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Concert Advertisements and Reviews - 1858. Wednesday, 10 February 1858 : Milliners' and Dressmakers' Provident and Benevolent Institution's Eighth Annual Entertainment (Evening) at Hanover-Square Rooms. MILLINERS' and DRESSMAKERS' PROVIDENT and BENEVOLENT INSTITUTION. The EIGHTH ANNUAL ENTERTAINMENT, under the immediate patronage of her Most Gracious Majesty the Queen, will be given at the Hanover-square Rooms, on WEDNESDAY EVENING next, Feb. 10, at 8 o'clock precisely. Vocalists- Madame Clara Novello, Miss Vinning, Miss Dolby, Mr. Lockey, Mr. Frank Bodda, and the St. George's Glee Union. Instrumentalists - Pianoforte, Miss Arabella Goddard: Violin, Mons. Sainton; Violoncello, M. Paque. Conductor - Mr. Lindsay Sloper. Reserved seats, 7s. each ; may be secured by early application of the Committee; Mr. R. Ollivier. 19, Old Bond-street ; and of the Hon. Secretary, Mr. WILLIAM SHUTER, 32, Sackville-street. (Morning Post, Wednesday, 3 February 1858) (Also: Atlas, Saturday, 6 February 1858; The Athenaeum, Saturday, 6 February 1858; Morning Post, Monday, 8 February 1858; Morning Chronicle (1801), Monday, 8 February 1858.) MILLINERS' AND DRESSMAKERS' PROVIDENT AND BENEVOLENT INSTITUTION. The annual musical entertainment, given by the. directors of this institution to its members and friends, took place last evening at the Hanover-square Rooms. None of our benevolent institutions are more deserving of encouragement than this, for no class of person call for greater sympathy and support than those for whose benefit it has been formed. It has accordingly received the patronage of the Queen, many members of the royal family, and the female nobility, and other distinguished individuals; and by the assistance thus obtained it has been enabled, during the eight years of its existence, to effect a considerable amount of good. The institution now consists of 124 members, of whom 56 are life and 68 are annual subscribers; and for a very small contribution its members are assured of assistance in the day of distress. To aid its funds these annual entertainments are given, and that of last night must no doubt have been of substantial benefit, for the rooms were crowded to the very doors with fashionable. Company. The concert was exceedingly well selected, and well performed. The singers were Madame Clara Novello, Miss Vinning, Miss Dolby, Mr. Lockey, Mr. Bodda, and the members of the St. George's Glee Union; the instrumentalists were Miss Arabella Goddard, M. Sainton, and M. Paque; and the conductor was Mr. Lindsay Sloper. The music - as ought to be the case on such occasions - was light and popular, but perfectly elegant, and worthy of the distinguished artists engaged in its performance. It being the anniversary of her Majesty's marriage, "God save the Queen" was sung between the parts of the concert, the solos being taken by Madame Novello, Miss Dolby, and Mr. Lockey, supported by an efficient chorus; and the performance was received with the usual demonstrations of loyal enthusiasm. (Daily News, Thursday, 11 February 1858) Hanover-square Rooms.- The eighth annual concert was given here on Wednesday evening, on behalf of the Milliners' and Dressmakers' Provident and Benevolent Institution. The attendance was numerous, but hardly so distinguished as we remember for the last three or four years. The artists were Madame Clara Novello, Miss Louisa Vinning, Miss Dolby, Mr. Lockey, and Mr. Frank Bodda, solo vocalists; Miss Arabella Goddard, M. Sainton, and M. Paque, solo instrumentalists. The members of the St. George's Glee Union also gave their assistance. The selection was entirely of a "miscellaneous" character. The first part commenced with Benedict's and De Beriot's Grand Concertante Duet for pianoforte and violin on airs from Sonnambula, played in a brilliant and highly effective manner by Miss Arabella Goddard and M. Sainton, the effect of which was considerably marred by the unavoidable accompanying of a host of "late arrivals." (The concert began punctually at the hour appointed.) The programme included in all twenty-two pieces, from which it must suffice to single out those which obtained most favour, according to the caprice of the audience. Miss Dolby, in Balfe's (Longfellow's) "Green trees," won a unanimous encore. Madame Clara Novello was encored in a new song by Miss Macirone, entitled "The recall;" and Miss Louisa Vinning obtained the same compliment in the cavatina from La Traviata, "Ah! fors' e lui," and in a new and very pleasing ballad by Mr. S. Pratten, "Too late, too late," which was repeated twice. Among other encores were Mr. Frank Bodda, in the Irish ballad, "How to ask and how to have," and Madame Clara Novello, Miss Louisa Vinning, and Miss Dolby, in the trio from the Matrimonio Segreto. Miss Arabella Goddard obtained a tremendous encore in Thalberg's " Home, sweet home" fantasia, which she executed with a taste, expression, and mechanical perfection beyond all praise, singing the melody as sweetly as she performed the variations brilliantly. The whole performance was a "gem." The fantasia on airs from Il Trovatore, by M. Sainton, was a masterpiece of bravura playing, and obtained the loudest applause. The members of St. George's Glee Union did not cover themselves with glory in their first attempt; but as they proceeded they improved. They contributed both glees and part-songs. Mr. Lindsay Sloper accompanied all the vocal music, and M. Sainton's solo, with musicianlike ability. (The Musical world, Saturday, 13 February 1858) Tuesday, 9 March 1858 : The Musical Union's Soirée No. 3 at Hanover-Square Rooms. SIGNOR PIATTI is this day returned from Vienna, and will play at the MUSICAL UNION SOIREE on TUESDAY next. - Further particulars will be announced. Pianists- L. Sloper and E. Pauer. J. ELLA, Director. (Morning Post, Tuesday, 2 March 1858) MUSICAL UNION SOIREE, No. 3. TUESDAY, March 9- Hanover-square Rooms.- Quintet F minor, No. 10 - Onslow ; Trio, E flat, piano, clarinet, and viola - Mozart ; Rondo a 4 mains. Op. 102 - Schubert; Quartet, No. 3, in D - Beethoven; Solo, violoncello, Piatti. Vocal pieces sung by the Orpheus Glee Union. Artists-MM. Sainton, Goffrie, Schroeurs, Paque, and Piatti. Clarinet- Pape, Pianists- Lindsay Sloper and Pauer. Visitors' admission to the royal box and non-reserved seats, 7s. each, to be had of Cramer and Co, Chappell, and Ollivier, Bond-street. J. ELLA, Director. ' SIGNOR PIATTI is this day returned from Vienna, and will play at the MUSICAL UNION SOIREE on TUESDAY next.- Further particulars will be announced. : Pianists- L. Sloper and E. Pauer. J. ELLA, Director. (Morning Post, Thursday, 4 March 1858) (Also: The Athenaeum, Saturday, 6 March 1858; Leader and Saturday analyst, Jan. 7-June 30, 1860, Saturday, 6 March 1858; Morning Post, Thursday, 4 March 1858.) MUSICAL UNION SOIREE, No. 3 - TUESDAY, March 9th, HANOVER SQUARE ROOMS. - Quintet, F minor, No 10, Onslow; Trio E flat, Piano, Clarinet, and Viola, Mozart; Rondo, a 4 mains, Op.102, Schubert; Quartet, No. 3, in D, Beethoven; Solo, Violoncello, Piatti. Vocal pieces sung the Orpheus Glee Union. Artists, MM. SAINTON, GOFFRIE, SCHREURS, PAQUE, and PIATTI. Clarinet, PASSE; Pianists, LINDSAY SLOPER and PAUER. Visitors' admissions to the Royal Box and Non-reserved Seats. 7s. each; to be had at CRAMER and CO.'s, CHAPPELL and Co.'s, and OLLIVIER'S, Bond-street. J. ELLA, Director. (Saturday review of politics, literature, science and art, Saturday, 6 March 1858) MUSICAL UNION SOIREE, No. 3. To-morrow (TUESDAY), March 9- Hanover-square Rooms.- Quintet F minor, No. 10 - Onslow ; Trio, E flat, piano, clarinet, and viola - Mozart ; Rondo a 4 mains. Op. 102 - Schubert; Quartet, No. 3, in D - Beethoven; Solo, violoncello, Piatti. Vocal pieces sung by the Orpheus Glee Union. Artists-MM. Sainton, Goffrie, Schroeurs, Paque, and Piatti. Clarinet- Pape, Pianists- Lindsay Sloper and Pauer. Visitors' admission to the royal box and non-reserved seats, 7s. each, to be had of Cramer and Co, Chappell, and Ollivier, Bond-street. J. ELLA, Director. (Morning Post, Monday, 8 March 1858) MUSICAL UNION SOIREE, No. 3. THIS DAY (TUESDAY), March 9- Hanover-square Rooms.- Quintet F minor, No. 10 - Onslow ; Trio, E flat, piano, clarinet, and viola - Mozart ; Rondo a 4 mains. Op. 102 - Schubert; Quartet, No. 3, in D - Beethoven; Solo, violoncello, Piatti. Vocal pieces sung by the Orpheus Glee Union. Artists-MM. Sainton, Goffrie, Schroeurs, Paque, and Piatti. Clarinet- Pape, Pianists- Lindsay Sloper and Pauer. Visitors' admission to the royal box and non-reserved seats, 7s. each, to be had of Cramer and Co, Chappell, and Ollivier, Bond-street. J. ELLA, Director. (Morning Post, Tuesday, 9 March 1858) (Also: Morning Chronicle (1801), Tuesday, 9 March 1858.) THE MUSICAL UNION SOIREES. The third of these concerts, under Mr. ELLA's direction, was given at the Hanover-square Rooms last night. The programme was very attractive, and drew a crowded audience. It was as follows: Quintet, No. 10, F. minor. Op. 32 - Onslow. (First time of performance.) Trio, E flat. Op. 14 - Mozart. Piano, Clarionet, and Viola, (First time of performance.) Part Song, "Oft when night" - L. de Call. Rondo Brillant, in A, Op. 107, for 4 mains - Schubert. MM. Lindsay Sloper, and Pauer (First time). Interval of fifteen minutes. Quartet, No. 3, in D. Op. 18 - Beethoven. Part Song, "Soldiers' love " -Kücken. Solo, Mr. W. J. Fielding, with choral accompaniment. Solo, Violoncello - Piatti. Part Song, "'Slumber, dearest" - Mendelssohn. Executants. Violins: M. Sainton and Herr Goffrie; Viola: Schreurs, Clarinet. Herr Pape (First time). Violoncellos . Signor Piatti and M. Paque. Pianists .Mr. Lindsay Sloper and Herr Pauer. .Vocalists. The Orpheus Glee Union. Onslow's quintet is less known in this country than most of his other works, many of which at one time were frequently played at our chamber concerts: In these quintets Onslow adopted a combination of instruments invented by the once celebrated, but now, unfortunately forgotten, Boccherini, a great master, whose works were the delight of the finest performers: Viottis, Cervettos and Crosdills at the end of last century, but have been (unwisely we think) thrown aside by their successors of the present day. Onslow's quintet, - produced last night was played by Sainton, Goffrie, Schreurs, Piatti (who is just arrived in London for the season), and Paque, which is as to say that it was played in perfection. It is a masterly work; but like much of Onslow's music smells of the lamp, and bears stronger marks of labour than of inspiration. ln this respect it presents a remarkeable contrast to the piece which followed it, Mozart's Trio in E flat for the piano, clarinet, and viola, an enchanting effusion of melody simplicity, and feeling. It was delightfully played by Mr Lindsay Sloper, Herr Pape, and M: Schreurs. Mr. Sloper's talents are known to everybody but Messrs. Pape and Schreurs are new to the public. They are both very fine performers. Schubert's--Rondo-brillant - for four hands played by Mr. Sloper and Herr Pauer, was an interesting novelty. It is in one movement, and is just what we could have expected from the composer of the beautiful German songs which have become famous over all the world: it is clear, simple, full of vocal melody, and at the same time, spirited and brilliant, The remaining great concerted piece, Beethoven's third quartet In D, is known to every amateur as one of the great master's finest compositions. The vocal portion of the concert was inferior to the instrumental; it was mere remplissage and might have been, without disadvantage, altogether dispensed with. (Daily News, Wednesday, 10 March 1858) THE MUSICAL UNION. The third of the present series of evening concerts of classical chamber music was given on Tuesday at, the Hanover-square Rooms. The programme, rich in works of the most opposite styles, was well selected to please all lovers of sterling music. The intricate and capital writing in Onslow's quintet, the graceful simplicity of Mozart's old trio, the melodious effusion of Schubert, and the poetical chef d'oeuvre of Beethoven, afforded us a most interesting variety of classical music. Programme. Quintet, No. 10, F. minor. Op. 32 - Onslow. (First time of performance.) Trio, E flat. Op. 14 - Mozart. Piano, Clarionet, and Viola, (First time of performance.) Part Song, "Oft when night" - L. de Call. Rondo Brillant, in A, Op. 107, for 4 mains - Schubert. MM. Lindsay Sloper, and Pauer (First time). Interval of fifteen minutes. Quartet, No. 3, in D. Op. 18 - Beethoven. Part Song, "Soldiers' love " -Kücken. Solo, Mr. W. J. Fielding, with choral accompaniment. Solo, Violoncello - Piatti. Part Song, "'Slumber, dearest" - Mendelssohn. Executants. Violins: M. Sainton and Herr Goffrie; Viola: Schreurs, Clarinet. Herr Pape (First time). Violoncellos . Signor Piatti and M. Paque. Pianists .Mr. Lindsay Sloper and Herr Pauer. .Vocalists. The Orpheus Glee Union.-The analytical programme informs us that Onslow's Quintet was performed, for the first time, on this occasion. It contains original and charming melodies, scored with perhaps, an excess of accompaniment ; nevertheless, by careful performance of the subordinate parts, the effect of the ensemble is very fine, and the execution of every portion of the composition on Tuesday was satisfactory. In the Largo, where the rich tones of the viola and two violoncellos blended beautifully together in the delivery of the theme, touchingly expressed by Piatti, the effect was very impressive. In this quintet, the finale agitato, apparently a very difficult movement of rapid passages, gave Sainton a scope to display his vigorous execution. Nor can we deny this violinist just meed of praise for the feeling and taste he also displayed in the delicate and expressive phrases which relieved the more boisterous parts of the first and last movements. Considering the vast number of compositions Onslow bequeathed to posterity, and the rare occasion of hearing them executed by such distinguished artists as were engaged at this concert, Mr. Ella would do wisely to let his subscribers enjoy another such performance as we enjoyed at this soirée. In France, Onslow is claimed as a native composer, although he is of English birth. Like Handel, Onslow wrote the best and greater portion of his works in the country of his adoption. We do not place Onslow on a level with the immortal triad - Haydn, Mozart, and Beethoven - for originality, or fertility of ideas; but in the art of working out his subjects with skill, and adapting the treatment to suit the particular character of each instrument, no writer has surpassed Onslow, and we cannot but reproach Mr. Ella for his neglect of this composer's works. The trio of Mozart was rather tame, after the brilliant effect of the quintet. Its charming melodies were, however, quite welcome, and the modest accompaniment of the pianoforte, consigned to Mr. Sloper, was played in good taste, like a thorough musician. In this trio we were introduced to a clarinet player for the first time at the Musical Union, Herr Pape, a member of the Crystal Palace band. His style is good, his tone is mellow and round, and his execution is clear and distinct. Such a fine player of the clarinet must prove a great acquisition to our London orchestras. M. Schreurs executed his part with taste and skill; his tone, though lacking the sonority of our English players, is pure, and, in quartets, amalgamates effectively with other instruments. The Orpheus Glee Union, in the part song which followed, fully confirmed the opinion we expressed on their excellent singing, at the last soirée. In the songs of the second act, the alto shone most prominently, and, altogether, these vocalists sing quite artistically; uniting delicacy and power with a nice observance of light and shade; the absence of anything approaching to coarseness, even in their most spirited, emphatic songs, is a rare virtue among English vocalists, separately or collectively. We may use Mr. Ella's words and ask why, indeed, is Beethoven's third quartett so rarely chosen by violinists ? To us, the pleasure afforded by this wonderful masterpiece was worth the whole concert put together. Sainton here pleased us by his delicate execution of certain intricate passages in the upper part of the violin. His conception of this quartett was throughout admirable. There was more abandon and feeling expressed in the poetical phrases of the andante by this violinist than we had ever given him credit for ; and Piatti, in every feature of prominent interest for the violoncello, asserted the pre-eminence of his talent, and made his presence doubly welcome. In the violoncello solo, Piatti again exhibited all those excellences in execution, which have so lately won him the golden opinions of continental audiences. He was greatly applauded, and deservedly so. We cannot close this notice of so admirable a concert without directing attention to the cold draughts of air which penetrate every nook and corner of the Hanover-square Rooms. The mode of lighting is undoubtedly an improvement since last year, but it is a great omission in any public in room, in this variable climate, to provide no means of heating as well as cooling the air? (Morning Chronicle (1801), Thursday, 11 March 1858) MR. ELLA's MUSICAL UNION SOIREES. - Schubert's Pianoforte Music occupies a singular position. His ideas are noble; his treatment of them is unborrowed, though possibly tinctured by influences caught in Beethoven's neighbourhood. Yet there is hardly one of his Sonatas which we could hear through twice, however interesting it be to play parts of them. Even in his Op. 53, one of the finest of a large collection before us, the verbosity is so great, the triviality of certain passages so disappointing, as to place it in the category of incomplete works. On the other hand, Schubert's Duett-Marches - which we may announce as in republication by MM. Schott & Co. - are treasures, not to be surpassed for stirring fancy, bold harmony, and delicious melody. The rondo, for four hands, Op. 10, which was played by Mr. Lindsay Sloper and Herr Pauer on Tuesday last, is well worth a trial, - not so well worth a repetition. The theme is elegantly melodious; but the treatment is too monotonous. The first phrase dings in the ear; all that follows cloys it. - Onslow's stringed Quintett in F minor, another item in the programme, was far more interesting. The work is a notable one ; the andante (very well played by MM. Sainton, Goffrie, Scheurs, Paque, and Piatti) is one of the most luscious and graceful slow movements in being ; the finale is full of a lurid fire such as was rarely enkindled in the music of the Anglo-Auvergnat composer. (The Athenaeum, Saturday, 13 March 1858) MUSICAL UNION SOIREES. The third soirée of the season took place at the Hanover-square Rooms on Tuesday last. The programme has been forwarded to us, and we accordingly present the same :-- Quintet, No. 10, F minor, Op. 32 - Onslow. Trio, E flat, Op. 14, piano, clarinet, and viola - Mozart. Part-song, "Oft when night" - L. de Call. Rondo Brillant, in A, Op. 107, 4 mains - Schubert. Quartett, No. 3, in D, Op. 18 - Beethoven. Part-song, "Soldier's love " - Kücken. Solo, violoncello - Piatti. Part-song, "Slumber, dearest " - Mendelssohn. The executants were, violins, M. Sainton and Herr Goffrie ; viola, M. Schreurs; clarinet, Herr Pape; violoncellos, Signor Piatti and M. Paque; pianists, Mr. Lindsay Sloper and Herr Pauer; vocalists, the Orpheus Glee Union. For the identical reason given by us in our record of the occurrence of the last soirée, we are not in a position to say anything concerning the performances of Tuesday last ; but we hear that everybody was very cold. (The Hanover-square Rooms have not been warm for a long time.) We may, however, be allowed to remark that it was decidedly infra the Musical Union's dig. to allow the introduction of so commonplace a piece of part music as Kücken's "Soldier's love." We cannot admit that inferior vocal music should keep company with the highest class of instrumental. It is evidently introduced at these soirées as a relief to the instrumental and severer part of the programme, but it need not be such mediocre stuff as the trifle we have quoted. It was encored, a fact which it is but right to chronicle, but which does not raise the character of the composition. (The Musical gazette : an independent journal of musical events, Saturday, 13 March 1858) Tuesday, 23 March 1858 : Bach Society's Evening Concert at St. Martin's Hall. ST. MARTIN'S HALL, AFTER eight years devoted to private trials, the Bach Society has at last come forward and presented one of the master's grandest works to the public. The subscribers and a chosen few had already enjoyed an opportunity of hearing the Grosse Passions-Musik performed at the Hanover Square Rooms under Professor Bennett, the chairman of the Society and conductor of the concerts ; but to the English people at large it was a sealed book, unknown except to musicians. The fame of Bach, however, was world-wide, and everybody was anxious to hear his reputed masterpiece. The announcement of the Grosse Passions-Musik, consequently, was hailed with universal satisfaction, and an immense crowd flocked to St. Martin's Hall on Tuesday evening, numbers being unable to obtain admission. So brilliant an assembly we do not remember in Mr. Hullah's music room. The Prince Consort having signified his intention of honoring the performance with his presence, in front of the stalls was placed a chair of state for His Royal Highness, with seats on either side for the distinguished party accompanying him. Punctual to the appointed time, eight o'clock, the illustrious party arrived, and were waited on by the stewards, Messrs. Cipriani Potter, W. Dorrell, C. Stephens, Lindsay Sloper, H. Graves, The Prince was received with loud cheers, to which he responded graciously. The cheering was equally vociferous and more continuous when Professor Sterndale Bennett entered the orchestra. Applause never was more richly merited. To Professor Bennett's indomitable zeal the Society is mainly indebted for the position it holds. He has at last reaped the benefit of his perseverance, and been enabled to place Bach on that pedestal to which no musician ever had a more undoubted claim. In applauding Professor Bennett on Tuesday evening, the audience were not merely complimenting the distinguished musician and accomplished conductor, they were also paying tribute to the uncompromising disciple, who, in spite of indifference and apathy, had advocated the claims and asserted the genius of one of the grandest of masters. The Grosse Passions-Musik is one of five oratorios which John Sebastian Bach composed on the sufferings and death of the Redeemer. Of these three only are extant, and only two published - the Passions, according to the text of St. John, and the Passions, according to the text of St. Matthew. The latter was performed on Tuesday evening, and is generally allowed to be the finest. The Passions after St. Matthew was first performed in the church of St. Thomas at Leipsic, on Good Friday, 1729. It was formerly the custom in the Protestant churches of Germany to execute a piece of music on certain high festivals and holidays, and the Passion of our Saviour was naturally selected for the service on the anniversary of his suffering and death. This custom only obtained down to the middle of the last century, and was finally abandoned. The "oratorios" of the Passions were peculiarly constructed. A solo voice in recitative delivered the narrative of one of the Evangelists, the questions, answers, and speeches being given to the other soloists and the chorus. The narration was interspersed with chorales, or hymn-tunes, sung to verses taken from the Scriptures, and well known to the people. This is the form adopted in Sebastian Bach's Grosse Passions-Musik. The tenor voice delivers the narrative. When one speaks another voice takes up the text, and the words of the multitude are uttered by the Chorus. The tedium and monotony involved in long unaccompanied recitative, and delivered in one voice, is compensated by the dramatic effect of the questions and answers being awarded to different personages, and the striking part allotted to the Chorus. The introduction of chorales into a sacred choral composition was a necessity of the period, and Bach has employed them in all his cantatas and oratorios. There are no less than ten chorales in the Grosse Passions-Musik, constituting almost a third of the entire work. It is somewhat singular that so extraordinary a master of fugue should not have employed that form of composition in the Passions, except in a short fugato throughout on the words "Let Him be crucified." We can only surmise that Bach followed some acknowledged precedent. Among the most striking parts of the Passions are those where the chorus respond to the solo voices, so finely exemplified in the accompanied recitative, "O Grief! how pants his agonizing heart" in the aria, "With Jesus I will watch and pray," With its peculiar and extremely effective employment of the oboe and violoncello soli in the symphony; and still more in the aria, "See the Saviour's outstretched arm," in which the composer unmistakably declares his dramatic power. Of the execution in general we can speak in terms of much praise. The chorus at first was somewhat unsteady; but the enormous difficulty of the music must plead strongly for the executants. After the first Chorale the singers were much more at their ease. Nearly all the Chorales went exceedingly well. The solo vocalists were Mdme. Weiss, Mrs. Bertha Street, Miss Dolby, Messrs. Benson, Winn, and Weiss. Mr. Benson had to declaim all the narrative part of the oratorio, and a more difficult task was never allotted to a singer. The solo airs in the Passions are few and far between, but the opportunities afforded were made the best use of by Miss Dolby and Mr. Weiss, both of whom sang very impressively - the gentleman in the aria, "Have mercy upon me, O Lord," and the lady in the recitative and aria, "Oh ! Golgotha ! unhappy Golgotha !" The performance was listened to with rapt attention throughout. H. R. H. Prince Albert remained until the end. (The Musical world, Saturday, 27 March 1858) Friday, 30 April 1858 : The Vocal Association's Third Subscription Concert (Evening) at St. James's Hall, Piccadilly. The Vocal Association, consisting of 800 voices, will give a grand performance at St. James's Hall, Regent Street and Piccadilly, on Friday next, of a most interesting character. Messrs Benedict and Sloper will perform a duet upon two pianos, and other instrumental works of importance will be introduced. (Theatrical journal, Thursday, 1 April 1858) ST. JAMES'S HALL. - The VOCAL ASSOCIATION.- Conductor, M. Benedict.- On FRIDAY EVENING, April 30, the THIRD SUBSCRIPTION PERFORMANCE will take place. Vocalists, Mme. Castellan, Miss Messent, Miss, Finoli, Mr. Allan Irving; also the Vocal Union - Miss Marion Moss, Mr. J. Foster, Mr. Montem Smith, Mr. Winn, and Mr. Thomas, who will introduce some of the celebrated English Part Songs and Glees by Webber, Horsley, Bishop, and Elliott, The burden of the chorus will be taken up by the Vocal Association of 300 voices. The other choral pieces will be selected from the works composed expressly for the Vocal Association by Mrs. Bartholomew, Messrs. Otto Goldschmidt, Kücken and Abt. Duet on Two Pianofortes, by Messrs, Lindsay Sloper and M. Benedict. Solo on the Harmonium, M. Engel; also Mendelssohn's Duet for Stringed Instruments, Tickets, 2s 6d., 5s.; balcony stalls, numbered, 7s. 6d.; sofa stalls,10s. 6d., to be had of all the principal Musicsellers The subscription to the series is one, two, and three guineas, Subscribers now joining will be entitled to three transferable tickets for the performance on Friday, April 30, this being the last opportunity for subscribing during the present Series. (The Times, Thursday, 22 April 1858) (Also: Illustrated London News, Saturday, 24 April 1858.) ST. JAMES'S HALL. VOCAL ASSOCIATION. Conductor - M. BENEDICT. On FRIDAY Evening, April 30th, the THIRD SUBSCRIPTION PERFORMANCE will take place. Vocalists :- Madame Castellan. Miss Messent, Mdlle. Finoli, Mr. Allan Irving: also the Vocal Union - Miss Marian Moss, Mr. J. Foster, Mr. Montem Smith, Mr. Winn, and Mr. Thomas, who will introduce some of the celebrated English Part-songs and Glees by Webbe, Horsley, Bishop, and Elliott. The burden of the chorus will be taken up by the Vocal Association of 800 voices. The other choral pieces will be selected from the works composed expressly for the Vocal Association by Mrs. Bartholomew, Messrs. Otto Goldschmidt, Kücken, and Abt. Duett on two pianofortes by Messrs. Lindsay Sloper and M. Benedict. Solo on the harmonium, M. Engel. Also Mendelssohn's Duett, for stringed instruments. Tickets, 2s. 6d. and 5s.; balcony stalls (numbered), 7s. 6d.; sofa stalls, 10s. 6d. to be had of all the principal musicsellers. The subscription to the series is One, Two and Three Guineas. Subscribers now joining will be entitled to three transferable tickets for the performance on Friday, April 80, this being the last opportunity for subscribing during the present series. (The Musical gazette : an independent journal of musical events, Saturday, 24 April 1858) ST. JAMES'S HALL. - The Vocal Association of 300 voices will give a grand performance at St. James's Hall, Regent-street and Piccadilly, on Friday evening, April 30. The programme will be of a most interesting character. Messrs. Benedict and Sloper will perform a duet on two pianofortes, and other instrumental works of importance will be introduced. (The Musical world, Saturday, 24 April 1858) ST. JAMES'S HALL.- The VOCAL ASSOCIATION.- Conductor, M. Benedict.- On FRIDAY EVENING, April 30, Artistes - Madame Castellan, Mdlle. Finoli, Miss Messent, Mr. Tennant, Mr. Allan Irving, and The Vocal Union. Duet for two pianos, by Messrs. Lindsay Sloper and Benedict. Mendelssohn's Otett for eight instruments, Messrs. H. Blagrove, V. Collins, Pollitzer Weiner, Webb, Hann. jun., Daubert, and G. Collins. Harmonium, M. Engel. Violin, Mdlle. Gabriele von Wendheim, her first appearance in London. The Chorus will number nearly 400 performers.- Tickets, 2s. 6d. and 5s.; balcony stalls (numbered), 7s. 6d. ; sofa stalls, 10s. 6d., to be had of all the principal Musicsellers.- The St. James's Hall (Piccadilly entrance) will be open for the sale of tickets at 10 o'clock a.m. The performance will commence at 8 o'clock. (The Times, Tuesday, 27 April 1858) ST. JAMES'S HALL.- The VOCAL ASSOCIATION.- Conductor, M. Benedict.- THIS EVENING (FRIDAY), April 30. Artists, Madame Castellan, Mdlle. Finoli, Miss Messent, Mr. Tennant, Mr. Allan Irving, and The Vocal Union. Duet for two pianos, by Messrs. Lindsay Sloper and Benedict. Mendelssohn's Otett for eight instruments, Messrs. H. Blagrove, V. Collins, Pollitzer Weiner, Webb, Hann. jun., Daubert, and G. Collins. Harmonium, M. Engel. Violin, Mdlle. Gabriele von Wendheim, her first appearance in London. The Chorus will number nearly 400 performers.- Tickets, 2s. 6d. and 5s.; balcony stalls (numbered), 7s. 6d. ; sofa stalls, 10s. 6d., to be had of all the principal Musicsellers.- The St. James's Hall (Piccadilly entrance) will be open for the sale of tickets at 10 o'clock a.m. The performance will commence at 8 o'clock. (Morning Post, Friday, 30 April 1858) ST. JAMES'S HALL The third grand subscription concert was given this elegant hall yesterday evening by the members ot the Vocal Association, aided by many eminent vocal and instrumental performers. The programme was crowded, and the performance necessarily of great length, and it would not be desirable to follow the [?]ous performers through every individual piece. The great feature of the evening was. of course, the Vocal Association, the members ot which performed some of the most celebrated English part-songs and glees of Webbe, Horsley, Bishop, and Elliott; and as they numbered nearly 400, and were exceedingly well practised, the effect can be better conceived than described. Amongst many charming pieces they gave with great effect Elliott's glee "Come see what pleasures," the five principal voices being Miss Marian Moss, Mr. J. Foster, Mr. Montem Smith, Mr. Winn, and Mr. Thomas, assisted Mr. William Cummings. The instrumental portion the concert was, however, also very strong; Mr. Lindsay Sloper and Mr. Benedict being the pianists, and Messrs. Blagrove, Webb, V. Collins, Hann, Pollitzer, Weiner, G. Collins, and presiding over the stringed instruments. A piece of Mendelssohn's for eight instruments was done full justice to by these talented gentlemen. One ot the most interesting events of the evening was the first appearance in London of Mdlle. Gabriell von Wendheim. who gave Ernst's variations on the march in Othello, with not only surprising power, finish, feeling, and expression, for a female performer, but in a style that makes her take place with the first violinists of the day. She was greatly applauded, and recalled to receive the marked approbation of the audience. The principal female vocalists were Mdlle. Finoli, Madame Castellan, and Miss Messent. who were each in excellent voice, Mr. Tennant and Mr. Allan Irving were the principal male singers. The magnificent hall was filled in all parts by an elegant audience, and the managers of the Vocal Association may now congratulate themselves on the perfect success of their agreeable concerts. (Morning Advertiser, Saturday, 1 May 1858) VOCAL ASSOCIATION. The third concert was given on Friday evening at the St. James's Hall. The selection was more remarkable for its variety than excellence, but no doubt Mr. Benedict did not reckon without his guests. If his subscribers and his public are not given to classical music, why force it upon them ? Mr. Benedict, nevertheless, could not entirely forego his own classic predilections ; and so, by way of a preparative, or stimulant, to the feast, he commenced the concert with Mendelssohn's Ottetto for stringed instruments. The executants of this grand work were Messrs H. Blagrove, V. Collins, Pollitzer, Weiner, Webb, Hann, jun., G. Collins, and Daubert. Never did music create less sensation. There was a feeble attempt at applause after the first movement, but the andante, scherzo - the wonderful scherzo and ravishing andante - and the finale - the fiery and impetuous finale- fell still-born from the fiddles and violoncellos. In fact, the sound from the instruments did not travel. It was no fault of Mendelssohn, who composed the piece, nor of the players who executed it, nor of the audience, who listened attentively; but of the room, that would not let the sound be heard. So that Mr. Benedict's first morceau, intended to act as a stimulant, became a sedative instead. The novelty of the programme was the performance on the violin of Ernst's March from Otello, by Mdlle. Gabriele von Wendheim. This young lady, who made her first appearance in London, had been previously talked about as something wonderful. She certainly indicates no common powers, and, considering her youth, fair hopes may be entertained of her reaching the point of excellence at some future time. At present her efforts are crude and immature, and, while she displays aptitude and talent beyond dispute, she accomplishes nothing which is not open to animadversion. Mdlle. Gabriele von Wendheim was listened to gravely throughout the terribly laborious task she set herself, and was applauded vehemently as she retired from the platform. The other instrumental performances were Kalkbrenner's concertante for two pianofortes, played in a masterly manner by Messrs. Benedict and Lindsay Sloper ; and a solo on Alexandre's piano-harmonium, by M. Louis Engel. The chorus sang Coward's part song "Take thy banner ;' a Sanctus, by Bortnienski ; Bishop's glee, "Sllep [sic], gentle lady ;" Otto Goldschmidt's "Christmas Carol." besides joining the Vocal Union in several morceaux. Their singing in general was excellent ; but certain performances were more unimpeachable than others. Their pianissimos, in particular, are admirable. The Vocal Union - Miss Marian Moss, Messrs. J. Foster, Montem Smith, W. Cummings, Winn, and Thomas - sang several glees and part songs, some by themselves and some with the aid of the Vocal Association. The solo vocalists were Madame Castellan, Mdlle. Finoli, Miss Messent, Mr. Tennant, and Mr. Allan Irving. The first-named Italian lady introduced a song by Niedermoyer, somewhat slow but beautifully sung, and the aria from Rossini's Bianca e Falliero, "Delia rosa il bel vermiglio" - not quite so perfectly warbled. Mdlle. Finoli introduced the grand air from L'Italiana in Algeri. Miss Messent gave Bishop's beautiful cavatina, "Tell me, my heart," with infinite taste and expression. Mr. Allan Irving has a lovely and most capable barytone voice. He wants, however, or seems to want, sustaining power. He sang Ronconi's great air from Maria di Rohan, " Ah ! non avea piu lagrime." Mr. Tennant sang a new Irish ballad by Mr. Balfe, called " Norah," which pleased universally, and joined Madame Castellan in the duet " Mira la bianca luna." The programme might have been abbreviated with advantage. (The Standard, Monday, 3 May 1858) The annual performance of the Messiah, for the benefit of the Royal Society of Musicians, took place at St. James's hall, under the direction of Professor Sterndale Bennett. The principal singers were Misses Louisa Pyne, Dolby, and Palmer; Madame Weiss; Messrs. Benson, Weiss, Thomas, Winn and Sims Reeves. There was an efficient band and chorus the whole numbering about 400. The hall was crowded. The third concert of the Vocal Association (Mr. Benedict conductor) fully confirmed what has recently been advanced with reference to St. James's-hall as a music-room. It is useless to gloss over a defect now commented upon in every musical circle. Very material alterations must eventually be contrived, and the sooner they are projected and carried out the better. It was generally remarked in the concert of the Vocal Association that Mendelssohn's Ottette for stringed instruments (with which the performances commenced), although intrusted to players of acknowledged proficiency, with that experienced violinist, Mr. H. Blagrove, at their head, was altogether ineffective, the details being almost indistinguishable, and in delicate passages many points being scarcely audible. As there was no band on the present occasion the choruses were a little better than usual, but still by no means entirely satisfactory. One of the most successful performances of the evening was a duet of Kalkbrenner for two pianofortes, rendered in a masterly style by Messrs. Lindsay Sloper and Benedict. A young lady - Mademoiselle Gabrielle von Wendheim - attempted Herr Ernst's elaborate fantasia on themes from Otello (with pianoforte accompaniment) ! That it is not impossible for ladies to excel on the violin has been proved by the sisters Milanollo and others; but whatever may be the natural capabilities of Mademoiselle von Wendheim (and they are possibly considerable) she was ill-advised to test them so early in public. The encouragement awarded by the audience to one so young, and of a sex to which the guitar, the harp, and the piano are so much more congenial and becoming than the fiddle, must be accepted for what it is worth, and no more. (The Times, Monday, 3 May 1858) THE VOCAL ASSOCIATION. The last concert of the above celebrated institution was one of the best of the present series. The choristers completely sustained the reputation they have recently acquired under the direction of Mr. Benedict, by the admirable precision and expression with which they executed several glees and part-songs by the best masters. Madame Castellan and Miss Messent, as principal solo vocalists, acquitted themselves with their accustomed ability. Messrs Benedict and Lindsay Sloper delighted the audience by their fine performance of a concertante duet for two pianos. A female violinist, Mdlle. Gabrielle von Wendheim, displayed remarkable skill in Ernst's difficult fantasie on airs from "Otello," and Mendelssohn's ottetto for stringed instruments, was very well performed by artists of acknowledged talent, headed by our eminent English violinist, Mr. Henry Blagrove. (Morning Post, Tuesday, 4 May 1858) The Vocal Association,-The last concert of this institution was one the best of the series. Madame Castellan and Miss Messent, principal solo vocalists, acquitted themselves with their accustomed ability. Messrs. Benedict and Lindsay Sloper delighted the audience with their performance of a concertante duet for two pianos. A female violinist, Mdlle. Gabrielle von Wentheim displayed remarkable skill in Ernst's difficult fantasia on airs from Othello, and Mendelssohn's ottetto for stringed instruments was performed by artists of acknowledged talent, headed our eminent English violinist, Mr. Henry Blagrove. (Bell's Weekly Messenger, Saturday, 8 May 1858) The third Concert of the Vocal Association showed anew how clearly marked is the direction of English musical taste and talent. We may not be easily induced to take kindly to the study of instruments (and who can wonder that adverts to the disproportions of time and emolument in this branch of Art?) - but as a people of part-singers, ere long we may challenge all Europe. The scope, too, offered to composers, and of which Messrs. Hatton, Smart, Leslie, Martin, &c. are now successfully and variously availing themselves, was shown by the working of the chorus in combination with the solo voices of the Vocal Union. The conjoint effect in Horsley's 'Cold is Cadwallo's tongue' and Webbe's 'When winds breathe soft' was very fine. - Among the instrumental interludes of the evening were a duett for two pianofortes by Mr. Benedict and Mr. Sloper, a performance on Alexandre's Pianoforte-Harmonium by M. Engel, - and another, on the violin, by Mdlle. von Werdheim. The lady's choice of a solo was not wise, it being none other than Herr Ernst's tremendous fantasia from 'Otello,' which, like the majority of its composer's solo music, utterly defies any player who is short of the very highest stature. But the lady has obviously worked hard; and was cordially received by her public. (The Athenaeum, Saturday, 8 May 1858) (Also: The Athenaeum, Saturday, 8 May 1858.) The Vocal Association. The last concert of this association was as well attended as the foregoing. The programme included performances by the Vocal Union, a body of choristers which, disciplined by Mr. Benedict, is fast becoming of the most agreeable efficiency in the interpretation of part-music and choruses. The solo vocalists were Madame Castellan, Miss Messent, Mr. Allan Irving, and Mdlle. Finoli, who sang several compositions of a popular kind with unexceptionable taste and with great applause. In the course of the evening Mr. Lindsay Sloper and Mr. Benedict performed one of Kalkbrenner's concert ante duets for two pianofortes, and a Mdlle. Gabrielle von Wendheim played a solo on the violin. The latter exploit was remarkable enough of its kind, but the instrument is by no means one which we care to see in the hands of a female, however prompt and accurate her talent. Mdlle. von Wendheim, nevertheless, has acquired considerable skill, and is entitled to rank with honour among the lady violinists of the present generation. Mendelssohn's well known otetto, for stringed instruments, was played by Messrs. H. Blagrove, Webb, V. Collins, Hann, jun., Pollizer, G. Collins, Weimer, and Daubert. The effect, it must be confessed, was disappointing. The hall, it seems now to be an established fact, is not well suited to music of this chamber class. The nuances of expression are unfortunately lost under the galleries and in the more distant parts of the building. Whether the defect in question is remediable remains to be ascertained, but it certainly demands consideration. (The Era, Sunday, 9 May 1858) VOCAL ASSOCIATION. The third concert of the season of this new society was given on the 30th ult. At the St. James's Hall. The commencement of the programme was singularly inauspicious, Mendelssohn's ottetto for stringed instruments being the work chosen, and being all but inaudible. The rustling of the ladies' dresses as they wended their way to their respective seats, the hum of subdued voices exchanging "How d' ye do's ?" or the peculiar position of the executants in the orchestra, may have had to do with this obscurity. We cannot pretend to ascribe it positively to one or the other, but it was an undoubted failure. The scherzo (transplanted, as our readers are doubtless aware, to the C minor symphony of the same composer) could not fail to delight those who, by straining their aural faculties, managed to catch some of the sparkling phrases, but the most attentive listener must have lost some of the points, and have wondered what the fiddlers were about. We should imagine that the whole ottetto was well played, since we observed the following executants : Messrs. H. Blagrove, V. and G. Collins, Pollitzer, Weinert, Webb, Hann, and Daubert. But it is impossible to speak with any degree of certainty. We do not think that St. James's Hall is adapted for performances with so small a number of stringed instruments, but we should have had better opportunity of judging if the ottetto had been placed in the middle of the first part, which after all, was but its right place, since there was a quantity of vocal music which required relief. Some glees with chorus were done on this occasion, the glees being sung by the Vocal Union, assisted by Mr. Cummings. Horsley's "Cold is Cadwallo's tongue," and Webbe's "When winds breathe soft," were thus treated, and the effect was remarkably good. The chorus might have been introduced with advantage in an earlier portion of Webbe's glee than the last movement. The pieces given independently by the Vocal Association were Bortinansky's Sanctus," rendered familiar in this country by the New Philharmonic Society, Bishop's "Sleep, gentle lady," and Mr. J. Coward's "Take thy banner," a rather boisterous setting of Longfellow's Hymn of the Moravian Nuns. Mr. Coward appears to have lost sight of the fact of nuns being gentle and delicate creatures, for he has written a stalwart tune that would be more fitted for big beefeaters or burly bowmen, than the fragile (not frail) females who are supposed to pronounce the blessing on the banner. These pieces were fairly rendered, but "Sleep, gentle lady " was far too noisy. Considering that it was never intended to be sung by more than four voices, it is obvious that, when that number is multiplied by 75, there should be a most rigid observance of light and shade, the crescendos and diminuendos should be managed with extreme delicacy, and m f-s and f-s should be comparative. We are bound to say that such was not the case on this occasion, the crescendo on the word "waves" being of a very coarse description, and the mezzo-forte "Peace be around thee " being anything but of peaceful nature. We rather advocate the performance of glees, &c., by a large body of voices, provided the character of the composition admits of such a liberty being taken, but it is most important that when so large a chorus is employed on music which is delicate in structure, considerably more than usual care should be bestowed on the rehearsals. The Vocal Union separately sang four glees. - Elliott's "Come see what pleasures " (one of their most finished and charming performances), Benedict's "Wreath," a most artistic part-song), Goss's "Hymn to the sun," and Horsley's "By Celia's arbour." Callcott's Queen of the valley " was put down, but was extinguished, and very properly, for it would have brought two glees together, and would have added to a programme already far too long. The solo vocalists were Mdlle. Finoli, Miss Messent, Madame Castellan, Mr. Tennant, and Mr. Allan Irving. Of these Miss Messent appeared to please the best by a long distance, although she only exhibited in Bishop's "Tell me, my heart," which might safely be allowed a few month's holiday without doing herself or the composition the slightest harm. Madame Castellan sang Niedermeyer's "Le Lac" very coldly. It was difficult to say whether the lack of expression or the occasional departure from intonatory rectitude was the prevailing characteristic of this performance, but we are quite sure that both peculiarities were but too evident. Madame Castellan is simply singing on the strength of the fame she acquired in this country a few years ago; if her position were to be decided by her present singing we fear she would come in about A 6. Mr. Tennant sang a ballad by Balfe with much taste. It was called an "Irish ballad," and faix, it was well the programme told us so, for it's not a bit of ourselves that would have known it. Neither words nor music smack of the Hibernian. Mister Balfe, though his mother an Irishman, has long ago forgotten his nationality. He could write a chanson, à la Auber, (vide "Good night beloved," ) or a scena, à la Verdi, (vide "The reaper and the flowers," ) but Sam Lover appears to be the only writer that can do a thorough Irish ballad. The instrumental variety, in addition to Mendelssohn's ottetto, consisted of a concertante for two pianofortes (Kalkbrenner) admirably performed by Messrs. Lindsay Sloper and Benedict, a solo on the piano-harmonium by Herr Louis Engel, and violin solo by Mdlle. Gabrielle von Wendheim. The lady violinist is doubtless clever, but she was so fearfully nervous that it would be in the highest degree uncharitable to pass judgment upon her without further hearings. Her evident trepidation affected her "stopping" throughout the early part of her solo, and though she was in better tune and played with greater freedom as she progressed, it was not a genuine performance. Herr Engel should confine himself to the harmonium itself. He plays with much taste, but the combination of pianoforte and harmonium fetters the performer, and it is impossible to develop the powers of either instrument. For Herr Engel's behoof we may remark that the sustained chords on the harmonium, while prelusive arpeggios are played upon the pianoforte, have a most unpleasant effect. There was an excellent attendance, in spite of bad weather. The concert deserved good patronage, for there was variety enough in all conscience, and on the whole, though we have found much to remark upon, it must be pronounced a superior entertainment. (The Musical gazette : an independent journal of musical events, Saturday, 22 May 1858) Monday, 17 May 1858 : Miss Dolby and Mr. Lindsay Sloper's First Concert of Chamber Music at Willis's Rooms, King-Street, St. James's. MISS DOLBY and Mr. LINDSAY SLOPER beg to announce THREE CONCERTS of CHAMBER MUSIC, at Willis's Rooms, on MONDAY AFTERNOONS, May 17 and 31, and MONDAY EVENING, June 14. During the series they will be assisted by Messrs Sims Reeves, Santley, Sainton, Blagrove, Piatti. Paque, Benedict, G. Russell, and Cusins, Subscription to the series, one guinea ; admission to a single concert, half-a-guinea, Tickets for reserved seats may be had of Messrs. Cramer and Co., 201, Regent-street; of Miss; Dolby, 2, Hinde-street, Manchester-square; and of Mr. Lindsay Sloper, 70, Cambridge-terrace, Hyde park. (Morning Chronicle (1801), Wednesday, 5 May 1858) (Also: Morning Post, Saturday, 15 May 1858; Daily News, Thursday, 6 May 1858; The Athenaeum, Saturday, 8 May 1858; The Musical gazette : an independent journal of musical events, Saturday, 8 May 1858; Daily News, Saturday, 8 May 1858; Morning Post, Wednesday, 12 May 1858; Daily News, Thursday, 13 May 1858; Illustrated London News, Saturday, 15 May 1858; The Athenaeum, Saturday, 15 May 1858.) MISS DOLBY AND MR. LINDSAY SLOPER beg to announce THREE CONCERTS OF CHAMBER MUSIC, at Willis's Rooms, on Monday afternoons, May 17 and 31, and Monday evening, June 14. During the series they will be assisted by Messrs. Sims Reeves, Santley, Sainton, Blagrove, Piatti, Paque, Benedict, G. Russell, and Cusins. Subscription to the series, one guinea; admission to a single concert, half-a-guinea. Tickets for reserved seats may be had of Messrs. Cramer and Co., 201 Regent-street; of Miss Dolby, 2, Hinde-street, Manchester-square; and of Mr. Lindsay Sloper, 70, Cambridge-terrace, Hyde-park. (The Musical world, Saturday, 8 May 1858) (Also: The Musical world, Saturday, 15 May 1858.) MISS DOLBY and Mr. LINDSAY SLOPER'S FIRST CONCERT of CHAMBER MUSIC, will take place at Willis's Rooms, THIS DAY, May 17, at Three o'Clock. They will be assisted on this occasion by Mr. Santley, Mr. Sainton, Signor Piatti. and Mr. Cusins, The second and third concerts on Monday afternoon, May 31, and Monday evening, June 14. Subscription to the series, one guinea ; admission to a single concert, half-a-guinea, Tickets for reserved seats may be had of Messrs. Cramer and Co., 201, Regent-street; of Miss; Dolby, 2, Hinde-street, Manchester-square; and of Mr. Lindsay Sloper, 70, Cambridge-terrace, Hyde park. (Morning Chronicle (1801), Monday, 17 May 1858) This being Epsom week will be less musically productive. … This afternoon Miss Dolby and Mr. Lindsay Sloper begin their series of chamber concerts at Willis's-rooms; and in the evening the third New Philharmonic Concert takes place, under the direction of Dr. Wylde. On Wednesday evening, at St. Martin's hall, Mr. Hullah will again present the choral symphony of Beethoven, accompanied by the Requiem of Mozart; and at the same time the musical soirées of the Reunion des Arts are to be resumed in the old "Beethoven rooms." On Friday afternoon a grand concert is advertised at Her Majesty's Theatre, with the entire strength of the company; and in the evening the Vocal Association (director, Mr. Benedict) announces another miscellaneous performance, at which Herr Joseph Joachim is to play and Herr Pischek, the well-known barytone, to make his first appearance these three years. So that the So that the office of musical reporter, if not so laborious as last week, will at least be no sinecure. (The Times, Monday, 17 May 1858) Watts's Rooms.-On Monday the first of there promised Chamber Concerts of Chamber Music was given at these rooms by Miss Dolby and Mr. Lindsay Sloper, and was attended by a large number of the aristocratic part of the musical public. The names of the performers were a complete guarantee for a treat. Messrs. Lindsay Sloper, Sainton, and Piatti merely require to be named to assure all judges of music that Mendelssohn's trio in C minor was admirably performed. Miss Dolby was never heard to greater effect than in Mr. Duggan's scena Origins, though undoubtedly the audience more thoroughly appreciated her in Francesco Berger's song, Broken Vows. Mr. Lindsay Sloper also earned great applause in Beethoven's sonato in A flat, and in Moscheles' studies, one of which nursery tales was the great feature. We shall look forward to the next of the series with great interest., (Atlas, Saturday, 22 May 1858) MISS DOLBY AND MR. LINDSAY SLOPER'S CONCERTS. The first of a series of three concerts was given by Miss Dolby and Mr. Lindsay Sloper on Monday morning last, at Willis's Rooms. There was a large and highly fashionable attendance, as might have been expected from the sterling talent of the beneficiaires and the good position they hold in the eyes of the musical aristocracy. We could have wished a better programme for the display of their abilities, and we may take upon ourselves to say that many of the audience were of the same mind. The good things provided wore Mendelssohn's trio in C minor. very well played by Mr. Lindsay Sloper, M. Sainton, and Signor Piatti; Mozart's "Dolce corde amate," beautifully sung by Miss Dolby ; and Beethoven's sonata in A flat, op. 101, ably developed by Mr. Sloper. To this short list of agreeables we may add the less classical, but remarkably pleasing song of "Broken vows," composed by Francesco Berger, and exquisitely sung by Miss Dolby. A scena by Duggan, entitled "Oriana" (words by Tennyson) was unworthy of our accomplished contralto, and it produced no effect whatever, in spite of her highly expressive singing. Mr. Duggan had better leave off setting, or trying to set, Tennyson. In endeavouring to produce an effective scena, he appears to have thought of effect and nothing else, and, consequently, no effect is produced; unless it be that of positively wearying the hearer by the eternal strain upon the voice, and the want of something approaching coherence, not to say tune. We never in our lives wished Miss Dolby to leave off singing until she was half-way through "Oriana." The remainder of Mr. Sloper's selection was infelicitous. The characteristic studies by Moscheles neither served to impress the auditor with a sense of the genius of the composer nor the taste of the executant. They are severally entitled "A Nursery Tale," "Affliction," and a Bacchanale. "A nursery tale" about as unsimple and affected a morceau, as a thing intended to be simple and unaffected could well be. Mr. Sloper's own compositions in the second part of the concert, "Sur les flots," and "Jours heureux," were more palatable, but the whole crop was unhealthy. "Sur les flots" was played rather unsteadily. It is rather bold, we confess, to find fault with a composer's reading of his own work, but we Gazetters are plain spoken people, and we know that Mr. Sloper's barcarolle, if played simply through, without any agitato or tempo rubato, or any fashionability of that sort, would be very much more agreeable. Piatti delighted his fair visitors with an air varié of his own, and received a warmer manual tribute of admiration than is usually accorded by ladies, more particularly at morning concerts. A Christmas song, "Nazareth," by Gounod, was well sung by Mr. Santley, and, we think, obtained the most cordial and general applause of any thing that was performed. It is a delightful song, of which bass voices will do well to obtain possession. Mr. Cusins accompanied the vocal music, with the exception of Mr. Berger's extremely pretty song, which was accompanied by its composer. The second concert will take place on Monday week. (The Musical gazette : an independent journal of musical events, Saturday, 22 May 1858) MISS DOLBY AND MR, LINDSAY SLOPER'S MATINEES. Willis's Rooms were crowded by a brilliant and fashionable company on Monday afternoon, the attraction being the first of a series of concerts given by Miss Dolby and Mr. Lindsay Sloper. Mr. Lindsay Sloper displayed more than usual ambition in selecting, among other things, the grand sonata of Beethoven, in A flat, op. 110;but his performance showed that he had by no means over-estimated his powers. He is one of our most finished and admirable players, and what he undertakes he is sure to accomplish well. That the sonata, therefore, was skilfully and effectually interpreted, may be taken for granted. In Mendelssohn's trio in C minor, op. 66, for piano, violin, and violoncello, Mr. Lindsay Sloper was aided by M. Sainton and Signor Piatti. This performance was a treat of the highest order. Two "Characteristic Pieces " by Moscheles, and two compositions of his own - entitled "Sur les Flots," a barcarolle, and "Jours Heureux," a morceau de salon - were also introduced by Mr. Sloper, and played to perfection. The vocal music was confined to Miss Dolby and Mr. Santley. The lady essayed two new compositions - a setting of Tennyson's "Oriana," by Mr. Duggan, and a song entitled "Broken Vows," by Herr Francesco Berger. She sang both admirably. Nevertheless, the first was somewhat lengthy. A poem of fifty lines set to music, must possess rare merit to prevent its becoming tedious. Best of all was the air by Mozart, "Dolce corde amate, which Miss Dolby gave with true and unaffected sentiment. A Christmas song "Nazarette," the composition of Gounod, was exceedingly well sung by Mr. Santley. In addition to the above, Signor Piatti played a Theme Varie of his own, and delighted the audience with the elegance and brilliancy of his execution. (The Musical world, Saturday, 22 May 1858) There were many interesting things at the first Matinée of Miss Dolby and Mr. Sloper - a fine song, 'Dolce corde,' by Mozart, which was unfamiliar to us, - and an elegant romance 'Broken Vows,' by M. Berger, to both of which the lady did full justice. Amongst other music, Mr. Sloper gave two new compositions of his own, of which we may speak elsewhere, and (what was no less welcome to us) three of the highly-finished "characteristic studies" of his master - Professor Moscheles. We are satisfied that the excellent intellectual music of this writer will revive in popularity. The other artists who appeared were M. Sainton, Signor Piatti and Mr. Santley. To name this young singer, is already equivalent to speaking of rapid progress and merited success. (The Athenaeum, Saturday, 22 May 1858) Miss Dolby and Mr. Lindsay Sloper. These two artists invariably enter into concert partnership, and both being in highly respectable vogue, and possessed of large and fashionable connexions as teachers, their periodical invitations are always well attended to. On Monday they gave the first of a brief series of soirées at Willis's Rooms. The programme was purely classical in its composition. It opened with Mendelssohn's trio in C minor, op. 60, in which Mr. Lindsay Sloper was assisted by M. Sainton and Signor Piatti. Mr. Sloper subsequently ventured upon the ground so ably occupied by Miss Arabella Goddard, and played with admirable skill and effect Beethoven's Sonata, No. 110. He afterwards contributed some lighter pieces by Moschelles and himself, in each of which he again furnished room for commendation, by the excellence he exhibited in all the arts of touch and method that go to make up a first-class pianist. Miss Dolby revived Duggan's setting of Tennyson's "Oriana," into which concert visitors need not be reminded she breathes vast dramatic spirit. A new song, by M. Berger, was also among her list of pieces, and its title, "Broken vows," immediately suggests the sort of sentiment in which it deals. Mr. Santley was an assistant vocalist; and Signor Piatti, besides playing in the trio by Mendelssohn, performed a solo of his own in his customary exquisite manner. (The Era, Sunday, 23 May 1858) Notwithstanding the races at Epsom, concerts have been both numerous and attractive. Miss Dolby and Mr. Lindsay Sloper gave their friends an excellent programme at their first matinée in Willis's Rooms. Miss Dolby introduced two new compositions - a setting of Mr. Tennyson's "Oriana," by Mr. Duggan, and a song called "Broken vows," by M. Francesco Berger; both were finely sung, and the last especially was successful. Mr. Lindsay Sloper, one of the most deservedly eminent of our English pianists, besides performing some short and agreeable pieces of his own, and two of the Characteristic Studies of Moscheles, joined M. Sainton and Signor Piatti in Mendelssohn's second trio Best of all, Mr. Sloper gave the solo sonata of Beethoven in A flat, Op. 110, one of those later compositions of the great master to which only first-rate mechanical ability combined with intellectual power can possibly do justice. Mr. Sloper, however, who plays with more refinement than one-half of the foreign "virtuosi" that annually besiege these realms, has on more than one occasion showed himself possessed of both. He is one of the few really "classical" pianists we can boast, and as such merits encouragement. (The Times, Monday, 24 May 1858) Die erste einer Reibe von Matinées musicales der Miss Dolby und des Hrn. Lindsay Sloper hatte eine sehr zahlreiche uud wahrhaft glanzende Zuhörerschaft herbeigezogen. Hr. Sloper spielte eine Sonate von Beethoven und das C-moll - Trio von Mendelssohn mit den Herren Sainton und Piatti in meisterhafter Weiss. Miss Dolby sang nebst neueren Liedern Mozart's "Dolce amate corde" mit echter und warmer Empfindung und Hr. Santley einen Weihnachtsgesang "Nazarette" von Gounod ausgezeichnet. (Neue berliner Musikzeitung, Wednesday, 16 June 1858) Monday, 31 May 1858 : Miss Dolby and Mr. Lindsay Sloper's Second Concert of Chamber Music at Willis's Rooms, King-Street, St. James's. MISS DOLBY and Mr. LINDSAY SLOPER'S SECOND CONCERT of CHAMBER MUSIC will take place at Willis's Rooms, on MONDAY AFTERNOON, May 31, at 3 o'clock, when they will be assisted by Mr. Blagrove, Signor Piatti, and Mr. George Russell.- Tickets (for reserved seats), half-a-guinea each, may be had of Messrs. Cramer and Co., 201, Regent-street ; of Miss ; Dolby, 2, Hinde-street, Manchester-square; and of Mr. Lindsay Sloper, 70, Cambridge-terrace, Hyde-park. (Morning Post, Wednesday, 26 May 1858) (Also: The Athenaeum, Saturday, 29 May 1858.) MISS DOLBY and Mr. LINDSAY SLOPER'S SECOND CONCERT of CHAMBER MUSIC will take place at Willis's Rooms, THIS AFTERNOON, May 31, at 3 o'clock, when they will be assisted by Mr. Blagrove, Signor Piatti, and Mr. George Russell.- Tickets (for reserved seats), half-a-guinea each, may be had of Messrs. Cramer and Co., 201, Regent-street ; of Miss ; Dolby, 2, Hinde-street, Manchester-square; and of Mr. Lindsay Sloper, 70, Cambridge-terrace, Hyde-park. (The Musical gazette : an independent journal of musical events, Saturday, 29 May 1858) (Also: Morning Chronicle (1801), Monday, 31 May 1858.) MISS DOLBY AND MR. LINDSAY SLOPER'S SECOND CONCERT OF CHAMBER MUSIC will take place at Willis's Rooms, on Monday afternoon, May 31, at 3 o'clock, when they will be assisted by Mr. Blagrove, Signor Piatti, and Mr. George Russell. Tickets (for reserved seats, half-a-guinea each, may be had of Messrs. Cramer and Co., 201, Regent-street; of Miss Dolby, 2, Hinde-street, Manchester-square; and of Mr. Lindsay Sloper, 70, Cambridge-terrace, Hyde-park. (The Musical world, Saturday, 29 May 1858) This afternoon Miss Dolby and Mr. Lindsay Sloper will give their second concert of chamber music at Willis's Rooms. (Morning Chronicle (1801), Monday, 31 May 1858) During the present week at Her Majesty's Theatre the Huguenots, the Nozze di Figaro, and the Trovatore, in all of which Mademoiselle Titiens sings, will be presented in succession; at the Royal Italian Opera the Traviata with Madame Bosio may be counted on, together with some hope of Fra Diavolo; at Drury-lane (where they have been playing the Traviata all the past week) we are promised, in addition, the Trovatore, Rigoletto, and Lucia. In the way of concerts, Miss Dolby and Mr. Lindsay Sloper invite their patrons to Willis's-rooms this afternoon, while the evening is divided between the last meeting of the Amateur Society and the fourth concert of the New Philharmonic; on Tuesday evening Mr. Blagrove's last quartet performance ; on Friday evening Mr. Costa's Eli, at Exeter-hall (by the Sacred Harmonic Society), and the concert of Miss Messent and Mr. Brinley Richards, in the Hanover-square-rooms; on Saturday night a grand miscellaneous concert at St. James's-hall, in aid of the centenary fund of the Asylum for Female Orphans; besides other entertainments too numerous to mention. (The Times, Monday, 31 May 1858) CONCERT OF MISS DOLBY AND MR. LINDSAY SLOPER. The second concert of the series of three [?], the above admirable English artists was excellent, being more interesting than the first, and chiefly because it included one of the finest songs of Henry Purcell, grandly and [?] rendered by our incomparable contralto, Miss Dolby. Purcell 's noble music is now so rarely heard that [?] production of any long and important piece from his [?] suffices to give a novel and remarkable character to [?] programme. "Mad Bess" is a worthy companion [?] famous " Mad Tom," though it is much less known to the musical public. The declamatory recitatives [?] cent- comparable, indeed, to those of Handel or G [?] and really wonderful, considering the age in which they were written. There is also no lack of [?] whilst the harmonies, somewhat bald, perhaps.[?] there, for modern ears, are nevertheless full of vigour, and, like the rest of the work, greatly in advance of the century to which they belong. The musical world ought to be thankful to Miss Dolby for reviving this fine specimen of British genius, and especially as she did such ample justice to it. We trust that she will now make "Mad Bess" one of her stock pieces, surely worth any number of such vapid effusions as "M [?] volte sull' campo, d'onor," upon which Miss Dolby is in the habit of wasting her admirable talent. Mr. Lindsay Sloper has long been known as one of the most accomplished pianists of the day; and his faultless execution on the present occasion of Mendelssohn's "Prelude and fugue in E minor," and "Presto," from the "characteristic pieces" some musicianly and charming compositions of his own, a "Notturno," and "Allegro scherzando," entitled "Ariel," Beethoven's sonata for piano and violoncello, Op. 102, in which he was ably assisted by Signor Piatti, and Haydn's trio in G major, efficiently supported by Signor Piatti and Mr. Henry Blagrove, was every way worthy of his well-known reputation. The concert was in other respects highly satisfactory and appeared to give unqualified pleasure to a numerous and fashionable audience. (Morning Post, Wednesday, 2 June 1858) The second concert of Miss Dolby and Mr. Lindsay Sloper was good. Could music, which a London concert audience will bear to hear, range more widely than betwixt a Purcell Cantata and one of Beethoven's last Sonatas ? It may be doubted. "Mad Bess,' however, which Miss Dolby sang and said very finely, is not Purcell's best mad Cantata; it is more patchy, less tuneable, and less picturesque in its recitative than Altisidora's 'Delirious Lady,' which Miss Masson used to deliver so admirably. Beethoven's Duett, with violoncello, in c major, Op. 102, which we do not recollect to have heard in public before, is one of his compositions which are just "over the brink" of well-proportioned, substantial music. The theme of its principal allegro is as grandiose as that of the allegro in the Ninth Symphony, but it is somehow flung and frittered away. The movement is a sketch, yet means to be no sketch - one belonging, in brief, to the time when working power and sense of proportion fail to second the fancy which (with men of Beethoven's calibre) never can die. On the other hand, the final rondo, however agreeable and sprightly, is still frivolous. (The Athenaeum, Saturday, 5 June 1858) MISS DOLBY AND MR. LINDSAY SLOPER'S CONCERTS. The second of these concerts of chamber music took place on Monday morning last at Willis's Rooms, and was on the whole far more satisfactory than its predecessor. Miss Dolby gave a long scena again on this occasion, not such a musical mistake as Mr. Duggan's "Oriana," but a piece of sterling coin in the shape of Purcell's "Mad Bess," for which she will please to accept our thanks. The cantata, as it is called, was very finely sung, and, we should imagine, duly appreciated, though the enthusiasm of the audience was reserved for Linley's new ballad of "Regret," which was encored, though, as we have said before of this effusion, it had little share in obtaining the compliment, the exquisite singing of Miss Dolby, who is great alike in bagatelles and scenas, being the deserving portion of the business. Mr. Lindsay Sloper played Mendelssohn's prelude and fugue in E minor, and a presto by the same composer, also some compositions of his own of better character than those introduced at the last matinée, besides sharing Beethoven's duo for pianoforte and violoncello (Op. 102) with Signor Piatti, and taking part in Haydn's trio in G, in which Mr. H. Blagrove's violin was laid under contribution. In all of these Mr. Lindsay Sloper maintained his reputation as a first-class pianist, and was honoured with marked applause. The last concert is on Monday week, and a very attractive programme is announced. (The Musical gazette : an independent journal of musical events, Saturday, 5 June 1858) Concert of Miss Dolby and Mr. Lindsay Sloper.- The second performance took place on Monday afternoon in Willis's Rooms. The first piece in the programme was Haydn's trio in G, for pianoforte, violin, and violoncello (recently revived by Herr Pauer), performed in very effective style by Mr. Sloper, Mr. Blagrove, and Sig. Piatti. Purcell's "Mad Bess" came next, and was well declaimed by Miss Dolby. This cantata has the merit of being quite as long and quite as dull as "Mad Tom," its companion. The prelude and fugue of Mendelssohn in E minor, Op. 35, for piano alone, and a presto from the same composer's Seven Characteristic pieces, followed. The first, though wonderfully clever, is not one of Mendelssohn's most spontaneous productions; the second is just as much more genial as it is less elaborate. Both were perfectly executed by Mr. Sloper. A manuscript song for contralto, with violoncello obbligato, composed by Sig. Piatti, who accompanied Miss Dolby, and the Deuxieme Morceau de Salon of M. Vieuxtemps, for violin, admirably given by Mr. Blagrove, ended the first part of the concert. The second part began with one of Beethoven's sonatas for pianoforte and violoncello - No. 1, Op. 102 - which, performed with irreproachable excellence by Mr. Lindsay Sloper and Signor Piatti, was the greatest musical treat of the morning. These violoncello sonatas - we allude to Op. 102, Op. 5 being much more familiar - are too rarely brought forward in public. There was not much applause at the conclusion, but the unqualified satisfaction of the few connoisseurs present must have been a sufficient reward to the two performers. If not, they are at liberty to add the entire approval of the Musical World. Mendelssohn's Fruhlingslied, though MS. In "Miss Dolby's album," has long been included in the number of his printed songs. It was sung with Miss Dolby's accustomed taste. The pianoforte solos of Mr. Sloper - a notturno and an allegro scherzando entitled "Ariel" - are extremely pretty, and written with a degree of finish only attainable by thorough musicianship. They were of course well played by the composer. A new but not very striking ballad, sung by Miss Dolby, and a violoncello solo - Tarantella-composed and performed by Signor Piatti, brought the concert to a termination. The accompanyist at the pianoforte was Mr. George Russell. (The Musical world, Saturday, 5 June 1858) On the afternoon of the same day Madame Puzzi received her patrons in the Hanover-square-rooms, while Miss Dolby and Mr. Lindsay Sloper held their second matinée at Willis's. At the first-mentioned Madame Persiani and Madame Viardot Garcia were the attractions. The reappearance of the former lady must have conjured up interesting reminiscences of the old Italian Opera. No frequenter of that once exclusive temple of the Muses can have forgotten the triumphs of Madame Persiani, who (although she did now and then perplex exacting ears by uncertain intonation) as a florid soprano probably never had a rival. The return of Madame Viardot will be a boon to lovers of genuine art. There is not so much refined singing in our concert-rooms at the present moment that such a talent as hers can be readily spared. At Willis's-rooms, both Miss Dolby and Mr. Lindsay Sloper seem determined to bring forward music not generally known, but which is nevertheless entitled to general sympathy. Miss Dolby restored Purcell's "Mad Bess," while Mr. Sloper "revived" one of the late sonatas of Beethoven, for pianoforte and violoncello (No. 2, Op. 102-in C). These remarkable compositions have been as much neglected as the solo sonatas which Miss Arabella Goddard and M. HaIle are so zealous and indefatigable in propagating. Mr. Sloper's coadjutor was Signor Piatti, - so that the chances of an efficient execution were doubled. (The Times, Monday, 7 June 1858) Monday, 14 June 1858 : Miss Dolby and Mr. Lindsay Sloper's Third (And Last) Concert of Chamber Music (Evening) at Willis's Rooms, King-Street, St. James's. MISS DOLBY and Mr. LINDSAY SLOPER'S THIRD and LAST CONCERT of CHAMBER MUSIC will take place at Willis's Rooms, on MONDAY EVENING, June 14, at half-past 8 o'clock, when they will be assisted by Messrs. Sims Reeves, Sainton, Paque, Francisco Berger. and Benedict. - Tickets, half-a-guinea each, may be had at the principal Music Warehouses ; of Miss Dolby. 2, Hinde-street, Manchester-square ; and of Mr. Lindsay Sloper, 70, Cambridge-terrace, Hyde-park. (The Times, Tuesday, 8 June 1858) (Also: Morning Post, Wednesday, 9 June 1858; The Musical gazette : an independent journal of musical events, Saturday, 12 June 1858; The Athenaeum, Saturday, 12 June 1858.) CONCERTS FOR THE ENSUING WEEK … Monday…Miss Dolby and Mr. Lindsay Sloper's Concert, Willis's Rooms, 8½. (The Critic, Saturday, 12 June 1858) ANNOUNCEMENTS FOR THE WEEK. MONDAY. Miss Dolby and Mr. Lindsay Sloper's concert, Willis's Rooms, 8½. (The Musical gazette : an independent journal of musical events, Saturday, 12 June 1858) MISS DOLBY AND MR. LINDSAY SLOPER'S THIRD AND LAST CONCERT OF CHAMBER MUSIC will take place at Willis's Rooms, on Monday Evening, June 14th, at half-past Eight o'clock, when they will be assisted by Messrs. Sims Reeves, Sainton, Paque, Francesco Berger and Benedict, Tickets, Half-a-Guinea each, may be had at the principal music warehouses; of Miss Dolby, 2, Hinde-street, Manchester-square; and of Mr. Lindsay Sloper, 70, Cambridge-terrace, Hyde-park. (The Musical world, Saturday, 12 June 1858) This evening the third and last Chamber Concert will be given by Miss Dolby and Mr. Lindsay Sloper, at Willis's Rooms. (Morning Chronicle (1801), Monday, 14 June 1858) MISS DOLBY and Mr. LINDSAY SLOPER'S THIRD (and LAST) CONCERT of CHAMBER MUSIC will take place at Willis's Rooms, THIS EVENING, June 14, at half-past 8 o'clock, when they will be assisted by Messrs. Sims Reeves, Sainton, Paque, Francisco Berger. and Benedict. - Tickets, half-a-guinea each, may be had at the principal Music Warehouses ; of Miss Dolby. 2, Hinde-street, Manchester-square ; and of Mr. Lindsay Sloper, 7, Cambridge-terrace, Hyde-park. (Morning Chronicle (1801), Monday, 14 June 1858) The important musical incidents of the present week may be shortly enumerated. Herr Jansa (one of the celebrated Viennese party, the first to play the posthumous quartets of Beethoven), and Herr Deichmann give morning concerts to-day in the Hanover-square Rooms; while Madame Anichini invites her friends to her annual, musical fete champêtre at Campden-house in the afternoon ; and in the evening the last of the chamber concerts of Miss Dolby and Mr. Lindsay Sloper takes place simultaneously with the fifth and concluding concert of the New Philharmonic under Dr. Wylde, at which Mr. Howard Glover's Comala is to be heard. Herr Joachim is to play a violin fugue of J. S. Bach, and Miss Arabella Goddard will introduce Dussek's fine pianoforte concerto, No. 6 (in G minor), so long and undeservedly neglected. (The Times, Monday, 14 June 1858) On Tuesday at Miss Dolby and Mr. Lindsay Sloper's third entertainment some novelties were brought forward : - a pianoforte Duetto, with violin, by Kuhlau (one of those interesting far-northern composers who are still not quite strong enough to break out of the North) - two of Mr. Bache's agreeable, tender, and artistic songs - thirdly, a new Duett, composed by Mr. Sloper for Miss Dolby and Mr. Sims Reeves, in which an attempt towards novelty of form seems to have been made. (The Athenaeum, Saturday, 19 June 1858) MISS DOLBY AND MR. LINDSAY SLOPER'S CONCERT. Miss Dolby and Mr. Lindsay Sloper have brought their admirable series of chamber concerts to a close. The last soirée took place on Monday, the 14th instant, when the large room at Willis's was filled with a brilliant audience. It was a severe struggle between the hot weather and the art, but the latter had the mastery. The programme consisted of :- PART I. Trio, in B flat major, op. 97, for pianoforte, violin, and violoncello, Mr. Lindsay Sloper, M. Sainton, and M. Paque - Beethoven. Song, "O Sacred Oracles of Truth," Miss Dolby - Handel. Chaconne for the pianoforte, Mr. Lindsay Sloper - Handel. Duett (MS.), "Memories," Miss Dolby and Mr. Sims Reeves - Lindsay Sloper. Solos, violoncello, Melody, Rosamunda - Schubert, Tarantella - Auber. M. Paque. PART II. Concertante Duett in F minor, op. 33 (dedicated to Spohr), for pianoforte and violin, Mr. Lindsay Sloper and M. Sainton - Kuhlau. Songs, "Serenade " and Farewell." Miss Dolby - F. E. Bache. Song, "When the moon is brightly shining," Mr. Sims Reeves - Molique. Solos, pianoforte; Mr. Lindsay Sloper - Stephen Heller. National Songs, Miss Dolby. The first morceau was a musical treat of the very highest order; played by Messrs. Sloper, Sainton and Paque, it had the advantage of the very best representation, and the exquisite development and adaptation of the three instruments received full justice from the above-named gentlemen. The scherzo was beautifully played, and the andante cantabile, a perfect melody for all the instruments, was inimitable. The sacred song of Handel adds one more to the list of neglected beauties which have been resuscitated by Miss Dolby. The great vocal attraction of the evening was Mr. Sloper's duett. The words are by Mr. H. F. Chorley. The duett portion is by no up to the standard of the rest of the composition. The solos are admirable in the extreme, and the accompaniments throughout are most judiciously adapted. Mr. Sims Reeves who sang the tenor, was in his finest voice, and having some misanthropical "business " to do, displayed his grand power of declamation to the utmost. Mr. Sloper's performances deserve high commendation, particularly the chaconne of Handel : the perfect rhythm with which the great contrapuntalist delighted to characterize his compositions, is fully appreciated by this gentleman. M. Paque played his two solos very finely : the latter (the dance of the populace from Masaniello) was capital. The-two gongs of Mr. Bache's writing deserve notice for melody and tasteful arrangement. They were rendered by Miss Dolby with the greatest beauty and pathos. We would rather have heard Mr. Sims Reeves in a higher class composition than "When the moon;" and we do not think that two performers of the status of Messrs. Sloper and Sainton are justified in producing the Op. 33 of Kuhlau, whoever that worthy may be. Miss Dolby ended the performance with " Katie's letter" and "The hundred pipers," sung in a manner that is familiar to all readers and probably has been so for some time; and we hope it long may be. (The Musical gazette : an independent journal of musical events, Saturday, 19 June 1858) The miscellaneous concerts of the week have been very interesting, but much too numerous to speak of in detail. The annual entertainment of Mademoiselle Anichini, at Campden house, Kensington, presented its accustomed variety of attractions, vocal and instrumental, and was attended as usual, by a fashionable and brilliant company. Amongst other things Mademoiselle Anichini introduced some Roman canzonets of the true national type, which she sang charmingly and to the evident delight of her audience. Miss Louisa Pyne - who was at the head of a long catalogue of vocalists native and foreign-gave a popular cavatina of Pacini and a very pleasing duet composed by Signor Vera (with Miss Susan Pyne) in her best manner. Nothing, indeed could be more attractive of its kind than the vocal programme while the instrumental, to which (among other performances of merit) Signor Andreoli contributed a pianoforte fantasia, was equally good in its way. Signor Vera, Signor Pinsuti, and Mr. Benedict were the conductors. The last chamber concert of Miss Dolby and Mr. Lindsay Sloper, a worthy ending to an admirable series; the annual concert of that clever and rising violinist, Herr Deichmann, who, among other things, played the Kreutzer Sonata of Beethoven with Herr Rubinstein; the concert of Herr Jansa, the esteemed violinist and composer, who besides introducing some very clever compositions of his own hitherto unheard in England, played one of Beethoven's violin sonatas with Miss Arabella Goddard,; M. Hallé's first concert of chamber music in Willis's-rooms, at which the accomplished German pianist was assisted by Herr Joseph Joachim, with whom he performed the Kreutzer Sonata, and Signor Piatti, with whom and Herr Joachim he played the last grand trio of Beethoven, in E flat; a vocal and instrumental concert, given by Mr. Hullah, in St. Martin's Hall, at which Bach's magnificent motet in F minor "I wrestle and pray," and many other very interesting works were performed; (The Times, Monday, 21 June 1858) Friday, 16 July 1858 : Mr. Julius Benedict's Grand Festival Concert at Crystal Palace. CRYSTAL PALACE, FRIDAY, July 16. ARABELLA GODDARD will perform Bach's Double Concerto for three Pianofortes, with Messrs. Benedict and Lindsay Sloper, at the Crystal Palace, on Friday, July 16. Madame Gassier's first performance at the Crystal Palace. Miss Stabbach will also appear on this occasion. Mr. SIMS REEVES will sing Purcell's celebrated War Song, "Come, if you dare." The Beethoven Battle Symphony for two orchestras will be performed, for the first time at the Crystal Palace. Full programme will be ready on Friday next, July 9. Tickets may be obtained at the principal libraries and musicsellers (2s 6d each) until the 11th inst., alter which the price of admission will be 5s. (Morning Post, Friday, 2 July 1858) (Also: The Musical gazette : an independent journal of musical events, Saturday, 3 July 1858; Morning Post, Monday, 5 July 1858.) CRYSTAL PALACE, Friday, July 16.-ARABELLA GODDARD will perform Bach's Triple Concerto for Three Pianoforte, with Messrs. Benedict and Lindsay Sloper, at the Crystal Palace, on Friday, July 16. Madame Gassier's first appearance at the Crystal Palace. Miss Stabbach will also appear on this occasion. Mr. Sims Reeves will sing Purcell's celebrated War Song, "Come, if you dare." The Beethoven Battle Symphony for two orchestras will be performed, for the first time at the Crystal Palace. Full programme will be ready on Friday next, July 9. - Tickets may be obtained at the principal libraries and music-sellers (2s 6d. each), until the 14th inst., after which the price of admission will be 5s. (The Musical world, Saturday, 3 July 1858) CRYSTAL PALACE, Friday next, July 16.- PROGRAMME of CONCERT, to begin at Three o'clock. PART 1. Overture, Massaniello - Auber. March and Chorus, "Crown ye the Altars," (The Ruins of Athens) - Beethoven. Motett, "Sanctus" - Bortalansky. Scena, " Ocean, thou mighty monster" (Oberon), Miss Stabbach - C. M. v. Weber. Triple concerto, for three pianofortes), with additional orchestral accompaniments by Moschelles), Miss Arabella Goddard, Mr. Benedict, and Mr. Lindsay Sloper - J. S. Bach. Air and chorus, " Come If you dare," Mr. Sims Reeves - Purcell. Trio, "Cradle Song," for female voices (unaccompanied), Miss Louisa Pyne, Miss Weiss, and Miss Dolby - Benedict. Ballad, "My pretty Jane" (by desire), Mr. Sims Reeves - Sir Henry Bishop. Le Carneval de Venise, with variations, arranged for the voice, Mme. Gassier (her first appearance at the Crystal Palace) - Benedict. Hebrew Morning Hymn, "Let us adore" (Joseph) - Mehul. Song, "'The Village Blacksmith," Mr. Weiss - W. H. Weiss. Air, "The Skylark," Miss Louisa Pyne - Benedict. Cantata, "O Sons of Art" (Quartett and chorus of male voices), Messrs. Sims Reeves, Wylbie Cooper, Weiss, and Deck - Mendelssohn. Between the Parts Mr. W. T. Best will perform the First Movement of Handel's Second Concerto, on the Grand Organ. PART II. Concertante for Four Violins, with Orchestral Accompaniments, Messrs. Molique, Blagrove, Deichmann, and Sainton - Maurer. Song, "The Green Trees," Miss Dolby - Balfe. Variations, "Il dolce canto," Miss Louisa Pyne - Rode. Fantasia, "Home, sweet Home" (by desire), Pianoforte, Miss Arabella Goddard - Thalberg. Cavatina, "Deh vieni non tardar" (Le Nozze di Figaro), Mm. Weiss Mozart. Air with Chorus, "Possenti Numi" (Magic Flute), Herr Deck - Mozart. Chorus, "O, thou whose power" (Prayer, Mosé in Egitto). - Rossini. Part Song, "The Blue Bells of Scotland" Grand Triumphal March - Best. Conductors, Mr. BENEDICT and Mr. MANNS. The Band, including 40 first violins, 40 second violins, 26 altos, 28 violoncellos, and 58 double basses (with an equal proportion of wind instruments), will number upwards of 200 performers, and be composed of the elite of the profession. The choirs, including the Vocal Association, will number 800 vocalists, being a total of One Thousand Performers. Price of tickets, 2d. 6d., until Wednesday, the 14th July, inclusive; after that date the price will be 5s.; numbered reserved seats in the Area, 2s. 6d. extra; in the Galleries, 1s. extra. Tickets are now on sale at the Crystal Palace ; at the Central Ticket-office, 2, Exeter Hall ; and at the principal libraries and musicsellers. The doors will be opened at One o'clock; the performance will commence at Three o'clock. (Morning Chronicle (1801), Monday, 12 July 1858) (Also: Morning Post, Friday, 16 July 1858; Morning Post, Wednesday, 14 July 1858; Morning Post, Thursday, 15 July 1858.) CRYSTAL PALACE, To-morrow, July 16.- PROGRAMME of CONCERT, to begin at Three o'clock. PART 1. Overture, Massaniello - Auber. March and Chorus, "Crown ye the Altars," (The Ruins of Athens) - Beethoven. Motett, "Sanctus" - Bortalansky. Scena, " Ocean, thou mighty monster" (Oberon), Miss Stabbach - C. M. v. Weber. Triple concerto, for three pianofortes), with additional orchestral accompaniments by Moschelles), Miss Arabella Goddard, Mr. Benedict, and Mr. Lindsay Sloper - J. S. Bach. Air and chorus, " Come If you dare," Mr. Sims Reeves - Purcell. Trio, "Cradle Song," for female voices (unaccompanied), Miss Louisa Pyne, Miss Weiss, and Miss Dolby - Benedict. Ballad, "My pretty Jane" (by desire), Mr. Sims Reeves - Sir Henry Bishop. Le Carneval de Venise, with variations, arranged for the voice, Mme. Gassier (her first appearance at the Crystal Palace) - Benedict. Hebrew Morning Hymn, "Let us adore" (Joseph) - Mehul. Song, "'The Village Blacksmith," Mr. Weiss - W. H. Weiss. Air, "The Skylark," Miss Louisa Pyne - Benedict. Cantata, "O Sons of Art" (Quartett and chorus of male voices), Messrs. Sims Reeves, Wylbie Cooper, Weiss, and Deck - Mendelssohn. Between the Parts Mr. W. T. Best will perform the First Movement of Handel's Second Concerto, on the Grand Organ. PART II. Concertante for Four Violins, with Orchestral Accompaniments, Messrs. Molique, Blagrove, Deichmann, and Sainton - Maurer. Song, "The Green Trees," Miss Dolby - Balfe. Variations, "Il dolce canto," Miss Louisa Pyne - Rode. Fantasia, "Home, sweet Home" (by desire), Pianoforte, Miss Arabella Goddard - Thalberg. Cavatina, "Deh vieni non tardar" (Le Nozze di Figaro), Mm. Weiss Mozart. Air with Chorus, "Possenti Numi" (Magic Flute), Herr Deck - Mozart. Chorus, "O, thou whose power" (Prayer, Mosé in Egitto). - Rossini. Part Song, "The Blue Bells of Scotland" Grand Triumphal March - Best. Conductors, Mr. BENEDICT and Mr. MANNS. The Band, including 40 first violins, 40 second violins, 26 altos, 28 violoncellos, and 58 double basses (with an equal proportion of wind instruments), will number upwards of 200 performers, and be composed of the elite of the profession. The choirs, including the Vocal Association, will number 800 vocalists, being a total of One Thousand Performers. Price of tickets, 2d. 6d., until Wednesday, the 14th July, inclusive; after that date the price will be 5s.; numbered reserved seats in the Area, 2s. 6d. extra; in the Galleries, 1s. extra. Tickets are now on sale at the Crystal Palace ; at the Central Ticket-office, 2, Exeter Hall ; and at the principal libraries and musicsellers. The doors will be opened at One o'clock; the performance will commence at Three o'clock. (The Times, Thursday, 15 July 1858) CRYSTAL PALACE, THIS DAY, July 16.- PROGRAMME of CONCERT, to begin at Three o'clock. PART 1. Overture, Massaniello - Auber. March and Chorus, "Crown ye the Altars," (The Ruins of Athens) - Beethoven. Motett, "Sanctus" - Bortalansky. Scena, " Ocean, thou mighty monster" (Oberon), Miss Stabbach - C. M. v. Weber. Triple concerto, for three pianofortes), with additional orchestral accompaniments by Moschelles), Miss Arabella Goddard, Mr. Benedict, and Mr. Lindsay Sloper - J. S. Bach. Air and chorus, " Come If you dare," Mr. Sims Reeves - Purcell. Trio, "Cradle Song," for female voices (unaccompanied), Miss Louisa Pyne, Miss Weiss, and Miss Dolby - Benedict. Ballad, "My pretty Jane" (by desire), Mr. Sims Reeves - Sir Henry Bishop. Le Carneval de Venise, with variations, arranged for the voice, Mme. Gassier (her first appearance at the Crystal Palace) - Benedict. Hebrew Morning Hymn, "Let us adore" (Joseph) - Mehul. Song, "'The Village Blacksmith," Mr. Weiss - W. H. Weiss. Air, "The Skylark," Miss Louisa Pyne - Benedict. Cantata, "O Sons of Art" (Quartett and chorus of male voices), Messrs. Sims Reeves, Wylbie Cooper, Weiss, and Deck - Mendelssohn. Between the Parts Mr. W. T. Best will perform the First Movement of Handel's Second Concerto, on the Grand Organ. PART II. Concertante for Four Violins, with Orchestral Accompaniments, Messrs. Molique, Blagrove, Deichmann, and Sainton - Maurer. Song, "The Green Trees," Miss Dolby - Balfe. Variations, "Il dolce canto," Miss Louisa Pyne - Rode. Fantasia, "Home, sweet Home" (by desire), Pianoforte, Miss Arabella Goddard - Thalberg. Cavatina, "Deh vieni non tardar" (Le Nozze di Figaro), Mm. Weiss Mozart. Air with Chorus, "Possenti Numi" (Magic Flute), Herr Deck - Mozart. Chorus, "O, thou whose power" (Prayer, Mosé in Egitto). - Rossini. Part Song, "The Blue Bells of Scotland" Grand Triumphal March - Best. Conductors, Mr. BENEDICT and Mr. MANNS. The Band, including 40 first violins, 40 second violins, 26 altos, 28 violoncellos, and 58 double basses (with an equal proportion of wind instruments), will number upwards of 200 performers, and be composed of the elite of the profession. The choirs, including the Vocal Association, will number 800 vocalists, being a total of One Thousand Performers. Price of tickets, 2d. 6d., until Wednesday, the 14th July, inclusive; after that date the price will be 5s.; numbered reserved seats in the Area, 2s. 6d. extra; in the Galleries, 1s. extra. Tickets are now on sale at the Crystal Palace ; at the Central Ticket-office, 2, Exeter Hall ; and at the principal libraries and musicsellers. The doors will be opened at One o'clock; the performance will commence at Three o'clock. (The Times, Friday, 16 July 1858) CRYSTAL PALACE. Mr. Benedict's long-announced grand "Festival Concert" took place yesterday morning at the Crystal Palace before an immense audience. We subjoin the programme:- PART 1. Overture, Massaniello - Auber. March and Chorus, "Crown ye the Altars," (The Ruins of Athens) - Beethoven. Motett, "Sanctus" - Bortalansky. Scena, " Ocean, thou mighty monster" (Oberon), Miss Stabbach - C. M. v. Weber. Triple concerto, for three pianofortes), with additional orchestral accompaniments by Moschelles), Miss Arabella Goddard, Mr. Benedict, and Mr. Lindsay Sloper - J. S. Bach. Air and chorus, " Come If you dare," Mr. Sims Reeves - Purcell. Trio, "Cradle Song," for female voices (unaccompanied), Miss Louisa Pyne, Miss Weiss, and Miss Dolby - Benedict. Ballad, "My pretty Jane" (by desire), Mr. Sims Reeves - Sir Henry Bishop. Le Carneval de Venise, with variations, arranged for the voice, Mme. Gassier (her first appearance at the Crystal Palace) - Benedict. Hebrew Morning Hymn, "Let us adore" (Joseph) - Mehul. Song, "'The Village Blacksmith," Mr. Weiss - W. H. Weiss. Air, "The Skylark," Miss Louisa Pyne - Benedict. Cantata, "O Sons of Art" (Quartett and chorus of male voices), Messrs. Sims Reeves, Wylbie Cooper, Weiss, and Deck - Mendelssohn. Between the Parts Mr. W. T. Best will perform the First Movement of Handel's Second Concerto, on the Grand Organ. PART II. Concertante for Four Violins, with Orchestral Accompaniments, Messrs. Molique, Blagrove, Deichmann, and Sainton - Maurer. Song, "The Green Trees," Miss Dolby - Balfe. Variations, "Il dolce canto," Miss Louisa Pyne - Rode. Fantasia, "Home, sweet Home" (by desire), Pianoforte, Miss Arabella Goddard - Thalberg. Cavatina, "Deh vieni non tardar" (Le Nozze di Figaro), Mm. Weiss Mozart. Air with Chorus, "Possenti Numi" (Magic Flute), Herr Deck - Mozart. Chorus, "O, thou whose power" (Prayer, Mosé in Egitto). - Rossini. Part Song, "The Blue Bells of Scotland" Grand Triumphal March - Best. Conductors, Mr. BENEDICT and Mr. MANNS. There was very little novelty in this selection. The "Sanctus" of Bortniansky (a Russian composer of remarkable talent) is solemn, impressive, and well written for the voices. It was sung with excellent precision and expression by the members of the Vocal Association. Mendelssohn's cantata for male voices, with accompaniment of brass instruments, is a grand and lofty inspiration every way worthy of its illustrious author. This, too, was admirably executed. The "Hebrew Morning Hymn," by Mehul, is another fine work, to which likewise ample justice was done by the choir of the Vocal Association. These were the only pieces which could be considered as novelties to the London public, excepting Mr. Benedict's charming and too-rarely heard "Cradle Song," which, although perfectly rendered, did not produce all the effect desirable, in consequence of the vastness of the locale. The quartet, by Maurer, excellently played, also failed in its effects from the same cause. Sebastian Bach's colossal triple concerto in D minor, with Moscheles' additional accompaniments, was heard to much greater advantage. It was magnificently executed by our two great English pianists, Miss Arabella Goddard and Mr. Lindsay Sloper, with Mr. Benedict. Each movement was enthusiastically applauded, and more especially the last, which, by the way, properly belongs to the same composer's concerto in C, and is here, of course, transposed a note higher. Mr. Sims Reeves sang the famous " Come, if you dare" and "My pretty Jane" in his very best manner, eliciting for both irresistible encores. Miss Louisa Pyne, too, was similarly honoured for her delightful rendering of Mr. Benedict's air "The Skylark;" and a vigorous attempt was made to gain a repetition of Miss Arabella Goddard's most brilliant and beautiful execution of Thalberg's fantasia upon "Home, sweet home," but the demand was modestly and wisely resisted. The other great successes of this excellent concert were the performances of Benedict's variations upon " Le Carnaval de Venise" by Madame Gassier ; Weber's "Ocean, thou Mighty Monster" by Miss Stabbach ; Balfe's " Green Trees" by Miss Dolby ; "The Village Blacksmith," by Mr. Weiss; and the first movement of Handel's second organ concerto, by Mr. Best. Unanimous applause was also bestowed upon the execution of Mozart's "Deh vieni," by Madame Weiss; and the same composer's "Possenti Numi," by Herr Deck. Mr. Benedict, who was enthusiastically cheered on entering the orchestra, and again at the termination of the performances, conducted the large forces under his command with his well-known zeal and ability. (Morning Post, Saturday, 17 July 1858) (Also: London Evening Standard, Monday, 19 July 1858.) CRYSTAL PALACE. Yesterday there was what was called a "Festival Concert" at the Crystal Palace. It does not appear by whom it was got up, but the conductors were Mr. Benedict and Mr. Manns. There was a choir of 800 voices, including Mr. Benedict's Vocal Association, and an instrumental band 200 strong, making an aggregate of a thousand performers. There were, moreover, many of our most eminent singers and instrumentalists: among the former, Miss Louisa Pyne, Mr. and Mrs. Weiss, Mr. Sims Reeves, Miss Dolby, and Miss Stabbach; among the latter, Miss Arabella Goddard, Mr. Lindsay Sloper, M. Benedict, M. Molique, and Mr. Blagrove. The programme formed a most excellent bill of fare, supposing the feast had been spread in one of the usual banquetting halls - the Hanover-square or Willis's Rooms, Exeter Hall, St. Martin's Hall, or even St. James's Hall; but much of it, we are bound to say, was thrown away at the Crystal Palace. The concert took place in the centre transept, the performers occupying the great Handel Festival orchestra; and, being as favourably situated for hearing as the majority of the audience, seated as we were nearly in the middle of the vast area in front of the orchestra, we were more convinced than ever of the very limited capabilities of this same central transept as a great concert hall. The choral music, generally speaking, was effective: it was on the whole well sung, and it struck us as remarkable that the 800 voices were just as resonant and powerful as the 2,000 that we lately heard in the same place - a proof that, in singing, as it were in the open air, a few hundred voices more or less make very little difference. As to the solo singers, Mr. Sims Reeves was the only one who could make himself heard, and that was only when he exerted the whole strength of his lungs, as in Purcell's warlike ditty, "Come if you dare," which he shouted as if he had been actually on the battle-field. The instrumental music was still more unfortunate. It so happened that the principal instrument was the pianoforte -of all instruments the least fitted for a vast space. Bach's famous triple concerto, played on three pianofortes by Miss Arabella Goddard, Mr. Benedict, and Mr. Lindsay Sloper, would, indeed, have been a high treat in any of our London concert-rooms, but here it was entirely lost. In the very loudest passages the notes of the pianofortes were nothing but a confused tinkling-in the softer passages they were not heard at all. We saw the players hard at work, while not a sound reached our ears, and this was evidently the case with hundreds around us on every side. There was applause, to be sure-for when does our charming young pianist ever appear before the public without applause ? - but it came from the immediate neighbourhood of the orchestra; and those at a greater distance who joined in it must assuredly have done so from good-natured sympathy. In short, we are compelled to repeat, what we have said all along, that the central transept of the Crystal Palace, in its present state, is a bad concert-hall; and, though it may in some respects be a convenient locality for such a gathering as a great Handel Festival, yet it is unfitted for a miscellaneous concert. It has, indeed, one advantage apart from its musical capabilities. The palace is superb, the grounds are beautiful, and, even when congregated to hear music, we sit at ease and breathe a cool, unvitiated atmosphere; So that, with music or without, a visit to Sydenham is always a great and a healthful pleasure. (Daily News, Saturday, 17 July 1858) (Also: Bell's Weekly Messenger, Saturday, 17 July 1858.) CRYSTAL PALACE. M. BENEDICT'S GRAND FESTIVAL CONCERT. Yesterday the inhabitants of London, once denominated in legal parlance those who dwelt within the Bills of Mortality but now, from grand structural developments including in this generic description the denizens not only of the city proper, but of Belgravia, Tyburnia, South Kensington, but comprehending in the circle, the suburban regions beyond Shooter's-hill, Hampstead-heath, and the other breezy outlets from our central hive of industry, poured in their contingents, in rapid succession, thanks to our well-organized system of railway communication, to that cynosure of all attractions - the Crystal Palace. Jupiter Pluvius, vindicating his sovereign claims, had deluged the streets of the metropolis and the vicinage on Thursday, and threatened to put almost a Vauxhall extinguisher upon the contemplated pleasures of yesterday. But the brave palace of glass and iron proved how truly it is independent of skiey Influences. Hurrah for the road ! was a shout as continuous and as loud as the cheer for the rail. Let the numbers (more than twelve thousand) we announce at the end of our notice speak in all their persuasive eloquence to this fact. The legions who were present require no iteration of our oft-repeated statements of the grandly massed thousands, whether in the orchestra, the galleries, the reserved seats, or the most comprehensive area. In spite of threatening skies the belles of England, in all the elaborations of toilette, again asserted, in dangerous rivalry, the claims of the modiste against those of Flora, and but for the hackneyed theme, we might again speak of the parterre-like effect, the resemblance to continuous beds of clove pinks, geraniums, roses, &c. None but a spectator could realize the poetry of the scene, and as every body has been at times a spectator, we must spare our readers the infliction of that which must be tedious as a thrice told tale. At three o'clock precisely M. Benedict presented himself to the expectant massed thousands. The programme, which we give, was indeed most attractive. Let it speak for itself. PROGRAMME. PART 1. Overture, Massaniello - Auber. March and Chorus, "Crown ye the Altars," (The Ruins of Athens) - Beethoven. Motett, "Sanctus" - Bortalansky. Scena, " Ocean, thou mighty monster" (Oberon), Miss Stabbach - C. M. v. Weber. Triple concerto, for three pianofortes), with additional orchestral accompaniments by Moschelles), Miss Arabella Goddard, Mr. Benedict, and Mr. Lindsay Sloper - J. S. Bach. Air and chorus, " Come If you dare," Mr. Sims Reeves - Purcell. Trio, "Cradle Song," for female voices (unaccompanied), Miss Louisa Pyne, Miss Weiss, and Miss Dolby - Benedict. Ballad, "My pretty Jane" (by desire), Mr. Sims Reeves - Sir Henry Bishop. Le Carneval de Venise, with variations, arranged for the voice, Mme. Gassier (her first appearance at the Crystal Palace) - Benedict. Hebrew Morning Hymn, "Let us adore" (Joseph) - Mehul. Song, "'The Village Blacksmith," Mr. Weiss - W. H. Weiss. Air, "The Skylark," Miss Louisa Pyne - Benedict. Cantata, "O Sons of Art" (Quartett and chorus of male voices), Messrs. Sims Reeves, Wylbie Cooper, Weiss, and Deck - Mendelssohn. Between the Parts Mr. W. T. Best will perform the First Movement of Handel's Second Concerto, on the Grand Organ. PART II. Concertante for Four Violins, with Orchestral Accompaniments, Messrs. Molique, Blagrove, Deichmann, and Sainton - Maurer. Song, "The Green Trees," Miss Dolby - Balfe. Variations, "Il dolce canto," Miss Louisa Pyne - Rode. Fantasia, "Home, sweet Home" (by desire), Pianoforte, Miss Arabella Goddard - Thalberg. Cavatina, "Deh vieni non tardar" (Le Nozze di Figaro), Mm. Weiss Mozart. Air with Chorus, "Possenti Numi" (Magic Flute), Herr Deck - Mozart. Chorus, "O, thou whose power" (Prayer, Mosé in Egitto). - Rossini. Part Song, "The Blue Bells of Scotland" Grand Triumphal March - Best. Conductors, Mr. BENEDICT and Mr. MANNS. After the overture to "Masaniello" came Beethoven's march and chorus, superbly rendered. The Sanctus from the Berlin choir music was a grand specimen of ecclesiastical music, fully worthy of M. Benedict's training of the Vocal Association, numbering 800 voices. We wish we could say as much for Miss Stabbach's rendering of Weber's "Ocean, thou mighty monster ;" the accompaniment, abounding in effects for the trumpet, French horn, trombone, and ophecleide, was certainly grandly resonant in this stupendous building, but there was a feebleness in the vocal rendering of this lady which was painfully obvious even to those who were located in the reserved seats. The same qualified criticism applies to the triple concerto for three pianofortes-although the consummate performers were even of the world-admitted fame of Miss Arabella Goddard, M. Benedict, and Mr. Lindsay Sloper. But then followed a musical triumph worthy even of that painful ovation, a rapturous encore, in the face of an almost interminable programme. Sims Reeves, the timbre of whose voice is so inimitably adapted to the resonance of the Crystal Palace, sang with almost sublime effect old Purcell's grand air from King Arthur, "Come if you dare." Lyrical triumph never surpassed his marvellous rendering of this nervous and most inspiring composition. "Come if you dare," as sang by Sims Reeves, established incontestably, to our minds, the electrical traditions of Dibdin's songs, as vocalised by Incledon, in the old, old war periods. Mr. Weiss, in "the Village Blacksmith," did ample justice to the manly lines of Longfellow, the great American poet, to his own most artistic music, so completely in unison with these noble words, and to his chastely correct vocalized delivery of the composition. Sims Reeves warbled sweetly enough, "My pretty Jane," but it was scarcely worthy of his fame. Bishop wrote the song for the lamented ballad-singer, Robinson, and for the area of the Rotunda of Vauxhall in the high and palmy days of that once celebrated locality, when the immortal Simpson (chapeau bras) welcomed us "to the Royal property." Madame Gassier gave "Le Carneval de Venise" with variations, arranged for the voice by Benedict, as only Gassier can give it. It won an unanimous encore. Miss Pyne sang brilliantly, but hardly effectively, in this trying concert locality (room would be a misnomer). Miss Dolby ever charming, exerted herself to the delight of the assembled multitudes. Miss Arabella Goddard's " Fantasia" was classically correct, but fell coldly on the ears of the lieges by reason of the unsatisfied demands of the locality. Madame Weiss was effective, because she had evidently acquired a knowledge of the demands of the vast space to be satisfied with vocal efforts. Grand indeed was the choral effect of Rossini's "O Thou whose powers ;" it was vociferously redemanded, and so was the last vocal performance, "Blue bells of Scotland." It might have been headed "If you have tears prepare to shed them now." (Morning Chronicle (1801), Saturday, 17 July 1858) CRYSTAL PALACE.-Mr. Benedict's Concert yesterday was attended by about twelve thousand persons, and had the state of the weather been less equivocal the number would probably have been doubled. The programme showed that both pieces and performers had been selected with peculiar study of the public taste. Indeed, the only cause of regret was the inapplicability of the locale to the finer expression of the voice; so that the piano portions were frequently inaudible even in otherwise advantageous positions. After the Overture to Masaniello, with the delicate precision of which we were much pleased, the March and Chorus from Beethoven's Ruins of Athens and Bortniansky's "Sanctus" afforded fine specimens of vocal and instrumental combination, although the former bordered upon the clamorous. Miss Stabbach was much applauded in a song from Oberon, and deserves much credit for the art she displays in developing her voice to the fullest, without detriment to its sweetness. The pieces were so numerous, and so evident a desire influenced all performers, that our space will only permit our notice of the morceaux most favourably received. These were the triple piano concert, by Miss Goddard, and Messrs. L. Sloper and Benedict; Sims Reeves' two songs, "Come, if you dare," and "My pretty Jane "; Madme. Gassier's splendid Variations upon Benedict's Le Carnaval de Venise, which she had selected for her first appearance at the Crystal Palace Concerts; Miss Pyne's clever modulations in Benedict's Song of "The Skylark "; and perhaps, above all, Miss Goddard's wonderful instrumentalisation upon the Fantasia by Thalberg to "Home, sweet Home." But, notwithstanding the interruption of many feet and the perpetual obtrusion of that peculiar dull vibratory sound ever present in a vast area populously filled, the rapidity and facile dexterity of touch manifested by Miss Goddard were conspicuous, and melody, though impeded, was not destroyed. The conduct of the performance reflects great credit on Mr. Benedict, and we trust he has received tangible encouragement enough to induce a speedy repetition of his Concert. Mdme. L. Sherrington was unavoidably absent, her part being ably supplied by Miss Pyne. (John Bull, Saturday, 17 July 1858) (Also: John Bull, Saturday, 17 July 1858; John Bull, Monday, 19 July 1858.) CRYSTAL PALACE. A grand musical festival took place yesterday, under the direction of Mr. Benedict. The band included forty first violins, forty second violins, twenty-six altos, twenty-eight violoncellos, and twenty-eight double basses (with an equal proportion of wind instruments), and numbered upwards of 200 performers, composed of the élite of the profession. The choirs, including the Vocal Association, numbered 800 vocalists, being a total of 1,000 performers. Messrs. Benedict and Manns conducted. The following was the programme :- PART I. Overture (Masaniello) - Auber. March and chorus, "Crown ye the altars " (The Ruins of Athens) - Beethoven. Motett, "Sanctus " Bortniansky. Scena, "Ocean, thou mighty monster" (Oberon), Miss Stabbach - Weber. Triple concerto, for three pianofortes (with additional orchestral accompaniments by Moscheles), Miss Arabella Goddard, Mr. Benedict, and Mr. Lindsay Sloper - J. S. Bach. Air and chorus, "Come if you dare," Mr. Sims Reeves - Purcell. Trio, "Cradle Song," for female voices (unaccompanied), Miss Louisa Pyne, Madame Lemmens Sherrington, and Miss Dolby - Benedict. Song, "The Village Blacksmith," Mr. Weiss - W. H. Weiss. Ballad, "My pretty Jane" (by desire), Mr. Sims Reeves - Sir Hy. Bishop. Hebrew morning hymn, "Let us adore" (Joseph) Le Carnaval de Venise, with variations, arranged for the voice, Madame Gassier - Benedict. Air, "The Skylark," Miss Louisa Pyne - Benedict. Cantata, "O sons of art," Messrs. Sims Reeves, Wilbye Cooper, Weiss and Deck, and Chorus - Mendelssohn. Between the parts, Mr. Best performed the "First Movement of Handel's "Second Concerto," on the Festival Organ. PART II. Concertante for four violins, with orchestral accompaniments, Messrs. Molique, Blagrove, Deichmann, and Sainton - Maurer. Song. "The green trees," Miss Dolby - Balfe. Variations, "Il dolce canto," Miss Louisa Pyne - Rode. Fantasia, "Home, sweet home" (by desire), pianoforte. Miss Arabella Goddard - Thalberg. Cavatina, "Deh vieni non tardar " (Le Nozze di Figaro), Madame Weiss - Mozart. Air, with chorus, "Possenti Numi " (Magic Flute), Herr Deck - Mozart. Chorus, "O, Thou whose power " (Prayer, José in Egitto) - Rossini. Part-song, "The blue bells of Scotland." Grand triumphal march - Best. There was certainly variety and merit in the above selection, but the music was on the whole not chosen with sufficiently careful reference to the vastness of the area in which the concert took place. "The Cradle Song," "The Blacksmith," "My pretty Jane," "The green trees," and the pianoforte solo, are all essentially and unmistakably chamber compositions, and the "by desire," appended to the announcement of two of the pieces, is no excuse for the absurdity. The party or parties applying for the introduction of such morceaux should have been requested to repress their "desires " until they saw the names of Mr. Sims Reeves and Miss Goddard in some London concert-bill. In the case of so important a festival as this, individual wishes should have been altogether disregarded. It would almost seem that every one who had the arrangement of a musical performance in the centre transept of the Crystal Palace took leave of his common sense for a few weeks. It is only a fortnight since we published the programme of a grand festival, in which some pieces were inserted that were totally unfitted for representation in so large a space, and of this experience no advantage has been taken. Well, well ! let us say bow everything was done. The opening overture was played with surprising spirit, and gave sound promise of everything being well done so far as the band were concerned. The March and Chorus from the Ruins of Athens was a very fine performance, though the choir lagged a little at the commencement. In the "Sanctus" of Bortniansky they were by no means satisfactory, the tenors getting dreadfully flat before the slow movement had finished. Very little effect was produced by this composition upon the audience, which rather surprised us, as it is one (of its kind) of great beauty, and was a very legitimate introduction on the part of the conductor. The scene from Oberon, one of the broadest and grandest of operatic scenas, was given with great power by Miss Stabbach, whose very efficient performance of this very trying work we recently had occasion to notice. The triple concerto, played at Mr. Benedict's annual concert by the beneficiaire, Herr Rubinstein, and Aloys Schmidt, failed to arouse the audience until the 3rd movement arrived. This was easily to be accounted for. It has experienced much more free and broad treatment at the hands of the great composer than the other two, and this precisely agreed with the requirements of the capacious transept. The result was a cordial burst of applause which was wanting at the close of the opening movement and andante. The orchestral accompaniments of Moscheles were played without a conductor, and were accomplished with more breadth than the absence of so important a functionary would have led us to expect. We are surprised that Mr. Manns remained a simple auditor, especially as he was announced as joint or alternate conductor with Mr. Benedict. Possibly he was afraid of obscuring the view which the audience had of Arabella Goddard, who presided at the centre pianoforte, and faced the assemblage. Mr. Sims Reeves experienced a very enthusiastic reception, and was compelled to repeat the fine song from King Arthur. Some additional brass accompaniments were rather unhappy in their phrases, one of the trumpet passages being a genuine "Froggy would a wooing go," which gave a grotesque rather than a martial colouring to the song. Are we to consider Mr. Benedict the culprit in this instance ? "The Cradle Song" was one of the errors to which we have already alluded. It was an act of insanity to allow its introduction. It is a charming composition, and, given in such an area as would admit of the sotto singing which is indispensable to its proper representation, it would always be received with delight. "The Village Blacksmith," well sung, but rather boisterously concluded, by Mr. Weiss, accompanied by four hands, the possessors being Messrs. Benedict and Lindsay Sloper. It should have been orchestricized for the occasion, and a nice effect might have been obtained by the introduction of the organ at the words "He goes on Sunday to the church." "My pretty Jane," accompanied by two hands (possessor, Mr. Benedict), was the second encore. The everlasting "Carnival" followed, - displacing Méhul's hymn, - and was received with more favour than it deserved. As an exhibition of skill in vocal execution, it answers its purpose, but nothing more can be said of it. The hymn, which is a fine specimen of choral breadth obtained from simple treatment, was well given, but made slight impression; it was accompanied with the brass instruments and the organ. The clever warbling of Miss Louisa Pyne, in Benedict's "Skylark," accompanied not only by the orchestra but by the melodious chirp of birds flying about the Palace, was one of the most delightful of the solos at this concert. The cantata of Mendelssohn's, which concluded the first part, was given with tolerable precision; but the accompaniment of brass instruments required greater amount of weight in the chorus, albeit some 600 voices were brought to bear upon it. Each movement was taken, in our opinion, somewhat too slowly, - and it altogether lacked spirit. The introduction of an organ solo "between the parts" was a gross injustice to both the organist and the builders of the instrument, who, in such a case, have a claim to respect. If an organ is worth hearing, or if it is worthwhile to engage a most finished player to perform upon it, why should the solo not take its place amongst the other pieces in the programme, instead of being avowedly introduced as an accompaniment to the footsteps of those who may be taking advantage of the interval between the parts to have a short stroll, or, technically speaking, to stretch their legs. It was impossible to listen with any degree of comfort whilst the buzz and hum of the company was unrestrained, but, as far as we could judge, Mr. Best was giving a very fine performance, and one which, under more advantageous circumstances, would, we feel sure, have been appreciated and enjoyed by the majority of the audience. Although the first part of the concert had not concluded until half-past 5, and the company might well have been excused for showing signs of fatigue, there was little indication of weariness, and the second part went off with very great spirit. Maurer's concertante was more effective than might have been expected. The conductor had made every effort to secure plenty of tone, by engaging the first violinists to play it, and it made itself heard pretty distinctly, towards which happy result the ingenious and careful writing of the composer in some way conduced. The orchestral accompaniment was maintained throughout the second part of the concert, and even Balfe's Green trees," sung beautifully, as usual, by Miss Dolby, had the advantage of instrumentation. Of the remaining solos, that by Mrs. Weiss was the most successful. The fine round tone of this lady's voice is an acquisition to such a concert, and we regret that she was not also assigned a place in the first part. We could have dispensed with the vocal gymnastics of Madame Gassier for the sake of a good broad song from the English vocalist. Of course, Miss Arabella God-dard's [sic] "Home, sweet home," gave the customary delight to its hearers, but it must be recorded as another of the errors. A rondo with orchestra was the proper thing to play at a concert of so large a character. The great success of the choir and the great interest taken by the audience in this concert, were thoroughly indicated by the tumultuous demand for repetition which awaited Rossini's chorus and the following part-song. At this time it must have been nearly 7 o'clock, but these pieces were two of the most effective sung during the day, and the repetition was compulsory. There was a very numerous and brilliant company, and a larger show of the pulchra puella splendens than usually presented even at the grand gatherings of beauty at the Crystal Palace. This, for a wet and dreary-looking day, was astonishing, but may be in part attributed to the astuteness of the directors, who limed their twigs" by charging less for tickets purchased two or three days before the festival. (The Musical gazette : an independent journal of musical events, Saturday, 17 July 1858) CRYSTAL PALACE. MR. BENEDICT'S Grand Festival Concert, with 1,000 performers vocal and instrumental, took place yesterday afternoon in the central transept (the Handel Festival orchestra) of the Crystal Palace, and attracted an enormous multitude - among whom, a very large minority (for the consideration of half-a-crown) could hear nothing more musical than the clattering of plates and dishes, Nevertheless, we append the programme:- PART I. -- Overture (Masaniello), Auber. March and Chorus, "Crown ye the altars " (The Ruins of Athens), Beethoven. Motett, "Sanctus," Bortniansky. Scena, "Ocean, thou mighty monster," Miss Stabbach - Weber. Triple Concerto, for three pianofortes, Miss Arabella Goddard, Mr. Benedict, and Lindsay Sloper - J. S. Bach. Air and Chorus, "Come if you dare," Mr. Sims Reeves - Purcell. Trio, "Cradle Song," for female voices (unaccompanied), Miss Louisa Pyne, Madame Weiss, and Miss Dolby - Benedict. Song "The Village Blacksmith," Air. Weiss - W. H. Weiss. Ballad, "Pretty Jane," Mr. Sims Reeves - Sir H. Bishop. Hebrew Morning Hymn, "Let us adore" (Joseph), Méhul. Le Carnaval de Vénise, with variations (arranged for the voice), Madame Gassier - Benedict. "The Skylark," Miss Louisa Pyne - Benedict. Cantata, "O sons of art," Solos, Messrs. Sims Reeves, Wilbye Cooper, Weiss, and Deck - Mendelssohn. PART II. - Concertante for Four Violins, Messrs. Molique, Blagrove, Deichmann, and Song, "The Green Trees," Miss Dolby - Balfe. Variations, "Il dolce canto," Miss L. Pyne - Rode. Fantasia, "Home, sweet Home," Pianoforte, Miss Arabella Goddard - Thalberg. Cavatina, "Deh vieni, &c" Madame Weiss - Mozart. Air with Chorus, "Possenti Numi," Herr Deck - Mozart. Chorus, "O, thou whose power," - Rossini. Part Song "Blue Bells of Scotland." Grand Triumphal March - Best. Conductors, Messrs. Benedict and Manns. In the first part, the most effective full pieces were the march and chorus of Beethoven, and Come if you dare" (splendidly declaimed by Mr. Sims Reeves, and encored with acclamations). The same compliment was paid to "My pretty Jane," which was, nevertheless, out of place in the Handel Festival orchestra. A similar honour was bestowed upon Miss L. Pyne for her charming execution of "The Skylark." The greatest musical treats (for those who were favourably situated enough to enjoy them) were Bach's triple concerto, superbly played by Miss Arabella Goddard, Messrs. Lindsay Sloper, and Benedict, and Mendelssohn's glorious cantata, "O sons of art," for male voices and brass instruments. Why the finale of another work * should always be substituted for the very fine one which Bach composed for his triple concerto in D minor, we cannot guess. In the second part, the most brilliant success was achieved by Rode's air (sung by Miss L. Pyne), and "Home, sweet home," played to perfection, as usual, by Miss Arabella Goddard. The violin concertante was capitally executed, but it could not be distinctly heard away from the reserved seats in the vicinity of the orchestra. Between the parts a very fine performance of a part of one of Handel's organ concertos, by Mr. Best, enchanted all the amateurs of the Pope of instruments. Mr. Benedict directed the concert with his accustomed ability. It was long past six P.M. before the whole was terminated. * From the triple concerto in C - transposed into D to suit the other movements. (The Musical world, Saturday, 17 July 1858) The Grand Festival Concerts projected by Mr. Benedict must have been successful, since a second is announced, on the strength of it, for the 30th instant. Nevertheless, we think the Handel Festival Orchestra unsuited to anything beneath the Handel Festival scale. Even "1000 performers" must look cold and comfortless with an endless array of vacant seats in their rear; and this supposing the "1000" honestly to represent the number of singers and players - not, as in the present instance, something considerably ahead of it. * The programme cannot be unreservedly commended, since it contained many things wholly unfitted for such an arena. Mr. Sims Reeves, for example, who sang "Come if you dare" (Purcell) magnificently, and was encored - with a view, we suppose, to elicit a similar compliment for an air unaccompanied by either orchestra or chorus (in which, at the expense of good taste, he succeeded), was fain to shout, instead of sing, so simple a matter as the ballad of "My pretty Jane," which is wholly unfit for such a place. There were also some anomalies in this concert, of which one example may be cited. Bach's concerto for three pianofortes, with orchestra, did not produce half so much effect as "Home, sweet home," on a single instrument, unaccompanied. Miss Arabella Goddard was the principal pianist in the first instance (Messrs. Sloper and Benedict being her associates) and the solo player in the last; and never - as those who were near the orchestra alone, however, can testify - was Bach's grand music rendered with greater spirit and precision. To conclude - the greatest "effects" were attained by such things as the march and chorus from Beethoven's Ruins of Athens on the one hand, and such comparatively unelaborate compositions as the prayer from Rossini's Möise on the other. The last was redemanded, as were several morceaux which we need not stop to enumerate. * A band of 200 was advertised; but there were not many more than 120 in the ranks. (The Literary gazette : A weekly journal of literature, science, and the fine arts, Saturday, 24 July 1858) Mr. Benedict's Grand Festival Concert, with 1000 performers, vocal and instrumental, took place on the 16th ult., and attracted a very large audience. The programme comprised some excellent instrumental music, beginning with the overture to Masaniello. There was also a triple concerto for three pianofortes, by Miss Arabella Goddard, Mr. Benedict, and Mr. Lindsay Sloper; and a concertante for four violins. The vocal selections included some effective solos, by Miss Stabbach, Miss Louisa Pyne, Madame Weiss, Miss Dolby, and Madame Gassier, and by Mr. Sims Reeves, Mr. Weiss, and Herr Deck. The choruses were very few, but were well executed. The performance throughout was highly creditable, and was of a character to give general satisfaction to the audience. A similar festival, by the same performers, was fixed to take place on the 30th of July. (Musical Times, Sunday, 1 August 1858) Wednesday, 1 September 1858 : Birmingham Musical Festival's Second Grand Miscellaneous Concert at Town Hall, Birmingham. BIRMINGHAM MUSICAL FESTIVAL, IN THE TOWN HALL, IN AID OF THE FUNDS OF THE GENERAL HOSPITAL. On TUESDAY, WEDNESDAY, THURSDAY, and FRIDAY, AUGUST 31, and SEPT. 1, 2, and 3. UNDER THE ESPECIAL PATRONAGE OF HER MOST GRACIOUS MAJESTY THE QUEEN, HIS ROYAL HIGHNESS THE PRINCE CONSORT, HER ROYAL HIGHNESS THE DUCHESS OF KENT, HIS ROYAL HIGHNESS THE DUKE OF CAMBRIDGE….WEDNESDAY EVENING, SEPTEMBER 1. A MISCELLANEOUS CONCERT. PART I. Jupiter Symphony - Mozart; Aria - Signor Ronconi "Largo al factotum" (Il Barbiere di Siviglia) - Rossini; Trio - Mademoiselle Victoire Balfe, Miss Dolby and Mr. Montem Smith, "Tip rego O madre pia" - Curschmann; Brindisi - Madame Alboni "Il segreto per esser felice" (Lucrezia Borgia) - Donizetti; Trio - Madame Castellan, Madame Viardot, and Mr. Weiss, "L'usato ardir" (Semiramide) - Rossini; Aria - Signor Tamberlick, "Gentil sembiante" (Zampa) - Herold; Duo-Madame Novello e Madame Alboni, " Lasciami non tascolto" (Tancredi) - Rossini; New Ballad - Mr. Sims Reeves, " Rose of the Morn" - Frank Mori; Duo - Madame Viardot e Signor Belleti, " Di cappricci" (Matilde di Shabran) - Rossini; Air - Madame Castellan, " Merci jeunes amies" (Les Vepres Sicilienne) - Verdi; Song - Mr. Weiss, "Mad Tom" - Purcell. CANTATA, to the sons of the Arts - Mendelssohn. Mr SIMS REEVES, Mr. MONTEM SMITH, Mr. WEISS, Mr. SMYTHSON, and CHORUS. PART II. Overture - (Guillaume Tell) - Rossini; Song - Madame Clara Novello, "The beating of my own heart" (composed expressly for Madame Novello) - Macfarren; Duo - Madame Castellan e Signor Belletti, "Quiel sepolcro" (Agnese) - Paer; Cavatina - Madame Victoire Balfe, "Di piacer" (La Gazza Ladra) - Rossini; Duo - Madame Alboni e Signor Ronconi, "Senza tanti complementi" (Il Borgomastro) - Donizetti; Aria - Madame Viardot, " Pensa Alla Patria" (L'Italian in Algieri) - Rossini; Duet - Miss Dolby and Mr. Sims Reeves, "The Memories" - Lindsay Sloper; Aria - Signor Belletti, "Di militari onori" (Jessonda) - Spohr; Duo - Signori Tamberlick e Ronconi, "Non m'inganno" (Otello) - Rossini; Aria - Miss Dolby, "Quando Miro" - Mozart; Coro con soli - Madame Novello, Mademoiselle Balfe, and Miss Dolby, "Forza dell alma" (La Carita) - Rossini; Overture - (Zampa) - Herold (Birmingham Gazette, Monday, 23 August 1858) WEDNESDAY EVENING. To-night the Hall was less full than on Tuesday, and considerably less so than on the Wednesday of last Festival. The secured seats were not numerous, and the cheaper places were sparingly filled. It is not easy to account for this, for the scheme was more miscellaneous than on Tuesday, and there was no piece de resistance, like Handel's "Pastoral," to monopolise half the evening. The following was the programme: PART I. Jupiter Symphony - Mozart; Aria - Signor Ronconi "Largo al factotum" (Il Barbiere di Siviglia) - Rossini; Trio - Mademoiselle Victoire Balfe, Miss Dolby and Mr. Montem Smith, "Tip rego O madre pia" - Curschmann; Brindisi - Madame Alboni "Il segreto per esser felice" (Lucrezia Borgia) - Donizetti; Trio - Madame Castellan, Madame Viardot, and Mr. Weiss, "L'usato ardir" (Semiramide) - Rossini; Aria - Signor Tamberlick, "Gentil sembiante" (Zampa) - Herold; Duo-Madame Novello e Madame Alboni, " Lasciami non tascolto" (Tancredi) - Rossini; New Ballad - Mr. Sims Reeves, " Rose of the Morn" - Frank Mori; Duo - Madame Viardot e Signor Belleti, " Di cappricci" (Matilde di Shabran) - Rossini; Air - Madame Castellan, " Merci jeunes amies" (Les Vepres Sicilienne) - Verdi; Song - Mr. Weiss, "Mad Tom" - Purcell. CANTATA, to the sons of the Arts - Mendelssohn. Mr SIMS REEVES, Mr. MONTEM SMITH, Mr. WEISS, Mr. SMYTHSON, and CHORUS. PART II. Overture - (Guillaume Tell) - Rossini; Song - Madame Clara Novello, "The beating of my own heart" (composed expressly for Madame Novello) - Macfarren; Duo - Madame Castellan e Signor Belletti, "Quiel sepolcro" (Agnese) - Paer; Cavatina - Madame Victoire Balfe, "Di piacer" (La Gazza Ladra) - Rossini; Duo - Madame Alboni e Signor Ronconi, "Senza tanti complementi" (Il Borgomastro) - Donizetti; Aria - Madame Viardot, " Pensa Alla Patria" (L'Italian in Algieri) - Rossini; Duet - Miss Dolby and Mr. Sims Reeves, "The Memories" - Lindsay Sloper; Aria - Signor Belletti, "Di militari onori" (Jessonda) - Spohr; Duo - Signori Tamberlick e Ronconi, "Non m'inganno" (Otello) - Rossini; Aria - Miss Dolby, "Quando Miro" - Mozart; Coro con soli - Madame Novello, Mademoiselle Balfe, and Miss Dolby, "Forza dell alma" (La Carita) - Rossini; Overture - (Zampa) - Herold. With such a band, what can be said of the "Jupiter Symphony," save that it was perfect ? The singing of the violins in time second movement, the delightful allegretto, and that marvellous fourth movement, where the subjects are so grandly worked up, and make so effective a finale, were all deliciously played, and the performance was listened to with rapt attention. But perhaps the crowning glory of the band was the Tell overture, and often as we have heard it we can tax our memory with no recollection of so dashing and perfect a performance. It was almost impossible to restrain the audience, who broke out into torrents of applause, and "bravoed" at the top of their voices before the last bar was finished. It was encored, and the last movement played with undiminished spirit. We have neither time nor space to select points in the programme for comment. Alboni's brindisi was of course one of the features, and was encored; and next to this, as provoking most pleasure, was the matchless buffo singing of Ronconi, who is positively running over with fun. We must leave comment on the remaining selections for another occasion. The financial results of this evening show a considerable falling off; but this we hope the "Messiah" will more than atone for. (Birmingham Daily Post, Thursday, 2 September 1858) The following was the scheme of the second part. Overture (Guillaume Tell) - Rossini. Song, Madame Clara Novello, "The beating of my own heart " (composed expressly for Madame Novello) - Macfarren. Duo, Madame Castellan e Signor Belletti, "Quel sepolcro" (Agnese) - Paer. Cavatina, Madlle. Victoire Balfe, " Di piacer" (La Gazza Ladra) - Rossini. Duo, Madame Alboni e Signer Ronconi, "Senza tanti complimenti" (II Borgomastro) - Donizetti. Aria, Madame Viardot, "Pensa alia patria" (L'Italiana in Algieri) - Rossini. Duet, Miss Dolby and Mr. Sims Reeves, " The Memories" - Lindsay Sloper. Aria, Signor Belletti, "Di militari onori" (Jessonda) - Spohr. Duo, Signori Tamberlik e Ronconi, "Non m'inganno" (Otello) - Rossini. Aria, Miss Dolby, "Quando miro" - Mozart. Coro con Soli, Madame Novello, Madlle. Victoire Balfe, and Miss Dolby, "Forza dell' alma" (La Carita) - Rossini. Overture (Zampa) - Herold… [Abridged] (Birmingham Daily Post, Thursday, 2 September 1858) BIRMINGHAM MUSICAL FESTIVAL. FROM OUR OWN CORRESPONDENT. BIRMINGHAM, Sept. 2. The second grand miscellaneous concert took place last evening at the Town-hall. The first part of the programme was as follows : - Jupiter Symphony - Mozart. Aria. Sig. Ronconi "Largo al factotum" (II Barbiere di Siviglia" - Rossini. Trio, Madlle. Victoire Balfe, Miss Dolby, and Mr. Montem Smith, "Ti prego, O madre pia" - Corschmann. Brindisi. Madame Alboni, "Il segreto per esser felice" (Lucrezia Borgia) - Donizetti. Trio, Madame Castellan, Madame Viardot, and Mr. Weiss, " L'usato ardir" (Semiramide) - Rossini, Aria, Sig. Tamberlik, "Gentil sembiante" (Zampa) - Herold. Duo, Madame Novello e Madame Alboni, "Lasciami, non t'ascolto" (Tancredi) - Rossini. New ballad, Mr. Sims Reeves, "Rose of the morn" - Frank Mori. Duo, Madame Viardot e Sig. Belletti, "Di capricci " (Matilde di Shabran) - Rossini. Air, Madame Castellan, "Merci, jeunes amies" (Les Vêpres Siciliennes) - Verdi. Song, Mr. Weiss, "Mad Tom" - Purcell. Cantata, "To the sons of art," Mr. Sims Reeves, Mr. Montem Smith, Mr. Smythson, Mr. Weiss, and Chorus - Mendelssohn. If we were asked to mention a work in which the grandest possible effects of instrumental music are accomplished by the smallest possible means, we should name the " Jupiter " symphony, or its worthy associate the symphony in G minor, both of which belong to the best- the "Don Giovanni" period- of Mozart's too-brief career. The score is of the smallest dimensions, and would be completely dwarfed by the side of the elaborate 24 or 30 staved partitions of the present day; and yet is much fuller in sound than in most of these modern "tall bullies." The reasons are, that every instrument is in its right place, and employed in its best registers ; that due allowance is made for the all-important effects of vibration ; that the openness and clearness of combination, without which perfect sonorousness and brilliant resonance are unattainable, are duly considered ; and that no note is to be found which has not a special duty to perform, and does not successfully address the ear. How different this is from the senseless stuffing and crowding (which defeats its own end), or the empty noise - the "sound and fury, signifying nothing" - by which so many modern scores are characterised, we need not say. That the "Jupiter " and other symphonies of Mozart are eternal models of instrumental composition is, we know, a fact sufficiently admitted in theory, and we can only regret that it is not more frequently honoured in practice. The work immediately under notice, which we need scarcely say is as perfect in melody, harmony, form, and contrapuntal science as it is in instrumentation, was played con amore by the splendid band of the Birmingham festival, and their execution of it would have been perfect but for the far too rapid pace at which the last movement was taken. How could all those close contrapuntal imitations and fugal convolutions be reasonably expected to "come out" at such a speed as that adopted by the conductor? It was simply impossible with so very large a band. Mozart's part-writing here, as everywhere else, is clear as crystal, and can only be confused by a recklessly-hurried style of execution. It is but fair to state, however, that every other portion of the work (the divine slow movement especially) was carefully and well played. The inimitable "Largo al factotum" of Signor Ronconi, and the no less admirable execution of the duet, "Di capricci," by Madame Viardot and Signor Belletti, appealed most successfully to the comic sympathies of the audience, exciting hilarity, hearty as it was general, whilst the Bacchanalian element of happiness was most worthily represented in the famous "II segreto per esser felice" of the always incomparable Madame Alboni, which elicited, as usual, an enthusiastic redemand. The seductiveness of an amorous and fascinating pirate was felicitously illustrated by Signor Tamberlik in the barcarola " Gentil sembiante," from "Zampa,'' as was the cerebral disorder of that highly respectable, though not very lively, old lunatic, "Mad Tom of Bedlam," by our best English basso, Mr. Weiss. The execution of Mendelssohn's cantata, "To the sons of art," was one of the most unsatisfactory things in the concert, and produced no effect whatever upon the audience. The following was the scheme of the second part. Overture (Guillaume Tell) - Rossini. Song, Madame Clara Novello, "The beating of my own heart " (composed expressly for Madame Novello) - Macfarren. Duo, Madame Castellan e Signor Belletti, "Quel sepolcro" (Agnese) - Paer. Cavatina, Madlle. Victoire Balfe, " Di piacer" (La Gazza Ladra) - Rossini. Duo, Madame Alboni e Signer Ronconi, "Senza tanti complimenti" (II Borgomastro) - Donizetti. Aria, Madame Viardot, "Pensa alia patria" (L'Italiana in Algieri) - Rossini. Duet, Miss Dolby and Mr. Sims Reeves, " The Memories" - Lindsay Sloper. Aria, Signor Belletti, "Di militari onori" (Jessonda) - Spohr. Duo, Signori Tamberlik e Ronconi, "Non m'inganno" (Otello) - Rossini. Aria, Miss Dolby, "Quando miro" - Mozart. Coro con Soli, Madame Novello, Madlle. Victoire Balfe, and Miss Dolby, "Forza dell' alma" (La Carita) - Rossini. Overture (Zampa) - Herold. The familiar overture to "Guillaume Tell," it may be readily imagined, was played to perfection by such a band. Never indeed was this brilliant and exciting composition done more justice to or more enthusiastically received. The last movement was encored with acclamations. Paer's duet, "Quel sepolcro," is not precisely the kind of thing we should choose for after-dinner music, but it was well sung by Madame Castellan and Signor Belletti, and respectfully received by the audience. The duet, "Senzi tanti complimenti," given with infinite zest and humour by Madame Alboni and Signor Ronconi, formed a happy contrast to the sepulchral effusion ; and though perhaps less moral, was decidedly more entertaining. Mr. Lindsay Sloper's new duet, " The Memories," is a graceful and musicianly production, which can scarcely fail to increase materially his growing fame as a composer. It was very beautifully sung by Miss Dolby and Mr. Sims Reeves, and warmly applauded. Madlle. Victoire Balfe, by her charming execution of "Di piacer," fully confirmed the highly favourable impression she made on the previous evening, and Signori Tamberlik and Ronconi gave the fullest effect to the duet, " Non m' inganno," in which the former gentleman makes such a prodigious effect with his famous C. sharp in alt. Spohr's beautiful air, "Di militari, o nori," was worthily rendered by Signor Belletti ; and the brilliant execution of Herold's overture to "Zampa," which brought the concert to a termination, though the audience were "played out " by it, was one of the greatest artistic displays of the evening. The receipts were as follow : - No. attending. Receipts. President and Vice-Presidents, 15s. each.. 50 £37 10s 0d Secured seats, 15s. each 660 £495 0s 0d Unsecured seals, 8s. each 456 £182 8s 0d Total £714 18s 0d Total day's receipts £1,937 16s 0d From an early hour this morning the streets adjacent to the Town-hall presented an unusually animated spectacle, crowds of eager lookers-on had already taken up their station behind the barriers erected along all the approaches to the great centre of attraction, and in many houses the windows had been removed for the accommodation of the curious, who seemed as anxious to behold a number of vehicles, and persons laboriously making their way to hear a concert, as they might have been to witness a grand triumphal procession or an execution. No end to be seen of charming ladies, gaily and richly attired in all the extensiveness of crinoline, or gentlemen of "fashionable exterior," hurrying from the railway station, where, as it appeared to us, a fresh train arrived from somewhere or other in a miraculous manner about every half -minute. No end of bustle, tumult, and confusion! And what was the exciting cause? One which has very often during the last hundred years produced similar results- Handel's "Messiah." But still, great as the attraction of this immortal work has ever been- frequently as it has served the cause of charity- never, we believe, did its performance prove so productive as on the present occasion, when the vast Town-hall of Birmingham was densely crowded in every part, and no place was attainable for less than one guinea. A more dazzling or imposing sight than the interior of the hall at the commencement of the oratorio, we do not remember to have seen. Immediately after the overture, which we need scarcely say was finely played, the noble tones of Mr. Sims Reeves rose sweetly and majestically upon the ear, with the words "Comfort ye, my people!" and as the long-sustained notes at the beginning of this accompanied recitative were increased and diminished with masterly skill by the singer, all connoisseurs felt that he was in good voice, and indulged the most pleasurable anticipations with respect to his coming efforts. Mr. Reeves' execution of the succeeding air, "Every valley shall be exalted," was quite equal to his delivery of the opening recitative ; and the entire performance may be described as a perfect model of the grandest style of singing. The next tenor song, "Behold and see," is, as everybody knows, of a deeply pathetic character, and no frequenters of the English concert-room perhaps require to be told how well Mr. Sims Reeves generally sings it ; but yet, we believe that those who were not so fortunate as to be present on the occasion under notice would find it difficult to imagine all the effect he produced. All truly-great singers are impulsive creatures, and although, when there is no physical impediment, a certain amount of mechanical skill may be rendered tributary to the will, the soul, without which all art is lifeless and unsympathetic, cannot be stirred by any mere act of volition. We must wait for its inspirations, which, in their loftiest and most poetical revelations, are but "few and far between" even with the most gifted children of song. Thus the "Behold and see" of Mr. Sims Reeves was this morning particularly and most wonderfully beautiful- an expression of immense, heartrending grief and desolation, which found an echo in every bosom, and brought tears into the eyes of many a fair listener, besides making some of the sterner sex look as if they felt uncomfortable about the throat. Equally truthful and touching was the great English tenor's delivery of the fine recitative, "Thy rebuke hath broken his heart," especially of the passage " He looked for some to have pity on Him ; but there was no man, neither found He any to comfort Him." As a worthy climax to the ever-memorable efforts of Mr. Sims Reeves on this occasion we must mention his magnificent execution of the difficult air, "Thou shalt break them," which he gave with stentorian force and a fiery, overwhelming energy that completely carried the sympathies of the audience by storm. The ever-rising fury on the words, "Thou shalt dash them in pieces -in pieces," and the sublime ebullition of thoroughly-wrought-up passion on the repetition of the fearful prediction, "Thou shalt dash them," where the voice rises to the high tenor A natural, were evidences of executive genius which will live for ever in the minds and hearts of all who experienced their influence. Miss Dolby also distinguished herself most honourably. The airs, "But who may abide" and " He was despised," were delivered with all that classic purity and breadth of manner, that touching though unobtrusive pathos, and well-sustained equality of tone, for which she is so justly celebrated. In short, Miss Dolby again proved herself to be a Handelian singer of the very first rank, and second to none in her own particular department of art Madame Novello's softly, intense, and gently-affectionate tones stole upon the ear with incomparable sweetness in the solo "Come unto Him," her rendering of which was in every respect perfect. The admirable talent of Signor Belletti was most strikingly exemplified in the recitative, "Thus saith the Lord," and the airs, "The people that walked in darkness" and "The trumpet shall sound" - that of Madame Viardot in "Thou that tellest," and in the second soprano part of "He shall feed his flock." Madame Castellan was heard to great advantage in "But Thou didst not leave His soul in hell;" as was Mr. Weiss in "Why do the nations." No praise could possibly be too high for the chorus and band. The execution of "And He shall purify," "For unto us a child is born," "Behold the Lamb of God," was musical perfection itself; indeed, where all was so great, we hardly feel ourselves justified in selecting anything for special eulogy. Under such circumstances our readers may, perhaps, imagine the stupendous effect produced by the two choruses "Hallélujah!" and "Amen," as well as the appearance of the vast hall as the entire audience stood during the performance of the former piece. Both these choruses were re-demanded. Amongst the notabilities present were :- Earl of Dartmouth (president), the Countess of Dartmouth, and party, the Duchess of Beaufort, the Right Hon. Sir John Pakington, M.P., the Earl and Countess of Bradford, Miss Moncrieff and party, Lord Willoughby de Broke and party, the Lord Denbigh, Lord Sandys, the Earl of Powis and party, Earl Howe and party, the Hon. C. Lennox Butler, the Earl and Countess of Shrewsbury and Talbot, the Marchioness of Lothian and party, the Earl of Southampton, the Bishop of Worcester, Mrs. Pepys, and party, Lord Lyttelton and party, the Lady Ward, the Hon. Mrs. Claughton and party, Lord Bagot, the Hon. and Rev. Mr. Bagot and party, Lord Wrottesley and party, the Right Hon. C. B. Adderley, M.P., and Mrs. Adderley, and party, Sir William Hartopp, Bart., Lady Hartopp, Lady Chelmsford, and party, Sir Francis Scott, Bart., and party, the Hon. Gerard Noel, M.P., Mr. Newdegate, M.P., Mrs. Newdegate, and party. Sir Francis Shuckburgh and Miss Shuckburgh, Sir G. H. Beaumont, Lady Beaumont, and party, Sir Thomas Winnington, Bart., M.P., and party, Mr. C. B. King, and party ; Mr. H. Whitmore, M.P., Mr. and Mrs. Dugdale, the Hon. and Rev. Mr. Portman and party, Mr. J. Howard Galton and party, Mr. Alston and party, Col. Parkes, Sir J. Chetwode, the Dean of Lichfield and party, the Mayor of Birmingham, the Sheriff of Staffordshire and party, Mrs. Hardman Earle and Miss Euretta Johnstone, Mr. and Mrs. Hardy, &c. The following is an account of the receipts :- No. attending. Receipts. President and Vice-Presidents, 21s. each 394 £413 14s 0d Secured seats, 21s. each 1,876 £1,869 16s 0d Donations and collections £405 15 0 Total £2,789 5s 0d (Morning Post, Friday, 3 September 1858) THE BIRMINGHAM MUSICAL FESTIVAL. (From Our own Correspondent.) … The second miscellaneous concert took place yesterday evening, and was most brilliantly attended. I have already made my account of the Festival so long, that I must now be more chary of space. I am the more able to do this, as the performances still continue to bear the same stamp of artistic excellence, and I should only have to repeat my commendations of the same artists, who seem fully determined to end as they have begun. I will, therefore, content myself with giving the mere programme, with but few remarks. The concert opened with Mozart's Jupiter Symphony, followed by : PART I. - Aria, "Largo al factotum." Signor Ronconi - Rossini. Trio, "Ti prego, O madre pia," Mdlle. Balfe, Miss Dolby, and Mr. Montem Smith - Curschmann. Brindisi, "Il segreto," Mad. Alboni - Donizetti. Trio (Semiramide), Mad. Castellan, Mad. Viardot, and Mr. Weiss - Rossini. Aria, "Gentil sembiante" (Zampa), Sig. Tamberlik - Herold. Duo (Tancredi), Mad. Novello and Mad. Alboni - Rossini. Ballad, "Rose of the Morn," Mr. Sims Reeves - Frank Mori. Duo, "Di capricci," Mad. Viardot and Sig. Belletti - Rossini. Air (Vépres Siciliennes), Mad. Castellan - Verdi. Song, "Mad Tom," Mr. Weiss - Purcell. Then came Mendelssohn's cantata, The Sons of Art, to Schiller's words (of which an English version by Mr. Bartholomew was adopted on the present occasion), succeeded by the overture to Guillaume Tell, and :- PART ll. - Song, "The beating of my own heart," Mad. Novello - Macfarren. Duo, "Quel sepolcre," Mad. Castellan and Sig. Belletti - Paer. Cavatina, "Di piacer," Madlle. Balfe - Rossini. Duo, "Senza tanti complimenti," Mad. Alboni and Sig. Ronconi - Donizetti. Aria, "Pensa alla patria," Mad. Viardot - Rossini. Duet, "The memories," Miss Dolby and Mr. Sims Reeves - Lindsay Sloper. Aria, "Di militari onori," Sig. Belletti - Spohr. Duo, "Non m' inganno" (Otello), Sigs. Tamberlik and Ronconi - Rossini. Aria, "Quando miro," Miss Dolby - Mozart. Coro con soli, "La Carita," Mad. Novello, Madlle. Balfe, and Miss Dolby - Rossini. Overture, Zampa - Herold. The symphony and overture to Guillaume Tell were magnificently performed, especially the latter, which, indeed, I never heard so perfectly rendered. The whole audience, including the chorus, were worked up to a perfect phrensy of delight, and the last movement had to be repeated. With regard to the miscellaneous portion of the programme, the great "hit" was "Il segreto," by Mad. Alboni, who, nolens volens, was obliged to bow to a most obstinate encore, and repeat the song, or, in other words, achieve a second triumph. The other artists, too, stuck so perseveringly to their determination of giving no opportunity for any one to indulge in aught but praise, that criticism is out of the question. The critic's occupation's gone. The numbers present were 2,259. (The Musical world, Saturday, 4 September 1858) Thursday, 9 September 1858 : Leeds Musical Festival's First Grand Miscellaneous Concert at New Hall, Leeds. LEEDS MUSICAL FESTIVAL. FROM OUR OWN CORRESPONDENT. LEEDS, Sept. 9_ The first grand miscellaneous concert took place last evening, at the new hall. We subjoin the programme : - Part I. Symphony in C major - Mozart. Air, "Dovo sono," Madame Weiss - Mozart. Aria (Maometto), Mr. Santley - Rossini. Part Songs "Spring" - Smart. "Ah ! could I with fancy" - Hatton. ; Variazioni, "Al dolce canto, " Madame Alboni - Rode. Violin Solo, M. Sainton - Sainton. Scena, "Robert, toi que j'aime" (Robert le Diable), Madame C. Novello - Meyerbeer. Duet, " Morte o colpa" (Pia dei Tolomei), Miss Palmer and Mr. Santley - Donizetti. Scena, "O 'tis a glorious sight" (Oberon), Mr. Sims Reeves - Weber. Ballad, "Many a time and oft," Miss Dolby - Duggan. Pianoforte Concerto, G Minor, Miss A. Goddard - Mendelssohn. Part Second. Pastoral (MS.), "The May Queen," the words by Henry F. Chorley, the music by Professor W. Sterndale Bennett (first time of performance). Overture. Chorus, "Wake with a smile,. O month of May." Ballad, " O meadow, clad in early green," Mr. Sims Reeves. Chorus, "O melancholy plight." Chorus and Dance, " With a laugh as we go round." Solo (May Queen), " With the carol in the tree," Madame Clara Novello. Duet, "Can I not find thee a warrant for changing ?" Madame Clara Novello and Mr. Sims Reeves. Song, "Tis jolly to hunt in the mild moonlight," Mr. Weiss. Terzetto, "Shall a clown that beauty wear ?" Madame Clara Novello, Mr. Sims Reeves, and Mr. Weiss. Chorus, " Ill-fated boy, begone." Pageant Music, Solo (Queen), Miss Dolby., Finale, Chorus and Solo, "And the cloud hath passed away." Cabaletta, "In questo semplice" (Betly), Madame Alboni - Donizetti. Song, "The pilgrim of love," Mr. W. Cooper - Sir H.R. Bishop. Duet, "Old memories," Miss Dolby and Mr. Sims Reeves ." - Lindsay Sloper. Overture, " Jessonda" - Spohr. Before entering upon the merits of this absurdly long performance, we must give a word of advice to the stewards and "gentlemen in office," who, doubtless, having never before been connected with the management of those "general arrangements" designed to insure the safety and accommodation of the public at such great meetings as this, may therefore accept our counsel with a good grace. Such a notice as the following, which was extensively circulated throughout the hall, is slightly sensible, and at the same time perfectly ridiculous : - "No person will be permitted to enter or leave the room during the performance of any piece ; and it is earnestly requested that the audience will support the stewards in carrying out this important regulation." This is reasonable, inasmuch as its object is to prevent any noisy interruptions to the music and interference with the pleasures of those who have been fortunate enough to find their places early, but preposterous, inasmuch as it takes not into account the wearying delays and almost hopeless confusion which those who come, whether on foot or in carriages, have to encounter here before they can even reach the steps of the hall, owing to nothing but the bad management of these very "officials" who guard the doors of their concert room so jealously - inasmuch, too, as it takes not into consideration the length of certain pieces of music - symphonies and concertos, for instance - some of which last an hour or even longer ! After sundry tustles with a large mob, and still greater struggles with bewildered and blundering policemen, you reach the hall at eight o'clock, the hour at which the concert commences - let us suppose with a symphony - a long symphony - Beethoven's ninth, for example. Well, has the first chord been struck ? Yes. Oh ! Then you must wait standing - ladies and gentlemen with light evening dresses, decolletees, or hatless, as you may be, in a passage full of draughts for more than an hour, during the execution perhaps of the very piece you paid very liberally, and came a considerable distance, and took great trouble, to hear ! On the very occasion under notice an attempt was made to enforce this very absurd regulation, and the opposition it called forth produced a far greater disturbance than any number of ladies and gentlemen could possibly have made in proceeding to their various seats in the usual manner. Under ordinary circumstances there would have been a rustling of silks and moires antiques - a well-bred sliding and shuffling, and bowing. The ladies would have proceeded at a tiny trot to their destinations ; whilst the gentlemen would have gracefully made themselves, as it were nothing, to let them pass and avoid their crinolines. But, instead of this, there were coercive proceedings, intemperate words, and disreputable altercations, the result being that a very large number of visitors did not get into the hall until near the termination of the first piece, which, as our readers will have observed, was a symphony, although, fortunately, not a long one. For our own part, being one of the victims to the stewards' intensely-anxious solicitude for the public good, we heard nothing of Mozart's great composition excepting the last few notes. We had been busily speculating upon the particular kind of cold we were undoubtedly catching, counting our nasal ticklings, or agueish shiverings, and endeavouring to form a notion as to where the disease might ultimately take up its horrid abode, when we were suddenly pushed into the room by a fierce little gentleman with a crimson face, who swore he would "stand it no longer," and thus we heard the last few notes, and the last few notes only, of Mozart's symphony, which certainly sounded very delightful after the angry voices without, and were perhaps the more pleasant from their possessing all the charms of "forbidden fruit" without any of the peril. We have dwelt rather longer than we intended upon these silly arrangements, but they positively are a great bore to the public, and should be remedied. The difficulty of egress is every bit as great as the trouble of ingress to the hall ; and whatever may be the cause that prompts an individual to make a hurried exit during the execution of a piece of music, no matter how long that may be, there he must wait until he receives the permission to depart from rosetted enthusiasts and the stolid-looking functionaries with whom they are associated. Yesterday morning, for instance, we observed some gentlemen, apparently belonging to the public press, make an attempt to get out (probably anxious to begin their critical duties) at a perfectly legitimate moment, just before the conclusion of the oratorio. But no ; it could not be. The metropolitan public might be left without an account of the Leeds festival (which, under such locomotive restrictions, was by no means impossible, considering that despatches must be sent about an hour after the morning performance) - the Leeds festival might be damaged thereby - but, the rosetted enthusiasts have spoken, and it is a great thing to have coercive power over one's fellow-creatures even in a question of doors. Taking the programme according to the order in which it should have been arranged, but was not that is, with Professor Bennett's new and charming cantata, "May-day," first instead of last, we may now proceed to speak of the rest of the concert. Professor Bennett's muse had been so long silent that we in common with many others, began to fear that he no longer courted her inspirations, and that the bright talent manifested in his early works was not destined to make any further sign. How agreeably, then, were we disappointed by this new and delightful effusion, which taken as a whole, we will venture to state, is a genuine advance upon all his previous efforts - equal to those in warmth and freshness of feeling - superior to them in facture and originality. It is now high time for our admirable composer to throw off the Mendelssohnian yoke which he has worn so long and so gracefully- time for him to be warmed wholly by "his own native rage," and give himself alone to the world, so that he may become a truly great illustration of the musical genius of his country. There are indubitable indications of originality scattered up and down the pianoforte and orchestral works of Professor Bennett, by which of course his possession of that inestimable quality may be attested; but on the whole, he has hitherto unquestionably been too much influenced by his favourite model. A true musician should be a poet as well as a master; and he cannot be the former without being a "maker" and inventor ; without giving to old materials and principles a novel form and application; without, in short, giving himself, with all his acquirements, rendered subject to his own peculiar idiosyncracy, to the world. This indeed is all he has to give. "Do what you will," says Goethe's Mephistopheles, " Du bleibst am ende was du bist "- that is what Nature has made you, and that is precisely what, we trust, Sterndale Bennett (he is no better for being a "professor") will illustrate for the future with respect to himself. It is not enough. though perfectly true, that genuine connoisseurs, both here and in Germany, should admit that Sterndale Bennett is the best pianoforte composer, and one of the most eminent musicians of the day- that he is the only worthy continuer of Mendelssohn (lofty praise though this be) - that the eloquent Schumann (that poor, gifted creature, who drove himself mad with beer) should say, in decreeing imaginary rewards to various artists, that to the sweet and graceful Sterndale Bennett he would present a bouquet of fairest flowers. No; our countryman is destined, if he belie not his gifted nature, to represent musical England, to depend upon no one, to earn the unfading laurel crown, and reject the nosegay, however carefully selected or tastefully made up may be its perishable flowers. We take this new cantata as an earnest of still finer things to come - of a brilliant future for British musical art. There are many things in it which are Bennett's, and Bennett's only, and these are amongst the best pieces; whilst those that are not equally original reveal throughout the hand of a master. We regret the present impossibility of going into details. The book, excepting some not very intelligible lines here and there, is well adapted for musical treatment, and generally creditable to its author, Mr. H. T. Chorley. The tale is of the simplest. The May Queen loves to tease her most devoted lover by pretending indifference to his passion. The bold Robin Hood makes a favourable impression on the young lady, and would carry her lips by storm, whereupon the said lover gives him a blow. The scene is supposed to take place on royal ground, where a blow struck on May-day entails upon the offender the forfeit of his hand. Fancy, then, the situation of the lover, especially as the Queen arrives just in time to witness the commission of the crime ! But then the May Queen, fairly cured of her coquetry, intercedes so warmly for her lover that the Queen is inclined to be clement: and, fortunately, this happy disposition is brought to a climax by the discovery that the supposed Robin Hood is an impostor, a nobleman in disguise, whose purpose it was to seduce and carry off the May Queen. Thus all things end happily, as it is but right they should do in so pretty and smiling a bagatelle as this. The cantata was received with enthusiastic applause, and one of the pieces, "With the carol in the tree" (charmingly sung by Madame Novello), met with a rapturous encore. The tenor, bass, and contralto parts were sung respectively by Mr. Sims Reeves, Mr. Weiss, and Miss Palmer. In the first part of this concert the great successes were Madame Alboni's "Al dolce canto (unanimously redemanded), Mr. Sims Reeves' "O 'tis a glorious sight," Madame Weiss' "Dove sono," the execution of Henry Smart's, and Mr. Hatton's part-songs, the first of which is charming, and a most musicianly composition; and the wonderfully beautiful performance of Mendelssohn's concerto in G minor, by Miss Arabella Goddard, who never played better than on this occasion, and of course made an immense impression upon the Leeds public. This morning's performance consisted of Rossini's " Stabat Mater," a selection from Bach's "Passions Musik," and the whole of Beethoven's "Mount of Olives," and has but just terminated. The hall was again crowded. (Morning Post, Friday, 10 September 1858) Thursday, 4 November 1858 : Evening Concert at Westbourne Athenaeum, 21, Devonshire-Place, Cleveland-Square. CONCERT AT THE WESTBOURNE ATHENAEUM, 21, DEVONSHIRE-PLACE, CLEVELAND-SQUARE. - An excellent concert took place on Thursday evening at these rooms on behalf of this admirable institution. We trust that the general satisfaction expressed by a very large and fashionable audience will lead to permanent encouragement of so valuable an effort. The grand duet between Mr. Lindsay Sloper and Mr. Kiallmark was superbly played, and the latter deserves the highest praise for his able conduct of a concert which, for varied and superlative talent, might rival the best productions even of a metropolitan full season. All the artists were of the first rank of musical excellence. (John Bull, Saturday, 6 November 1858) (Also: John Bull, Saturday, 6 November 1858; John Bull, Monday, 8 November 1858.) Wednesday, 15 December 1858 : Musical Society of London's First Conversazione at Beethoven Rooms, 76 Harley-St. MUSICAL SOCIETY OF LONDON.-The first conversazione of this new society took place last evening in the Beethoven Rooms, Harley-street, and was attended by a crowded and brilliant audience. The walls were decorated by the portraits of celebrated composers, the majority specially lent for the occasion, and the tables by examples of musical instruments from the earliest period to the present time. The instrumental portion of the programme was supplied by Messrs. Lazarus, Richard Blagrove, Janza, Polletzer, Lidel, Osborne, Lindsay Sloper, and Silas; and the execution of the vocal part devolved on Mesdames Stabbach, Hughes, Leffler, and Herr Mengis. Mr. Charles Salaman, the accomplished secretary, played an old air "The Queen's Command," on a virginal upwards of two hundred years old, which met with most genuine applause and added greatly to the enjoyment of the evening. Altogether it may he honestly said that the excellent arrangements of this conversazione augured well for the future of the society. (Morning Chronicle (1801), Thursday, 16 December 1858) A new association of musicians has just sprung into vigorous life. Rejecting all big Greek wordiness, it calls itself, simply and intelligibly, " The Musical Society of London." There is that much of plain-spokenness in its favour. It makes profession of large and liberal objects. So have others; but that is nothing the less to its credit. It began work in earnest on Wednesday evening with a conversazione; and of what that amounted to and promised we shall speak hereafter. Seeing that this Society commenced its preparatory operations in May last; that its executive council comprises many of the best-known musicians and amateurs of London; and that the muster-roll of its members at this time numbers close on five hundred names, it is almost strange that its existence and intentions should have hitherto attracted such an infinitesimal amount of public comment. We say "almost," for anywhere else in the world such a state of things would be impossible. Here, however, the cry of "wolf" has been so often raised in vain, that the new Society suffers with the shepherd in the fable. Musical association and "National Opera" speculations are all but non-quotable articles in the market of public opinion. They have then, one after another, but to fall in similar succession, until at length the play is played out and the audience is wearied. Promises call forth no confidence, and prospectuses fish vainly for guineas. Thus it has hitherto been, and by this fact only can we account for the slight notice bestowed on the new Society by that portion of the press which usually deals with musical matters. Its formation has been announced, the stereotyped hopes and fears have been expressed, the usual morsels of advice tendered, - and there the subject has dropped. But is the " Musical Society of London " to share the too common fate ? Is it to struggle through its first year, merely then to fall in pieces out of its own sheer rottenness, or from the envies and dissensions of its members, or in utter despair of public sympathy ? Is this new association, with all its wise and healthy proposals, to live but just long enough to show us what might be done, and then, expiring according to pattern, leave all music among us to the commercial mercies of one certain Italian Opera (perhaps two), one uncertain National Opera, a select Society in Hanover-square where people do congregate to fiddle the same symphonies of Mozart and Beethoven they were wont to fiddle full thirty years ago, and a large Society in the Strand, where, so long as the Messiah, Elijah, and the Creation can be counted on for gain, the shopman will never be found to suggest the "next article" to an anxious customer ? We hope not. We should be sadly wanting to our conviction of how much yet remains to be done if we did not hope earnestly for the success of this, and every other, honestly-planned Society. But, also, we believe not. The constitution of the new Society unfolds certain original elements of combination which seem to promise stability to an extent but seldom indicated in similar attempts. At all events we have faith. Any scheme, however admirably devised, may fail ; but, in this case, we cannot resist a very unusual sensation of confidence that if the announced plans of the Musical Society of London are honestly and zealously worked out, there is nothing to forbid its permanent existence as the great musical institution of England. Of course the new Society has already its enemies. The chief crime charged against it is, as we hear, that it is an "opposition," and "intended to destroy" the Philharmonic Society. For the sake of argument, let us suppose this charge substantiated. Let us suppose the new Society was intended to, and does, oppose the Philharmonic. What then ? What has the Philharmonic Society done and deserved that it should not be opposed if needful ? Have its objects been so all-embracing, and their application so hyper-energetic, that nothing remains unaccomplished ? Has its patronage of musicians and their music been so open-armed that not one worthy specimen of either genus, homo or opus, remains unrepresented in its councils and performances ? Is its legislation the ablest, are its concerts the finest, that the times can afford ? Can no spot of clique, jobbery, malice, be pointed at in a course of action that should have been pure, generous, artistic, guileless ? Even had it been all that its partisans assert, without believing, is this metropolis just of the precise bigness to accommodate one great musical Society, and necessarily to exclude a second! Above all, is not competition a good healthy stimulant, seldom complained of, except by the garrulous and disabled in anticipation of defeat ? This cry of "opposition to the Philharmonic" is, however, we are convinced, suggested rather by the fears than the reason of its promoters. The council of the new Society openly disavow rivalry with "any existing institution;" and although the announcements of a prospectus must generally be received with caution, a very slight examination of the proposals of the new Society shows its objects, constitution, and modes of operation to be so entirely different to those of the Philharmonic, that no antagonism, in the proper sense of the term, can be contemplated. What these differences are, and in what manner we conceive them to promise fairly for the permanence of the new Society, we propose to discuss in a future article. At present we have only space to add that the conversazione with which, on Wednesday evening, the Society formally commenced its labours was, in the novelty and interest of its arrangements, a complete and deserved success. A large collection of important and interesting items connected with the history and present state of music - consisting of rare portraits, engravings, manuscripts, autographs, old English instruments, instruments from every quarter of the world, drawings and models of modern inventions - was tastefully arranged in the rooms, and afforded much gratification. In the course of the evening an address explanatory of the Society's objects was delivered by the Rev. Sir William Cope, one of the council, and some delightful music was contributed by members of the Society, among whom we must specify, as professors, Misses Stabbach, Hughes, and Leffler, and Messrs. Osborne, Sloper, Salaman, Silas, Jansa, Pollitzer, Blagrove, Lidel, Lazarus, and Herr Mengis. The rooms were inconveniently crowded - above four hundred ladies and gentlemen being present, and the evening passed off as brilliantly as the warmest friends of the new Society could have desired. (The Musical World, Saturday, 18 December 1858) |
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