C minor-in our opinion the greatest orchestral work in existence. The overtures were Weber's u Euryanthe" and Cherubini's Deux Journees." Beethoven's pianoforte concerto in B flat (one of his early works) was most admirably performed by Mr. Lindsay Sloper. Madame Rudersdorff had great success in a bravura song of Mozart, and in the scena from Spohr's Faust and, Formes having been prevented by indisposition from singing, his place was efficiently supplied by Mr. Weiss, whose performance of Spohr's Va sbramando was admirable. (Illustrated London News, Saturday, 21 April 1855)

PHILHARMONIC SOCIETY. The third concert of the Society was given on Monday, when the following programme was presented to the subscribers PART I. Sinfonia in A; No. 2 --- Mendelssohn. Aria, "Va sbramando," Mr Weiss, Faust - Spohr. Concerto, pianoforte, in B flat, Op. 19, Mr Lindsay Sloper - Beethoven. Aria, "Bild schlagt die Abschieds stunde," Madame Rudersdorff - Mozart. Overture, "Euryanthe" - Weber. PART II. Sinfonia in C minor; No. 5 Beethoven. Rect, Weebtel iramerdar [?]. Aria. Ja. [?] Overture, Les Deux Journees Cherubini Conductor Herr Richard Wagner. The performance of Mendelssohn's charming Symphony left nothing to desired. It was given with precision, whilst the beauties of light and shade were carefully marked Herr Wagner, whom, notwithstanding the peculiarity of his beat, the orchestra is beginning to understand. Indeed, were Herr Wagner's manner less indecisive than it sometimes is, the intelligence of the Philharmonic Society's band is so great, trained as it also has been by M. Costa that it would scarcely be possible for any well known subjects usually played at these concerts to go far wrong. The interpretation both of the Mendelssohn and Beethoven Symphonies gave many and distinct proofs of that intelligence. Although the "Euryanthe" overture did not, as heretofore, command command an encore, yet never do we remember to have heard better. Herr Wagners reading of this overture is in many respects different to that, which the Philharmonic Society subscribers have been accustomed; it is, in fact, a thoroughly German interpretation, and probably the right one. The slow motivo with the muted violins, was taken much slower than usual, and the pianissimo was decidedly marked, to give increased character to that wonderful inspiration of Weber's musical genius. Mr. Lindsay Sloper's playing of the comparatively little known pianoforte concerto of Beethoven was judicious; his touch is crisp and firm, and always clear and distinct as to relieve the hearer from the slightest apprehension of a trip or mischance. Of the many English professors in this branch of musical engagements, Mr. Lindsay Sloper certainly occupies very nearly, if not quite, the highest position. Owing to the illness of Herr Formes, Mr. Weiss undertook to sing the great scena from Spohr's Faust, of which he made nothing. In fact, there is no singer of the present day but Herr Formes who can give effect to that transcendant specimen of Spohr's early talent. Madame Rudersdorff was, and deservedly, applauded for her interpretation of the two songs she had selected. This lady's voice, though somewhat worn in the upper register, is still under great control, and her manner is sufficiently impassioned and artistic generally hide this defect. (Bell's Weekly Messenger, Saturday, 21 April 1855)

PHILHARMONIC CONCERTS, Third Concert, Monday, April 16th. Part I. Sinfonia in A; No.2 - Mendelssohn. Aria, "Va sbramando," Mr Weiss, Faust - Spohr. Concerto, pianoforte, in B flat, Op. 19, Mr Lindsay Sloper - Beethoven. Aria, "Bald schlagt die Abschieds stunde," Madame Rudersdorff - Mozart. Overture, Euryanthe - Weber. Part II. Sinfonia in C minor; No.5 - Beethoven. Recit. and Aria, "Ja, ich fuhl'es," Madame Rudersdorff - Spohr. Overture, La Deux Journees. - Cherubini. The Symphonies and Overtures, all masterpieces of their respective composers were executed with the precision, spirit, and effect that so peculiarly characterises the band. The conductor, M. Wagner, and his forces, seemed to be perfectly d'accord, a consummation to be doubtless ascribed to a just and mutual conception of the designs of the four great musicians whose thoughts and modes of expressing them they had respective composers, and effect that so peculiarly characterise this band. to interpret. The Concerto of Beethoven. though neither the most popular nor the best of his three, is a ?ne work, and had every advantage given it that the studiously correct performance of Mr Lindsay Sloper, supported by a most judicious accompaniment, could afford. Thus supplied with ?ve chefs-d'oeuvre out of eight pieces, the audience had, perhaps, no inclination to complain of the no favourable comparison with that of the instrumental. The very scant air from Faust is good in its proper place, but essentially theatrical. Mr Weiss, however, did his best to make it acceptable in a concert room. The aria, "originally composed for the Zauber?ote," but wisely cast aside by Mozart, should be allowed to remain on the discarded list; it is a senseless bravura. The Scena, in the second part, is a remarkably ?ne dramatic composition, and as such the ranting conclusion may have some meaning. The slow movement always charms, whenever delivered with taste and feeling. But why should this masterly work be now ever sung to rough German words, when it may be heard in the euphonious language to which it has been so exceedingly well adapted, and in which it is almost invariably performed, except in the land of its birth? The above program shows only three vocal pieces :-the ?rst " as brief as the posy of a ring;" the second unworthy of its composer, as he well knew; and the third (as also the other two) in a tongue unintelligible to nineteen-twentieths of the audience ! (Examiner, Saturday, 21 April 1855)

PHILHARMONIC SOCIETY. The third concert, on Monday evening, was but indifferently attended. The new conductor has evidently failed to excite public curiosity. The war of nations, however, is a more engrossing topic than the war of systems; and, until Sebastopol be taken, the question of Richard Wagner versus Music is likely to remain in abeyance. Thirty guineas a concert is, we must admit, a large sum for a chef-d'orchestre out of Zurich; but that is a matter which the reigning directors of the Philharmonic Society may possibly be called upon to explain, at some future congress of as many among the forty members as care a straw for its welfare. At the present juncture it is doubtful even whether a fifty-guinea time-stick would be able to rouse the apathetic, or swell the subscription list. The programme of Monday's concert was as follows:- Part I.-Sinfonia in A, Mendelssohn; Aria, "Va sbramando" (Faust), Spohr; Concerto, pianoforte, in B flat, Op. 19, Beethoven; Aria, "Bald schlagt die Abschieds stunde," Mozart ; Overture, "Euryanthe," Weber. Past II.-Sinfonia in C minor, No. 5, Beethoven; Recitative and Aria, "Ja, ich fuhl'es," Spohr; Overture, "Les Deux Journees," Cherubim. Conductor, Here Richard Wagner. A contemporary (The Daily News) declares that he never heard the " Italian" symphony go so well. We regret to be at issue with him, but are forced to record that we never heard it go worse anywhere. A more coarse, monotonous, uniformly loud, and at the same time rigorously frigid performance, never left an audience unmoved and apathetic in a concert-room. It was deplorable to witness the contemptuous unconcern with which the whole of this admirable work of genius was regarded by the representative of the "future art-drama." The same thing was remarked at rehearsal. The band was never once arrested, nor did the conductor proffer a single observation. Herr Wagner's "reading" of the music of Mendelssohn may be signalised in a sentence :-Get to the end of it as quick as possible. It is not, however, for Dr. Liszt and the petty tribunals of Weimar and Leipsic to decide which is the greater man - the author of Lohengrin and Tannhauser, or the author of St. Paul and Elijah. No, indeed. Dieu merci ! The symphony went off without any demonstrations of satisfaction; and that most heavenly of slow movements, which never before failed to create enthusiasm, scarcely obtained a hand of applause. It was barbarous! In Weber's overture to Euryanthe the new conductor resumed his vivacity, his gesticulations, his "ups and downs," and his forced readings. This "went off" like a shell at Sebastopol - " fizzing" and screaming for dear life. It was not encored, however. The effect produced was what might be imagined after the unanticipated shock of an earthquake. The audience looked at each other, aghast. Some said "Wonderful!" - others said nothing; and these last were the wisest. Herr Wagner is as warm to his countryman, Weber, as he is cold to his countryman, Mendelssohn. But Mendelssohn was of Jewish extract; and the "shawms" of the Hebrews, we presume, are not to make part of the orchestra "of the Future," however the Present may hold Mendelssohn's "shawm" to have a sweeter tone than Herr Wagner's "trumpet," which is chiefly occupied in blowing flourishes for his own glorification. Nevertheless, with all his preference, in the "book" of Oper und Drame Herr Wagner calls Weber, "the unhappy." He (Weber), it appears, plucks national tunes (wild flowers) from the fields, puts them in drawing-room vases, and is surprised that they die in spite of his watering-pot. His (Weber's) "stammering" is an honest confession of the incapacity of music to exist alone - and, as a natural consequence, of the superiority of Herr Wagner and his system of "real drama." Good. It is as well to learn some thing of das Wesen der Musik (!). The execution of Beethoven's Symphony in C minor was chiefly remarkable for a variety of hitherto unknown effects, pauses long (too long) drawn out, etc., and a quicker tempo for the last movement, to which, though unaccustomed, we have no objection, and which, indeed, we rather like than otherwise. Cherubini's fine overture offered little for comment. Mr. Lindsay Sloper's performance of the early and very interesting pianoforte concerto in B flat of Beethoven,* was in all respects masterly; style and execution were equally free from reproach. He must be thanked, moreover, for choosing this particular work, and thus affording a little repose to the three grand concertos so frequently brought forward by pianists. His success was as great and well deserved as at the recent concert of the New Philharmonic Society, when he played the concerto in D minor of Mendelssohn. The vocal music was unexceptionable. Mr. Weiss gave the noble air from Faust with the true spirit ; and Mad. Rudersdorff, equally at home in the music of Mozart and Spohr, proved herself an accomplished vocalist The curious aria of Mozart, originally written for Zauberflote, was abandoned by singers in consequence of its difficulty. To Mad. Rudersdorff, however, it seemed to present none whatever. The audience were cold to everything in the concert, which certainly did not elevate Herr Wagner as a conductor in the estimation of connoisseurs. Perhaps the overture to Tannhauser, which is to be performed at the fourth concert, and was rehearsed on Saturday, will do something more to advance his claims as a composer. Dr. Liszt, in a lengthy and teratological essay, proclaims this overture one of the most prodigious inspirations of the musical art.. Nous verrons. * A very good arrangement of this was published, many years ago, by the spirited firm of Coventry and Hollier. (The Musical world, Saturday, 21 April 1855)

There have been several concerts this week. At the Philharmonic, on Monday, the most interesting incident was the admirable performance by Mr. Lindsay Sloper, of an early concerto of Beethoven, hitherto unaccountably overlooked in this country. In form and style it is modelled upon Mozart, but shows the young composer's bold genius breaking through the conventional trammels of his day. Another piece was a musical curiosity - a bravura air originally written by Mozart for the Zauberflöte, but not used, as being too difficult for the performer who was to have sung it. It was brilliantly executed by Madame Rudersdorff, and excited a sensation among the dilettanti as a remarkable relic of the composer. (Spectator, Saturday, 21 April 1855)

PHILHARMONIC CONCERT - The programme of the third Philharmonic Concert was made up of matter familiar to every concert-goer, with the exception of Beethoven's Pianoforte Concerto in B ?at, played by Mr. Sloper. The music was badly conducted; a more loose and careless performance of Mendelssohn's Symphony in A we do not remember, nor ruder and slacker accompaniments to the solo and to the vocal music. In the overture to 'Euryanthe,' and Beethoven's well-known C minor Symphony, indifference was exchanged for exaggeration; but the orchestra was, as before, loose in execution and coarse in expression. The attendance was thin; and now that the discriminating cordiality with which the English welcome all strangers, as strangers, has subsided, we cannot see how Herr Wagner will sustain himself in London as head of an orchestra, - since, though his plan of conducting elect music by heart is calculated to impress and startle the innocent, the average concert-goer would prefer to this wonder a good execution of all the pieces chosen, without obvious contempt for certain portions, balanced by vehemence and affectation in others. The Concerto by Beethoven was welcome to us as a graceful and expressive specimen of the master's early manner. The cadenza introduced by Mr. Sloper was much what a cadence should be; exhibiting the player's skill and fancy in forms so spontaneous as to resemble improvisation; it was, further, commendable as not being too long. Madame Rudersdorff was principal vocalist: whereas, at Exeter Hall, she had restrained herself, and been there effective, - in the Hanover Square Rooms the Lady screamed the usual screams that afflict us in her stage performances. Thus her singing, though in some respects artistic and intelligent, was unpleasing and painful. (The Athenaeum, Saturday, 21 April 1855) (Also: The Athenaeum, Saturday, 21 April 1855.)

PHILHARMONIC SOCIETY.-The third concert took place on Monday evening. The programme was as follows:- PART I. Sinfonia in A, No. 2 Aria, Vi etriunando, Mr. Weiss (Faust) Concerto, Pianoforte, in B flat, Op. 19, Beethoven. Lindsay Sloper Aria, Bald acillagt die Abschieda atuude, Mozart. Mine. Rudersdorff Overture, Euryanthe Weber. PART II. Sinfonia in C minor, No. 5, Beethoven, W'eeh.eliwwerdarl Mme. Rudersdorff Aria, Ja, ich tiih'es Overture, Les Deux Journeaux Conductor, Herr Richard Wagner. Herr Formes, who was engaged to sing at this concert, was prevented by indisposition from appearing, and Mr. Weiss in his stead sang the aria, sbramantic ; and the scene from Faust, in the second part, was sung by Mme. Rudersdorff in place of the duet from Der Alchymist, which was to have been sung by that lady and Formes. The concert did not at all suffer from these changes. Mendelssohn's Italian Symphony, the finest of his orchestral works, was played with an effect not surpassed on any former occasion. The times of the different movements were taken as we have been accustomed to hear them,, excepting the Saltarello at the end, which was quicker; yet in the rapid, impetuous whirl of the Neapolitan dance the utmost distinctness was preserved. In Beethoven's great symphony in C minor, the final movement, the triumphal march, was taken very quick, and with immense energy. Throughout the whole symphony its lofty character was nobly sustained, and we never were more strongly impressed with its grandeur and power. Beethoven's pianoforte concerto was played by Mr. Lindsay Sloper. Considering its extreme beauty, the neglect it has met with is unaccountable ; and Mr. Sloper showed his taste and judgment in choosing it on this occasion. It is very much in the style of Mozart, whom Beethoven in his early productions seems to have made his chief model ; but the fiery and original genius of the composer is apparent throughout. Mr. Sloper's playing was exquisite; beautifully clear and articulate, rich in tone, finely phrased, and full of grace and expression. He was most warmly applauded. Mr. Weiss sang the Vsabramando admirably, though it is not entirely suited to his voles. Mme. Rudersdorff, who appeared for the first time at a philharmonic concert, had a great and well-merited success. The first air she sang is a musical curiosity. It was written by Mozart for the part of Palmitin, in the Zauberflott, but not sung, because the performer had not sufficient execution for it. It is in the style of the two well-known airs in the part of the Queen of the Night, and passages of the same kind, and nearly as difficult. It is, moreover, a beautiful composition, and bears the stamp of Mozart in every (Press, Saturday, 21 April 1855)

Friday, 20 April 1855 : Grand Subscription Concerts of Vocal and Instrumental Music (Morning) at Town Hall, Reading.

TOWN HALL, READING. (By permission of the Worshipful the Mayor.) TWO GRAND SUBSCRIPTION CONCERTS of VOCAL and INSTRUMENTAL MUSIC will take place on the Morning and Evening of Thursday, April 20, 1855, when the following highly distinguished Artistes will appear :- vocalists. MISS DOLBY, MR. AUGUSTUS BRAHAM. instrumentalists. HERR ERNST (Violin), First appearance in Reading. SIGNOR PIATTI (Violoncello). MR. LINDSAY SLOPER (Pianoforte). One of Broadwood's Grand Pianofortes will be brought from Town expressly for this occasion. Subscribers' names received at Mr. Beale's, 10, London Street ; at Mr. Lovejoy's, Mr. Blackwell's, and Mr. Welch's Libraries. Admission, Morning.-Stalls numbered, 7s. each, or four for 21s.; Second Seats, 5s. each, or six for 21s.; Back Seats, 2s. each. Evening.-Stalls, 5s. each, or six for 21s.; Second Seats, 3s. 6d. each, or four for 10s. 6d.; Back Seats 1s. 6d. each. Tickets may be obtained at Mr. Beale's Music Warehouse, London-street; Binfield's Musical Library, Friar-street ; Mr. Burton's, London-street; Mr. Golding's, Friar street; and at Mr. Lovejoy's, Mr. Blackwell's, and' Mr. Welch's Libraries. Morning performance will commence at Two o'clock; doors open at half-past One. Evening performance will commence at Eight o'clock; doors open at half past Seven. It is requested that carriages proceeding to the Concerts will fall into line in the Market-place, and after setting down proceed along Friar-street; on returning, to form in Friar-street and proceed down the Market-place. (Berkshire Chronicle, Saturday, 14 April 1855) (Also: Berkshire Chronicle, Saturday, 14 April 1855; Berkshire Chronicle, Saturday, 21 April 1855; Berkshire Chronicle, Saturday, 21 April 1855.)

Grand Subscription Concerts. -During the ensuing week the inhabitants of Reading will have the opportunity of hearing some of the finest artistes of the day, at two concerts to be given at the Town Hall, Reading. Miss Dolby and Mr. Augustus Braham will attend as vocalists, and Herr Ernst, the first violin player in the world, Signor Piatti, and Mr. Lindsay Sloper as instrumentalists. With such names and an admirable selection of music, as set forth in the programme, brilliant entertainments are sure to follow. Already a large number of tickets have been sold, and no doubt the room will be well filled. (Berkshire Chronicle, Saturday, 21 April 1855) (Also: Berkshire Chronicle, Saturday, 21 April 1855.)

Friday, 20 April 1855 : Grand Subscription Concerts of Vocal and Instrumental Music (Evening) at Town Hall, Reading.

Concerts at the Town Hall.-On Thursday morning and evening the concerts previously announced took place. The attendance in the morning was not numerous, but in the evening there was a large auditory of a highly respectable order. Although the performers were numerically few, they were of the first class, and seldom has a more gratifying or successful entertainment been witnessed. The purely English vocalism of Miss Dolby delighted the audience, especially in that quaintly pathetic melody "the Groves of Blarney," adapted to a characteristic lyric by Lady Dufferin. Nor was Mr. Augustus Braham undeservedly applauded and encored for his "Bay of Biscay," and " Oft in the stilly Night," which we prefer to his more ambitious efforts. Herr Ernst's violin playing it would be difficult to praise too highly; he seems identified, we might almost say incorporated, with that most expressive instrument, and in "the Carnival of Venice," the mirth-moving and bizarre variations, contrasted with the finest combinations of tone, and an execution unsurpassed since Paganini's days, conspired to raise a perfect storm of applause and enthusiasm. His other pieces, if less demonstrative, evinced the highest talent. Signor Piatti, chief of violoncellists, was, in his department, unrivalled. From the massive grandeur of some of his andante harmonies, up to the lightest and most graceful allegrettos, and with every intermediate grade, it was one continuous stream of exquisite melody and brilliant execution. Mr. Lindsay Sloper presided at the pianoforte, and whether as principal or accompanyist, ably fulfilled his part. His lucid and unostentatious style of playing was truly pleasing, especially to those who are satisfied without those tremendous and incomprehensible involutions and complications, which are more calculated to display the legerdemain of the artiste than to charm and soothe the musical ear. Altogether the concert was a most excellent one, demonstrating that the most splendid compositions require not a crowded orchestra, but a selected corps of finished performers, to render them efficient and delightful. (Berkshire Chronicle, Saturday, 28 April 1855)

Monday, 7 May 1855 : Old Philharmonic Society's Concert.

Our musical contemporaries in America have taken Richard Wagner by the hand with an enthusiasm equal to that which the political Yankees exhibit towards the Czar of all the Russias. Regardless of public opinion, expressed through the medium of the press in this country, they persist in informing their readers that Herr Wagner's career, up to this moment, has been one of uninterrupted triumph. A New York print refers to certain articles in the Daily News and Illustrated London News, as proofs of "the remarkable change that is going on in the opinions of the London critics" about Herr Wagner. To these papers he might have added the Spectator and John Bull. The musical articles in all four are contributed by one pen ; and that pen, though the goose-quill of a highly respectable gentleman and excellent connoisseur, is hardly more the pen of a free agent than the two-handed sword of the Scottish guards, who served in the armies of the French kings, could be considered a free weapon. The wisdom of the Philharmonic Directors, like the majesty of the Kings of France, must be maintained inviolate. The other London papers are treated with contempt, because their reporters do not write in the same strain about the representative of the "Future." The " special correspondence," too, of our New York contemporary is curious, since it is made up of what Mr. Anderson's solicitors would call "a tissue of misrepresentations," or what, in plainer language, may be termed a string of unblushing falsehoods. The ebullition of excitement and enthusiasm created by the little man with "the large intellectual forehead," at the first Philharmonic Concert, is a pure fiction of the writer. There was no enthusiasm whatever ; and no one said anything about Herr Wagner's forehead except Professor Drei-Sterner Plauderein Praeger of Hamm, who is remarkably busy about the new conductor and his affairs. In the last number of the Yankee sheet appears another bombastic letter with the signature of ** ("Drei-Sterner "), in which Herr Wagner is again extolled to the skies, and all the rest of the world abused at his expense. From this we shall make some quotations. To begin :- " On Monday last, Richard Wagner made his second appearance in the orchestra of the Old Philharmonic. By the express desire of the directors (at all events, some of them) a selection from Lohengrin was given. The uninitiated may infer that this was to shew their enthusiasm for their conductor ; but I assert boldly, that it was done with the view of securing a fiasco for Wagner." This is odd, to say the least of it. The Philharmonic Directors have gone to considerable pains and expense to bring a conductor all the way from Zurich, and their object, in bringing his works before the public, is to " secure him a fiasco I" They might have got a "fiasco," easy enough, had they applied to the Hamm professor, who has composed a good deal, and would, doubtless, not mind conducting some of his music (is that, too, of the " Future ?") at the Philharmonic. But the context is still more inexplicable :- " Nothing is more generally known than the decided detestation in which Wagner is held by the musical critic of the _____, the reason of which we have given before. If we add to that the influence from Paris in the same direction ; if we name Brandus and Meyerbeer, we think we hare said enough to show the knowing which way la pirouette turns. To him who does not know, we advise a few years' stay at the capital of esprit and intrigue, and the earnest perusal of Macchiavelli's works; then he will understand us." We have been to Paris, and have read Macchiavelli - not in Paris, but at home, since we saw no reason why we should cross the Channel to peruse the Italian political philosopher's model of a Prince, being in possession of a copy of our own. Moreover, Mr. Ella himself insinuates that we have a "certain shrewdness," while he menaces us with Schlegel's hammer. Yet, for the life of us, we cannot trace the connection between the critic of the ______ and the Philharmonic Society, nor guess on what grounds the directors of that institution, to oblige a gentleman who has occasionally rated them with more sincerity than kindness, should endeavour to "secure a fiasco" for the new conductor, whose appointment he has found it right to condemn ! The rest of the article on the Philharmonic concert is an expression of the writer's own opinions, which are not worth discussing:- "However, the selection from Lohengrin did not make the fiasco expected, which was to bring a 'native' into Signor Costa's place; on the contrary, the astonishment of the connoisseurs at not finding only bombastic, noisy, and unmeaning music, but the most original and poetical conceptions, scored with exquisite and novel effect, was something curious to witness. The 'Introduction,' the 'Bridal Chorus,' and the 'Wedding March,' which were given, created a marked sensation and a general desire to hear more of such works from the so-called New-school. The reading of the old frieschutz overture was so startling, effective, and new, that it was boisterously encored. The second part of the concert consisted of Beethoven's Ninth Symphony, which, to our mind, has rarely had justice done to it before. Wagner conducted without score, as he does all the great works, knowing them all by heart. The vocal part was badly sustained by Mr. and Mrs. Lockey and Mr. and Mrs. Weiss, and required more than these vocalists had bestowed upon it. Blagrove's rendering of Mendelssohn's violin concerto was icy cold." Our English composers seem to be in no greater favour with the Hamm Professor than our English singers and players. In a notice of the New Philharmonic Society, he speaks thus cuttingly of Mr. Charles Horsley and, his Comus:- "The plan of the Society to give works by natives is highly commendable; but the choice of a selection from Mr. Charles Horsley's Comus was scarcely endurable. Mr. Horsley conducted his own work in a kind of frantic, bombastic manner; and a more common-place stringing together of well-known bits of tunes, a more unartistic and vulgar scoring could not well be imagined. If there are no better specimens of the Young-England school, we should advise them to do anything else than complain of neglect. But we know of those who can do better things, and hope to see them have a chance, which in this case was not wisely bestowed." He prefers also foreign pianos to English pianos - this man of Hamm, not "wax." He praises Mr. Lindsay Sloper, but, he- "only wished him one of Erard's pianos, as the one he played on a Broadwood, lacked nothing so much as tone." Moreover, the Queen's Private Band comes in for a rap :- "No doubt, when one names the orchestra of Queen Victoria at her palace, you, gentle reader, might imagine something like a good, and even choice band. But alas! excepting three or four good performers, there is no street-band that does not furnish better musicians. Their performances (after dinner) are truly ridiculous. The salaries of these royal musicians form, just now, the theme of anxious inquiry, as it seems that they are anything but royal, and public doubts are expressed of her Majesty's knowing where the money allowed for the orchestra goes to." So the Hamm Professor dines at the Royal table-eh ? He don't like Ernst, which is of very little consequence to Ernst, and hates the Musical World- " N.B.-The Musical World copies freely from your paper, without, however, mentioning the source-" ** which is of very little consequence to the Musical World. The reasons for the ill-will which we are supposed to entertain for Herr Wagner, and to which "Drei-Sterner" refers, will be found in what follows :- " To see Wagner and Berlioz, the two most ultra red republicans in music existing, occupying the two most prominent positions in the musical world of this classical, staid, sober, proper, exclusive, conservative London, is an unmitigatedly 'stunning' fact. We are now ready for anything, and nothing can astonish us more. Some of our real old cast iron conservatives will never recover from this shock - among others, the editor of the London Musical World. This estimable gentleman is in a truly deplorable state, whereby his friends are caused much concern. The engagement of Wagner seems to have affected his brain, and from the most amiable of men and truthful of critics, he has changed to the - well ; see his journal. He lavishes abuse, in language no less violent than vehement, upon Wagner and all who will not condemn "poor Richard" without hearing him. Wagner once wrote an article, Das Judenthum in der Musik ('Judaism in Music'), in which he conclusively proves that a Jew is not a Christian, and neither looks, nor feels, nor talks, nor moves like one, and, consequently, does not compose like a Christian either. And in that same article, which is written with exceeding cleverness, Wagner makes a severe onslaught upon Mendelssohn and Meyerbeer on Judaistic grounds. The editor of the London Musical World, considering himself one of Mendelssohn's heirs, and Mendelssohn having (so it is said) hated Wagner, ergo, must the enraged editor also hate him. He certainly seems to do so, con mollo gusto." To which indecorous and miserable balderdash we shall not deign to answer one syllable. But it is not only the "Special Correspondent" of the New York Paper that abuses us. The Editor taxes us with being all kinds of shocking things. His most recent "editorial" sets out with the following :- " The London Musical World is an able and honest sheet truly; fearless, too, especially in its appropriations of the labours of others. It has given our original articles as its own repeatedly, and has done so many remarkable things, that we had thought nothing in the way of unfairness and dishonesty in its columns could again surprise us. But we were mistaken; we had not begun to conceive to what a depth of meanness the editor could descend. The coolness of an article, in its issue of March 24, would gratify a wooden-nutmeg manufacturer, or thimble-rigger, even. It prefaces an article upon Wagner as follows : ' From sources in our possession, and from personal experience? [fancy the editor of the Musical World having any personal experience other than pecuniary, and that disastrous to his victim, with any one !] ' we have gathered a few facts, which, for general convenience, we shall throw into a form half-narrative, half-critical.' After this modest exordium, what follows, think you, reader ? Simply a garbled, mutilated, and distorted copy of the article in the Musical Gazette of March 3, on Richard Wagner, in which every merited compliment to the man is omitted, and a sneer or abusive epithet put in its place. And this is the only musical weekly that John Bull can sustain in his capital!" Without being able to decipher what this slanderous writer may mean by "pecuniary personal experience," we may pass by his venomous insinuations with contempt; confident in the good opinion of our subscribers and the public generally, and that, while many may differ from us in opinion, there is not an artist, native or foreign, who can tax us with ever on any occasion having discredited the position we have the honour to maintain. Such foul aspersions are unworthy a public journalist. Happily, nevertheless, the English press is so represented that not one living being can honestly cast a stone at any one of its representatives. They may be wrong, even incompetent; but they are upright and honest to a man. We despise the tu quoque system of discussion; and did we not, we should scorn to retaliate. The article on Wagner, alluded to above, was, historically, an abridgement of one which appeared in the columns of our abusive contemporary, who had himself remodelled it from one much longer, and much better, in Dwight's Journal of Music, the best art-paper in America. These were "the sources in our possession." The opinions were our own - quite opposed to those of the New World, which knows little or nothing of Wagner ; and these were derived from "personal experience." When we inform our readers, that the editors of transatlantic music-"sheets," (even friend Dwight), have been for years in the habit of borrowing from us wholesale, with or without acknowledgement, they will be inclined to smile at the outcry of our injured contemporary, who has scarcely ever an article worth reading of his own concoction. If Herr Richard Wagner can find no better defenders, we can only say, Heaven protect him from his disciples and his friends ! (The Musical world, Saturday, 12 May 1855)

Tuesday, 8 May 1855 : Liverpool Philharmonic Society's Grand Evening Concert.

LIVERPOOL PHILHARMONIC SOCIETY. A GRAND CONCERT, on TUESDAY, the 8th May next. PRINCIPAL VOCALISTS: Madame ALBONI and Signor BELLETTI. Solo Piano-forte Mr. LINDSAY SLOPER Solo Violoncello Mr. LIDEL. Conductor Mr. J. ZEUGHEER HERRMANN. Tickets may be had and places secured at the office of the society, Exchange-court, Exchange-street East.--Gallery Stalls, 5s.; Gallery, 2s. 6d. By order of the Committee. (Liverpool Mercury, Friday, 27 April 1855) (Also: Liverpool Mail, Saturday, 28 April 1855; Liverpool Mail, Saturday, 5 May 1855.)

LIVERPOOL PHILHARMONIC SOCIETY. A GRAND CONCERT, on TUESDAY next, the 8th instant. PRINCIPAL VOCALISTS: Madame ALBONI and Signor BELLETTI. Solo Piano-forte Mr. LINDSAY SLOPER Solo Violoncello Mr. LIDEL. Conductor Mr. J. ZEUGHEER HERRMANN. Tickets may be had and places secured at the office of the society, Exchange-court, Exchange-street East.--Gallery Stalls, 5s.; Gallery, 2s. 6d. By order of the Committee. (Liverpool Mercury, Tuesday, 1 May 1855) (Also: Liverpool Mercury, Friday, 4 May 1855.)

Philharmonic Concert.-The third subscription concert of the Philharmonic Society takes place next Tuesday, when that unrivalled vocalist, Madame Alboni, will sing "II Segreto," from Lucrezia Borgia, aud a bravura air by Hummel. The other vocalist will be Signor Belletti, and the solo instrumentalists Mr. Lindsay Sloper (piano-forte), and Mr. Lidel (violoncello). The programme will include Beethoven's Symphony in A Major, and the same composer's quintette for pianoforte, oboe, clarionet, bassoon, and horn, performed by Messrs. Lindsay Sloper, Jennings, Surge, Chisholm, and Wicket. (Liverpool Mail, Saturday, 5 May 1855)

LIVERPOOL PHILHARMONIC SOCIETY. A GRAND CONCERT, THIS EVENING, the 8th instant. PRINCIPAL VOCALISTS: Madame ALBONI and Signor BELLETTI. Solo Piano-forte Mr. LINDSAY SLOPER Solo Violoncello Mr. LIDEL. Conductor Mr. J. ZEUGHEER HERRMANN. Tickets may be had and places secured at the office of the society, Exchange-court, Exchange-street East.--Gallery Stalls, 5s.; Gallery, 2s. 6d. By order of the Committee. (Liverpool Mercury, Tuesday, 8 May 1855)

Friday, 18 May 1855 : Grand Evening Concert for the Benefit of the Two Youngest Children of the Eminent Composer, the Late Sir Henry R. Bishop at Royal Italian Opera, Covent-Garden.

THE LATE SIR HENRY R. BISHOP. ROYAL ITALIAN OPERA, COVENT GARDEN. - GRAND EVENING CONCERT, FRIDAY, May 18, 1855, for the BENEFIT of the YOUNGEST CHILDREN of the esteemed Composer, the late Sir HENRY R. BISHOP. The Committee for conducting the Vocal Concert advertised to be given for the Benefit of Sir Henry R. Bishop, beg to announce that, in consequence of the Death of that esteemed Composer, the Concert is deferred until Friday. May 18. on which evening it will take place at Covent Garden Theatre - the scene of Bishop's early successes - (by permission of Frederick Gye, Esq ,) for the Benefit of Sir Henry's Two Youngest Children, a Son and Daughter, who are left totally unprovided for. The Committee have to acknowledge the generous manner in which nearly the whole of the Profession in London have proffered their gratuitous services, as well as the extreme kindness of Mr. Gye, in having granted the free use of the Theatre for an occasion of more than ordinary interest. The Concert will consist of Solos, Glees, Quartettes, and Concerted Pieces, selected exclusively from Sir Henry Bishop's numerous compositions, which will be executed with unexampled efficiency by the following artistes:- Mr. Sims Reeves, Mr. Francis, Mr. Benson, Mr. Lawler, Mr. H. Buckland, Mr. Howe, Mr. Augustus Braham, Mr. Hamilton Braham, Mr. Hobbs, Mr. Weiss, and Mr. Henry Phillips; Miss Birch, Miss Dolby, Mrs. Enderson, Miss Heywood, Miss Ransford, Mrs. Weiss, and Mrs. Sims Reeves. The Choruses will be augmented to more than 300 Voices, accompanied by a complete Orchestra of Eighty Performers Conductors. Mr. Sterndale Bennett and Mr. A. Mellon. Mr. Lindsay Sloper will preside at the Pianoforte - all of whom have most kindly volunteered their gratuitous assistance. Applications for Boxes, Stalls, and Tickets to be made at Mr. Mitchell's Royal Library, 33, Old Bond-street. (John Bull, Saturday, 5 May 1855) (Also: John Bull, Saturday, 5 May 1855; Examiner, Saturday, 5 May 1855; Morning Advertiser, Monday, 7 May 1855; Globe, Monday, 7 May 1855.)

THE Late SIR HENRY R. BISHOP. ROYAL ITALIAN OPERA, COVENT-GARDEN. GRAND EVENING CONCERT, FRIDAY, May 18, 1855, for the BENEFIT of the TWO YOUNGEST CHILDREN of the eminent Composer, the late Sir HENRY R. BISHOP. The Committee for conducting the Vocal Concert advertised to be given for the Benefit of Sir Henry R. Bishop beg to announce that, in consequence of the lamented death of that esteemed composer, the CONCERT is DEFERRED until FRIDAY, May 18, on which evening it will take place at Covent-garden Theatre- the scene of Bishop's early successes (by permission of Frederick Gye, Esq.)- for the Benefit of Sir Henry's Two Youngest Children, a Son and Daughter, who are left totally unprovided for. The Committee have to acknowledge the generous manner in which nearly the whole of the Profession in London have proffered their gratuitous services, as well as the extreme kindness of Mr. Gye, in having granted the free use of the Theatre for an occasion of more than ordinary interest. The Concert will consist of Solos, Glees. Quartettes, and Concerted Pieces, selected exclusively from Sir Henry Bishop's numerous compositions, which will be executed with unexampled efficiency, by the following artistes : - Mr. Sims Reeves, Mr. Francis. Mr. Benson, Mr. Lawler, Mr. H. Buckland, Mr. Howe, Mr. Augustus Braham. Mr. Hamilton Braham, Mr. Hobbs, Mr. Weiss, and Mr. Henry Phillips; Miss Birch. Miss Dolby, Mrs. Endersohn, Miss Heywood, Miss Ransford, Mrs. Weiss, and Mrs. Sims Reeves. Mr. Lucas and Mr. Lindsay Sloper will preside at the Pianoforte. Conductors- Mr. Sterndale Bennett and Mr. Alfred Mellon. The Choruses will be augmented to more than 300 voices, accompanied by a numerous and efficient orchestra, all of whom have most kindly volunteered their gratuitous services. Applications for boxes, stalls, and tickets to be made at Mr. Mitchell's Royal Library, 33, Old Bond-street ; and at all the principal libraries and musicsellers. (Morning Chronicle (1801), Monday, 7 May 1855) (Also: Morning Post, Monday, 7 May 1855.)

SIR HENRY BISHOP. This eminent English composer expired on the 1st of May. His high merits as a musician fully warrant the large share of popularity he enjoyed; but a detailed analysis of them may be postponed for some future occasion. The more pressing necessity, is, to co-operate with those friends who have formed themselves into a Committee; and whose object may be best explained by reprinting the statement they have put forward :- THE LATE SIR HENRY R. BISHOP. - May 7, 1853. PARTICIPATING with the public sympathy, so universally and so warmly expressed at the regretted decease of Sir Henty R. Bishop, the Committee of his friends, who only a few days since undertook the responsibility of appealing to public benevolence for the means of mitigating his sufferings and contributing to his comfort, feel it incumbent upon them to continue their exertions in behalf of his two youngest children-a son and a daughter-who are left totally unprovided for. It may be necessary to state, that the chief anxiety of Sir Henry Bishop, during his recent sufferings, was the forlorn prospects of these two children; and it is, therefore, with feelings of heartfelt confidence that the Committee again appeal to the public sympathy and public benevolence for such support and assistance as shall enable them to fulfil a commission which, under circumstances of more than ordinary interest, has devolved upon them. … The Committee have announced a grand Evening Concert, on the 18th of May, for which purpose Mr. Gye has granted the free use of Covent Garden Theatre. The concert will consist of solos, glees, quartette, and concerted pieces, selected exclusively from Sir Henry Bishop's numerous compositions, which will be executed by the following artistes, who have generously given their services on the occasion :-Madame Clara Novello, Miss Birch, Miss Dolby, Mrs. Endersohn, Miss Heywood, Miss Ransford, Mrs. Weiss, Mrs. Sims Reeves; Mr. Sims Reeves, Mr. Francis, Mr. Benson, Mr. Lawler, Mr. H. Braham, Mr. Hobbs, Mr. Weiss, and Mr. Henry Phillips. The choruses will be augmented to more than three hundred voices, accompanied by a complete orchestra of eighty performers. Conductors, Mr. Sterndale Bennett and Mr. A. Mellon; Mr. Lindsay Sloper will preside at the pianoforte. Applications for boxes, stalls, and tickets, to be made at Mr. Mitchell's Royal Library, 33, Old Bond-street. (Musical Times, Tuesday, 15 May 1855)

THE LATE HENRY B. BISHOP. At the burial of at Finchley of this eminent musical composer, a number of musical gentlemen had assembled at the entrance to the chapel, and a full choir, under the superintendence of Mr. Ransford and his sons assisted, The music was Crott's burial service The vocalists were dressed in surplices, and, as the procession passed from the chapel along the walks of the cemetery to the last resting-place of the departed, the execution of the music had a thrilling effect. The chief anxiety of Sir Henry bishop, during his recent sufferings, was the forlorn prospects of his two youngest children; and it is, therefore, with feelings of confidence that the committee again appeal to public sympathy. On Friday evening next a grand benefit concert for those children will take place at Covent Garden theatre. The committee acknowledge the generous manner in which nearly the whole of the profession in London have offered their gratuitous services, as well as the extreme kindness of Mr. Gye, in having granted the free use of the theatre. The concert will consist of solos, glees, quartettes, and concerted pieces, selected exclusively from Sir Henry Bishop's numerous compositions, which will be executed by the following: Mr. Sims Reeves, Mr. Francis, Mr. Benson, Mr. Lawler, Mr H. Buckland, Mr. Howe, Mr. Augustus Braham, Mr. Hamilton Braham, Mr. Hobbs, Mr. Weiss and Mr. Henry Philips; Miss Birch, Miss Dolby, Mrs Endersohn, Miss Heywood, Miss Ransford, Mrs. Weiss and Mis Sims Reeves. Mr. Lucas and Mr Lindsay Sloper will preside at the pianoforte, and the conductors will be Mr. Sterndale Bennett and Mr. Alfred Mellon. The choruses will be augmented to more than three hundred voices, accompanied by a numerous and efficient orchestra, all of whom have volunteered their gratuitous services - London paper. (The New York herald, Sunday, 3 June 1855)

Friday, 25 May 1855 : Miss Stabbach's Annual Concert at Hanover-Square Rooms.

MISS STABBACH has the honour to announce that her Annual Concert will take place at the Hanover-square Rooms, on Friday evening. May 25th. To commence at eight o'clock. Vocalists: Mad. Fiorentini, Miss F. Huddart, and Miss Stabbach, Signor Salvi. Mr. Frank Bodda, and Signor Belletti. Instrumentalists: Mr Lindsay Sloper, Signor Li Calsi, Signor Giulio Regondi, Mr. Distin, Sen., and Signor Bottesini. Conductors: Herr W. Ganz and Francesco Berger. Tickets: Reserved Seats, 5s.; Numbered Stalls 10s. 6d.; to be had at the principal music-sellers, and of Miss Stabbach, 11, Edgeware-road, Hyde Park. (The Musical World, Saturday, 12 May 1855) (Also: The Musical world, Saturday, 12 May 1855; The Musical world, Saturday, 19 May 1855.)

MISS STABBACH has the honour to announce that her ANNUAL CONCERT will take place at the Hanover-square Rooms, on FRIDAY EVENING, May 25. Vocalists: Madame Fiorentini, Miss F. Huddart, Miss Stabbach, Signor Salvi, Mr. Frank Bodda, and Signor Belletti. Instrumentalists: Mr. Lindsay Sloper, Signor di Calsi, Signor Giullo Regondi, Mr. Distin, Sen., and Signor Bottesini. Conductors, Herr W. Ganz and Francesco Berger.- Tickets: Reserved Seats. 5s.; numbered Stalls, 10s. 6d., to be had of the principal musicsellers; and of Miss Stabbach, 11, Edgeware-road, Hyde-park. (Daily News, Thursday, 17 May 1855) (Also: Morning Post, Thursday, 17 May 1855.)

MISS STABBACH has the honour to announce that her Annual Concert will take place at the Hanover-square Rooms, on Friday evening. May 25th. To commence at eight o'clock. Vocalists: Mad. Fiorentini, Miss F Huddart, and Miss Stabbach, Signor Salvi. Mr. Frank Bodda, and Signor Belletti. Instrumentalists: Mr Lindsay Sloper, Signor Li Calsi, Signor Giulio Regondi, Mr. Distin, Sen., and Signor Bottesini. Conductors: Herr W. Ganz and Francesco Berger. Tickets: Reserved Seats, 5s.; Numbered Stalls 10s. 6d.; to be had at the principal music-sellers, and of Miss Stabbach, 11, Edgeware-road, Hyde Park. (The Musical World, Saturday, 19 May 1855)

MISS STABBACH has the honour to announce that her ANNUAL CONCERT will take place at the Hanover-square Rooms, TOMORROW EVENING, May 25. Vocalists: Madame Fiorentini, Miss F. Huddart, Miss Stabbach, Signor Salvi, Mr. Frank Bodda, and Signor Belletti. Instrumentalists: Mr. Lindsay Sloper, Signor di Calsi, Signor Giullo Regondi, Mr. Distin, Sen., and Signor Bottesini. Conductors, Herr W. Ganz and Francesco Berger.- Tickets: Reserved Seats. 5s.; numbered Stalls, 10s. 6d., to be had of the principal musicsellers; and of Miss Stabbach, 11, Edgeware-road, Hyde-park. (Daily News, Thursday, 24 May 1855) (Also: Morning Post, Thursday, 24 May 1855.)

MISS STABBACH'S CONCERT.- This rising young singer gave her annual concert last evening at the Hanover-square Rooms. It consisted chiefly of vocal music, interspersed with several instrumental pieces. The singers were-Madame Fiorentini, Miss Fanny Huddart, Miss Stabbach herself, Signor Salvi, Mr. Bodda, and Signor Belletti. Solos were performed on the pianoforte by Mr. Lindsay Sloper and Signor Di Calsi; on the concertina, by Signor Regondi; on the trumpet, by Mr. Distin; and on the contrabasso, by Signor Bottesini. The music was well selected, and well performed; Miss Stabbach distinguishing herself by the excellent manner in which she sang several pieces in various styles, especially the brilliant and effective air " Non fu sogno" from the Lombardi, and the pretty Irish ballad, "' Kathleen Mavourneen." The room was filled by a large and fashionable audience. (Daily News, Saturday, 26 May 1855)

HANOVER-SQUARE ROOMS.-MISS STABBACH'S CONCERT. The carefully-framed programme of this lady's concert, which took place on Friday, at the Hanover-square Rooms, gave promise of an excellent evening's entertainment, and more than that, the promise was rigorously carried out. The entertainment, principally vocal, comprised exponents sufficiently competent to lend to it commendable effect. Madame Fiorentini, Miss Fanny Huddart, Miss Stabbach; Signor Salvi, Mr. Frank Bodda, and Signor Belletti; Mr. Lindsay Sloper, Signor Li Calsi, Signor Giulio Regondi, Mr. Distin, and Signor Bottesini were the artistes employed. The admirers of Miss Stabbach-and the number of the audience proved that they were very numerous-were highly gratified by her rendering of Verdi's aria," Non fu sogno," from I Lombardi. As contrast, Miss Stabbach sang Crouch's "Kathleen Mavourneen," which was warmly encored. Miss Fanny Huddart sang Mercadante's cavatina, "Se m'abbandoni," with care and taste; and Madame Fiorentini was applauded in an aria from Maria di Rohan. A romanza, sung by Signor Belletti, also created favourable impression. The instrumental portion of the concert was of the most satisfactory description. Bottessini's fantasia on his apparently unmanageable instrument was productive of particular enthusiasm; and a selection of airs from Lucia arranged as a duet for piano and concertina, by Signori Li Calsi and Giulio Regondi was received with approbation. The room fashionably filled. (Morning Advertiser, Monday, 28 May 1855)

Miss Stabbach's Annual Concert took place at the Hanover Square Rooms, on the 25th of May, and was attended by a large and fashionable audience. The following were the artists who assisted on the occasion:- vocalists, Madame Fiorentini, Miss Fanny Huddart, and Miss Stabbach; Signor Salvi, Mr. Frank Bodda, and Signor Belletti; pianoforte, Mr. Lindsay Sloper, and Signor Li Calsi; concertina, Signor Giulio Regondi; trumpet, Mr. Distin, Sen.; contra basso, Signor Bottesini; conductors, Herr W. Ganz, and Francesco Berger. (Musical Times, Friday, 1 June 1855)

Miss Stabbach gave her Annual Concert on Friday evening the 25th inst., at the Queen's Concert Rooms, Hanover-square. This young lady has been steadily gaining ground in public favour, and well deserves it, for the unremitting zeal with which she has prosecuted her studies, and her prepossessing and unaffected manner. Miss Stabbach was assisted by some of the best artists now in London, among whom we may mention Mdme. Fiorentini, Miss Fanny Huddart, Signors Salvi and Belletti, and Mr. Frank Bodda, in the vocal department; and Messrs. Lindsay Sloper, Li Calsi, Regondi, Distins, and Bottesini in the instrumental. The conductors were Messrs. Ganz and Berger. Mad. Fiorentini displayed her rich, luscious voice to the greatest possible advantage in the air from Maria di Rohan, "Havvi un dio," which was rendered with infinite taste and expression. This lady is greatly improved in style, since she appeared at Her Majesty's Theatre, and her singing produced a marked sensation. Miss Fanny Huddart acquitted herself well of the music allotted to her. Miss Stabbach was encored in "Kathleen mavourneen," which she sang with true feeling and expression; she was also peculiarly happy in Mendelssohn's duet, "May bells," with Miss Fanny Huddart. Madame Fiorentini also met with well-deserved applause in a charming song by Bottesini. Signor Beletti sang a romanza, by Campana, and was encored in Rossini's tarantella, "Gia la luna." Signor Bottesini was encored in a wonderful solo of his own composition, wonderfully executed, but declined the invitation - which, however, Mr. Distin, sen., accepted in his solo on the trumpet. Signors Regondi and Li Calsi were also recalled, but only bowed their thanks. Mr. Lindsay Sloper played the andante and capriccioso, in E minor, of Mendelssohn. It was a real treat to the admirers of good singing to hear Signor Salvi in one of his most expressive arias. The concert was given under the distinguished patronage of the Duchess of Somerset, Earl and Countess Fortescue, Earl and Countess Manvers, Earl of Stradbroke, Lord and Lady Poltimore, Sir Robert Peel, Bart., Lady Thesiger, Lady Davie, Lady Armytage, Hon. A. F. Bampfylde, and Mrs. Buck, &c, &c. The room was crowded in every part. (The Musical world, Saturday, 2 June 1855)

MISS STABBACH.- The annual concert of this lady, at the Hanover-square Rooms, was both fashionably and respectably patronised. Few of our native vocalists have made such rapid strides in the good opinion of the public as Miss Stabbach, who is an artist of great merit, being well accomplished in the mechanical arts of her profession, and by no means deficient in mental discernment. Her concert programme was agreeably selected, a variety of the best and most striking operatic airs being combined with other compositions of a superior quality - such as a pianoforte solo by Mendelssohn, played to perfection by Mr. Lindsey Sloper, and one of the vocal duets by the same composer, sung by Miss Stabbach and Miss Fanny Huddart. Miss Stabbach, in the course of the evening, gave a finely dramatic delivery of the principal aria in the Lombardi of Verdi; the well-known " Non fu Sogno;" and also a ballad, by Crouch, in which she evinced much artless feeling. Among the other vocalists were: Madame Fiorentini, Signor Salvi, Signor Belletti, and Mr. Frank Bodda. Signor Bottesini, M. Distin, and Signor Giulo Regondi, were the instrumentalists; and the conductors were Herr Ganz and M. Berger. (The Era, Sunday, 3 June 1855)

Monday, 4 June 1855 : Mr. Benson's Annual Concert (Evening) at New Beethoven Rooms, 27, Queen Anne-Street, Cavendish-Square.

Mr. Benson's Annual Concert.-Mr. Benson has announced his annual concert to take place on Monday, June 4th, at the New Beethoven Booms. The vocalists engaged for the occasion are, besides Mr. Benson, who will sing some of his most admired songs, Miss Poole, Miss Birch, Miss Milner, Mrs. Lockey ; Mr. Francis, Mr. Land, and Mr. Lawler. The instrumental performers are Mr. Lindsay Sloper, who will preside at the pianoforte, Mr. H. Cooper (violin), Mr. Dando (viola), and Mr. Lucas (violoncello). The names of the best glees and madrigals of the late lamented Sir Henry Bishop appear in the programme, and there can be no doubt that the concert will prove attractive and successful. (Illustrated London News, Saturday, 2 June 1855)

Mr. Benson's Annual Concert took place at the New Beethoven Rooms, Queen Anne-street, on Monday evening, the 4th instant. The vocalists were Misses Birch, Poole, Milner, Mrs. Lockey, Messrs. Francis, Benson, Land, and Lawler; instrumental performers, Mr. Lindsay Sloper (pianoforte), Mr. H. C. Cooper (violin), Mr. Dando (viola), and Mr. Lucas (violoncello). The concert differed from the usual miscellaneous entertainments in vogue. No small share of the programme was assigned to glees and madrigals, and a selection from the works of Sir Henry Bishop was given. The instrumental pieces were Mozart's Quartet (G minor), for piano, violin, viola, and violoncello - a masterly performance at the hands of Messrs. Lindsay Sloper, Cooper, Dando, and Lucas; Sainton's violin fantasia - on Lucrezia Borgia - brilliantly executed by Mr. H. C. Cooper; and a pianoforte solo from Le Prophète, played with great finish and refinement of style by Mr. Lindsay Sloper. One of the most agreeable performances of the evening was Mendelssohn's quartet, "The Nightingale," sang to perfection by Miss Milner, Mrs. Lockey, Messrs. Lawler and Benson. Mr. Lindsay Sloper presided at the pianoforte. (The Musical world, Saturday, 16 June 1855)

MR. SALAMAN, NOT MR. SLOPER. To the Editor the World. DEAR SIR - Will you oblige me by correcting a mistake in the last number of your journal? The pianoforte part in the concerted piece at Mr. Benson's concert was played by Mr. Charles Salaman, and not by me; and this gentleman also assisted me in the accompaniments to the vocal music. I am sure you will be equally desirous with myself that your praise should be bestowed on the right person. I remain, dear Sir, yours faithfully, LINDSAY SLOPER. (The Musical world, Saturday, 23 June 1855)

Wednesday, 13 June 1855 : Miss Dolby and Mr. Lindsay Sloper's Annual Grand Concert at St. Martin's Hall.

MISS DOLBY AND MR. LINDSAY SLOPER beg to announce that their Annual Grand Concert will take place at St. Martin's Hall, Long Acre, on Wednesday evening, June 13. Full particulars will be duly announced. (The Musical World, Saturday, 14 April 1855) (Also: The Musical world, Saturday, 14 April 1855.)

MISS DOLBY and Mr. LINDSAY SLOPER'S ANNUAL GRAND CONCERT will take place at St Martins-Hall, on WEDNESDAY EVENING, June 13, to commence at 8 o'clock, when they will be assisted by Madlle. Jenny Ney, Miss Amy Dolby, Mr. Sims Reeves, Signor Belletti, M. Sainton, and M Benedict. The orchestra will be conducted by Mr. Alfred Mellon. Stalls, 15s. each, and reserved seats, half-a-guinea each to be had only of Messrs. Cramer and Co., 201, Regent-street ; at Ebers's Library, Old Bond-street ; of Miss Dolby, 2, Hinde-street. Manchester-square ; and of Mr. Lindsay Sloper, 7, Southwick-place, Hyde-park-square. Gallery tickets, 5s. each, and area tickets, half-a-crown each.- May be had at all the principal music warehouses ; and libraries. (Morning Chronicle (1801), Friday, 11 May 1855) (Also: Morning Chronicle (1801), Thursday, 17 May 1855; Morning Chronicle (1801), Friday, 1 June 1855; Morning Chronicle (1801), Monday, 28 May 1855; The Athenaeum, Saturday, 26 May 1855; Morning Post, Friday, 25 May 1855; The Athenaeum, Saturday, 19 May 1855; Morning Post, Thursday, 17 May 1855; Morning Chronicle (1801), Tuesday, 15 May 1855; Morning Post, Monday, 14 May 1855; The Athenaeum, Saturday, 12 May 1855; Morning Post, Friday, 11 May 1855; The Literary gazette : A weekly journal of literature, science, and the fine arts, Saturday, 9 June 1855; Morning Post, Saturday, 19 May 1855.)

MISS DOLBY and MR LINDSAY SLOPER'S ANNUAL GRAND CONCERT will take place, at St. Martin's Hall, on Wednesday evening, June 13th, to commence at eight o'clock, when they will be assisted by Madlle Jenny Ney, Miss Amy Dolby, Mr Sims Reeves, Signor Belletti, M. Sainton, and M. Benedict. The orchestra will be conducted by Mr. Alfred Mellon. Stalls, fifteen shillings each, and reserved seats half-a-guinea each. To be had only of Messrs Cramer and Co., 201, Regent-street; at Eber's Library, Old Bond-street; of Miss Dolby, 2, Hinde-street, Manchester-square; and of Mr. Lindsay Sloper, 7, Southwick-place, Hyde-park-square. Gallery tickets, five shillings each; and area tickets, half-a-crown each. May be had at all the principal music warehouses and libraries. (The Musical world, Saturday, 12 May 1855) (Also: The Musical world, Saturday, 26 May 1855.)

CONCERTS FOR THE WEEK. WEDNESDAY. -The fifth concert of the Philharmonic Society, under the direction of M. Berlioz, at Exeter Hall. - Miss Dolby and Mr. Lindsay Sloper's concert, at St. Martin's Hall. (Theatrical journal, Friday, 1 June 1855)

MDLLE. JENNY NEY. Mdlle. Rudersdorff, Miss Amy Dolby, Mr. Sims Reeves, Signor Belletti, M. Sainton, Mr. Alfred Mellon. and Mr. Benedict will appear at MISS DOLBY'S and Mr. LINDSAY SLOPER'S ANNUAL GRAND ORCHESTRAL CONCERT, at St. Martin's Hall, on WEDNESDAY EVENING, June 13. - Tickets, 15s, 10s. 6d.,. 5s., and 2s. 6d. (The Athenaeum, Saturday, 9 June 1855)

Miss Dolby and Mr. Lindsay Sloper's concert is announced to take place on Wednesday next, and from the programme, which we have just seen, we have no doubt it will be, as usual, one of the most successful of the season. An excellent orchestra has been provided under the direction of Mr. Alfred Mellon. Mr. Sloper will, in addition to other pianoforte pieces, play Mozart's Concerto in D minor. Mr. Benedict will be the accompanyist at the pianoforte [sic]. (The Musical world, Saturday, 9 June 1855)

MDLLE. JENNY NEY, Mad. Rudersdorff, Miss Amy Dolby, Mr. Sims Reeves, Signor Belletti, M. Sainton, Mr. Alfred Mellon, and Mr. Benedict, will appear at Miss Dolby's and Mr. Lindsay Sloper's Annual Grand Orchestral Concert, at St. Martin's Hall, on Wednesday evening next, June 13. Tickets, 15s., 10s. 6d., 5s., and 2s. 6d. (The Musical World, Saturday, 9 June 1855) (Also: The Musical world, Saturday, 9 June 1855.)

ST. MARTINS HALL. On Wednesday evening a "grand orchestral concert" was given by Miss Dolby and Mr. Lindsay Sloper at the above hall. The great claims of both the concert-givers to public patronage need not be stated here. That they are sufficiently recognised has been often exemplified, but never more strikingly ; than on this occasion, when their programme drew a numerous audience, despite the great counter-attractions of the New Philharmonic Society and the Harmonic Union, and the beneficiaires were received with enthusiasm on entering the orchestra. In the first part Miss Dolby sang an air by Mercadante, "Grazie clementi Dei," in her very best manner. This was her greatest effort, and a more admirable display of technical skill and pure taste we never listened to. In the second part Miss Dolby was again highly successful in her rendering of two new songs, "Old Memories " and " Wild Bells," composed by Mr. Duggan. Mr. Lindsay Sloper, a genuine musician and consummate pianist, chose Mozart's fine concerto in D minor, and Chopin's variations upon "La ci darem," for the exhibition of his executive powers, and played both these pieces in masterly style. His creative ability was also very felicitously evidenced in a new and charming song, "The Rover's Adieu," the beauties of which were all brought to light by Mr. Sims Reeves, to whom their expression was entrusted. Miss Amy Dolby's performance of Coppola's " La rosa e mia," deserves a most encouraging notice. We long ago offered "fair words of comfort" to this young singer, when excessive timidity prevented the free exercise of those means which we felt quite sure that she possessed. We told the public she had merit, and exhorted her to pursue her studies, and gain confidence from increased knowledge and experience. We have, therefore, much pleasure in recording that she has improved greatly in every respect, and that her performance last night entitles her to a much higher position than she could previously have ventured to aspire to. This concert, like many others noticed in our impression of to-day, included many excellences upon which we are unable to dwell, and which, indeed, are too well-known to need criticism. We must, however, express our great admiration of Madlle. Jenny Key's most beautiful execution of Spohr's noble and lovely air, " Die stille nacht entweicht" (from " Faust "), which we never before heard so finely sung ; and special praise should also be awarded to Mr. Sims Reeves' exquisite delivery of a new song by Silas, "The Lament," M. Sainton's masterly execution of his new fantasia on airs from "Rigoletto," Madame Rudersdorff's "Non mi dir," ; and Signor Belletti's spirited and artistic version of Benedict's celebrated "Rage, thou angry storm," with Italian words written for the occasion. The applause was enthusiastic throughout, the encores numerous ; and we may, therefore, reasonably conclude that the audience were delighted with the excellent entertainment provided. (Morning Post, Friday, 15 June 1855)

Miss Dolby and Mr. Lindsay Sloper gave a concert, on Wednesday evening, at St. Martin's-hall. The programme was agreeably infused with classical works, consequent upon the presence of the excellent orchestra over which Mr. Alfred Mellon so efficiently presides. Three overtures were played, one of them the "Heloise" of Mr. Mellon, of which we have already spoken in terms of praise. Miss Dolby, who was received with great warmth of feeling by her friends and patrons, was in her best voice, and sang an aria by Mercadante, and some smaller matters of the ballad school, in her own clever and expressive manner. Mr. Lindsay Sloper, in the course of the first part of the concert, executed Mozart's pianoforte concerto in D minor faultlessly. The clear and finished executancy of this gentleman, and his pure and delicate taste, entitle him, before many others, to be the interpreter of Mozart, whose flowing gracefulness meets with the most fitting elucidation at his hands. The vocalists engaged for the occasion were Mdlle. Jenny Noy, who gave a magnificent reading of the great dramatic aria, "Si lo sento," Madame Rudersdorff, Mr. Sims Reeves, Signor Belletti, and Miss Amy Dolby. Mr. Benedict presided at the pianoforte. (Morning Chronicle (1801), Friday, 15 June 1855)

The principal concerts of the week have been those of the Old and New Philharmonic Societies, the Harmonic Union, Mr. Lindsay Sloper and Miss Dolby's at St. Martin's Hall, Mr. Aguilar's at Willis's Rooms, and Mr. Benedict's at the Royal Italian Opera. The Philharmonic Concert, on Monday, was "by command," and was honoured by the presence of the Queen and Prince Albert. At the New Philharmonic Concert, in Exeter Hall, on Wednesday, the baton was assumed by the celebrated Hector Berlioz, and his dramatic symphony, Romeo and Juliet, formed part of the programme. The combined attraction of Miss Dolby and Mr. Sloper drew a great assemblage, on the same evening, to St. Martin's Hall. Mr. Aguilar, too, had a crowded audience on Thursday morning; and Mr. Benedict's concert, yesterday morning, was as usual a "monster concert," embracing the whole strength of the Royal Italian Opera, and a host of vocal and instrumental talent besides. (John Bull, Saturday, 16 June 1855) (Also: John Bull, Saturday, 16 June 1855.)

The concert of Miss Dolby and Mr. Lindsay Sloper, on Wednesday night, at St. Martin's Hall, … large amount of patronage. The programme included several classical works, consequent upon the presence of the excellent orchestra, over which Mr. Alfred Mellon efficiently presided. Three overtures were played, one of them the Heloise of Mr. Mellon. Miss Dolby sang aria by Mercadante, and some amalfer matters of the ballad school, in her clever and expressive manner. Mr. Lindsay Sloper presented Mozart's pianoforte concerto in [?] minor faultlessly. The vocalists engaged for the occasion were Mdlle. Jenny Ney, who gave magnificent reading of great the dramatic aria Si to sento, Madame Rudersdorff, Mr. Sims Reeves, Signor Belletti, and Miss Amy Dolby. Mr. Benedict presided the pianoforte. (Bell's Weekly Messenger, Saturday, 16 June 1855)

One of the best annual, or benefit concerts, was that of Miss Dolby and Mr. Lindsay Sloper. As usual, the orchestra, was complete, efficient, and well disciplined, and, under the able guidance of Mr. A. Mellon, performed Beethoven's stately overture to Coriolanus, Mr. Mellon's overture to Heloise-a composition more pleasing than anything we have as yet heard from his pen-and Auber's Clean, de Bronze-a piece of instrumentation quite good enough for the purpose of playing an audience out ; besides accompanying several of the songs, and Mr. Sloper's two pianoforte solos. Miss Dolby sang a recitative and air by Mercadante--not very successfully, we thought ; but this comparative failure was completely forgotten in her exquisite rendering of Duggan's very pretty and characteristic ballads, Old memories and Wild bells. In music of this kind Miss Dolby is quite at home, and will always be heard with pleasure. Miss Amy Dolby has a sweet voice, and sings well, but seems not to have vanquished that timidity which stands in the way of so many a dasataxte's success. Mr. Sloper's contribution to the evening's entertainment consisted of Mozart's Concerto in 1) minor, and Chopin's variations on La ci damn. No styles can well be more opposed than those of Mozart and Chopin; but Mr. Sloper showed himself equally at home in both. A new ballad, the composition of Mr. Sloper, entitled the Rover's adieu was admirably sung by Mr. Sims Reeves, and met with a pretty general encore-the flowing melody and the spirited performance combining to charm an audience that was quite in the humour to be charmed. If we mention that M. Sainton was much applauded in his brilliant fantasia on Rigoletto, and that Signor Belletti, Mdlle. Jenny Ney, and Mdme. Rudersdorf each contributed more than once to the amusement of a very numerous and select audience, we shall have given as good an idea of the concert as our limited space will allow. (Atlas, Saturday, 16 June 1855)

A third duett-concert was given by Miss Dolby and Mr. Lindsay Sloper, at St. Martin's Hall, on Wednesday; and a better miscellaneous concert it would be hard to imagine. Miss Dolby was singing capitally; besides graver and more ?orid music she introduced a new ballad, 'Wild Bells,' - by Mr. Duggan, one of those real national melodies,-neither semi-French, nor pseudo-German, nor Italian-and-water,-which a ballad to English words should be. In another style, the Rover's Song, written for Mr. Sims Reeves by Mr. Sloper, is excellent, with a graceful tuneable melody, - and well deserved its encore. It is a comfort to perceive that our rising men as yet show no signs of joining what the wit called the "broken crockery school" of music. Mr. L. Sloper, as one of his solos, gave Chopin's grand variations on 'La ci darem.' There are many good points in these, but not interest or brilliancy enough to compensate for the tremendous labour imposed on the player, this solo being about the most ungracious one in our knowledge, - not merely from the nature of the passage-music, but from the manner in which Chopin mixed his principal instrument with its orchestral support. Mdlle. Jenny Ney was singing very ?nely at this concert. We do not recollect a German prima donna who, as voice and singer, has made so favourable an impression in England, and one so likely to last, as this Lady. (The Athenaeum, Saturday, 16 June 1855)

The musical season has reached its full tide, if we may judge by the number of first-class concerts which have taken place this week. … At Miss Dolby and Miss Lindsay Sloper's concert at St. Martin's Hall, the vocal and orchestral music was of unusual excellence, and Mr. Sloper's performance of Mozart's Concerto in D minor, and of Chopin's variations from 'La ci daremo' attested his artistic skill, and sustained his high reputation as a pianist. Miss Dolby gave two ballads by Mr. Duggan, and Mercadante's recitative and aria, 'Grazie clementi Die,' and 'A te riedi.' A new song by Mr. Sloper, the words by G. Linley, 'The Rover's Adieu,' was given by Mr. Sims Reeves with great spirit. Mendelssohn's two-part song, 'Ich stand gelehnet an der mast,' by Miss Dolby and Madame Rudersdorff; and the lively and quaint quartett, by Flotow, 'l'Aspo,' by Miss Dolby, Madame Rudersdorff, Sims Reeves, and Belleti ; various arias, by Mdlle. Jenny Ney, Miss A. Dolby, and Belletti ; and some striking and peculiar German melodies, by Mdlle. Ney, with a violin solo by M. Sainton, made up the varied programme. Beethoven's Coriolanus overture, Mr. Alfred Mellon's Heloise overture, and Auber's Cheval de Bronze, afforded scope for the display of the orchestral efficiency of the able instrumentalists united under Mr. Mellon's direction. (The Literary gazette : A weekly journal of literature, science, and the fine arts, Saturday, 16 June 1855)

Concert of Miss Dolby and Mr. Lindsay Sloper.-The entertainment given by the above-named distinguished professors at St. Martin's Hall, on Wednesday evening, was not misnamed in the bills, "Annual Grand Concert." An admirable and efficient body of instrumentalists - nearly all members of the Orchestral Union - were engaged, with Mr. Alfred Mellon as conductor; while the array of vocalists was equally imposing. Among the last-named were Mr. Sims Reeves, Signor Belletti, Miss Dolby, Miss Amy Dolby, Mdlle. Jenny Ney. and Mad. Rudersdorff. The band performed Beethoven's Overture to Coriolanus, Auber's Cheval de Bronze, the new overture called Heloise, by Mr. Alfred Mellon, and accompanied Mr. Lindsay Sloper in Mozart's magnificent Pianoforte Concerto in D minor. All were well played. The concerto, executed with the utmost finish and classical feeling by Mr. Lindsay Sloper, was received with the greatest applause. Mr. Alfred Mellon's overture was also very much admired. Among the vocal pieces, a new and extremely clever song, by Mr. Sloper, called "The Rover's Adieu," finely sung by Mr. Sims Reeves, was remarkably successful. It was encored unanimously. Miss Dolby gave Mercadante's recitative and air, "A te riede," in first-rate style, and, as usual, enchanted her audience with a couple of pretty ballads. Her choice on this occasion fell on Mr. Duggan's "Old memories" and "Wild bells," both of which are graceful. Miss Dolby sang them to perfection, and was compelled to repeat the last. Miss Amy Dolby, too, in an air by Coppola, and a ballad called "Patrick and Ellen," came in for her share of the applause, and gave further evidence of improvement. One of the most splendid vocal displays we have heard for some time was made by Mdlle. Jenny Ney in the grand air, " Die stille Nacht" ("Si lo sento"), from Spohr's Faust. Madame Rudersdorff took remarkable pains with "Non mi dir," and sang it better than we have yet heard her; but it was unfair to place this almost immediately after the other lengthy and elaborate song, with recitative, slow movement and allegro. Signor Belletti, who appeared twice, was very sucessful [sic] in Benedict's "Rage, thou angry storm," which he sang in Italian. Besides Spohr's aria, Mdlle. Ney introduced two Lieder by Mendelssohn and Abt, the last and much the least of which she was called upon to repeat. Herr Abt is a sickly off-shoot from Herr Proch, who is a sickly off-shoot from Herr Lachner, who is ________ &c. One of the prettiest things in the concert was Mendelssohn's two-part song "Ich stand gelehnet an der Mast," to which Madame Rudersdorff and Miss Dolby rendered every justice. M. Sainton's very clever fantasia for violin with orchestral accompaniments on airs from Rigoletto, admirably played by himself, constituted an agreeable set-off to so much vocal music. Mr. Benedict presided at the pianoforte. The concert, by the way, was a great deal too long, although almost unexceptionably good. (The Musical World, Saturday, 16 June 1855) (Also: The Musical world, Saturday, 16 June 1855.)

The principal concerts of the week have been those of the Old and New Philharmonic Societies, the Harmonic Union, Mr Lindsay Sloper and Miss Dolby's at St. Martin's Hall, Mr Aguilar's at Willis's Rooms, and Mr. Benedict's at the Royal Italian Opera. The Philharmonic Concert, on Monday, was "by command," and was honoured by the presence of the Queen and Prince Albert. At the New Philharmonic Concert, in Exeter Hall, on Wednesday, the baton was assumed by the celebrated Hector Berlioz, and his dramatic symphony, Romeo and Juliet, formed part of the programme. The combined attraction of Miss Dolby and Mr. Sloper drew a great assemblage, on the same evening, to St. Martin's Hall. Mr. Aguilar, too, had a crowded audience on Thursday morning; and Mr. Benedict's concert, yesterday morning, was as usual a "monster concert," embracing the whole strength of the Royal Italian Opera, and a host of vocal and instrumental talent besides. (John Bull, Monday, 18 June 1855)

Wednesday, 13 June 1855 : New Philharmonic Society's Fifth Concert (Evening) at Exeter Hall.

CONCERTS. The fifth of the New Phil harmonic Concerts, which took place last night at Exeter Hall, was largely attended, the profits of the performance being destined for the German Hospital, one of the most useful of the metropolitan institutions, and one in which the Queen and the Royal family are said to feel a deep interest. The concert of Miss Dolby and Mr. Lindsay Sloper last night, at St. Martin's Hall, also enjoyed a vast amount of patronage, though no more, it may be observed, than was merited by two native artists of such high and popular worth. (The Standard, Thursday, 14 June 1855)

In the programme of the New Philharmonic Society's last concert we find, among other remarks in reference to M. Hector Berlioz, the following:- To those desirous of becoming acquainted with the characteristic features of the 'New School of Music, the performance of Romeo and Juliet and Childe Harold cannot fail to be interesting. M. Berlioz in France, and Herr Wagner, in Germany, are the acknowledged chiefs of the school; and, by a somewhat singular concatenation of circumstances, both being at the present time at the head of the Philharmonic Societies of London, the musical public is enabled to judge of and estimate the style of music of which these composers' works form a type. Now this seems to us anything but kind of W. P. who analyses the programmes at such length and with such zealous eloquence. Herr Wagner has made a signal failure in this country, as a composer and as a chef d'orchestre. M. Berlioz, on the contrary - in Exeter-Hall at any rate - has achieved as signal a triumph in both capacities. Without entering here into an examination of the individual and relative merits of the two, as inventors or makers of music - which, nevertheless, would form a highly interesting topic for discussion - we would call W. P.'s attention to the fact, that while Herr Wagner, whatever may be his general acquirements, is decidedly an unskilful conductor, (since he cannot marshal and control his orchestra), M. Berlioz is one of the best in Europe, the best, perhaps, since Mendelssohn, who, in this, as in every other manifestation of art-practice, excelled all his contemporaries as greatly as he excelled them all (even Herr Wagner) in genius and imagination. Under these circumstances, the fact of placing M. Berlioz and Herr Wagner in juxtaposition, as "acknowledged chiefs" of a " new school" - about which W. P. would appear to entertain a somewhat vague idea - conveys a slight, rather than a compliment, to M. Berlioz, who, at least when conducting the concerts of the New Philharmonic Society, ought to be mentioned in the New Philharmonic programmes with respect, or not at all. If the managers of the Society have no very great opinion of M. Berlioz, either as composer or conductor, why did they engage him to direct two of the concerts at which it was agreed that a large quantity of his own music should be introduced ? Why, too, were not precautions taken, on an occasion so important, that there should be no falling off in the strength of the orchestra, which was so efficient all the season, up to the very moment of M. Berlioz's arrival, and then collapsed ? The band ought rather to be reinforced than enfeebled when such music as the dramatic symphony of Romeo and Juliet is to be given. As it was, however, a great deal that should have been done was unavoidably omitted, and much of what remained (instance, the scherzo of Queen Mab) was sacrificed. Mr. Alfred Mellon had taken away many of the most practised players, "wind" and " string," to perform at the joint concert of Miss Dolby and Mr. Lindsay Sloper ; and the substitutes for the most part (witness the horn, which has such difficult passages assigned to it in the scherzo) were anything but satisfactory. All the choral and solo vocal parts, too, were abandoned as impracticable. Where was the fine chorus that, in Beethoven's Ninth Symphony, came out with such vigour, point, and freshness, under the baton of Dr. Wylde ? - Beethoven's Ninth Symphony, in which the voice-parts occasionally present difficulties almost insurmountable ? "Echo " answers - like the Irishman - "Not at Exeter Hall." Why not at Exeter Hall ? Echo (in the confidence of W. P. and the New Philharmonic Directors) - tongue-tied - gives no response. All this looks very much like indifference towards M. Berlioz, who has, nevertheless, great claims to consideration from all who are interested in the welfare of the Society. Why invite him to conduct at all ? Dr. Wylde got on famously, and every one was satisfied - even Professor Drei-sterner Plauderein Praeger, of Hamm; even ourselves, so difficult to satisfy. Why then invite M. Berlioz, unless to be feted and honoured, as he merits ? Happily, M. Berlioz is a vast favourite with the Exeter Hall public, and could not easily be swamped. He came and was received as before. He was not swamped, but achieved a new triumph. Yea-"by Abs and by Adnan !"- he roused up his hearers to enthusiasm, and their applause made the walls tremble ! (The Musical world, Saturday, 16 June 1855)

NEW PHILHARMONIC SOCIETY. The fifth concert, which took place on Wednesday night, was in aid of the funds of the German Hospital, Dalston. The programme was as follows :- PART I. Overture (The Templar) - S. Leslie. Symphony (G minor) - Mozart. Air ("Maometto II."), M. Gassier - Rossini. Air, "Gli angui," Madame Gassier - Mozart. Concerto, pianoforte (E flat) Madame Oury - Beethoven. PART II. Selection from Romeo and Juliet - Berlioz. Aria, "Io ti lascio," Miss Corelli - Mozart. Valse, Madame Gassier - Venzano. Overture (Die Zauberflote) - Mozart. Conductor, M. Hector Berlioz. M. Berlioz, who made his first appearance this season, is evidently an immense favourite with the Exeter-hall public. The extraordinary sensation he created, when conductor of the New Philharmonic Concerts in 1852, will not have been forgotten; and the flattering and genial reception accorded on Wednesday night to himself on entering the orchestra, and to his music at the end of each piece comprised in the selection, indicated a revival of the old enthusiasm. Something new from his pen (L'Enfance de Christ, for example, originally announced, though now abandoned) would have been welcome. Nevertheless, the movements from Romeo and Juliet, which pleased so much before, were likely to please again; and the managers can hardly be blamed for playing what they had every reason to believe was a winning card. The result proved the justness of their calculation. The Fete of the Capulets, one of the most extraordinary examples of sonorous and brilliant orchestral combination ever produced, was encored by the whole audience amid a tumult of applause. The long and strangely melodious adagio, representing the first interview in the garden between the pair of "star-crossed lovers" - strangely melodious, because while the melody is lovely, "streaming," and incessant, there is no absolute melodic rhythm, an anomaly for which it is not easy to account - was greeted with equal warmth; and the singularly fantastic Queen Mab, a scherzo that bears little resemblance to anything else in music with which we are acquainted, completed the triumph of M. Berlioz, who was fairly overwhelmed with demonstrations of satisfaction. The "fete" and the "love scene" were splendidly performed; but Queen Mab presented a sad falling off from the prodigiously fine execution of 1852, which built up the reputation of the New Philharmonic band in a single night. This may be explained by the number of "deputies" who officiated in the orchestra, many of the best players being engaged, under Mr. Alfred Mellon, at the concert of Miss Dolby and Mr. Lindsay Sloper, in St. Martin's Hall, others being in attendance on the Queen (!), and some at the concert of the Harmonic Union in the Hanover-square Rooms. The loss, however, though disastrous, was inevitable, since fiddlers cannot be expected to be ubiquitous. M. Berlioz and his fairy scherzo were the sufferers; and it will be advisable to make amends on the next occasion. This can only be done by fixing the day of performance at once, and adhering to it - instead of changing the date, as in the present instance, which was the origin of so much inconvenience and confusion. Some choruses and other pieces from Romeo and Juliet were to have been given, but under the circumstances it was found impracticable. Mozart's symphony in G minor was admirably played and keenly enjoyed. Of all instrumental compositions, this is, perhaps, the most passionately expressive, while, for purity of form and ceaseless flow of beautiful thoughts, it yields to nothing in music. Originally written for a small orchestra, with very few wind-instrument parts, this masterpiece suffered little or nothing from the defalcations which so seriously hurt M. Berlioz, whose general conception of the symphony, by the way, would have proved him, had proof been wanting, one of the greatest and most intelligent of conductors. Madame Oury's performance of Beethoven's grandest pianoforte concerto was ladylike, pretty, and capricious. She was much applauded. English music is seemingly progressing. Our composers have obtained frequent hearings of late, more especially for their instrumental works, which no longer appear "like angels' visits." It is to be hoped that steady improvement may go hand in hand with increased opportunity. Mr. Leslie's clever overture to the Templar, which was described on a former occasion, was well played and well received. It improves on acquaintance; and the marked pains bestowed upon it by M. Berlioz warranted an assumption that the renowned foreign musician was well satisfied to conduct an English composition of such merit. The vocal music, although badly accompanied, was in high favour. M. Gassier - one of the best barytone singers, and with one of the best voices, moreover, now in the market - gave Rossini's "Sorgete e in si bel giorno" in a manly and vigorous style, and was loudly applauded. Madame Gassier, his cara sposa, who sang for the first time in Exeter Hall, created a "furore." She was encored in both her songs, the first of which - the trying and almost impossible aria of the "Queen of Night" (Zauberflote) - gave evidence that her talent was capable of taking a higher flight than anything she had previously essayed in this country warranted us in believing. Those who knew Madame Gassier were well aware that she could take " F in alt" with ease; but it was for the performance on Wednesday night to demonstrate her power of making this gift amenable to the ends of "classical" music such as Mozart's. The other piece was the "valse" which Madame Gassier has rendered famous in the lesson-scene of Il Barbiere di Seviglia. Miss Corelli, whom we do not remember before - a young lady with a beautiful and sympathetic voice - sang Mozart's exquisite contralto air, " L'Addio," with such genuine and unaffected sentiment, that late as it came in the evening, we could willingly have listened to it again. The concert terminated effectively with the glorious overture to Die Zauberflote - another chef-d'oeuvre of the master of masters, who had a "lion's share" in the entertainment, of which few, we think, would be likely to complain. (The Musical world, Saturday, 16 June 1855)

Friday, 15 June 1855 : Mr. Julius Benedict's Grand Concert at Royal Italian Opera, Covent-Garden.

Mr. BENEDICT begs respectfully to announce, that his ANNUAL GRAND MORNING CONCERT will take place on Friday, June 15, at the Royal Italian Opera, Covent Garden; to begin at Half-past One o'clock precisely, and to terminate at Five. - Mr. Benedict has the greatest satisfaction in being able to announce that Madame GRISI has most kindly offered her invaluable services. PRINCIPAL VOCAL PERFORMERS. Madame Grisi, Signor Polonini, Mdlle. Didiee, Signor Tagliafico, Mdlle. Marai, Signor Tamburini, Madame Viardot, Herr Formes, Mdlle. Jenny Noy, Signor Graziani, Mdlle. Bosio. Signor Lablache, and Signor Tamberlik, Signor Mario. Also Signor Gardoni, Madame Clara Novello, Signor Luchesi, Miss Dolby, and M. Zelger, Signor Belletti. PRINCIPAL INSTRUMENTAL PERFORMERS. Pianoforte, M. Ascher (Pianist to the Empress of the French), who will play a now Concertante for two pianofortes and four performers, with Mr. Lindsay Sloper, Mr. Benedict, and Herr Pauer; Violin, Herr Ernst; Contra-basso, Sig. Bottessini, who will perform a new Concertante with Clarionet, Sig. Belletti. The Concert will be supported by the Band and Chorus of that great lyrical establishment. Conductor …. Mr. Benedict. PRICE OF ADMISSION. - Stalls £1 1 0 Boxes, Third Tier £I 11 0, Boxes, Grand Tier 5 5 0 Pit 0 5 0, Pit Tier 3 5 0 Amphitheatre Stalls 0 5 0 First Tier 4 4 0 Amphitheatre 0 2 6, Second Tier 2 2 0 - Applications for boxes stalls, and places to be made at the Box-office of the theatre, the principal librarians and music publishers; or Of Mr. Benedict, 2, Manchester-square. (Morning Chronicle (1801), Saturday, 26 May 1855) (Also: Morning Post, Saturday, 26 May 1855.)

MR. BENEDICT begs respectfully to announce that his ANNUAL GRAND MORNING CONCERT will take place on FRIDAY, June 15th, 1855, at the ROYAL ITALIAN OPERA, COVENT-GARDEN. To begin at half-past One o'Clock precisely, and to terminate at Five o'Clock. Mr. Benedict has the greatest satisfaction in being able to announce that Madame GRISI has most kindly offered her invaluable services. Principal Vocal Performers:-Madame Grisi, Mdlle. Didiee, Mdlle. Marai, Madame Viardot, Mdlle. Jenny Ney, Madlle. Bosio. Signor Tamberlik, Signor Cardoni, Signor Luchesi, Mons. Zelger, Signor Polonini, Signor Tagliafico, Signor Tamburini, Herr Formes, Signor Graziani. Signor Lablache, and Signor Mario. Also, Madame Clara Novello, Miss Dolby, and Signor Belletti. Principal Instrumental Performers:-- Pianoforte, Mons. Ascher, Pianist to the Empress of the French, who will play a new Concertante for two pianofortes and four performers, with Mr. Lindsay Sloper, Mr. Benedict, and Herr Pauer; Violin, Herr Ernst; Contra-Basso, Signor Bottessini. who will perform a new Concertante with Clarionet, Signor Belletti. The Concert will be supported by the Band and Chorus of that great lyrical establishment. Conductor, Mr. Benedict. Prices of Admission:- Stalls, £1 1s.; Boxes, Grand Tier, £5 5s.; ditto, Pit ditto, £3: 3s; ditto, First ditto, £4 4s.; ditto, Second Tier, £2 2s.: ditto, Third ditto, £1 1s.; Pit. 5s.; Amphitheatre Stalls, 5s.; Amphitheatre, 2s. 6d.-Applications for Boxes, Stalls and places, to be made at the Box-office of the Theatre, the principal Librarians and Music publishers, or of Mr. Benedict, 2, Manchester-square. (John Bull, Saturday, 26 May 1855) (Also: John Bull, Saturday, 26 May 1855.)

ROYAL ITALIAN OPERA, Covent-garden, MR. BENEDICTS GRAND CONCERT. Under the immediate Patronage of Her Most Gracious Majesty the QUEEN. His Royal Highness Prince ALBERT. Her Royal Highness the Duchess of KENT. Her Royal Highness the Duchess of GLOUCESTER. Her Royal Highness the Duchess of CAMBRIDGE. Mr. BENEDICT begs respectfully to announce, that his ANNUAL GRAND MORNING CONCERT will take place on Friday, June 15, at the Royal Italian Opera, Covent Garden; to begin at Half-past One o'clock precisely, and to terminate at Five. - Mr. Benedict has the greatest satisfaction in being able to announce that Madame GRISI has most kindly offered her invaluable services. PRINCIPAL VOCAL PERFORMERS. Madame Grisi, Signor Polonini, Mdlle. Didiee, Signor Tagliafico, Mdlle. Marai, Signor Tamburini, Madame Viardot, Herr Formes, Mdlle. Jenny Noy, Signor Graziani, Mdlle. Bosio. Signor Lablache, and Signor Tamberlik, Signor Mario. Also Signor Gardoni, Madame Clara Novello, Signor Luchesi, Miss Dolby, and M. Zelger, Signor Belletti. PRINCIPAL INSTRUMENTAL PERFORMERS. Pianoforte, M. Ascher (Pianist to the Empress of the French), who will play a now Concertante for two pianofortes and four performers, with Mr. Lindsay Sloper, Mr. Benedict, and Herr Pauer; Violin, Herr Ernst; Contra-basso, Sig. Bottessini, who will perform a new Concertante with Clarionet, Sig. Belletti. The Concert will be supported by the Band and Chorus of that great lyrical establishment. Conductor …. Mr. Benedict. PRICE OF ADMISSION. - Stalls £1 1 0 Boxes, Third Tier £I 11 0, Boxes, Grand Tier 5 5 0 Pit 0 5 0, Pit Tier 3 5 0 Amphitheatre Stalls 0 5 0 First Tier 4 4 0 Amphitheatre 0 2 6, Second Tier 2 2 0 - Applications for boxes stalls, and places to be made at the Box-office of the theatre, the principal librarians and music publishers; or of Mr. Benedict, 2, Manchester-square. (Leader and Saturday analyst, Jan. 7-June 30, 1860, Saturday, 26 May 1855)

MR. BENEDICTS GRAND CONCERT. ROYAL ITALIAN OPERA, Covent-garden, Under the immediate Patronage of Her Most Gracious Majesty the QUEEN. His Royal Highness Prince ALBERT. Her Royal Highness the Duchess of KENT. Her Royal Highness the Duchess of GLOUCESTER. Her Royal Highness the Duchess of CAMBRIDGE. Mr. BENEDICT begs respectfully to announce, that his ANNUAL GRAND MORNING CONCERT will take place on Friday, June 15, at the Royal Italian Opera, Covent Garden; to begin at Half-past One o'clock precisely, and to terminate at Five. - Mr. Benedict has the greatest satisfaction in being able to announce that Madame GRISI has most kindly offered her invaluable services. PRINCIPAL VOCAL PERFORMERS. Madame Grisi, Signor Polonini, Mdlle. Didiee, Signor Tagliafico, Mdlle. Marai, Signor Tamburini, Madame Viardot, Herr Formes, Mdlle. Jenny Noy, Signor Graziani, Mdlle. Bosio. Signor Lablache, and Signor Tamberlik, Signor Mario. Also Signor Gardoni, Madame Clara Novello, Signor Luchesi, Miss Dolby, and M. Zelger, Signor Belletti. PRINCIPAL INSTRUMENTAL PERFORMERS. Pianoforte, M. Aschir (Pianist to the Empress of the French), who will play a now Concertante for two pianofortes and four performers, with Mr. Lindsay Sloper, Mr. Benedict, and Herr Pauer; Violin, Herr Ernst; Contra-basso, Sig. Bottessini, who will perform a new Concertante with Clarionet, Sig. Belletti. The Concert will be supported by the Band and Chorus of that great lyrical establishment. Conductor …. Mr. Benedict. PRICE OF ADMISSION. - Stalls £1 1 0 Boxes, Third Tier £I 11 0, Boxes, Grand Tier 5 5 0 Pit 0 5 0, Pit Tier 3 5 0 Amphitheatre Stalls 0 5 0 First Tier 4 4 0 Amphitheatre 0 2 6, Second Tier 2 2 0 - Applications for boxes stalls, and places to be made at the Box-office of the theatre, the principal librarians and music publishers; or of Mr. Benedict, 2, Manchester-square. (Examiner, Saturday, 26 May 1855) (Also: The Athenaeum, Saturday, 2 June 1855; The Times, Saturday, 2 June 1855; Morning Post, Wednesday, 30 May 1855; Daily News, Wednesday, 6 June 1855.)

MR. BENEDICT'S GRAND CONCERT.- Royal Italian Opera Covent-garden.-Under the immediate patronage of Her Most Gracious Majesty the Queen, His Royal Highness Prince Albert, Her Royal Highness the Duchess of Kent, Her Royal Highness the Duchess of Gloucester, Her Royal Highness the Duchess of Cambridge.-Mr. BENEDICT begs respectively to announce that his ANNUAL GRAND MORNING CONCERT will take place on Friday, June 15, at the Royal Italian Opera, Covent-garden. To begin at half-past 1 o'clock precisely, and to terminate at 5 o'clock. Mr. Benedict has the greatest satisfaction in being able to announce that Madame Grisi has most kindly offered her invaluable services. The concert will be supported by the band and chorus of the Royal Italian Opera. Conductor-Mr. Benedict. Principal Vocal Performers:- Mad. Grisi, Mdlle. Didiee, Mdlle. Marai, Mad. Viardot, Mdlle. Jenny Ney, Mad. Rudersdorff, Mdlle. Bosio; Signor Tamberlik, Signor Gardoni, Signor Luchesi, Mons. Zelger, Signor Polonini. Signor Tagliafico, Signor Tamburini, Herr Formes, Signor Graziani, Signor Lablache, and Signor Mario; also Mad. Clara Novello, Miss Dolby, and Signor Belletti. Principal Instrumental Performers:-Pianoforte, Mons. Ascher (pianist to the Empress of the French), Mr. Lindsay Sloper, Mr. Benedict, and Herr Pauer ; violin, Herr Ernst ; contrabasso, Signor Bottesini ; clarinet, Signor Belletti. Prices of admission:-Stalls, £1 1s.; boxes, grand tier, £5 5s.; boxes, pit tier, £3 3s.; boxes, first tier, £4 4s.; boxes, second tier, £2 2s.; boxes, third tier, £1 1s,; pit, 5s.; amphitheatre stalls, 5s.; amphitheatre, 2s. 6d. Applications for boxes, stalls, and places to be made at the box-office of the theatre; the principal librarians and music publishers; or to Mr. Benedict, 2, Manchester-square. (The Musical world, Saturday, 9 June 1855)

MB. BENEDICT'S CONCERT-Mr. Benedict gave his annual concert yesterday morning, at the Royal Italian Opera. It was, as usual, a magnificent entertainment, embracing the whole vocal and orchestral strength of that great establishment, with the addition of several of our most eminent performers unconnected with it. The programme included a number of the moot favourite solo and concerted pieces belonging to the repertoire of the theatre, sung by Grisi, Mario, Bosio, Tamberlik, Gardoni, Formes, Marai, Didiee, Graziani, Jenny Ney, Rudersdorff, &c. besides vocal pieces sung by Miss Clara Novello, Miss Dolby, and instrumental solos performed by Ernst, Sainton, Lindsay Sloper, Pauer and Benedict. There was a selection from Mr. Benedict's works, consisting of an andante and rondo for the pianoforte, with orchestral accompaniment; the Popular ballad "Scenes of my Youth," from the Gipsy's Warning, sung by Madame Rudersdorff; the overture to the Tempest,. a composition, full of Shaksperian fancy ; two beautiful part-songs for female voices, taken from a collection lately published, and sung by Madame Clara Novello, Miss Dolby, and Madame Viardot; and a charming Tyrolese song, newly composed, and sung by Mdlle. Bosio. As usual at Mr. Benedict's concerts, the theatre was crowded, and the boxes were filled with the most fashionable company in London. (Daily News, Saturday, 16 June 1855)

MR. BENEDICT'S CONCERT. The annual concert of Mr. Benedict, the justly-celebrated composer and pianist, took place on Friday morning, at the Royal Italian Opera, on the largest possible scale. That is to say, it included all the principal singers, the magnificent band and chorus of Mr. Gye's great establishment, together with Madame Clara Novello, Miss Dolby, Herr Ernst, Mr Lindsay Sloper, Herr Pauer, M. Ascher, Signor Belletti (vocalist), Signor Belletti (clarionetist), and Signor Bottesini, and Messrs. Benedict and Alfred Mellon as conductors. The concert began at half-past one and terminated about six, the length of the programme may, therefore, be guessed. Everybody did everything set down for them to do, and appeared precisely at the right moment; there was, therefore, no " hitch"' of any kind. The house was densely crowded by company of the most fashionable order, and the receipts, we understand, amounted to about £1,100. Mr. Benedict, therefore, no less than Mr. Gye, had reason to be satisfied with the result. On such an occasion, of course, the beneficiaire's work and performances possess the first claim to our critical notice, and the following extract from the scheme will show what these were : - Pianoforte- Mr. Benedict. Ballad, "Scenes of my Youth" (Gipsy's Warning) - Madame Rudersdorff. Overture to Shakspeare's play, "The Tempest (first time of performance in London). Part Songs for Female Voices, "The Forest Home," "The Warbler of the Forest"- Madame Clara Novello, Miss Dolby, and Madame Viardot (first time of performance). Tyrolienne, "Il Tramonto" (first time of performance)- Madlle. Bosio. The most important piece here is the overture to "The Tempest," a specimen of illustrative music which does honour to the modern school. Appropriately wild and romantic, without exaggeration or mystification, consistent in idea, bold and striking in rhythm and harmony, rich in happy contrasts, unflagging in energy, and brilliantly instrumented, it is a truly poetical conception, carried out with masterly skill - a worthy musical picture of the great drama from which the author has drawn his inspiration. The overture was very finely executed, and elicited hearty applause. The two unaccompanied part songs are equally good in their way. Though rather difficult (especially the second, called " The Warbler of the Forest") they are perfectly vocal, as was sufficiently proved on the present occasion, when every phrase was sung with the utmost purity and beauty by the accomplished ladies to whom they were entrusted. Those who know the care and circumspection demanded in writing for so few voices, and the difficulty of obtaining, with such limited means, the requisite fulness and variety - the necessary melodic and harmonic interest unaided by instruments, will understand how much praise is due to Mr. Benedict for these charming little productions, and those who do not will still be delighted with them, so fresh, genial, and apparently spontaneous are their strains. " The Warbler of the Forest " was redemanded unanimously. The well-known merits of the concert-giver's pianoforte-playing were apparent as ever in his delivery of the andante and rondo, which, though light in character, and of smaller pretension than many of Mr. Benedict's instrumental works, has still the never-failing attractions of tune and musicianly feature to recommend it. Madame Rudersdorff sang the popular "Scenes of my youth " with much expression ; and Madame Bosio's delivery of the quaint "Tyrolienne" was all that could be wished. With the exception of a clever concertante piece belonging to the " brilliant" school, for four performers on two piano-fortes, composed by M. Ascher, and extremely well played by the author, with Messrs. Benedict, Pauer, and Lindsay Sloper, the programme contained no more novelty of any kind. (Morning Post, Monday, 18 June 1855)

MR. BENEDICT'S MORNING CONCERT took place on Friday the 15th; in the Royal Italian Opera-house, Covent-garden. On this occasion there was a vast combination of musical attraction, both as regards performances and performers. The programme included a selection, from Mr. Benedict's works, consisting of an andante and rondo for the pianoforte, with orchestral accompaniments, an overture to Shakspeare's "Tempest," (performed for the first time in. London), two unaccompanied part songs for female voices, and a "Tyroliene", entitled "Il Tramonto?'" The overture to the "Tempest" excited a high degree of interest, and elicited well-deserved admiration. It is a fine specimen of what may be termed Illustrative Music, and is worthy to be allied with the great drama whence the composer has drawn his inspiration. The two part songs for female voices are beautiful compositions, and were exquisitely sung by Madame Clara Novello, Miss Dolby. and Madame Viardot. The Tyrolienne by Madame Bosio was also deservedly admired. In addition to the vocal performers already mentioned, the programme included the names of Mesdames Grisi, Jenny Ney, Rudersdorff, and Nantier Didiee; Messrs. Mario; Tamberlik, Gardoni, and Formes. The instrumental portion of the concert was ably sustained by the efforts of the beneficiaire, aided by Messrs. Pauer, Ascher, Lindsay, Sloper, Ernst, and others. The theatre was crowded to excess by a fashionable assemblage of company; and it is stated that the receipts amounted to 1,100l. (The Lady's Newspaper & Pictorial Times, Saturday, 23 June 1855)

MR. BENEDICT'S CONCERT. - The annual entertainment provided by Mr. Benedict for his numerous patrons, came off on Friday afternoon (the 14th instant), as of late years, at the Royal Italian Opera, of which establishment the whole personnel (band, chorus, and principal singers), excepting Mr. Costa, had been engaged. The duties of chef-d'orchestre were sustained by Mr. Benedict himself, assisted by Mr. Alfred Mellon. The band had not a great deal allotted to it, the overture to Oberon, the march from the Prophéte and Mr. Benedict's overture to The Tempest, being the only orchestral pieces in the programme. Among the most important and interesting features of the concert, was a selection from the works of Mr. Benedict, comprising "Andante and Rondeau" for pianoforte, two part-songs for female voices, ballad from the opera of the Gipsy's Warning, a new Tyrolienne, and the overture last named. The overture to The Tempest, the part-songs and the Tyrolienne were heard for the first time in London, although the overture was played with great success at the Norwich Festival last year. Mr. Benedict should have introduced it to his metropolitan friends long ago. It is worthy of his reputation, being highly characteristic and dramatic. A better performance could not have been desired, Mr. Benedict directing the orchestra. The "Andante and Rondeau," which is brilliant and graceful, was played to perfection by the composer. Madame Rudersdorff sang the popular ballad, "Scenes of my youth" (Gipsy's Warning); with much expression. The part-songs - "The forest home", and "The warbler of the forest" - both genuine specimens of what might be termed "woodland melody," and both inimitably sung by Mesdames Clara Novello, Viardot, and Dolby - were unanimously encored. The Tyrolienne, called "Il Tramonto," - a cheerful exhilarating "mountain" air - was exquisitely sung by Madame Bosio, and applauded with fervour. The rest of the concert consisted of a long and well-varied programme, in which all the celebrated singers of Covent-Garden lent their assistance. There were more than thirty pieces, and several encores. Signor Mario was encored in "Angiol d'Amore ;" the same compliment was paid to the quintet from Cosi fan Tutte, "Di scrivermi ogni giorno," sung by Mesdames Grisi and Bosio, and Signors Mario, Tamburini, and Lablache and to Mdlle. Jenny Ney, Miss Dolby, Signors Gardoni and Belletti in the quartet, with chorus, "Alziam gli evviva," from Euryanthe. A fine performance of a Duo Concertante for clarionet and contra-basso - the composition of Bottesini - by the composer and Signor Belletti, demands especial notice ; and as a curiosity may be mentioned a piece for four performers on two pianos, composed by M. Ascher, pianist to the Empress of the French, entitled "Andante and Allegro Marziale." This was played with effect by the author, with Mr. Lindsay Sloper, Herr Pauer, and Mr. Benedict as co-operators. The chorus hid nothing assigned to it but the well-known prayer from Masaniello. The theatre was crowded in every part by a fashionable and distinguished audience, such a one, indeed, as only Mr. Benedict can bring together; and the concert, long as it was, (upwards of four hours in duration) seemed to please so universally that the majority of those present, it may be safely surmised, could willingly have sat through another of the same dimensions before going home to dinner. (The Musical world, Saturday, 23 June 1855)

MEYERBEER AT MR. BENEDICT'S. Mr. Benedict gave a grand musical entertainment at his residence in Manchester-square, in honour of the illustrious composer of the Huguenots, on Thursday evening, to which considerably more than 100 fashionable, distinguished, and well-known persons were invited. At dinner, M. Meyerbeer met Mr. Charles Dickens, and a select party; and shortly after 11 o'clock the salons were crowded with visitors. The following programme of vocal and instrumental music was performed :- Parte Prima.- Marche Aux Flambeaux, Messrs. Lindsay Sloper and Benedict, Meyerbeer; Air, "Achetez, achetez," (L' Étoile du Nord), Signor Gardoni, Meyerbeer; Trio, "Pensa e guarda" (Margherita d'Anjou), Signors F. Lablache, Ciabatta, and Belletti, Meyerbeer; Romance, " Le Voen pendant l'Orage," Mdlle. Marai, Meyerbeer; Air, "Ah come rapida" (Il Crociato), Mad. Bosio, Meyerbeer; Duo, "Si mei credi" (L'Ezule di Granata), Mad. Falconi and Signor Belletti, Meyerbeer; Lieder ohne Worte and Valse, pianoforte, M. Hallé, Mendelssohn and Chopin. Parte Seconda.- Solo, violoncello, Sig. Piatti, Piatti; Romanza, Mad. Novello; Pastorale, "Un impero," (Le Prophète), Sig. Bettini, Meyerbeer; Solo, harp, Mr. John Thomas, Thomas. Piano - Messrs. Lindsay Sloper, Benedict, and Pinsuti. M Meyerbeer appeared much pleased with the music and with the marked attention he received from his courteous host and eminent compatriot, and indeed from every one present - the ladies, who presented a dazzling array of beauty, more especially. (The Musical world, Saturday, 7 July 1855)

Saturday, 30 June 1855 : Leeds Musical Union's [Date Approx].

Musical Union.-We some weeks ago announced that this society was dead ; but are glad to be informed that it was only a case of catalepsy. Everyone thought the Union was defunct; but yesterday a gentleman called upon us to say that the Society was itself again, with every prospect of doing well, and intended next season to give us some first class concerts. We are informed that the convalescent Union has already engaged the highest talent- the services of Grisi, Mario, Mrs. Sims Reeves, Miss Dolby, Miss Amy Dolby, Mr. Sims Reeves, Mr. George Dolby, Mr. Farquharson, Mr. Weiss, Mr. M. Sainton, Mr. J. L. Hatton, and Mr. Lindsay Sloper, having been procured. We understand the appearance of Madame Grisi and Signor Mario in Leeds will be their last in the provinces, and that the subscribers to the Union are already more numerous than those of last year. (Leed's Times, Saturday, 30 June 1855)

Leeds Musical Union. -Grisi and Mario.-Our musical readers will be glad to hear that the committee of the Musical Union have entered into extensive arrangements for their forthcoming series of concerts. For the first concert of the season they have secured the eminent services of Grisi and Mario, together with other able and efficient supporters. As this is positively the last tour into the provinces that Grisi and Mario will make before finally retiring into private life, we doubt not but that the concert room will be crowded to overflowing. After a reign almost absolute on the Italian stage for a period of about 20 years, the former accomplished and incomparable artiste retires with all her blushing honours thick upon her, and in the very zenith of her popularity. When last in Leeds it will be remembered that she was unable to appear in consequence of severe hoarseness, but who can forget (who was present) the inimitable and matchless singing of Mario? Suffice it to say that he, on that occasion, excelled himself, and perhaps never sang with more sweetness, delicacy, and refinement in all his life. His rendering of "Il mio tesoro," and " Goodbye, sweetheart," have haunted us ever since, and if we wish to dwell on one brighter spot associated with music in memory's page, it is undoubtedly the remembrance of Mario's divine singing on that occasion. Their farewell appearance will, no doubt, be characterized by some of the most beautiful singing the human voice is capable of executing, as we have no doubt but that "La Grisi" will make up for her absence last time. In addition to this party, the committee have secured for some of their other concerts the eminent services of Mrs. Sims Reeves, Miss Amy Dolby, Miss Dolby, Mr. Sims Reeves, Mr. Farquharson, Mr. G. Dolby, Mr. Weiss, Mr. Hatton, Monsr. Sainton, Mr. Lindsay Sloper, &c, &c., and are in treaty with those celebrated bassos, Signors Lablache and Herr Formes. Altogether the forthcoming series of concerts promises to be the most recherche and attractive ever given in Leeds. We may remark, en passant, that a subscriber for four tickets only pays after the rate of 3s. 6d. per ticket, and has the advantage of places being secured and kept during the entire evening. We commend this the more especially to our fair readers, for on a recent occasion when Alboni appeared before a Leeds audience on a Saturday night several ladies were severely crushed in the melee. (Leeds Intelligencer, Saturday, 30 June 1855)

Monday, 9 July 1855 : Committee Of Hospital Of Women, Soho-Square's Musical and Dramatic Performance at Mansion Of The Marquis And Marchioness Of Westminster, Grosvenor-House, Grosvenor-Street.

Concert for Hospital of Women, Soho-square.- The Marquis and Marchioness of Westminster placed their magnificent mansion, Grosvenor-house, Grosvenor-street, at the disposal of the committee of management of the above institution for a musical and dramatic performance, which took place on Monday in aid of the funds. The Picture Gallery was selected both for concert-room and theatre, and the decorations and fittings were left, to the charge of Baron Marochetti, one of the committee of management, and Mr. Phillips, Royal Academician. The music, which was under the direction of Mr. Henry Leslie, was of the popular miscellaneous kind. The singers - including non-professionals -were Mrs. Sartoris, Mrs. Nassau Senior, Madame Gassier, Miss Wilson, Mr. Charles Braham, Mr. Tennant, Hon. William Ashley, Sir John Harington, Mr. Albert Smith, Herr Kumpel, M. Gassier, Signor Belletti, and the London Deutscher Manner Chor; the instrumentalists, M. Hallé, Herr Ernst, Signer Piatti, and Herr Blumenthal. Besides Mr. Henry Leslie, the director general of the music, there were sundry sous-officiers, who presided variously. In the first part Mr. Benedict was at the piano; in the second, Mr. Lindsay Sloper. Mr. Frank Mori accompanied Mr. Charles Braham in two airs by Verdi, and Herr Ernst Pauer directed the London Deutscher Manner Chor. Never was concert more diversely conducted, or better. Between the parts was presented a comedietta, by Mr. Tom Taylor, entitled The Late Lamented, written expressly for the occasion, the characters by Mrs. Sartoris, Miss Mary Boyle, Mr. Alfred Wigan, Mr. Spence and the author. It was well acted, and elicited much applause. Not the least entertaining part of the performance was Mr. Albert Smith's "Country Fair," which made the aristocratic audience "laugh consumedly." Above eight hundred and fifty tickets were disposed of, and a considerable sum has been realised for the funds of the hospital. The Duchess of Cambridge, the Princess Mary, and the Duchess of Mecklenburgh Strelitz, were among the fashionables present. (The Musical world, Saturday, 14 July 1855)

Friday, 13 July 1855 : Princess Marcelline Czartoryski's Matinée Musicale at Marquis And Marchioness Of Breadalbane's.

PRINCESS MARCELLINE CZARTORYSKI'S MATINEE MUSICALE, ON JULY 13, AT THE MARQUIS AND MARCHIONESS OF BREADALBANE'S. The Marquis and Marchioness of Breadalbane have in a most kind and graceful manner granted the use of their house to the Literary Association of the Friends of Poland, for the performance of a concert in behalf of the refugees. The noble marquis had previously accepted the presidency of that society, an office which is no sinecure. It was anything but that to the late lamented Lord Dudley Stuart; and it is with a full knowledge of its arduous nature that his successor is willing to assist and befriend the victims of a great cause. Perseverance and enlightened exertions in behalf of the unfortunate which give trouble and take time are the greatest form of benevolence. The Princess Marcelline Czartoryski, with the consent of her illustrious uncle the Prince Adam Czartoryski, is coming over from Paris expressly for the purpose of giving a Matinée Musicale, the proceeds of which will be devoted exclusively to the relief of such of her countrymen in exile as are disabled by age and infirmity from earning a livelihood. The musical talents of this amiable princess are held to be of the highest order by those who are qualified to judge, and have heard her in her own house. They could scarcely be devoted to a nobler object than the present. The concert will be supported by Madame Clara Novello, Mademoiselle Falconi, Mademoiselle Rudersdorff, Madame Anichini, Mademoiselle Maria de Villar, Signor Beletti, Signor Ciabatta, Signor Piatti, and conducted by Mr. Lindsay Sloper. Monsieur Louis Eller, a very distinguished performer on the violin, whose talent has excited so much admiration in Paris, is coming purposely to play at the concert, which promises to be a very brilliant one. The patronage bestowed upon this charitable undertaking is most select. Tickets may be procured at the office of the Literary Association, 10, Duke-street, St. James's. (Daily News, Monday, 9 July 1855) (Also: Globe, Monday, 9 July 1855; Morning Advertiser, Tuesday, 17 July 1855.)

THE PRINCESS CZARTORISKY'S CONCERT FOR THE POLES. The Princess Marcelline Czartorisky, the niece by marriage of the venerable Prince Adam Czartorisky, an illustrious name, dear to the people of Poland and to all who feel an interest in their cause - herself, too, by birth, a Polish princess - has come from Paris for the single purpose of assisting her countrymen resident in England by giving a concert in aid of the benevolent fund of the Literary Association of the Friends of Poland. This concert took place yesterday morning at the mansion of the Marquis and Marchioness of Breadalbane in Park-lane. A large number of noble ladies exerted themselves, as patronesses, in behalf of the undertaking. The beautiful Gothic hall, in which the concert was given, was crowded with the most distinguished and fashionable company in London; and the price of the tickets of admission being 2l., a substantial sum must have been obtained for the benevolent fund. The concert was a most elegant entertainment. The Princess Czartorisky, among her other talents and attainments, is an accomplished musician, and has long been distinguished in the highest musical circles of Paris and London as a pianist of the first order. She was the favourite pupil of the celebrated Chopin; and it is admitted, by those best acquainted with his own performances, that she plays his music with more of his peculiar delicacy and refinement of style than any other pianist of the present time. The Princess herself took a principal part in the concert, and several of our most eminent performers gave their gratuitous assistance. The Princess Czartorisky played three times, first Beethoven's Trio in C minor, in which she was accompanied on the violin by Herr Louis Eller, an admirable performer, newly arrived in this country, and on the violoncello by Signor Piatti; next, Mozart's sonata in A major for the pianoforte and violin ; and, lastly, a selection from Chopin's solo pieces, consisting of a Nocturne, a Prelude, a Ballade, and a Mazurka. The purity of her taste was shown in this choice of music. Beethoven's trio and Mozart's sonata are among the most charming of their compositions for the pianoforte; and Chopin's beautiful little pieces were admirably calculated to give an idea of his genius. As a pianist, she combines every species of excellence - a touch of feathery lightness, clear and articulate delivery of the most rapid passages, a full and resonant tone, finished elegance of phrasing, great animation, and captivating tenderness of expression. All these qualities, and many more, are possessed by this high born amateur in a degree which may challenge comparison with the greatest professional artists; and an additional charm is imparted to them all by her graceful and unaffected simplicity of manner. Herr Eller is a highly accomplished violinist and composer for his instrument. He played some solos of his own, consisting of a "Minuet Sentimental," a Valse Diabolique," and a " Cerrente," in all of which he showed the powers of a great artist. His "Minuet " was a very beautiful strain, played altogether in double stops so rich and continuous that it had the effect of a regular duet. The "Valse Diabolique" was one of those strange, eccentric fantasies in which Paganini used to indulge, and played, too, in the Paganini's peculiar mode of execution. The vocal performers were-Madame Anichini Scalia, Mdlle. Maria de Villar, Madame Rudersdorff, Signor Ciabatta and Signor Belletti; together with two amateurs, the Hon. W. Ashley and Sir John Harington. The vocal music was accompanied on the pianoforte by Mr. Lindsay Sloper. After the concert the Marquis of Breadalbane presented to the Princess Czartorysky the following address of thanks from the Council of the Literary Association of the Friends of Poland:- "Literary Association of the Friends of Poland, 10, Duke-street, St. James's, July 17. "TO HER HIGHNESS THE PRINCESS MARCELLINE CZARTORYSKY. "Madam,-We are requested by the Council of this Association to assure your highness of the gratitude and admiration with which they have seen your highness, at a moment when the aged and sick amongst your Countrymen stood eminently in need of such assistance, devoting, at great personal inconvenience, to their service the brilliant talents by which your highness is distinguished. But the council, much as they rejoice at the alleviation of individual sufferings which will be occasioned by your noble exertions, look upon them as possessing a yet higher and for more lasting value. At the present day, the enemies of national independence and constitutional freedom seek to effect their disastrous objects by setting against each other the various classes of which society is composed. There is nothing which so much dismays either the abettors of despotism or the favourers of anarchy as to see those who may be termed, from their birth and position, the natural leaders of the people vindicating to themselves, by their conduct, the place which Providence has assigned to them. A nation of which the nobles and princes, not more in title than in actions, may indeed for a time be overcome by the force or the fraud of its adversaries; but we are assured that at no distant hour it will arise and assume the place to which its virtues entitle it. " We have the honour to be, madam, with great respect, your highness's obedient humble servants, ,"BREADALBANE, President. "WM. LLOYD BIRKBECK, Hon. Sec." (Daily News, Wednesday, 18 July 1855) (Also: Globe, Wednesday, 18 July 1855; Illustrated London News, Saturday, 21 July 1855.)

AID OF THE POLISH EXILES. A brilliant reunion assisted yesterday, at the mansion of the Marquis and Marchioness of Breadalbane, at the Princess Marcelline Czartoryska's matinee musicals, in aid of the funds of the Literary Association of the Friends of Poland, It would indeed be supererogatory at this time to enlarge upon the claims which the venerated name of Czartoryski has upon every patriotic heart and lover of freedom throughout civilised nations; suffice it say, that in these times of change and wars and rumours of wars, every friend of mankind feels hope, that from some of these complications there may yet arise a day-star of hope for oppressed and down-trodden Poland, and that that glorious, historic people may once again erect a Sarmatian bulwark against the barbarian hordes of Asia and the north in their irruptions on the arts, commerce, and civilisation of central Europe and the nations of the West. Meantime, untiring charity is our duty towards those exiled who have preferred a life of penury and suffering in foreign land to degraded submission to a brutal conqueror. When, and may the day not be far distant, their own land shall receive them, it will be a proud reflection for those who on such occasions as this matinee lent their aid, by patronage and purse, to the brave and the suffering. Of the concert itself we can sincerely say that the distinguished artists who gave their services on the occasion, exerted themselves to the utmost. Among the vocalists we may name Madames Rudersdorff, Anichini Scalia, and Charlotte Wilhelmj, Mdlle. Maria de Viliar, Signori Belletti and Ciabatte. The Hon. W. Ashley, who opened the concert with Rossini's duo, "Se inclinassi" (the basso part sung by Belletti), and Sir John Harington, volunteered their able assistance. The instrumental portion of the entertainment was enhanced by the exquisite pianoforte playing of the Princess Marcelline Czartoryska; her execution of her passages in Beethoven's [?] no in C Minor, was remarkable for its accuracy, finish, and emphasis. The violin playing of Herr Louis Eller, instrumentist for the first time introduced to a London assembly, was of the first order. Piatti's violoncello playing is too well known to the musical world to need more than the mention that be played with his usual delicacy and command. To revert to the Princess's performance, we may observe that Mozart's sonata in A major was brilliantly rendered (with violin by Herr Eller) the close of Part while in Part II the Princess gave three solos (Chopin) as varied and contrasted as their names. These were-l, nocturne ; 2, prelude ;3. ballad ; 4, mazurka; each played with such neatness of finger, truth of touch, and change of expression, as to render it invidious task to select either eminently deserving the palm. Mr. Lindsay Sloper was the accompanyist, and after the concert the inimitable Levassor gave several his most admired stage sketches. The following were among the distinguished company ;--The Duchess of St. Alban's, the Duke and Duchess of Argyll, the Duchess of Norfolk, the Duchess of Inverness, the Marchioness of Ely. Marchioness of Ailesbury, Marchioness of Breadalbane, Countess of Shaftesbury, Earl and Countess Fortescue, Earl and Countess of Harrowby, the Countess of Yarborough, Viscountess Palmerston, Viscount and Viscountess Ebington, Viscountess. Combermere, Lady Lady Countess Lady Lady Stanley ot Alderley, Hon. Mrs. Monckton Milner, Lady Hall of Litnover, Mrs. Townshend, Mrs. Henry C. Roberts, Madame Van Weyer, the Turkish Minister and Madams Musurui, the Viscountess Barrington and the Misses Barrington, the Conntesa of Airlie, Hon. Miss Stanley, Hon. Mrs, Drilon, Hon. Mrs. Olivia Kinnaird Hon. Mrs. Ashley, Lady Mosworth, Sir John and Lady Harrington, Lady Mary Williams, Miss Geale, Lady MacFarlane and Miss MacFarlane. Hon, Arthur Kinnaird, Mrs. Stirling of Vere, Lady Catherine Loftus, Thomas Conolly, Esq., M.P., Viscount Hawarden, Hon. Miss Maude, Lady Brougham, Lord Robert Grosvenor, Lady John Russell, Lord Duffenn, Hon, W. Pox Strangways, Mrs Herbert of Llanaelth, Baron Lionel De Rothschild, M.P., the Marquis of Lansdowne, the Earl of Yarborough, Lord Chelsea. Baron M. De Rothechild, Hon. Mrs. Abbott, Lady George Stuart, the Earl Granville, the Viscountess Duncan, Miss Burdett Coutts, John Pritchard, Esq. M.P., Alderman David Salomons, J. V. S. Townshend, Esq., Lord Cranstoun, the Marquis of Donegall, Lady H. Chichester, Lady and Misses Ashworth, the Earl of Malmesbury, Lady Dorothy Nevell, the Earl of Scarborough, B. Cabbell, Esq., M.P., Lord Broughton, Lord Eglinton, Frederick Pigou, Lord Glenelg, Count de Persigny, Lord Kinnaird, the Dowager Countess of Beauchamp, the Countess of Ellesmere, Holford, Esq.. Miss Oakley, Hon. Miss Otway Cave, the Marchioness of Hastings, Lady Victoria Hastings, the Countess of Kinnoull, Colonel Salwey and the Misses Salwey, Lady Howard, Lady James Stuart, John Turner Hopwood, Esq., Miss Frere May, &c. &c. After the concert the Marquis of Breadalbane presented to the Princess Czartorysky the following address of thanks from the Council of the Literary Association of the Friends of Poland:- "Literary Association of the Friends of Poland, 10, Duke-street, St. James's, July 17. "TO HER HIGHNESS THE PRINCESS MARCELLINE CZARTORYSKY. "Madam,-We are requested by the Council of this Association to assure your highness of the gratitude and admiration with which they have seen your highness, at a moment when the aged and sick amongst your Countrymen stood eminently in need of such assistance, devoting, at great personal inconvenience, to their service the brilliant talents by which your highness is distinguished. But the council, much as they rejoice at the alleviation of individual sufferings which will be occasioned by your noble exertions, look upon them as possessing a yet higher and for more lasting value. At the present day, the enemies of national independence and constitutional freedom seek to effect their disastrous objects by setting against each other the various classes of which society is composed. There is nothing which so much dismays either the abettors of despotism or the favourers of anarchy as to see those who may be termed, from their birth and position, the natural leaders of the people vindicating to themselves, by their conduct, the place which Providence has assigned to them. A nation of which the nobles and princes, not more in title than in actions, may indeed for a time be overcome by the force or the fraud of its adversaries; but we are assured that at no distant hour it will arise and assume the place to which its virtues entitle it. " We have the honour to be, madam, with great respect, your highness's obedient humble servants, ,"BREADALBANE, President. "WM. LLOYD BIRKBECK, Hon. Sec." (Morning Advertiser, Wednesday, 18 July 1855)

LITERARY ASSOCIATION OF THE FRIENDS OF POLAND. Amateur performances, be they theatrical or be they musical, are not those we most delight in ; but when they take place in a good and charitable cause, we can scarcely bring newspaper criticism to bear upon them unkindly, even if they deserve to be so treated. Fortunately, however, we have now an occasion in which we can bear testimony that, to a great extent, an amateur concert may be equal to the best professional entertainment of the season. On Tuesday the Princess Marcelline Czartoryska, whose name bespeaks her origin, gave a grand matinée musicale at the residence of the Marquis of Breadalbane, who has succeeded Lord Dudley Stuart as president of the abovenamed society in aid of its benevolent objects. The Princess had the countenance and assistance of the noble Marchioness and a distinguished list of lady patronesses, so that we were scarcely surprised to find the splendid ballroom of the Marquis's residence filled to overflowing, even at the somewhat unusual price of £2 per ticket. We were, however, surprised to find in the Princess, not only an accomplished amateur, but a finished executant and most able conductress. Her selection showed her to be imbued with the true spirit of classic music. Instead of the meretricious productions of the present day we were presented with some of the choicest emanations of the genius of Beethoven and Mozart. The Princess displayed her own powers as a pianist in a beautiful sonata of Mozart's, which would alone stamp her as one of the most accomplished artistes of the day; whilst the "Nocturne" and "Mazurka" of Chopin - of whom, if we mistake not, the lady was a distinguished pupil - proved her to be possessed of a versatility of talent rarely exhibited by the most celebrated public performers. Of the impression made on the audience - probably the most critical and fashionable of the season - we can furnish no better evidence than to state that the Princess Marcelline, after playing the morceaux of the last-named master above indicated, was called upon for a third performance, when she presented a novelty, by the introduction of one of his unpublished works, hitherto unheard in the country. But the Princess was not unworthily supported. Herr Eller, a new violinist, played three solos of his own, which, if he never does anything else, will bring him fame, and something more, amongst the admirers of true genius. Herr Eller, however, is only entering on the threshold of his fame, which, we doubt not, will ere long equal that of any violinist who has made his bow before a British public. Signor Piatti, long honourably known in musical circles, played a solo on the violoncello, and there were a number of vocal delineations by Madame Rudersdorff, Madame Anichini, Madlle. Maria de Villar, Signor Ciabatta, Sig. Belletti, the Hon. W. Ashley, Sir John Harington, &c. - all so admirable, that we decline the task of separating the professional performers from the amateurs. Between the parts into which the musical performance was divided, M. Levassor entertained the company with two of his peculiar lyrico-burlesque dramatic representations, for which he is so celebrated, and which have, wherever he has appeared, been so highly appreciated. We need say no more than that Mr. Lindsay Sloper was the accompanyist, and that we are very unlikely to see, at least for some time to come, so much musical talent again brought together, either for charity, or the gratification of the most select society. Elegant refreshments were supplied to the distinguished company throughout the evening. The following were among the company present : - The Duchess of St. Albans, the Duke and Duchess of Argyll, the Duchess of Norfolk, the Duchess of Inverness, the Marchioness of Ely, Marchioness of Ailesbury, Marchioness of Breadalbane, Countess of Shaftesbury, Earl Fortescue, Earl and Countess of Harrowby, the Countess of Yarborough, Viscountess Palmerston, Viscount and Viscountess Ebrington, Viscountess Combermere, Lady Blantyre, Lady Stanley of Alderley, Hon. Mrs. Monckton Milnes, Lady Hall of Hanover, Mrs. Townshend, Mrs. Henry C. Robarts, Madame Van de Weyer, the Turkish Minister and Madame Musurus, the Viscountess Barrington and the Misses Barrington, the Countess of Airlie, Hon. Miss Stanley, Hon. Mrs. Dillon, Hon. Mrs. Olivia Kinnaird, Hon. Mrs. Ashley, Lady Molesworth, Sir John and Lady Harington, Lady Mary Williams, Miss Geale, Lady MacFarlane and Miss MacFarlane, Hon. Arthur Kinnaird, Miss Stirling of Vere, Lady Catherine Loftus, Mr. Conolly, M.P., Viscount Hawarden, and Hon. Miss Maude, Lady Brougham, Lord Robert Grosvenor, Lady John Russell, Lord Dufferin, Hon. W. Fox Strangways, Mrs. Herbert of Llanarth, Baron Lionel De Rothschild, M.P., Mr. De Vincenzi, Mrs. W. Wilberforce Bird, the Marquis of Lansdowne, the Earl of Yarborough, Lord Chelsea, Baron M. De Rothschild, Hon. Mrs. Abbott, Lady James Stuart, the Earl Granville, Viscountess Duncan, Miss Burdett Coutts, Mr. John Pritchard, M.P., Alderman David Salomons, Lord Cranstoun, the Marquis of Donegall, Lady H. Chichester, Lady and Misses Ashworth, the Earl of Malmesbury, Lady Dorothy Nevell, the Earl of Scarborough, Mr. B. Cabbell, M.P., Lord Broughton, Lord Eglinton, Frederick Pigou, Esq., Lord Glenelg, Count de Persigny, Lord Kinnaird, the Dowager Countess of Beauchamp, the Countess of Ellesmere, - Holford, Esq., Miss Oakley, Hon. Miss Otway Cave, the Marchioness of Hastings, Lady Victoria Hastings, the Countess of Kinnoull, Colonel Salwey and the Misses Salwey, Lady Howard, Mr. Townshend, Miss Frere May. &c. After the concert, the noble Marquis presented to the Princess Czartoryska the following address of thanks from the Council of the Literary Association of the Friends of Poland :- " Literary Association of the Friends of Poland, 10, Duke-street, St. James's, July 17, 1855. "To Her Highness the Princess Marcelline Czartoryska. " Madam, - We are requested by the council of this association to assure your Highness of the gratitude and admiration with which they have seen your Highness, at a moment when the aged and sick amongst your countrymen stood eminently in need of such assistance, devoting, at great personal inconvenience, to their service the brilliant talents by which your Highness is distinguished. " But the council, much as they rejoice at the alleviation of individual sufferings which will be occasioned by your noble exertions, look upon them as possessing a yet higher and more lasting value. At the present day the enemies of national independence and constitutional freedom seek to effect their disastrous objects by setting against each other the various classes of which society is composed. There is nothing which so much dismays either the abettors of despotism or the favourers of anarchy, as to see those who may be termed, from their birth and position, the natural leaders of the people, vindicating to themselves, by their conduct, the place which Providence has assigned to them. A nation of which the nobles and princes, not more in title than in actions, may indeed, for a time, be overcome by the force or the fraud of its adversaries ; but we are assured that at no distant hour it will arise and assume the place to which its virtues entitle it. - We have the honour to be, Madam, with great respect, your Highness's obedient humble servants, "Breadalbane, President. " Wm. Lloyd Birkbeck, Hon. Sec." (By Submarine and British Telegraph.) (Morning Post, Thursday, 19 July 1855)

MUSIC THE PRINCESS CZARTORISKY'S CONCERT FOR THE POLES. - The Princess Marcelline Czartorisky, the niece, by marriage, of the venerable Prince Adam Czartorisky, an illustrious name, dear to the people of Poland and to all who feel an interest in their cause - herself, too, by birth, a Polish Princess - has come from Paris for the single purpose of assisting her countrymen resident in England by giving a concert in aid of the benevolent fund of the Literary Association of the Friends of Poland. This concert took place on Tuesday morning at the mansion of the Marquis and Marchioness of Breadalbane, in Park-lane. A large number of noble ladies exerted themselves, as patronesses, in behalf of the undertaking. The beautiful Gothic hall, in which the concert was given, was crowded with the most distinguished and fashionable company in London; and the price of the tickets of admission being 2l., a substantial sum must have been obtained for the benevolent fund. The concert was a most elegant entertainment. The Princess Czartorisky, among her other talents and attainments, is an accomplished musician, and has long been distinguished in the highest musical circles of Paris and London as a pianist of the first order. She was the favourite pupil of the celebrated Chopin; and it is admitted by those best acquainted with his own performances, that she plays his music with more of his peculiar delicacy and refinement of style than any other pianist of the present time. The Princess herself took a principal part in the concert, and several of our most eminent performers gave their gratuitous assistance. The Princess Czartorisky played three times -- first, Beethoven's Trio in C minor, in which she was accompanied on the violin by Herr Louis Eller, an admirable performer, newly arrived in this country, and on the violincello by Signor Piatti; next, Mozart's Sonata in A major for the pianoforte and violin; and, lastly, a selection from Chopin's solo pieces, consisting of a Nocturne, a Prelude, a Ballade, and a Mazurka. The purity of her taste was shown in this choice, of music. Beethoven's Trio and Mozart's Sonata are among the most charming of their compositions for the pianoforte; and Chopin's beautiful little pieces were admirably calculated to give an idea of his genius. As a pianist, she combines every species of excellence - a touch of feathery lightness, a clear and articulate delivery of the most rapid passages, a full and resonant tone, finished elegance of phrasing, great animation, and captivating tenderness of expression. All these qualities, and many more, are possessed by this high-born amateur in a degree which may challenge comparison with the greatest professional artists; and an additional charm is imparted to them all by her graceful and unaffected simplicity of manner. Herr Eller is a highly accomplished violinist and composer for his instrument. He played some solos of his own, consisting of a "Minuet Sentimental," a "Valse Diabolique," and a "Corrente," in all of which he showed the powers of a great artist. His "Minuet" was a very beautiful strain, played altogether in double stops so rich and continuous that it had all the effect of a regular duet. The "Valse Diabolique" was one of those strange, eccentric fantasies in which Paganini used to indulge, and played, too, in Paganini's peculiar mode of execution. The vocal performers were - Madame Anichini Scalia, Mdlle. Maria de Villar, Madame Rudersdorff, Signor Ciabatta, and Signor Belletti; - together with two amateurs, the Hon. W. Ashley. and Sir John Harrington. The vocal music was accompanied on the pianoforte by Mr. Lindsay Sloper. After the concert the Marquis of Breadalbane presented to the Princess Czartorisky the following address of thanks from the Council of the Literary Association of the Friends of Poland : -"Literary Association of the Friends of Poland, 10, Duke-street, St. James's, July 17.--" To her Highness the Princess Marcelline Czartorisky,. Madam, - We are requested by the Council of this Association to assure your Highness of the gratitude and admiration with which they have seen your Highness, at a moment when the aged and sick amongst your countrymen stood eminently in need of such assistance, devoting, at great personal inconvenience, to their service the brilliant talents by which your Highness is distinguished. But the Council, much as they rejoice at the alleviation of individual sufferings which will be occasioned by your noble exertions, look upon them as possessing a yet higher and more lasting value. At the present day, the enemies of national independence and constitutional freedom seek to effect their disastrous objects by setting against each other the various classes of which society is composed. There is nothing which so much dismays either the abettors of despotism or the favourers of anarchy as to see those who may be termed, from their birth and position, the natural leaders of the people vindicating to themselves, by their conduct, the place which Providence has assigned to them. A nation of which the nobles and princes, not more in title than in actions, may indeed for. a time be overcome by the force or the fraud of its adversaries; but we are assured that at no distant hour it will arise and assume the place to which its virtues entitle it. We have the honour to be, madam, with great respect, your Highness's obedient humble servants, Breadalbane, President; Wm. Lloyd Birkbeck, Hon. Secretary. (The Lady's Newspaper & Pictorial Times, Saturday, 21 July 1855)

Tuesday, 28 August 1855 : Birmingham Musical Festival's Evening Concert at Town Hall, Birmingham.

BIRMINGHAM MUSICAL FESTIVAL. FROM OUR own CORRESPONDENT. BIRMINGHAM, WEDNESDAY. The Town-hall, last evening, was tolerably well filled; but not crowded - and this is perhaps attributable in a great measure to the bad policy of presenting a programme which, instead of containing judicious selections from some classical work, is merely a pot pourri of miscellaneous pieces, and these already worn threadbare. We confess we have been greatly disappointed on minutely examining. The programmes of the evening concerts, as from the amateurs of Birmingham we fondly expected better things. It is true that the repertoire includes some of the finest overtures, such as the "Freischütz " and the " Leonora" but why the managing committee have chosen, with a band of such surpassing excellence, to limit the number of symphonies to two, we own ourselves at a loss to explain. Surely this is not Mr. COSTA'S fault. We are told, in reply, that the object is to attract the general public, and so to secure the largest possible pecuniary return by providing a programme to suit every taste. To this we rejoin that the popular taste, in Birmingham at least, rises superior to the hackneyed trash of the ultra-modern school of the Italian Opera, as was proved last night by the warm reception of all the overtures; whilst, on the other hand, we took occasion to notice that the Italian pieces - we mean those of the modern trivial school-were generally speaking, but coldly received, or if otherwise, rather for the sake of the vocalists than the intrinsic worth of the composition. The one redeeming, feature of the evening concerts, the single exception to the general rule, is the selection of one whole work (as last night), which, what ever its merits, at all events stands out in distinct relief, and allows the mind to study and reflect without being incessantly distracted by transient novelties, We allude to the "Leonora "'of Mr. MACFARREN and the' " Tam o' Shanter" of Mr. HOWARD GLOVER, announced for Thursday evening…the Oratorio of ELI…Mr. COSTA'S: score is, enriched with all the resources of. pure melody, rich and refined harmony, and elaborate instrumentation. The effects are grand, yet produced by simple and legitimate means ; the choral writing is such as might be expected from a composer educated under a master who used counterpoint as a means to an end, and not as a pair of stilts whereon pedantic commonplace might stalk abroad, and seem, from its artificial elevation, to ape the lofty and sublime. The fugues, of which there are at least, three or four, are clear, well-developed, and admirable specimens of that sublime form of composition, The choruses are always powerful and dramatic - the recitatives are forcible and expressive-and the melodies sweet, simple, and pathetic. The work, in short, takes its broad stand on the modern ground ; it moves, in accordance with, we will not say 'in advance of, the public taste of the age, and we have no fear that it will outlive, the fame which for many years it is assuredly destined to enjoy. We would only indicate, and that faintly, a few of the beauties of Eli. It opens with a (too) brief overture, commencing adagio, with slow chords on the organ, followed by a movement, in fugue, for the stringed instruments, in the minor mode, which leads to a splendid burst from the full orchestra. Let us go pray," the first chorus, is a sublime hymn of praise, the three notes of its theme moving, in what might be called obstinate counterpoint-diversified by effects of imitation-against the sustained harmonies of the choir and the organ. The "Amen" responses to the succeeding chant show the effect that may be produced by a simple progression from dominant to a tonic by a mass of unaccompanied voices. The chorus, '"Blessed be the Lord," is a fine fugue, and was delivered with unerring precision. The next chorus, "The Lord is good," is a model of pathos popularly expressed every shade of feeling being represented by the most exquisite modulation. Here occurs a happy alternation between the male and female voices of the choir. We may notice, in passing, a grand climacteric effect produced by so simple an expedient as the chord of the extreme sharp sixth. This chorus was encored by the President, and may be pronounced a perfect gem. The next chorus, descriptive of the ungodly revel of the Jews in the precincts of the Temple, is the most striking specimen of Mr. COSTA'S style. Its effect is intensely dramatic, although to our taste a shade too theatrical; the music is most vividly descriptive, and the whole is happily suggestive of a profane bacchanal revel. The solo (Mr. Sims REEVES) and chorus - an invocation to the Philistines to war - happily chimed in with the public feeling, and it was encored by acclamation; in spite of the official warning that such demonstrations were unlawful. Mr. SIMS REEVES declaimed his solo with martial energy; whilst the trumpet obligato, and the rush of bass voices-combined with some fine word painting for the orchestra - excited the audience to such an extent that, had they been forthwith led to battle, not even the Malakoff could have stood its ground against them. We must pass over the two "corales" with the remark that they are both first-rate specimens of ecclesiastical harmony of the psalm-tune foundation. The first part concludes with a fugal chorus in F, "Hosanna in the Highest," in the "pedal" point of which the resources of harmony are surely exhausted; In the second part (we reserve the airs for separate notice we may especially eulogise a march in C major, simple and straightforward, the theme of which reappears in the subsequent choral march, " God and King' of Jacob's nation ;" and' a stately chorus; "Hold not Thy peace, O God !" commencing in the key of G minor, and developing a grand fugal movement, allegro furioso, in the remote key of B flat minor, followed by the choral march in the key of C major. This elaborate piece was encored but Mr. COSTA modestly declined the honour, The chorus of angels (for soprani and alti) in A flat, with a harp accompaniment, is good, and this there was another attempt to encore. Then comes the defeat of the Israelites, the taking of the ark of the Lord, and the death of Eli, affording a field for some fine dramatic writing, and two or three episodical choruses of remarkable power and effect. The whole concludes with a chorus in D,- "Blessed be the Lord God of Israel !" 'during which the audience stood up; There are not many airs or concerted pieces. Hannah's air, "Turn thee unto me" (Madame CASTELLAN), is simple and plaintive, but borders on the secular; whilst the duet between her and Elkanah (Madame CASTELLAN and Mr. Sims REEVES) is quits in the modern style. Eli's air, "Hear my prayer" (Mr. WEISS), is grave and majestic, enriched by exquisite instrumentation. Madame CASTELLAN's air, "I will extol Thee," is a beautiful melody, wafted from the atmosphere of the Royal Italian Opera, and remarkable for the triteness and common-place phraseology of that utterly exhausted fountain of sweet waters. In the second part, Madame VIARDOT'S prayer, in B flat, is the pure effusion of a peaceful and placid spirit ; it was magnificently sung. The trio in A, " Thou shall love the Lord thy God," for CASTELLAN, VIARDOT, and SIMS REEVES, is pure, melodious, and most artistically voiced ; and the same remark will apply to the quartett in F, without accompaniment, "We bless you in the Lord's name," which was redemanded. When the child Samuel at length lies down to sleep, and is invoked by his Creator, the interest of the oratorio decidedly flags ; and the long series of recitatives which follow, good as they are, rather fatigue the listener. For this, perhaps, Mr. BARTHOLOMEW is responsible. Samuel's air, in F (triple time), "This night I lift my heart to Thee," is not the result of inspiration, although smooth and melodious; and we cannot find more to say of Herr FORMES' short air in A, " Although my house be not with God," except in praise of the accompaniment. The first part of the oratorio is decidedly the strongest, and the sensation created by the second was sensibly diminished, This is only tantamount to saying that the oratorio has its weak points-aliquando Homerus dormit-and that Mr. COSTA is not exempt from the laws which set a limit to the flights of human genius. At the close of the oratorio a loud and general burst of applause greeted the successful composer, who was warmly congratulated in private by a levee of musical celebrities, including Lords Westmoreland, Wrottesley, and Paget, Sig. Lablache, H. Ciaba, M.Vera, Tiampetro, M. Bache,. Mr. Henry Smart, Mr. Lindsay Sloper, Mr. H. Leslie, Mr. Macfarren, and others. The leading vocalists were Mesdames CASTELLAN and VIARDOT, Mr. SIMS REEVES, Mr. WEISS, Herr FORMES, and Herr REICHARDT. They must be content to bear that they did their utmost to ensure the success of the oratorio. The choruses were alike creditable to the town and illustrative of the musical progress of the age. The band, with its noble army of stringed instruments, was perfection itself. Mr. STIMPSON was the organist - no unimportant post…The weather is still superb, and the moonlight nights make you feel quite romantic, even in Birmingham. The success of the festival is signal. To-morrow is the "Messiah" day, and our communication will accordingly be much briefer. The novelty of the meeting is at an end. Still we tremble to think of two days yet to come. (Morning Chronicle (1801), Thursday, 30 August 1855)

BIRMINGHAM FESTIVAL. (From our own Reporter.) Tuesday, August 28. All Birmingham is in the greatest possible state of excitement about Mr. Costa's new oratorio, Eli, and the utmost expectations respecting its success are entertained in various quarters. So much curiosity has it caused, that nearly every musical notability in London - amateur and professor - has contrived to find his way to Birmingham. The town swarms with visitors, and every bed in every hotel is taken. The accommodation, I hear, is everywhere good, but the prices are doubled in most places and quadrupled in some. Well, Festivals come but once in three years, and these constitute the innkeepers and landlords' carnival time. Who can blame them for making hay while the sun shines ?… "WEDNESDAY -MORNING. The performance of Elijah yesterday, all agree in pronouncing one of the grandest and most perfect ever heard since it was first performed in 1846… In the meanwhile, every individual of musical note in London has arrived in Birmingham, bent upon hearing the new oratorio of Herr Richard Wagner's predecessor. Dr. Henry Wylde, Mr. Charles Horsley, Mr. Henry Leslie, Mr. Lindsay Sloper, Mr. Henry Smart, Mr. Robert Barnett, Mr. Arnott (of Gloucester), and many others, in addition to the musical critics of the press, are all here. The fate of Eli will soon be decided. It is now half past ten o'clock. In four hours from this time, the verdict of the public, musical and unmusical, will be given concerning a work, which, previous to its performance, has, from the combination of various circumstances, created in the musical world an excitement almost unprecedented… (The Musical world, Saturday, 1 September 1855)

Sunday, 2 September 1855 : Mr. Gubbins's Grand Concert at Victoria Assembly Rooms, Southampton.

VICTORIA ASSEMBLY ROOMS, SOUTHAMPTON. MR. GUBBINS begs to inform the nobility, gentry, and inhabitants of Southampton and the county of Hants, that he will give A GRAND CONCERT, at the above Rooms, on Tuesday Evening, September 25, 1855, to commence at a quarter past Eight o'clock precisely, for which occasion he has engaged MISS DOLBY and MISS AMY DOLBY, MONS. SAINTON, MR. LINDSAY SLOPER, and MR. GEORGE DOLBY. Mr. Lindsay Sloper will preside at the Pianoforte, which will be one of Messrs. Broadwood's New Patent Concert Grands, furnished expressly for this occasion. Tickets:- Reserved Front Seats, 4s ; Family Tickets, to admit Four to Reserved Seats, 14s; Second Seats, 2s ; Back Seats, of which the number will be limited. 1s. Tickets, Programmes, Books of the Words (price 6d), and full particulars, may be had at Gubbins's Music and Pianoforte Warehouse, No. 17, Above Bar, Southampton. (Southampton Herald, Saturday, 15 September 1855) (Also: Southampton Herald, Saturday, 22 September 1855.)

Mr. Gubbins's Grand Concert is advertised for Tuesday evening next, at the Victoria Rooms, on which occasion Miss Dolby and Miss Amy Dolby, Mons. Sainton, Mr. Lindsay Sloper, and Mr. George Dolby are engaged. The first part contains the trio " Malagnero," by Perugini, to be sung by the Misses and Mr. G. Dolby, a solo on the pianoforte by Lindsay Sloper, a solo on the violin by M. Sainton, and other compositions. In the second part the instrumental selections are from Mozart and Herz, and the vocal portion principally English, by Richards, Knight, Duggan, and Leslie. The whole has great promise, and we anticipate a good concert. (Southampton Herald, Saturday, 22 September 1855)

Monday, 3 September 1855 : Leeds Musical Union's First Full Dress Concert at Music Hall, Leeds.

MUSICAL UNION. FOURTH SERIES. THE FIRST FULL DRESS CONCERT will take place in the MUSIC HALL, on Monday Evening, September 3rd, 1855. VOCALISTS. MISS AMY DOLBY, MISS DOLBY, MR. GEORGE DOLBY, AND THE CELEBRATED BASSO, HERR FORMES. PIANIST, MR. LINDSAY SLOPER. SOLO VIOLINIST, MON. SAINTON. Together with the FULL BAND of the WEST RIDING ORCHESTRAL UNION. CONDUCTOR, MR. BURTON. Subscribers and Non-subscribers may obtain Tickets (for which an early application is requested, in order to be included in the Ballot for choice of Seats) of HOPKINSON, BUTTERWORTH and SYKES, Musicsellers, Leeds. Strangers' Tickets 7s. each, Saloon, under Gallery, 2s. 6d., Gallery 1s. Doors open at Seven o'clock, the Performance to commence at Eight o'clock precisely. By order of the Committee. WILLIAM PERKIN, Hon. Sec. (Leed's Times, Saturday, 25 August 1855)

LEEDS MUSICAL UNION. FOURTH SERIES. THE FIRST FULL DRESS CONCERT will take place in the MUSIC HALL, on Monday Evening, September 3rd, 1855. VOCALISTS. MISS AMY DOLBY, MISS DOLBY, MR. GEORGE DOLBY, AND THE CELEBRATED BASSO, HERR FORMES. MR. LINDSAY SLOPER, PIANIST. MON. SAINTON, SOLO VIOLINIST. Together with the FULL BAND of the WEST RIDING ORCHESTRAL UNION. CONDUCTOR, MR. BURTON. Subscribers and Non-Subscribers may obtain Tickets of Messrs. HOPKINSON, BUTTERWORTH, and SYKES, Music-Sellers, Leeds. Strangers' Tickets, 7s. each ; Promenade 2s. 6d. ; Gallery, 1s. N.B. Carriages will set down with the horses' heads down Albion-street, and to take up the contrary way. Particular attention is requested to this regulation. No person will be admitted to the Saloon, except in full Evening Dress. No one will be permitted to enter or leave the Room during the performance of any piece. Doors open at Seven o'clock, the Performance to commence at Eight precisely. By order of the Committee, WILLIAM PERKIN, Hon. Sec. (Leeds Mercury, Saturday, 1 September 1855) (Also: Leed's Times, Saturday, 1 September 1855.)

Leeds Musical Union.-The first concert of the season was given last evening, and with no lack of attractions to warrant anticipations of a rich musical treat, which were agreeably satisfied, as was evinced by the warm applause of a numerous and fashionable audience, and the frequent and vehement encores. The vocalists were Miss Dolby, Miss Amy Dolby, Mr. Geo. Dolby, and Herr Formes. Of the first and last of these it is sufficient to mention the names, if any one asks for a laconic intimation of the chief attractions of the concert. Miss Amy Dolby is young and scarcely matured in style, but her voice is sweet and pure. Mr. G. Dolby is also young; he took only a part in two glees, and afforded little opportunity of forming a judgment of his qualities. For the instrumental part of the performance there were the accomplished pianist, Mr. Lindsay Sloper, and M. Sainton, the violinist, both rare artists on their respective instruments ; and there was the full band of the West Riding Orchestral Union, conducted by Mr. Burton. Time does not permit us to Particularize all the pieces performed with any comments; but a few must be noticed. Miss Dolby gave the recitative and air of Mercadante, "Grazie clementi," very finely and brilliantly, and was loudly encored; and in songs of a very different character, " Sweet Spirit, comfort me," " Old Memories," and " Wild Bells," charmed her audience with sweetness and feeling, in the latter accompanying herself on the pianoforte. Herr Formes, in spite of a little faltering of the orchestra's accompaniment, caused apparently by the horns being under some emotion we presume, came out finely in the song "Oh jours heureux," from Meyerbeer's L'Étoile du Nord," and was most rapturously encored ; but his grand and most telling effort was the song of Polyphoemus, from Handel's Acis and Galatea, which he sang with the true gusto of the serio-comic, trolling forth the ponderous melody of the love-sick monster most inimitably. His staccato rendering of the air "O ruddier," was remarkably fine and effective. Of course the song was encored, but instead of a repetition, he gave the capital old song in which Incledon used to be so popular, The Wolf, which he rendered with great spirit, and in which his wonderful voice had scarcely less opportunity for effective utterance than in the preceding piece, or in the last song he sung and of which he has enhanced the fame. "In diesen," by Mozart. Mr. Lindsay Sloper played a charming piece, arranged by himself from L'Étoile du Nord, and also took the part for the pianoforte in a duet with M. Sainton, the beautiful sonata of Mozart in A major. M. Sainton's violin playing in this duet, and also in a fantasia of us own, Rigoletto, was all that could be desired. In the latter especially, his clear, full, and smooth quality of tone, his free and delicate execution, and the graceful style and feeling which characterize his playing were heard to full advantage ; and, though we have heard the violin made to produce more curious and ingenious effects, and though there was little attempt to astonish by dextrous manipulation, we never heard the instrument with more entire satisfaction and uninterrupted delight than on this occasion. The orchestra played four overtures, Der Freyschutz, and Preciosa, by Weber, Midsummer Night's Dream, by Mendelssohn, and Cenerentola, by Rossini; all which went off very well, particularly the second and third, and did high credit to the band and the conductor, Mr. Burton. As a general remark, we may say that the second part of the concert was the best, and was evidently most relished by the audience; it certainly included the most attractive compositions, and these were executed in the happiest manner. The Musical Union has begun its season well in this concert, and we augur well from this satisfactory commencement. (Leeds Intelligencer, Tuesday, 4 September 1855)

Leeds.-(From our own Correspondent.)-"When the London season ends, the "country" one begins. When the "stars" - vocal and instrumental - have concluded their engagements in the metropolis, they turn their faces towards the provinces, organize "touring parties," and spread themselves over the land. During the months of June, July, and August, concerts in the West Riding are nearly all confined to al fresco performances, brass band contests, and the usual "promenade concerts." In the smoky, overgrown manufacturing towns, people naturally prefer fresh air, rusticating, and sea-bathing to in-door concerts. They are right. Entertainments in closed rooms in summer are anything but pleasant. M. Jullien, the shrewdest of entrepreneurs, knows this. Hence the success of his late provincial tour. Accompanied by a band suited for open air performances - with no lack, however, of eminent soloists - M. Jullien has been everywhere eminently successful. His triumph at the Leeds Royal Gardens a few weeks ago, when many thousand persons enjoyed a rare musical treat, evidently suggested to the lessee the engagement of the "Yorkshire Prize Bands," to the number of nearly 200, who gave a "Grand Concert" on Saturday evening last. The success was not so great as anticipated, not more than two thousand attending. However, the bands served a purpose, and the ensemble playing, occasionally shaky in time, and uncertain in tune, was, on the whole, agreeable. - On Monday last, the first metropolitan importation for the season was secured for the opening of the Leeds Musical Union. The party consisted of Miss Dolby, Miss Amy Dolby, Mr. George Dolby, Mr. Lindsay Sloper (pianist), and M. Sainton (violinist), to whom the committee added Herr Formes, and a large and - I regret to state - a painfully inefficient band, was directed by Mr. Burton. The Society was established four years ago for the express purpose of uniting all the chief vocal and instrumental local talent for the performance of the great masters' works. This excellent idea was well carried out, and proved entirely successful during the first season, since which time the direction has shifted the scenes, and perverted the Society from its original object to a medium for patronising London stars, and paying them exorbitant sums at the expense of the orchestra. The latter, as at present constituted, is in a much lower state of efficiency than it was at the commencement of these concerts. The instrumental portion of the programme for Monday evening included the overtures to Der Freischütz, Preciosa, and A Midsummer Night's Dream, all of which, frequently played before in Leeds, never exhibited so much weakness and blundering in the execution. The first was a chaos from beginning to end ; the second was the best of the three; but Mendelssohn's brilliant reverie of faery land was more like a parcel of schoolboys "playing" at fiddles than a musical performance. On this unfortunate commencement of our musical season I will not descant at present, and will only add, that the performances of the band were agreeably relieved by some excellent singing - Miss Dolby, especially, being in good voice, and producing quite an enthusiasm. She sang a song by Mercadante, and another, with words from Herrick's litany, set by Mr. Brinley Richards, both of which were re-demanded. Miss Amy Dolby is a new candidate here for public favour. She is young, pretty (no despicable recommendations), and has a sweet but not very powerful voice. Her reception was cordial. Herr Formes gave a fine reading of the air from L'Étoile du Nord, "Pour fuir son souvenir." He also sang with great effect, "O ruddier than the cherry," and Mozart's noble air from Die Zauberflote, "In diesen heil' gen Hallén." Each of these pieces, however, suffered from the band accompaniments, which naturally was a source of great annoyance to the eminent basso. Of the performances of Mr. Lindsay Sloper and M. Sainton I need only say they were worthy of their reputation. They played Mozart's duet in A, for violin and piano, and each introduced a new solo. Next Saturday (the 8th) the People's Con certs commence. The committee have issued a "preliminary announcement" of a most promising character, which, if carried out, will tend to afford the people of this over-worked community many nights of rational enjoyment. (The Musical world, Saturday, 8 September 1855)

The Leeds Recreation Society opened their fifth season with a concert on the 8th September, at which Mrs. Sunderland, Mrs. Paget, Mr. Perring, and Mr. Delavanti, were the vocalists; conductor, Mr. Spark. The Leeds Musical Union commence their fourth series "with an excellent subscription list, an active committee, and an untiring secretary." The first full-dress concert was on the 3rd September, when Miss Dolby, Miss Amy Dolby, Mr. George Dolby, and Herr Formes, were the vocalists. Mr. Lindsay Sloper and Mr. Sainton, together with the full band of the West Riding Orchestral Union, were the instrumentalists. Conductor, Mr. Burton. Hereford. (Musical Times, Monday, 1 October 1855)

Tuesday, 4 September 1855 : Mr. Fagg's Grand Evening Concert at Music Hall, Kingston-Square, Hull.

MUSIC-HALL, KINGSTON SQUARE MR. FAGG begs to announce that he has engaged the following eminent Artistes to give a CONCERT in the above Hall on TUESDAY Evening, September 4th: -Vocalists - Miss DOLBY, Miss AMY DOLBY, and Mr. GEORGE DOLBY, Violinist - Mr. SAINTON. Pianist - Mr. LINDSEY SLOPER. Hull, 5, George-street. (Hull Packet, Friday, 17 August 1855) (Also: Hull Packet, Friday, 24 August 1855.)

MR. FAGG'S CONCERT.- Mr. Fagg announces a most attractive concert for Tuesday, Sept. 4. Miss Dolby, Miss Amy Dolby, and Mr. George Dolby, the distinguished vocalists, are engaged, with Mr. Sainton, the violinist, and Mr. Lindsey Sloper, pianist. (Hull Packet, Friday, 17 August 1855) (Also: Hull Packet, Friday, 17 August 1855.)

MUSIC-HALL, KINGSTON-SQUARE, HULL. PROGRAMME of MR. FAGG'S GRAND EVENING CONCERT, on TUESDAY, September 4th, 1855, to commence at Eight o'Clock precisely. Vocalists-Miss DOLBY, Miss AMY DOLBY, and Mr. GEORGE DOLBY. Violin - M. SAINTON. Pianoforte - Mr. LINDSAY SLOPER. The Pianoforte will be one of Messrs. BROADWOOD's Concert Grands, brought from London for the occasion. Reserved Seats, numbered - 4s. Family Ticket to admit Three - 10s. 6d. Unreserved Seats-2s 6d.; Back Seats - 1s. Schools and Children Half-price to the Reserved Seats. Tickets to be had of Mr. FAGG, and Mrs. ATKINSON, George-street; and of Mr. HOLDER, Whitefriargate. PROGRAMME-PARIT I. TRIO-" Mi lagnero" - Pergini. The Misses DOLBY and Mr. GEORGE DOLBY. ARIA -" Infelice e tu credevi" (Ernani) MR GEORGE DOLBY - Verdi SOLO Pianoforte, " Andante and Bohemienne"' (Recollections of L'Étoile du Nord) Mr. LINDSAY SLOPER - Lindsay Sloper. ARIA "Ah no la rosa e mia." (La Festa della Rosa) Miss AMY DOLBY - Coppola.. SOLO-Violin, Rondo Mazurka M. SAINTON - Sainton. RECIT. ED ARIA - " Grazie clementi Dei"- "A to riede" Miss DOLBY - Mercadante. DUETT-"Tell me where do fairies dwell ?" The Misses DOLBY - Glover. PART II. D SONATA in A major, Pianoforte and Violin Mr. LINDSAY SLOPER and M. SAINTON - Mozart.. SONG-" Sweet spirit, comfort me" Miss DOLBY - B. Richards.. DUETTO-" Crudel Perche" (Le Nozze di Figaro) Miss Amy DOLBY and Mr. GEORGE DOLBY - Mozart. SOLO--Pianoforte, Introduction and Le Carnaval de Venise Mr. LINDSAY SLOPER - H. Herz.. BALLAD -" Patrick and Ellen" Miss AMY DOLBY - J. P. Knight. FANTASIA - Violin (Rigoletto) M. SAINTON - Sainton. BALLADS - "Old Memories" "Wild Bells" Miss DOLBY - J. F. Duggan. TRIO "The Boat Song" The Misses DOLBY and Mr. GEORGE DOLBY - H. Leslie. At the Pianoforte, Mr. LINDSAY SLOPER. (Hull Packet, Friday, 31 August 1855)

Mr. FAGG'S CONCERT on Wednesday evening went off admirably. Miss Dolby was in good voice; her sister is a charming young singer; and Mr. Sainton on the violin, and Mr. Lindsay Sloper on the piano-forte, acquitted themselves in a manner worthy of the high reputation which they have both long since gained in musical circles. (Hull Packet, Friday, 7 September 1855)

Wednesday, 5 September 1855 : Mr. J. B. Wilson's Grand Concert at St. Hilda's Hall, Whitby.

WHITBY. Grand Concert.- Mr. J. B. Wilson gave a grand concert in St. Hilda's Hall, on Wednesday evening last, with a distinguished troupe of artistes, compiling Miss Dolby, Miss Amy Dolby, Mr. George Dolby, Mons. Sainton, and Mr. Lindsay Sloper. The fame of these artistes having already long preceded them, individual comment would be entirely superfluous. (York Herald, Saturday, 8 September 1855)

Concert at Whitby. On Wednesday evening, Mr. J. B. Wilson, of Scarbro', gave a grand concert in St. Hilda's Hall, Whitby. The artistes engaged on this occasion were Miss Dolby, Miss Amy Dolby, Mr. George Dolby, vocalists; Mr. Sainton, the celebrated violinist, with Mr. Lindsay Sloper and Mr. Wilson on the piano forte. Miss Dolby charmed the audience by the masterly style of her singing and the power and flexibility of her voice. She was enthusiastically encored in her songs. Mr. Sainton was also rewarded by an equally flattering mark of favour. Miss Amy Dolby, although very young, acquitted herself in a manner which gives promise of the attainment of a superior position in the musical world. The concert, altogether, was of an excellent character. (Yorkshire Gazette, Saturday, 8 September 1855)

Tuesday, 11 September 1855 : Mr. Jewson's Grand Concert at Borough Hall, Stockton-Upon-Tees.

Burough Hall, on Tuesday evening last, Mr. Jewson, of Stockton. The vocal performers were the famed Dolby, Miss Amy Dolby, and Mr.George Dolby, and Mr. Sainton,and Mr. Lindsay Sloper, were the instrumentalists. There was a numerous and fashionable audience and the performance gave great satisfaction. (Durham County Advertiser, Friday, 14 September 1855)

Stockton-upon-Tees.-A grand concert was given in the Borough Hall, on Tuesday evening last, by Mr. Jewson, of this town ; the highly-talented Dolby family, and Messrs. Sainton, Lindsay, Sloper, were the performers. There was a highly-fashionable party assembled. As a fresh feature in the carrying on of such amusements, refreshments of all kinds were supplied in the ante-room, to which ample justice was done by the party assembled. (Yorkshire Gazette, Saturday, 15 September 1855)

Thursday, 13 September 1855 : Mr. P. Blair's Grand Evening Concert at Town Hall, Morpeth.

GRAND EVENING CONCERT IN THE TOWN HALL, MORPETH. P. BLAIR has much pleasure in announcing that he has succeeded in making arrangements with the following Eminent Artistes to give one GRAND EVENING CONCERT, in the above Room, on Thursday Evening, September 13th, 1855 : -Vocalists, MISS DOLBY, MISS AMY DOLBY, MR. GEORGE DOLBY: Violin-MR. SAINTON: Pianoforte-MR. LINDSAY SLOPER. The Pianoforte will be one of Messrs. Broadwood's Grands, brought from London for the occasion, Reserved Seats, 3s.; Second do., 2s.: Back 1s. Tickets and Programmes to be had at P. Blair's Book and Music Seller, Newgate Street. Doors open at half-past 7, Concert to commence 8 o'clock. (Morpeth Herald, Saturday, 25 August 1855)

MISS DOLBY, MISS AMY DOLBY, Mr GEORGE DOLBY. Violin, Mr SAINTON. Piano-forte, Mr LINDSAY SLOPER. The Piano-forte will be one of Messrs Broadwood's grands, brought from London for the occasion. Reserved Seats, 3s; Second do., 2s; Back do., 1s. Tickets and Programmes to be had at P. Blair's, Book and Musicseller, Newgate-street. Doors open at half-past seven. Concert to commence at eight o'clock. (Newcastle Courant (1803), Friday, 31 August 1855)

GRAND EVENING CONCERT. P. BLAIR has much Pleasure in announcing that he has succeeded in making Arrangements with the following eminent Artistes, to give ONE GRAND EVENING CONCERT, in Morpeth, on Thursday Evening, Sept 13th, 1855 :-Vocalists, MISS DOLBY, MISS AMY DOLBY, MR. GEORGE DOLBY. Violin, MR. SAINTON. Piano forte, MR. LINDSAY SLOPER. The Piano-forte will be one of Mr. Broadwood's Grands, brought from London for the occasion. Reserved Seats, 3s.; Second Do. 2s.; Back Do. 1s. Tickets and Programmes to be had at P. Blair's, Book and Music Seller, Newgate Street. Doors open at Half-past Seven. Concert to commence at Eight o'Clock. (Newcastle Journal, Saturday, 8 September 1855)

The Grand Musical Entertainment announced in out last by Mr. P. Blair, in which Miss Dolby, assisted by Miss Amy Dolby, Mr. Geo. Dolby, M. Sainton, (violin) and Mr. Lindsay Sloper, piano forte, took place on Thursday evening the 13th, inst., before a highly respectable, though not a crowded house. Miss Dolby's singing was exquisite, and the Duet with Miss Amy Dolby " Tell me where do fairies dwell," was charmingly given. The violin playing of M. Sainton, could not be excelled; while the execution of Mr. Lindsay Sloper, on the piano forte, proves him quite master of his instrument. We are much indebted to Mr. Blair for this great musical treat, and hope he will not be long in securing their services again to give another entertainment. (Morpeth Herald, Saturday, 22 September 1855)

Saturday, 15 September 1855 : Mr. H. E. Ford (Organist Of Carlisle Cathedral)'s Grand Morning Concert at George Hotel, Penrith.

GRAND CONCERTS. MR. H. E. FORD, (Organist of Carlisle Cathedral), BEGS to inform the Nobility, Gentry, and Inhabitants of CARLISLE and PENRITH that he will give TWO GRAND CONCERTS-One in Carlisle on Friday Evening, September 14th, and one at Penrith, on Saturday Morning, September 15th -on which occasion he has engaged the following celebrated and distinguished Artistes : - . VOCALISTS. MISS DOLBY, MISS AMY DOLBY, AND MR. GEORGE DOLBY. VIOLIN. M. SAINTON. PIANOFORTE. MR. LINDSAY SLOPER, AND MR. H. E. FORD. Full particulars will be duly announced. (Carlisle Journal, Friday, 17 August 1855)

GRAND CONCERTS. MR. H. E. FORD, (Organist of Carlisle Cathedral,) BEGS to inform the Nobility, Gentry, and Inhabitants of CARLISLE and PENRITH that he will give TWO GRAND CONCERTS-One in Carlisle at the Coffee House Assembly Room, on Friday Evening, September 14th, and one at Penrith, at the George Hotel, on Saturday Morning, September 15th-for which occasion he has engaged the following celebrated and distinguished Artistes:- VOCALISTS. MISS DOLBY, MISS AMY DOLBY, AND MR. GEORGE DOLBY. VIOLIN. M. SAINTON. PIANOFORTE. MR. LINDSAY SLOPER, AND MR. H. E. FORD. A Plan of the Reserved Seats can be seen, and places secured for the Carlisle Concert, at Mrs. Thurnam's. Tickets.-Reserved Seats, Six Shillings each ; Unreserved Seats, Three Shillings each ; the Gallery Half-a-Crown. The Concert to commence at Eight o'Clock precisely. For the Penrith Concert, a Plan of the Reserved Seats can be seen at Mrs. Brown's, Stationer, Penrith, and places secured. Tickets.-Reserved Seats, Six Shillings each; Unreserved Seats, Three Shillings each. The Concert to commence at half-past Two o'Clock precisely. (Carlisle Journal, Friday, 31 August 1855) (Also: Carlisle Journal, Friday, 7 September 1855.)

Concert.-The concert announced by Mr. Ford, for Friday night, promises to afford a musical treat of no ordinary kind. It is now many years since Miss Dolby made her appearance in Carlisle, and we feel confident that our musical friends will have much pleasure in renewing the acquaintance. In the interval, Miss Dolby has been adding to her well -earned reputation, and for richness of voice and purity of style she holds her position among the first, if not herself the first, of English vocalists. Miss Amy Dolby and Mr. George Dolby are also well known to fame, and we have no doubt they will ably second her efforts. The announcement includes the names of Mr. Sainton, the celebrated violinist, Mr. Lindsay Sloper, and of Mr. Ford himself, whose talents are too well known to require a word of comment. (Carlisle Journal, Tuesday, 11 September 1855)

GRAND CONCERTS. MR. H. E. FORD, (Organist of Carlisle Cathedral,) BEGS to inform the Nobility, Gentry, and Inhabitants of CARLISLE and PENRITH that he will give TWO GRAND CONCERTS-One in Carlisle at the Coffee Mouse Assembly Room, This Evening, and one at Penrith, at the George Hotel, To-morrow Morning, -for which occasion he has engaged the following celebrated and distinguished Artistes: - vocalists. MISS DOLBY, MISS AMY DOLBY, AND MR. GEORGE DOLBY. VIOLIN. M. SAINTON. PIANOFORTE. MR. LINDSAY SLOPER, AND MR. H. E. FORD. A Plan of the Reserved Seats can be seen, and places secured for the Carlisle Concert, at Mrs. Thurnam's. Tickets.-Reserved Seats, Six Shillings each ; Unreserved Seats, Three Shillings each ; the Gallery Half-a-Crown. The Concert to commence at Eight o'Clock precisely. For the Penrith Concert, a Plan of the Reserved Seats can be seen at Mrs. Brown's, Stationer, Penrith, and places secured. Tickets.-Reserved Seats, Six Shillings each; Unreserved Seats, Three Shillings each. The Concert to commence at half-past Two o'clock precisely. (Carlisle Journal, Friday, 14 September 1855)

Me. Ford's Concert. -Mr. Ford's concert came off on Friday night last in the Coffee House Assembly Room. The attendance, we regret to say, was not nearly so large as might have been anticipated, considering the celebrity of the artistes who were engaged for the occasion. The following was the programme : - PART I. Trio-" Mi lagnero" - Perugini. The Misses Dolby and Mr. George Dolby. Aria-"Infelice e tu credevi" (Ernani) - Verdi. Mr. George Dolby. Solo-Pianoforte, "Andante and Bohemienne" (Recollections of L'Étoile du Nord) Lindsay Sloper - Mr. Lindsay Sloper. Aria-"Ah no la rosa e mia"…(La Festa della Rosa) Miss Amy Dolby - Coppola. Solo -Violin, Rondo Mazurka - Sainton. Recit. Ed Aria" Grazie clementi Dei" "A te riede " ) Miss Dolby - Mercadante. Duet Pianoforte, from "Le Domino Noir" Mr. Lindsay Sloper and Mr. H. E. Ford - Bertini. Duet -" Tell me where do fairies dwell?" The Misses Dolby - Glover.. PART II. Sonata in A major, Pianoforte and Violin Mr. Lindsay Sloper and M. Sainton - Mozart. Song-"Sweet Spirit, comfort me." Miss Dolby - B. Richards. Duetto-" Crudel perche" (Le Nozze di Figaro) Miss Amy Dolby and Mr. George Dolby - Mozart. Solo-Pianoforte, Introduction and Le Carnaval de Venise Mr. Lindsay Sloper - H. Herz. Ballad-"Patrick and Ellen" Miss Amy Dolby - J.P. Knight.. Fantasia, Violin (Rigoletto) M. Sainton - Sainton. Ballads "Old Memories" "Wild Bells" Miss Dolby - J. F. Duggan. Trio-"The Boat Song" The Misses Dolby and Mr. George Dolby - H. Leslie.. To those who have been accustomed to the dramatic style of operatic vocalists, the efforts of Miss Dolby might at first create disappointment on account of their apparent tameness. Possessing a rich contralto voice, not remarkable for its volume, but fine and equal in its quality, she is essentially a concert singer, and her manner is calculated rather to fascinate a quiet drawing-room company than to satisfy an excitable public assembly. That which pleases in private does not always succeed in public, where a truthful representation requires to be carried almost to the verge of exaggeration ; but that the latter is the correct style admits of a doubt, because, e converso, what strikes us as grand and impressive on the stage or in the concert-room, appears burlesque and ridiculous in private. With exquisite taste Miss Dolby never allows her feelings to get the better of her judgment. Like everything really good, her singing grows upon you, and though the quietness of manner may at first occasion disappointment, eventually she never fails to captivate by her correct taste and refinement. So it was on Friday night. It is in simple ballads or in oratorio music that she excels, and her power was felt in her mode of rendering the quaint and peculiar song, "Sweet spirit, comfort me," and in the ballad " Wild Bells," both of which were enthusiastically encored. Miss Amy Dolby's voice is sweet, especially in the upper notes, but both she and Mr. George Dolby are deficient in animation. With regard to M. Sainton we must confess we never heard a more unaffected or pleasing violinist. His most marked characteristic is simplicity. Equal to the execution of the most rapid and difficult passages-of which he gave tolerably good proof in the " Fantasia"-he is not ambitious of mere brilliance, but uses that power only as accessory, and subservient to the general beauties of the piece, and aims, not to excite astonishment, but to please a refined taste, and to educate the ear of his audience to a perception of all that is really worthy of admiration. Mozart's Sonata in A major seemed to give great delight, and a repetition was demanded. The duet on the pianoforte by Mr. Ford and Mr. Lindsay Sloper was much admired, and was applauded in several parts. The entertainment concluded at about half-past ten. (Carlisle Journal, Tuesday, 18 September 1855)

Monday, 17 September 1855 : Grand Evening Concert at Theatre Royal, Preston.

THEATRE ROYAL, PRESTON. GRAND EVENING CONCERT, on MONDAY, SEPTEMBER 17TH, 1855. VOCALISTS: MISS DOLBY, MISS AMY DOLBY, AND, MR. GEORGE DOLBY. VIOLIN: M. SAINTON. PIANOFORTE: MR. LINDSAY SLOPER. The Pianoforte will be one of Messrs. Broadwood's Concert Grands, brought from London for the occasion. Tickets to be had at Messrs. ADDISON's, Church-street, where the Box Plan may now be seen and places secured. Boxes, 3s.; Pit, 2s.; Gallery, 1s. Doors to be opened at seven, Concert to commence at eight o'clock. (Preston Chronicle, Saturday, 8 September 1855) (Also: Preston Chronicle, Saturday, 15 September 1855.)

Monday, 24 September 1855 : Messrs. T. And H. Bennett's Annual Concert (Evening) at Assembly Room, Chichester.

The Messrs. T. and H. Bennett, of Chichester, will give their annual concert. in the Assembly Room, on Monday next; and when we see such names as the Misses Dolby, Mr. L. Sloper, Mr. G. Dolby, and M. Sainton, and the programme which has been issued, we cannot for a moment doubt that a rich musical treat will be furnished. (Hampshire/Portsmouth Telegraph, Saturday, 22 September 1855)

Bennett's Concerts.-The Annual Concerts of Messrs and H. Bennett took place on Monday Evening, at the Assembly Rooms. The artistes were Miss and Miss Amy Dolby, Mr George Dolby, M. Sainton, Mr. Lindsay Sloper, and Mr. H. Bennett. The room was filled with a fashionable audience. (Brighton Gazette, Thursday, 27 September 1855)

On Monday evening last Messrs. T. and H. Bennett gave their Annual Concert in the Assembly Room, Chichester. The attendance, as usual, was large and respectable, consisting of all the principal families of the city and neighbourhood. Miss Dolby's rich full voice, and finished style of singing, produced their usual effect. Mr. Lindsay Sloper proved himself a master of his instrument, the Piano Forte, and the admirers of classical music were especially delighted with the Sonata of Beethoven, which he played with Mr. Sainton, and the Piano Forte Duet, which he played with Mr. H. Bennett, was also much applauded. Mr. Sainton's performance was the perfection of violin playing; in sweetness of tone, and gracefulness, he has no equal. Miss Amy Dolby sang her Little Ballad very sweetly. The Concert altogether gave the utmost satisfaction to all present. (Hampshire/Portsmouth Telegraph, Saturday, 29 September 1855)

Mr. J. Conduit gave his first Concert for the season on Thursday evening, which attracted a brilliant company. The principal vocalists were Miss Dolby, Miss Amy Dolby, and Mr. George Dolby. Mr. Sainton was the Violinist, and Mr. Lindsay Sloper presided at the pianoforte. (Hampshire/Portsmouth Telegraph, Saturday, 29 September 1855)

Wednesday, 26 September 1855 : Mr. W. P. Aylward's Grand Concert at Assembly Rooms, Salisbury.

Mr. Aylward's Concert. -We beg to direct the attention of our readers to the advertisement of Mr. Aylward's forthcoming concert, which appears this week in our columns ; the well-known talent of the artistes engaged scarcely requires comment; Miss Dolby is a great favourite with a Salisbury audience, M. Sainton (Solo Violinist to Her Majesty) and Mr. Lindsay Sloper (Pianist) are both eminent on their respective instruments, and we believe never played in Salisbury ; the latter gentleman we understand is a native of our county, adding another to the considerable list of musical celebrities which Wiltshire has produced. (Salisbury and Winchester Journal, Saturday, 15 September 1855) (Also: Salisbury and Winchester Journal, Saturday, 15 September 1855.)

ASSEMBLY ROOMS, SALISBURY. W.P. AYLWARD begs to announce, that he will give a GRAND CONCERT at the above Rooms on Wednesday Evening, Sept, 26th. Vocalists : MISS DOLBY. MISS AMY DOLBY. MR. GEORGE DOLBY. Violin M. SAINTON. Pianoforte MR. LINDSAY SLOPER. Tickets, 2s.; Reserved Seats, 3s. 6d.; may be obtained at Mr. Aylward's Pianoforte and Music Warehouse, New Canal. (Salisbury and Winchester Journal, Saturday, 15 September 1855) (Also: Salisbury and Winchester Journal, Saturday, 22 September 1855; Salisbury and Winchester Journal, Saturday, 15 September 1855; Salisbury and Winchester Journal, Saturday, 22 September 1855.)

Thursday, 27 September 1855 : Mr. J. Conduit's Concert [Date Approx] at St. John's House.

Mr. J. Conduit gave his first concert for the season at St. John's House, which attracted a large and fashionable company. The principal vocalists were Miss Dolby, Miss Amy Dolby, and Mr. George Dolby. Mr. Sainton was the violinist, and Mr. Lindsay Sloper presided at the pianoforte. (Salisbury and Winchester Journal, Saturday, 29 September 1855) (Also: Salisbury and Winchester Journal, Saturday, 29 September 1855.)

Friday, 28 September 1855 : Mr. J. P. Dyer's Grand Evening Concert at Town Hall, Warminster.

TOWN HALL, WARMINSTER Mr. J. P. DYER begs to announce that he will give two GRAND EVENING & MORNING CONCERTS, on Friday Evening, September 28th, at 8 p.m., and Saturday Morning, September 29th, at 3 p.m. VOCALISTS MISS DOLBY, MISS AMY DOLBY, and MR. GEORGE DOLBY. Violin M. SAINTON. Pianoforte MR. LINDSAY SLOPER. Tickets : Reserved Seats, 4s. each ; Unreserved Seats, 2s. 6d. each, may be had at Mr. Dyer's Muse Warehouse, or at Mr. Vardy's or Mr. Tayler's Libraries. (Salisbury and Winchester Journal, Saturday, 22 September 1855) (Also: Salisbury and Winchester Journal, Saturday, 22 September 1855.)

Monday, 22 October 1855 : Grand Morning Concert in Aid of the Funds of Lincoln County Hospital at County Assembly Rooms, Lincoln.

LINCOLN COUNTY HOSPITAL. THE Grand CONCERT in aid of the FUNDS of the above INSTITUTION will take place at the County Assembly-rooms, Lincoln, on Monday, October 22d, at 2 o'clock in the Afternoon. The following Noblemen and Gentlemen have kindly consented to act as a Committee: -The Most Noble the Marquis of Granby, Lord-Lieutenant of the County of Lincoln, the Worshipful the Mayor of Lincoln, the Right Honorable the Earl of Yarborough, the Right Honorable Lord Monson, the Right Reverend the Lord Bishop of Lincoln, the Right Honorable R. A. C. Nisbet Hamilton, M.P., James Banks Stanhope, Esq., M.P., the Honorable Alexander Leslie Melville, Sir Charles John Anderson, Bart, the Very Reverend the Dean of Lincoln, the Reverend the Subdean of Lincoln, the Venerable Archdeacon Bonney, the Reverend H. W. Sibthorp, the Rev. Christopher Neville, Richard Ellison, Esq, George Knollis Jarvis, Esq., Lieut.-Col. Ellison, and J. Lewis Fytche, Esq. Vocalists. -Miss Dolby, Miss Amy Dolby, Mr. George Dolby, and Mr. Barraclough, Lay Vicar of Lincoln Cathedral. Violin-M. Sainton, first Violin Royal Italian Opera, Philharmonic, &c. Pianoforte-Mr. Lindsay Sloper. The Pianoforte will be one of Messrs. Broadwood's New Concert Grands, brought from London expressly for this occasion. Tickets-Reserved Seats, 5s.; Family Tickets, to admit Three, 12s. 6d.; Second Seats, 2s. 6d.; Promenade and Gallery 1s. Schools admitted to Reserved and Second Seats The Plan of the Reserved Seats may be seen, and Places secured, at Mr. Lockyer's Music Warehouse, 224, Stonebow, Lincoln. Books of the Words, with translation of the Italian Songs, 6d. each. (Stamford Mercury, Friday, 5 October 1855) (Also: Stamford Mercury, Friday, 19 October 1855.)

Wednesday, 24 October 1855 : Mr. Sippel's Grand Vocal and Instrumental Concert at Town Hall, Cambridge.

By Permission of the Right Worshipful the Vice-Chancellor and the Worshipful the Mayor MR. SIPPEL HAS the honor to announce to the Members of the University, Gentry, and the Inhabitants of the Town and County of Cambridge, that he intends giving a GRAND VOCAL AND INSTRUMENTAL CONCERT, at the TOWN. HALL, on WEDNESDAY EVENING. October 24th, 1855. The following Celebrated Artistes are already Engaged :- vocalists : Miss DOLBY, Miss AMY DOLBY, Mr. GEORGE DOLBY. INSTRUMENTALISTS : MR. SAINTON (Violinist to the Queen). Grand Pianoforte-Mr. LINDSAY SLOPER. Flute-MR. SIPPEL. PROGRAMME PART I. TRIO-" L'usato ardir .(Semiramide). The Misses* Dolby and Mr. George Dolby - Rossini. ARIA-"Ah no la rosa e mia.". (La Festa della Rosa) Miss AMY DOLBY - Coppola. SOLO -Pianoforte. " Andante and Bohemienne" (Recollections of L'Étoile du Nord) Mr. Lindsay Sloper - Lindsay Sloper. ARIA-"Infelice e tu credevi "….(Ernarni) George Dolby - Verdi. SOLO -Violin, Rondo Mazurka, M Sainton. - Sainton. RECIT & ARIA "Grazie clementi Dei" "A te riede" Miss Dolby - Mercadante. SOLO-Flute, Mr SIPPEL - Clinton. DUETT-" Tell me where do fairies dwell" The Misses Dolby -Glover. 1 PART II. ANDANTE and FINALE from Sonata in A minor (dedicated to Kreutzer) Mr. Lindsay Sloper and M. Sainton - Beethoven. SONG-" The First Violet " Miss Dolby - Mendelssohn.. DUETTO-" Crudel perche"..(Le Nozze di Figaro) Miss Amy Dolby and Mr. George Dolby - Mozart. SOLO -Pianoforte, Introduction and Le Carnaval de Venise, Mr. Lindsay Sloper - H. Herz. BALLAD-" Patrick and Ellen " Miss Amy Dolby - J. P. Knight. FANTASIA -Violin (Rigoletto) Mr. Sainton - Sainton. BALLADS "Old Memories" "Wild Bells" Miss Dolby. J. F. Duggan. TRIO - "The Boat Song" The Misses Dolby and Mr. George Dolby - H. Leslie. Conductor-Mr. LINDSAY SLOPER. The Pianoforte will be one of Messrs Broadwood's Concerts Grands, brought from London for the occasions Admission: Reserved Seats (numbered), 5s.; Family Ticket to admit three, 13s. Unreserved Seats, 3s. 6d. each; Family Ticket to admit three, 9s. To be obtained at Mr. SIPPEL'S Music Warehouse. 17, King's Parade, Cambridge. (Cambridge Independent Press, Saturday, 13 October 1855) (Also: Cambridge Independent Press, Saturday, 20 October 1855.)

Mr. Sippers Concert.-We see by advertisement that our townsman, Mr. Sippel, gives a concert on Wednesday next, the 24th, for which occasion he has engaged the celebrated Miss Dolby (the English Alboni), with her brother and sister, Mr. G. and Miss Amy Dolby, from the Royal Academy of Music, London; M. Sainton, violinist to Her Majesty; Mr. Lindsay Sloper, the well-known pianist and composer. The programme is a very attractive one; the trio and duett singing of the Dolbys is very highly spoken of, musical critics saying that they touch perfection. Of the other artistes we need offer no comment; but looking at the programme, which is exceedingly rich, we have no doubt that Mr. Sippel's public spirit will meet with that reward which is so justly his due. By an omission in the advertisement and programme, it is not stated at what hour the concert commences ; it will therefore be understood that the doors open at half-past seven, and the concert commence at eight o'clock. (Cambridge Independent Press, Saturday, 20 October 1855)

Friday, 26 October 1855 : Grand Vocal and Instrumental Concert (Evening) at Assembly Room, Cups Hotel, Colchester.

GRAND VOCAL AND INSTRUMENTAL CONCERT, AT THE ASSEMBLY ROOM, CUPS HOTEL, COLCHESTER, On Friday Evening, October 26th, 1855. VOCALISTS - Miss DOLBY, Miss AMY DOLBY, and Mr. GEORGE DOLBY. INSTRUMENTALISTS : Violin - M. SAINTON. Piano-Forte-Mr. L. SLOPER. THE PIANO-FORTE will be one of Messrs. Broadwood's Concert-Grands, brought from London for the occasion. TO COMMENCE AT EIGHT O'CLOCK. ADMISSION - Reserved Seats (numbered) 3s.; Body of the Room, 2s. Tickets and Programmes can be obtained at Mr. BENHAM'S, High Street, Colchester, where a Plan of the Room may be seen. (Essex Standard, Friday, 19 October 1855)

Saturday, 27 October 1855 : Grand Morning Concert at Lecture Hall, Atheneum, Bury St. Edmunds.

TWO GRAND CONCERTS Will also be given on the Evening of Thursday, the 25th, and the Morning of Saturday, the 27th Oct., 1855. Vocalists : MISS DOLBY, MISS AMY DOLBY, AND MR. GEORGE DOLBY. Violin : M. SAINTON. Pianoforte ; MR. LINDSAY SLOPER. Programme next week. C. W. JONES, Hon. Sec. (Bury and Norwich Post, Wednesday, 3 October 1855)

ATHENAEUM, BURY ST. EDMUND'S. TWO GRAND CONCERTS WILL be given on the Evening of Thursday, the 25th, and the Morning of Saturday, the 27th Oct, 1855. VOCALISTS MISS DOLBY, MISS AMY DOLBY, AND MR. GEORGE DOLBY. Violin : M. SAINTON. Pianoforte : MR. LINDSAY SLOPER Programme next week. C. W. JONES, Hon. Sec. (Bury and Norwich Post, Wednesday, 10 October 1855)

TWO GRAND CONCERTS WILL BE GIVEN IN THE LECTURE HALL, ATHENEUM, ON THURSDAY EVENING 25th OCTOBER, AND On SATURDAY MORNING, 27th October, 1855. vocalists : MISS DOLBY, MISS AMY DOLBY, MR. GEORGE DOLBY. INSTRUMENTALISTS : VIOLIN, M . SAINTON. PIANOFORTE : MR. LINDSAY SLOPER. J. H. P. OATES, Esq., M.P., in the Chair. Evening Concert- Chair to be taken at Eight o'clock. Morning Concert to commence at Two o'clock. For programmes and particulars see small bills, or apply to the Treasurer, Mr. Spanton, Abbeygate-street. (Bury and Norwich Post, Wednesday, 17 October 1855) (Also: Bury and Norwich Post, Wednesday, 24 October 1855.)

The Concerts of the Misses and Mr. George Dolby, with M. Sainton and Mr. Lindsay Sloper, at the Hall of the Athenaeum, on Thursday evening and Saturday morning, were well attended, and, it is needless to say, afforded much gratification. The evening performance being given in connection with the Institution, the thanks of the audience were proposed by J. H. P. Oakes, Esq., M.P., who presided on the occasion, and who announced a lecture for next week by the Rev. E. Sidney, on the Philosophy of a Grain of Wheat. (Bury and Norwich Post, Wednesday, 31 October 1855)

Monday, 29 October 1855 : Grand Concert at Bristol Athenaeum.

BRISTOL ATHENAEUM. A GRAND CONCERT Will be given at the above institution, on MONDAY, 29th. October, by the following distinguished Artistes - MISS DOLBY, MISS AMY DOLBY, M. SAINTON, Mr. LINDSAY SLOPER, Mr. GEORGE DOLBY. Programmes and Tickets (Body of Room, 2s.; Tribunes, 3s.) may be obtained at the Athenaeum, and at the principal Music Warehouses. (Bristol Mercury, Saturday, 20 October 1855)

BRISTOL ATHENAEUM. A GRAND EVENING CONCERT, On MONDAY, OCTOBER 29th, 1855, To commence at Eight o'clock precisely. VOCALISTS: MISS DOLBY, MISS AMY DOLBY, AND Mr. GEORGE DOLBY. VIOLIN: M. SAINTON. PIANOFORTE: Mr. LINDSAY SLOPER. PROGRAMME: PART I. TRIO - "L'usato ardir" (Semiramide) - Rossini. ARIA -" Ah no la rosa e mia" (La Festa della Rosa) - Coppola, SOLO-Piano-forte, "Andante and Bohemienne ." ARIA -', Infelice e tu credevi". (Ernani). Verdi. SOLO-Violin, Rondo Mazurka - Sainton RECIT. & ARIA "Grazie clementi Dei" "A te riede" - Mercandante. DUET-"'Tell me where do fairies dwell" - Glover. PART II. ANDANTE and FINALE, from Sonata in A-minor - Beethoven SONG - "The First Violet" - Mendelssohn. DUETTO - " Crudel perche" (Le Nozze di Figaro) - Mozart. SOLO - Pianoforte, Introduction and Le Carnaval de Venise - E. Herz. BALLAD -"Patrick and Ellen" - J. P. Knight . FANTASIA - Violin (Rigoletto) - Sainton. BALLADS - "Old Memories" "Wild Bells" J. F. Duggan. TRIO - "The Boat Song." - H. Leslie. Tickets-Tribune (Reserved Seats), 3s.; Body of the Hall,2s., may be had at the Athenaeum, and the principal Music Warehouses. (Bristol Mercury, Saturday, 27 October 1855)

Saturday, 3 November 1855 : Mr. H. Stonex, (Organist of St. Nicholas' Church Yarmouth)'s Dress Concert at Town Hall, Yarmouth.

Concert. -On Tuesday se'nnight, a dress Concert was given in the Town Hall, by Mr. Stonex, organist of the parish church, and certainly such an array of talent has rarely it ever been presented to a Yarmouth audience. The room was filled by the elite of the town and neighbourhood - The vocalists were Miss Dolby, Miss Amy Dolby, and Mr. George Dolby ; pianist, Mr. Lindsay Sloper; violinist, Mons. Sainton. (Norfolk Chronicle, Saturday, 3 November 1855)

Saturday, 3 November 1855 : Grand Morning and Evening Concerts at Polytechnic Hall, Falmouth.

TRURO, PENZANCE, FALMOUTH. MR. GEORGE DOLBY HAS much pleasure in informing the Nobility, Gentry, und inhabitants generally of Cornwall that he will have the honour of giving his GRAND MORNING AND EVENING CONCERTS, as follows:- TRURO- -Assembly Rooms, on Thursday Evening, Nov. 1. PENZANCE UNION HALL, Princes-street on Friday Morning and Evening, Nov. 2. FALMOUTH- Polytechnic Hall, on Saturday Morning and Evening Nov. 3, under the distinguished patronage of Lieutenant-Colonel Sir Colman Rashleigh, Bart., and the Officers of the Royal Miners' Artillery. At these Concerto, Mr. DOLBY will be assisted by the following VOCALISTS, Miss DOLBY, Miss AMY DOLBY. VIOLIN, M. SAINTON. PIANOFORTE, Mr. LINDSAY SLOPER. The Pianoforte will be one of Messrs. Broad wood's Concert Grands brought from London for the occasion. Further particular s will be given next week. (Royal Cornwall Gazette, Friday, 19 October 1855)

The approaching Grand Concerts or Vocal and Instrumental Music- The music-loving public of West Cornwall will have read with surprise and gratification that they are to be visited next week by a party of some of the most distinguished musicians the country can boast.- The first on the list is Miss Dolby, one of the greatest contralto singers of the day ; whilst her sister Miss Amy Dolby, although not so celebrated as her elder sister, yet possesses a fine mezzo-soprano voice. Mr. George Dolby, the brother, has a barytone voice of good quality, and has just left the Royal Academy of Music. Of the instrumentalists scarcely a word need be said, M. Sainton being unquestionably the finest violinist in England, and his companion Lindsay Sloper one of our greatest pianists. M. Sainton, who has held the eminent position of solo violinist to the Queen for several years past, as well as principal professor at the Royal Academy of Music, and leader of the Royal Italian Opera Band, produces the most remarkable tone on his violin, both for richness of quality and for volume of sound, that can be imagined, while perfect execution and delicate finish render his performances most enchanting. It is hoped the amateurs of the County will not fail to attend the performance, of these truly great artistes, even if it were but a compliment in return for their visit to us in the far west. (Royal Cornwall Gazette, Friday, 26 October 1855)

MESSRS J. RUSSELL ENDEAN, (Truro,) ROWE & SON, (Penzance), and Co., respectfully inform the Nobility, Gentry, and Inhabitants of Cornwall, that they have engaged the following distinguished and justly celebrated vocalists :- MISS DOLBY, MISS AMY DOLBY, Me. GEORGE DOLBY, VIOLIN,-PIANOFORTE, M.SAINTON, Mr. LINDSAY SLOPER, For Grand Morning and Evening Concerts, to be given as follows :-- TRURO. - On Thursday Evening, November 1, at the Assembly Rooms, doors open at half-past Seven, for Eight o'clock ; Tickets, Reserved Seats, 3s. ; Second Seats, 2s. ; Gallery, 1s. ; Family Tickets admitting 5, 12s. ; to be obtained at Mr. J. Russell Endean's, Bookseller, -&c, and at the Piano-Forte and Music Warehouse of Mrs. Heard & Sons, Boscawen-street. PENZANCE- On Friday Morning and Evening, November 2, at the Union Hall, Prince's-street. Morning at 2 o'clock; Evening at 8 o'clock. Tickets, 3s., 2s., and 1s., to be obtained at Messrs. Rowe & Sons, Booksellers. FALMOUTH - On Saturday Morning and Evening, Nov. 3, at the Polytechnic Hall. Morning at 2 o'clock; Evening at 8; under the distinguished patronage of Lieut. Col. Sir Colman Rashleigh, Bart., and the Officers of the Royal Miners' Artillery: Tickets, 3s., 2s., and 1s., may be obtained at Mr. Lancaster's, Bookseller. Pieces from the following, among other composers, will be given at those Concerts, viz., Mozart, Beethoven, Mendelssohn, Rossini, Verdi, Mercadante, Herz, Ricci, De Beriot, Glover, Leslie, -&c., &c. (See Programme). The Pianoforte will be one of Messrs. Broadwood's Concert Grands, brought from London for the occasion. All communications to be addressed to Mr. J. Russell Endean, Printer, Bookseller, &c, Truro. Dated, Oct. 24, 1855. (Royal Cornwall Gazette, Friday, 26 October 1855)

Tuesday, 6 November 1855 : Second Subscription Concert at New Music Hall, London-Road, Leicester.

LEICESTER SUBSCRIPTION CONCERTS. THE SECOND CONCERT of the Series will take place in the NEW MUSIC HALL, London-road, on TUESDAY EVENING, November 6th, 1855, commencing at Eight o'clock. ARTISTES : - MISS DOLBY, MISS AMY DOLBY, M. SAINTON. (Solo Violin, Royal Italian Philharmonic Society, &c, &c.), MR. GEORGE DOLBY, HERE HAUSMANN, (Solo Violoncello), and MR. LINDSAY SLOPER, Solo Pianoforte. Non-subscribers Tickets to the Miscellaneous Concerts: -Reserved Stalls, 4s. each; Unreserved Seats, 2s. 6d. each. Promenade, 1s. ONE SHILLING. Tickets and Places may be secured by applying to Mr. T. Chapman Browne, Bookseller and Stationer, Bible and Crown, Market-place. (Leicester Journal, Friday, 26 October 1855)

Leicester Subscription Concerts. THE SECOND CONCERT of the Series will take place in the NEW MUSIC HALL, London-road, on TUESDAY, EVENING, November 6th, 1855, commencing at Eight o'clock. ARTISTES : - MISS DOLBY, MISS AMY DOLBY, M. SAINTON, (Solo Violin, Royal Italian Philharmonic Society, &c) MR. GEORGE DOLBY, HERR HAUSMANN, (Solo Violoncello), and MR. LINDSAY SLOPER, Solo Pianoforte. Non-subscribers' Tickets to the Miscellaneous Concerts: - Reserved Stalls, 4s. each ; Unreserved Seats, 2s. 6d. each. Promenade, One Shilling. Tickets and Places may be secured by applying to Mr T. Chapman Browne, Bookseller and Stationer, Bible and Crown, Market-place. (Leicester Chronicle, Saturday, 27 October 1855) (Also: Leicestershire Mercury, Saturday, 27 October 1855; Leicester Journal, Friday, 2 November 1855; Leicestershire Mercury, Saturday, 3 November 1855.)

Subscription Concerts.-We again beg to remind our readers that the second concert of the series takes place on Tuesday next. The list of performers includes Miss Dolby, M. Sainton, and Herr Hausmann, who have already appeared here, and whose thoroughly finished execution of the music allotted to them, must have insured in their audiences a desire to hear them again. The other performers are Miss Amy Dolby, Mr. G. Dolby, and Mr. Lindsay Sloper, the two former vocalists, and the latter a pianist who has a high metropolitan reputation, which need scarcely say can neither be attained nor retained without considerable merit. The programme includes a selection of music of a high class, as well as productions of a less elevated character, but contains nothing that should not be interesting and intelligible to every hearer. We trust that the audience on this occasion will be numerous enough to amply remunerate the promoters of these concerts, who, we are afraid, could scarcely find the attendance at the first of the series sufficient to cover expenses. (Leicestershire Mercury, Saturday, 3 November 1855)

Subscription Concerts.-The second of these agreeable reunions came off on Tuesday evening. The attendance both in the reserved seats and the body of the hall appeared rather larger than on the former occasion, but was still hardly so numerous as might have been anticipated. The artistes on this occasion were Miss Dolby, Miss Amy Dolby, and Mr. George Dolby; M. Sainton, violin; M. Hausmann, violoncello; and Mr. Lindsay Sloper, pianoforte. Miss Dolby sang with her usual precision and effect; her younger sister has a voice (soprano) of considerable sweetness, though not remarkable for power, and her singing appeared to give great satisfaction to the audience. She sang a recitative, Caterina ti pare el seno moi, and the ballad, "He is gone to the wars" (J. P. Knight), with exquisite taste and touching expression, and was warmly encored. The duet, "Tell me where do fairies dwell" (Stephen Glover), by the sisters, was also re-demanded. Miss Dolby was deservedly encored in Mendelssohn's beautiful song, "The First Violet," and Duggan's ballads, "Old Memories" and " Wild Bells." Of Mr. George Dolby's performances we can only speak in very measured terms of approbation; his voice appeared to be deficient both in depth and force, and but very little adapted for solo singing. The instrumental part of the concert was highly satisfactory. Mr. Lindsay Sloper's execution on the pianoforte was most brilliant, although we must confess for ourselves to but small admiration for what it must be admitted are displays rather of the abilities of a performer than an effective expression of musical idea. In the way of interludes they are an agreeable feature, but should not be introduced too frequently or last too long. We have no fault to find, however, on either of these heads with the programme of Tuesday evening. M. Sainton on the violin, and M. Hausmann on the violoncello were both vociferously applauded, and richly merited the approbation they received. They performed a trio in C Minor (Beethoven), with Mr. L. Sloper on the pianoforte, with great effect. The composition of the programme of this concert exhibited more than ordinary care and good taste; the skilful combination of classical Italian music with gems of simple English melody in something like an equal proportion, and the exclusion of pieces destitute of intrinsic excellence, and whose only merit is a sort of conventional popularity, which it displayed was very satisfactory, and certainly thoroughly appreciated. (Leicester Journal, Friday, 9 November 1855) (Also: Leicester Journal, Friday, 9 November 1855.)

Subscription Concerts.-The second concert of this series took place on Tuesday evening at the Temperance Hall. The performers were Miss Dolby, Miss Amy Dolby, and Mr. George Dolby, vocalists; M. Sainton, violin; Herr Hausmann, violoncello; and Mr. Lindsay Sloper, pianoforte. Miss Dolby we certainly never remember hearing in better condition, and her singing gave unmixed pleasure throughout the evening. Her recitative and air, by Mercadante, "Grazie clementi Dei," was so expressively sung that it narrowly escaped an encore, in spite of the disadvantage of being in a foreign tongue. Mendelssohn's "First Violet," which she sang most charmingly, was enthusiastically encored, and a similar compliment was paid her in a ballad by J. F. Duggan, " Wild Bells," for which she substituted a Jacobite melody. Miss Amy and Mr. George Dolby gave indications of being possessed of the raw material for good singers, and with time and practice they may, especially the young lady, take high rank as vocalists. One excellence they certainly exhibited, which is not too common, their enunciation was remarkably distinct. This was especially conspicuous on the part of Miss Amy Dolby, in the duet, "Tell me Where do fairies dwell ?" with Miss Dolby; and in Mr. G. Dolby in Mozart's beautiful duet, "Crudel perche," in which every syllable was perfectly audible. M. Sainton delighted every one by the combined excellence of expression, tone, and execution, in his violin soles, the first of which, a "Rondo Mazurka" of his own, was encored Herr Hausmann was similarly honoured in his violoncello "Fantasia," in which he introduced several popular Scotch airs, and exhibited a thorough mastery over his very difficult instrument. We were especially pleased with the union of the three instrumentalists in Beethoven's trio in C minor, which was given with a contrasted power and delicacy, and unity of execution, that held the audience captive from beginning to end. Mr. Lindsay Sloper, in two agreeable and brilliant solos, not of too great length, exhibited his powers on the pianoforte in a very satisfactory manner, and was much applauded: his execution was remarkably clear and distinct. The concert concluded with a vocal trio by H. Leslie, a new setting of the old boat-song from the Lady of the Lake. The audience was fashionable, and an improvement in numbers upon the first concert, but not so numerous as might have been expected, considering the known merit of the majority of the performers, and the attractive character of the programme, we hope the results, in a pecuniary point of view, were not unsatisfactory. (Leicestershire Mercury, Saturday, 10 November 1855)

Thursday, 20 December 1855 : Miss Dolby's Second and Last Soirée Musicale at Her Residence, 2, Hinde-Street, Manchester-Square.

MISS DOLBY begs to announce that her SECOND and LAST SOIREE MUSICALE will take place at her Residence, 2, Hinde-street, Manchester-square, on THURSDAY, the 20th, to commence at half-past 8 o'clock precisely, when she will be assisted by Mrs. Tennant, Miss Amy Dolby, Mr. Tennant, Mr. George Dolby, Messrs. Lindsay Sloper, Sainton, Piatti, and George Russell.- Tickets, 10s. 6d. each, to be obtained of Messrs. Cramer and Co., 201, Regent-street; Messrs. Addison, 210, Regent-street; and of Miss Dolby, at her residence. (Morning Post, Friday, 14 December 1855) (Also: The Athenaeum, Saturday, 15 December 1855; Morning Post, Monday, 17 December 1855.)

MISS DOLBY begs to announce that her second and last Soirée Musicale will take place at her residence, 8, Hinde-street, Manchester-square, on Thursday the 20th instant, to commence at half past eight precisely, when she will be assisted by Mrs. Tennant, Miss Amy Dolby, Messrs. Tennant, George Dolby, Lindsay Sloper, Sainton, Piatti, and George Russell. Tickets, 10s. 6d. each. to be obtained of Messrs Cramer, & Co., 201, Regent-street, Messrs. Addison, 210, Regent-Street, and of Miss Dolby at her residence. (The Musical world, Saturday, 15 December 1855)

MISS DOLBY begs to announce that her SECOND and LAST SOIREE MUSICALE will take place at her Residence, 2, Hinde-street, Manchester-square, TOMORROW, the 20th, to commence at half-past 8 o'clock precisely, when she will be assisted by Mrs. Tennant, Miss Amy Dolby, Mr. Tennant, Mr. George Dolby, Messrs. Lindsay Sloper, Sainton, Piatti, and George Russell.- Tickets, 10s. 6d. each, to be obtained of Messrs. Cramer and Co., 201, Regent-street; Messrs. Addison, 210, Regent-street; and of Miss Dolby, at her residence. (Morning Post, Wednesday, 19 December 1855)

MISS DOLBY begs to announce that her SECOND and LAST SOIREE MUSICALE will take place at her Residence, 2, Hinde-street, Manchester-square, THIS EVENING, 20th instant, to commence at half-past 8 o'clock precisely, when she will be assisted by Mrs. Tennant, Miss Amy Dolby, Mr. Tennant, Mr. George Dolby, Messrs. Lindsay Sloper, Sainton, Piatti, and George Russell.- Tickets, 10s. 6d. each, to be obtained of Messrs. Cramer and Co., 201, Regent-street; Messrs. Addison, 210, Regent-street; and of Miss Dolby, at her residence. (Morning Chronicle (1801), Thursday, 20 December 1855)

MISS DOLBY begs to announce that her SECOND and LAST SOIREE MUSICALE will take place at her Residence, 2, Hinde-street, Manchester-square, THIS EVENING, the 20th, to commence at half-past 8 o'clock precisely, when she will be assisted by Mrs. Tennant, Miss Amy Dolby, Mr. Tennant, Mr. George Dolby, Messrs. Lindsay Sloper, Sainton, Piatti, and George Russell.- Tickets, 10s. 6d. each, to be obtained of Messrs. Cramer and Co., 201, Regent-street; Messrs. Addison, 210, Regent-street; and of Miss Dolby, at her residence. (Morning Post, Thursday, 20 December 1855) (Also: The Times, Thursday, 20 December 1855.)

MISS DOLBY'S SOIREE MUSICALE. This series of concerts concluded last evening. The performance commenced with Mendelssohn's delightful trio in C minor, which was done ample justice to by Messrs. Lindsay Sloper, M. Sainton, and Signor Piatti. Mr. Lindsay Sloper also gave some compositions by Chopin, in his well-known delicate and intelligent style ; and M. Sainton played a MS. Morceau de Salon of his own, which was much applauded. The vocalists were Miss Dolby, Miss Amy Dolby, Mrs. Tennant, Mr. Tennant, and Mr. G. Dolby. In the aria by Handel, entitled "Zeffiretto," and in a scena "Joan of Arc in Prison," by Lindsay Sloper, Miss Dolby sang admirably; and in a song, by Spohr, "Rose softly blooming," Miss Amy Dolby displayed marked progress in her art, and, at the same time, showed herself to be a docile pupil in a very excellent school of singing. The selections for these concerts have been highly creditable to Miss Dolby's taste, and were evidently well appreciated by the numerous attendances which they attracted. (Morning Post, Friday, 21 December 1855) (Also: Bell's Weekly Messenger, Saturday, 22 December 1855.)

Miss Dolby's Soirées Musicales.-The second and last of these took place on Thursday evening at Miss Dolby's residence. The vocalists were Mrs. Tennant, Miss Amy Dolby, Miss Dolby, Mr. Tennant, and Mr. George Dolby; the instrumentalists, Mr. Lindsay Sloper (pianoforte), Mr. Sainton (violin), and Signor Piatti (violoncello). Mr. George Russell was accompanyist at the pianoforte. The programme, as is invariably the case at Miss Dolby's soirées, contained selections from the works of the best composers. The concert began with Mendelssohn's second trio (in C minor) admirably played by Mr. Sloper, Mr. Sainton, and Signor Piatti. Miss Dolby made her entree with an aria, in Italian, from Handel's Justin - "Zeffiretto " - in which the quality of her voice, and the purity of her style, were shown to perfection. Besides this, Miss Dolby sang "Joan of Arc in a scena (the words by Mr. Chorley, and the music composed by Mr. Lindsay Sloper,) of which we have more than once recorded our favourable opinion. This elaborate piece of vocal execution was warmly applauded. No doubt, to show her accomplishments as a linguist, Miss Dolby also introduced a Lied in the German language, "Die Thrane;" a very pretty romance, in French, "Si vous m'aimez, " composed by Her Luders; and a Scotch song, "Charlie yet," in all of which she acquitted herself to the satisfaction of everybody. She, more over, joined her sister, Miss Amy Dolby, in Macfarren's popular duet, "Two merry Gipsies are we," and took part in two concerted pieces. Miss Amy Dolby sang the beautiful romance of Spohr, from Azor and Zemira - "Rose, softly Blooming " - (which always reminds us of "Voi che sapete"), and assisted in several full pieces. Mr. Tennant contributed Herr Blumenthal's "Chemin du Paradis," and Mrs. Tennant Haydn's "Mermaid Song," to the evening's entertainment; Mr. Lindsay Slower, a selection from Chopin; Signor Piatti a solo on the violoncello; and Mr. Sainton a new and very effective morceau de salon of his own composition, which he played to perfection. Nor must we forget to mention the excellent performance of three of the "Pensées Fugitives" of Stephen Heller, and Ernst, by Mr. Lindsay Sloper and Signor Piatti, the violin part being well adapted for the violoncello. The concert was altogether a good one, and afforded evident pleasure to a numerous and elegant audience. (The Musical world, Saturday, 22 December 1855)

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