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Life Musical Works Concert Diary  1859 | |
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Concert Advertisements and Reviews - 1859. Tuesday, 22 February 1859 : A Grand Concert in Aid of the Funds of the Milliners' and Dressmakers' Provident and Benevolent Institution (Evening) at Hanover-Square Rooms. A GRAND CONCERT in AID of the FUNDS of the MILLINERS' and DRESSMAKERS' PROVIDENT and BENEVOLENT INSTITUTION, under the immediate patronage of her Most Gracious Majesty the Queen, will be given at the Hanover-square Rooms, on TUESDAY EVENING, Feb. 22, to commence at 8 o'clock precisely. Vocalists :- Madame Anna Bishop, Miss Vinning, Miss Messent, Miss Horder (pupil of Mr. Howard Glover) and Miss Dolby ; Mr. Wilbye Cooper, M. Depret, and Signor Belletti. The Members of the Orpheus Glee Union will sing some of their most admired glees, part songs, &c. Instrumentalists - Pianoforte, Mr. Harold Thomas; Harp, Mr. Frederick Chatterton; Harmonium, M. Engel ; Violin, Herr van Heddeghem. Conductor, Mr. Lindsay Sloper.- Reserved seats, 7s. ; single tickets, 5s. 6d., to be had of the Members of the Committee ; and R. W. Ollivier, 19, Old Bond-street, Piccadilly, W. Mr. W. SHUTER, Hon. Sec. (Morning Post, Friday, 11 February 1859) (Also: The Athenaeum, Saturday, 19 February 1859; Morning Post, Wednesday, 16 February 1859; Morning Post, Friday, 18 February 1859.) MILLINERS' AND DRESSMAKERS' BENEVOLENT INSTITUTION.- The evening concert at the Hanover-square Rooms last Tuesday will, it is hoped, benefit the funds of this association. The artistes who volunteered in the good cause were Madame Bishop, Miss Louisa Vinning, Miss Messent, Miss Dolby, Miss Horden, M. Depret the Belgian tenor; Sig. Belletti, the Orpheus Glee Union; Herr Engel (harmonium); Mr. Cusins and Mr. Lindsay Sloper (pianoforte); Herr Van Keddeghen (violin); Mr. Chatterton (harp). Miss Horden is a new vocalist in the field, singing in the florid school and made a favourable impression. The ballad composed by Miss C. A. Dance, "Home they brought," sung by Miss Dolby, was encored, and merited the distinction. Miss C. Dance's compositions, if even they were not entitled to consideration on their own intrinsic merits, which they are unquestionably, would be heard with sympathy, if only for the melancholy case of the cruel fraud recently perpetrated on her by a convicted stock-broker. (Morning Chronicle (1801), Friday, 25 February 1859) Monday, 28 February 1859 : Mr. Arthur Chappell's Monday Popular Concert at St. James's Hall, Piccadilly. MONDAY POPULAR CONCERTS. ST. JAMES'S HALL, REGENT STREET AND PICCADILLY. On MONDAY EVENING, 28, 1859 (being the Ninth Concert of the Series) the Programme will be exclusive)v devoted to a Selection from the CHAMBER and OPERATIC MUSIC, VOCAL and INSTRUMENTAL, of JOSEPH HAYDN and CARL VON WEBER. CONDUCTOR Mr. BENEDICT. PROGRAMME. I - HAYDN. QUARTET containing the Variations on "God save the Emperor," for Two Violins, Viola, and Violoncello; Mr. H. BLAGROVE, Herr RIES, Herr SCHREURS, and Signor PIATTI. HAYDN. CANZONET, "She never told her love," Madame ENDERSSOHN. HAYDN. RECIT. and AIR, "When sluggish Phoebus 'gins to rise". Mr. SANTLEY. HAYDN. TRIO in G major, for Pianoforte, Violin, and Violoncello . Mr. LINDSAY SLOPER, Herr RIES, and Signor PIATTI. HAYDN. RECIT. and AIR, "Now o'er the dreary waste " Mr. WILBYE COOPER. HAYDN. CANZONET, "The Wanderer" Miss PALMER. HAYDN. MOTET, "The arm of the Lord," Madame ENDERSSOHN, Miss PALMER Mr. WILBYE COOPER, and Mr. SANTLEY. HAYDN. II. - WEBER. TRIO in G minor, for Pianoforte, Flute, and Violoncello. Mr. LINDSAY SLOPER, Mr. R. S. PRATTEN, and Signor PIATTI. WEBER. SONG, "For as the waters of that still tide " Mr. SANTLEY. WEBER. DUET, "Come, be gay" Madame ENDERSSOHN and Miss STABBACH. WEBER. CHAMBER DUETS. Mr. BENEDICT and Mr. LINDSAY SLOPER. WEBER. RONDO, " I'd weep with thee " Mr. COOPER. WEBER. SONG, "I think of thee" STABBACH. QUARTET, 'J Over the dark blue waters" STABBACH and PALMER. Messrs. WILBYE COOPER and SANTLEY. WEBER. Sofa Stalls, 5s. Reserved Seats, Balcony, 3s. Unreserved Seats, ls. ON MONDAY EVENING. MARCH 7TH, A BEETHOVEN NIGHT. (The Literary gazette : A weekly journal of literature, science, and the fine arts, Saturday, 26 February 1859) CONCERTS. MONDAY POPULAR CONCERTS. - Haydn and Weber were in the ascendant on Monday night at St. James's Hall, the first part being consecrated to the former, and the second to the latter. The well-known and appreciated quartet in C, for two violins, viola, and violoncello, with the variations on the Austrian "God Save the Emperor," opened the scheme. The trio in G for pianoforte, violin, and violoncello was also given. The vocal gleanings were Haydn's motett (the English words of the late Mr. Gardener, of Leicester), the "Arm of the Lord;" the bass sporting song from the Seasons, "When sluggish Phoebus," and the tenor air, "Now o'er the dreary waste," from the same "secular" oratorio; and the grand operatic scena, descriptive of Ariadne's woes at the desertion of Theseus. The Weberan instrumental items were his trio in G minor for pianoforte, flute, and violoncello; and Nos. 2, 4, 6, of his eight chamber duets for two players on one pianoforte, Op. 60. The vocal gatherings were a bass air, "For as the waters," extracted from the cantata "The Offering of Devotion;" the popular duet from the "Der Freyschutz," "Come, be gay," for two soprani; a rondo, "I think of thee," one of his chamber compositions; and the air originally written by Weber, for Sir Huon in "Oberon," sung in Germany, but which was replaced, by Brahm's desire, by the more dashing "Oh, 'tis a glorious sight," 'In the ever-fresh and blooming quartet, "O'er the dark blue waters." In this scheme there is nice variety. The executants were Mme. Enderssohn, Miss Stabbach, Miss Palmer, Mr. Wilbye Cooper, and Mr. Santley; Mr. Henry Blagrove (violin), Herr Ries (second violin), Herr Schreurs (viola), Mr. Lindsay Sloper and Benedict (pianists), and Signor Piatti (violoncello). Beethoven will occupy the attention at the tenth concert next Monday, with Charles Hall as pianist, and M. Wieniawski as violinist. Mr. Sims Reeves will sing the "Adelaida." The Mozart selection is to be repeated on Ash Wednesday (March 9th). (Morning Chronicle (1801), Wednesday, 2 March 1859) MONDAY POPULAR CONCERTS. On Monday night St. James's-hall was again densely crowded by an audience who had come for the express purpose of listening to music of a refined and elevated character, and whose expectations were realized in every respect. The programme was made out entirely from the compositions, vocal and instrumental, of Haydn and Weber, the first part being assigned to the former, the second to the latter. Among the instrumental pieces were the quartet containing the famous variations on "God save the Emperor," and the pianoforte trio in G (Haydn); the trio in G minor, for pianoforte, flute, and violoncello, and a selection from the chamber pianoforte duets (Weber). The executants were Messrs. Blagrove and Ries (violins), M. Schreurs (viola) Signor Piatti (violoncello), Mr. Pratten (flute), and Messrs. Lindsay Sloper and Benedict (pianoforte) - all artists of first-rate eminence. The singers were Madame Enderssohn, who obtained an encore in "She never told her love " - one of the most beautiful of Haydn's canzonets; Miss Palmer, who won new laurels in the grand dramatic scene, "Ariana a Naxos; " Miss Stabbach, Mr. Wilbye Cooper, and Mr. Santley - who was encored in the air, "For as the waters," from the cantata called Natur und Liebe, one of the least known, but by no means least admirable, of Weber's vocal compositions. The audience were charmed with the performances from end to end, and especially delighted with the quartet and trios. The next concert (for which M. Wieniawski and M. Hallé are announced) will be devoted to Beethoven. (The Times, Wednesday, 2 March 1859) ST. JAMES'S HALL. - MONDAY POPULAR CONCERTS. The selection of Monday last was a happy medium between the popular and the scientific, partaking somewhat of both characters. The first part was entirely from the works of Haydn, and comprised at least two most attractive pieces. We are inclined to give the Palm to the performance of the beautiful trio in G major, for pianoforte, violin, and violoncello, which was admirably played by Messrs. Lindsay Sloper, Ries, and Piatti. The motett again, "Arm of the Lord," sung in the purest taste by .Madame Enderssohn, Miss Palmer, Mr. Wilbye Cooper, and Mr. Santley, worthily closed the Haydn section, and was a relief after the "Wanderer " - an over long canzonet, which was, however, faithfully rendered by Miss Palmer. Less interesting was the opening quartet, containing variations on "God save the Emperor," though skillfully played by Mr. H. Blagrove, Herr Ries, Herr Schreurs, and Signor Viatti, of whom the second displayed immense feeling when it came to his instrument to take up the theme. Madame Enderssohn gave "She never told her Love" with such taste and feeling, as to secure a spirited demand for its repetition. The distinguishing feature of' the "Weber " part of the entertainment was also a trio. Mr. Lindsay Sloper, Mr. R. S. Pratten, and Signor Piatti discoursed eloquently on pianoforte, flute, and violoncello in the trio in G minor, Mr. Benedict and Mr. Lindsay Sloper charmed us in a chamber duet; and in the popular "Oberon" quartett "Over the dark blue waters," Misses Stabbach and Palmer, and Messrs. Cooper and Santley left nothing to be desired. We have never heard the latter gentleman sing better but we cannot say, conscientiously, that we were fascinated with the solos allotted to him. We are glad to infer that Mr. Sims Reeves is recovering from his painful illness, and as we observe he is announced, as is M. Wieniawski (violin), for the popular concert on Monday next. (Leader and Saturday analyst, Jan. 7-June 30, 1860, Saturday, 5 March 1859) The Concert at St. James's Hall on Monday was devoted to the music of Haydn and Weber - a pair of composers, who do not somehow run harmoniously in sequence one to the other. Thus the concert was less interesting than the Mozart Concert, which, by the way, we observe, is to be repeated. The instrumental music seemed to be the most enjoyed - a speaking fact, the size of the audience considered. The finest singing in the Haydn act was Miss Palmer's, in the difficult and too-long scena 'Arianna.' The songs from the 'Seasons' failed for want of orchestral accompaniment. Mrs. Enderssohn was the soprano. - In the Weber act we were truly glad to hear the trio for pianoforte (Mr. L. Sloper), flute (Mr. Pratten), violoncello (Signor Piatti), the most effective and picturesque composition for the three instruments with which we are acquainted. It was very well played. (The Athenaeum, Saturday, 5 March 1859) (Also: Dwight's journal of music, Saturday, 9 April 1859.) Chamber and operatic music appear to be gaining ground in the estimation of the general public beyond what was first anticipated by the promoters of the Monday Popular Concerts at St. James's Hall. The quartet and trio are beginning to be understood. In proportion to enlightenment, so will the mind be delighted and improved upon hearing the works of the really great masters in this branch of the musical art. A very old-fashioned quartet of Haydn's selected to open the concert of Monday, but it was nevertheless quite as opportune as aged. The andante contained the air and variations known as "God save the Emperor," and the audience seemed thoroughly to enjoy as much the composition as the manner in which it was expounded by Mr. Blagrove, Herr Ries, Herr Schreurs, and Signor Piatti. Haydn's quartet never met with more respectful treatment than on Monday evening. A trio in G major for pianoforte, violin, and violoncello - another bright star in Haydn's diadem - was admirably developed ; in this instance Mr. Lindsay Sloper had the pianoforte part assigned him. Among the vocalists, Mrs. Enderssohn won an encore in the canzone, "She never told her love," and Mr. Santley received a similar compliment in the air. "For as the waters," from the cantata entitled "Natur und Liebe," a composition of Weber's but little known in this country. A canzonet, set down in the programme for Miss Palmer, was supplanted by a grand dramatic scena, "Ariana a Naxos." which was lengthy, and in other respects less suitable for the occasion than the canzonet, or many other excellent things that might have been selected without much research. There was an excellent auditory, and every piece was listened to with commendable attention. At the next meeting Beethoven is to be represented: and on Ash Wednesday the Mozart selection, which gave such satisfaction on the 21st ult., is to be repeated. (The Critic, Saturday, 5 March 1859) MONDAY POPULAR CONCERTS. - The scheme of last Monday's concert differed somewhat from the precedent which has hitherto obtained, inasmuch as two of the great composers, Haydn and Weber divided the honours and responsibilities previously entrusted to one. Haydn's graceful quartet in C, containing the variations on "God save the Emperor," was admirably executed by Mr. Blagrove, Herren Ries and Schreurs, and Signor Piatti ; and to his spirited and genial trio in G major, for piano, violin, and violoncello, equal justice was done by Mr. Lindsay Sloper, Herr Ries, and Signor Piatti. A genuine encore was awarded to Madame Enderssohn in the canzonet, "She never told her love;" a similar compliment being elicited by Mr. Santley in Weber's air, "For as the waters " Two pieces from "The Seasons - "When sluggish Phoebus 'gins to rise," and "Now o'er the dreary waste" - with their respective recitatives, were allotted to Mr. Santley and Mr. Wilbye Cooper, who also sang in the motet of the same master, "The Arm of the Lord," with Mdme. Enderssohn and Miss Palmer. To the latter young and promising singer the highest credit must be given for her execution of the exceedingly difficult and trying scena, "Ariana a Naxos," which was given with great feeling and expression, and warmly merited the applause that followed. In the second part two instrumental compositions of Weber - the trio in G minor, for pianoforte, flute, and violoncello (Messrs. Lindsay Sloper, Pratten, and Signor Piatti) - and three of the chamber duets for two pianofortes (Messrs. Benedict and Lindsay Sloper) were given. The names of the executants are a sufficient guarantee for the excellence of the performance. The vocal selection further embraced the well-known duet for Agatha and Anna from Der Freischütz, "Come be gay" (Misses Palmer and Stabbach), the latter also giving the rondo "I think of thee," Mr. Wilbye Cooper the air "I'd weep with thee," (originally allotted to the character of Huon in Oberon). The quartet from the same opera, "Over the dark blue waters," effectively terminated the concert. Next Monday will be devoted to Beethoven, M. Wieniawski, Charles Hallé, and Mr. Sims Reeves being engaged. On Wednesday the 9th, an extra night will be given, when the admirable Mozart selection will be repeated with Mr. Sims Reeves, M. Sainton, and Miss Arabella Goddard, who makes her re-appearance after her triumphant provincial tour. (The Musical world, Saturday, 5 March 1859) Monday Popular Concerts. The first part of the programme of the concert which took place last Monday night, at the St. James's Hall, was dedicated to Haydn, the second to Weber. The attendance was as numerous as it has hitherto been upon these occasions. The specimens of Haydn comprised his quartet containing the variations on "God preserve the Emperor," which was admirably performed by Mr H. Blagrove, Herr Ries, Herr Schreurs, and Signor Piatti. To this presently succeeded the trio in G minor for pianoforte, violin, and violoncello which was equally well delivered, the pianist being the accomplished Mr. Lindsay Sloper. The vocal selection included the delicious canzonet, "She never told her love," and the dramatic scene " Ariana a naxos," the former being sung by Madame Enderssohn and the latter by Miss Palmer-both in a very masterly and effective manner. The selection from Weber consisted of an instrumental trio, a pianoforte duet, and vocalities from the Freischütz, Oberon, &c., the whole of which were finely rendered by the above-mentioned artists, with the addition of Miss Stabbach, Mr. Wilbye Cooper, and Mr. Santley. (The Era, Sunday, 6 March 1859) Wednesday, 23 March 1859 : The Vocal Association's Third Dress Concert at St. James's Hall, Piccadilly. Pursuant to announcement, the Vocal Association gave their third dress concert at St. James's Hall on Wednesday. The programme was a varied one, and contained many excellent things; too many, in fact, for a single hearing. It set out with "Acis and Galatea," a serenata written, it is said, by "Gay and others," and composed in the year 1721 by Handel. The story is pretty well known; it is taken from the 13ih book of Ovid's "Metamorphoses," and details the unhappy loves of Galatea, a sea nymph, and Acis, a shepherd of Sicily. and the jealous rage of the Cyclop, Polyphemus, who hurls a huge fragment of rock on the bead of poor Acis and kills him, who was afterwards metamorphosed into the gentle murmuring stream. Handel's plain, and we suppose insufficient accompaniments were bolstered up by others attributed to Mozart. The principals engaged were Miss Louisa Vinning (Galatea). Mr. George Perren (Acis), Mr. Sachet Champion (Damon), and Mr. Santley (Polyphemus). With reference to the beautiful airs assigned to these, there was not sufficient vocal excellence displayed to call for special remark until the arrival of Mr. Santley's recitative and aria, "O ruddier than the cherry." This won an enthusiastic encore, despite its length. The recitative and air, "Shepherd, what art thou pursuing?" required a much better Damon than the Vocal Association had provided. Mr. Champion's vocal attributes appeared to be of a piece with his reading. The shyness exhibited in some of the choruses induced a belief that another rehearsal would not have been misspent time; we instance that which opens the second part, and the one in F minor farther on. The final one exhibited greater freedom and a more decided step. The "Ave Maria" for chorus of female voices, and soprano solo from Mendelssohn's posthumous opera of "Lorely" - noticed at some length a short time since - was repeated, Mme. Catherine Hayes being the principal. A scene with chorus for female voices, "Oh, tell me not of sadness," from Benedict's "Brides of Venice," brought the vocal powers of Mme. Hayes again into play. It is needless to speak of the efficient manner in which the part intrusted to this eminent soprano was discharged. M. Benedict had the control of the force, vocal and instrumental. On the next occasion a new cantata will be produced. entitled "The Birthday," composed expressly for the Vocal Association by Mr. Lindsay Sloper. Report extols the composition, but time will prove its worth. (The Critic, Saturday, 26 March 1859) Wednesday, 6 April 1859 : The Vocal Association's Fourth Dress Concert at St. James's Hall, Piccadilly. In addition to the societies and singers which we announced as about to open their doors and their mouths forthwith, we may mention the Vocal Association, conducted by M. Benedict. It has been said that at one of its concerts during the coming season a secular Cantata, by Mr. Lindsay Sloper, will be produced, - the words to which are by Mr. Henry F. Chorley. (The Athenaeum, Saturday, 27 November 1858) Vocal Association.- To the new works already announced for performance in the course of the season by the members of this Society, we may add a new cantata, by Mr. Lindsay Sloper, entitled The Birth Day. Mr. Sims Reeves has been especially engaged to sing the tenor music in Professor Bennett's May-Queen. (The Musical world, Saturday, 11 December 1858) To the new works already announced for performance by the Vocal Association is added a new cantata by Mr. Lindsay Sloper, entitled "The Birthday." (Bristol Mercury, Saturday, 18 December 1858) VOCAL ASSOCIATION, ST. JAMES'S HALL. On the occasion of the third dress concert of this association, which is rapidly becoming an important addition to the musical attractions of the metropolis, Handel's delicious seranata, "Acis and Galatea," with Mozart's additional accompaniments (which Mr. Benedict has always shown a preference for) made the first part of the programme. The solos by Miss Louisa Vinning, Mr. George Perren, Mr. Souchet Champion, and Mr. Santley, with their pastoral freshness, sweetness, and contrasted beauty, were for the most part charmingly rendered. We take exception to "Stay, shepherd, stay," which gave us the impression that Damon sang under the difficulty of too tight a neck-tie, from which, however, he was happily relieved in the charming air, "Would you gain the tender creature," which he sang with much delicacy and expression. Miss Vinning gave the songs of Galatea with grace and care ; her "Hush, ye pretty warblers," and the air, "As when the Dove," were very charmingly sung. Again, in that delicious vocal rapture with Acis, "Happy-happy-happy we !" and the air, " Heart thou seat," this lady's clear and fluent voice was heard to great advantage. Mr. George Perren, in that sweetest and most inspiring of love-songs, "Love in her eyes," was rapturously applauded ; as well as in "Love sounds th' alarm," which he gave with much sweetness and animation. But the encore of the evening was reserved for Mr. Santley, a proper Polyphemus - fiercely, passionately rugged ; but, touched by love, a mere piping Faun, flowing over with rippling melody, full of pastoral images and sun-scorched ardour. "O ruddier than the cherry !" richly deserved the compliment so spontaneously bestowed on Mr. Santley's singing of it, which showed not only a just appreciation of the composer's melody, but a classic sense of the story, and of his own relation to it. The precision and finished care with which the chorus acquitted themselves - especially in "Wretched lovers" - was deserving of all praise, and reflects great credit on the members of the association, as well as on their talented conductor. Amongst the gems of the evening we must rank the "Minnisinger," one of M. Benedict's charming orchestral compositions; nor must we (though our notice has exceeded our usual space) overlook the second performance of the "Ave Maria," from Mendelssohn's posthumous opera of "Lorley," which has strengthened our first impression of the richness, pathos, and devotion of its character, to which Madame Hayes did full justice, the wonderful upper notes of her voice coming out full and clear above instruments and choir while in the short soprano movement the finished grace of her singing produced an escapeless encore. Both Mr. Santley and Miss Stabbach sang in the second part of the concert, which, unhappily, we are obliged to pass over, though it included the scena, with chorus of women, from M. Benedict's "Brides of Venice," and two or three songs which we should have liked to have particularized. We perceive that on the 6th of April a new cantata, entitled "The Birthday," composed expressly for the Vocal Association, by Lindsay Sloper, will be performed, in which Madame Hayes and Miss Dolby are principal vocalists. (Sharpe's London magazine of entertainment and instruction for general reading, Saturday, 1 January 1859) VOCAL ASSOCIATION, ST. JAMES's HALL. The appearance of the hall on the occasion of the fourth dress concert of this association afforded a most gratifying proof of the estimation in which these concerts are held, and of M. Benedict's talent as a conductor. If a crowd of good things were healthful, we should have little fault to find with this concert; but there is such a thing as palling the appetite by the superabundance of a feast; and if a few of the miscellaneous entremets had been omitted, the result, we think, would have been more truly enjoyable. The overture of "Oberon," exquisitely performed, was followed by "Waft her, Angels ' (Jephtha). This air Mr. Tennant gave with great tenderness and expression. The prelusive recitative, "Deeper and deeper still," was not adapted to his voice ; nor, indeed, does there seem any just reason for its association. Then came the showy duet from "Semiramide" "Serbami ogner"), charmingly sung by Madame Catherine Hayes and Miss Dolby. The event of the evening was the production of the Birth-day " (a cantata by Mr. Lindsay Sloper, the words by Henry F. Chorley), with two choruses, one of women the other of male voices, with a song for soprano and another for contralto, and a final duet for them and chorus : but, though carefully written, the whole fell dead and cold. The choruses were carefully given, and both Madame Hayes and Miss Dolby did their best for the solos. But however musician-like the composition, it is wanting in the elements which are necessary to render it popular with the many. There are no sweet airs to take away with one, or rather that come unbidden, and haunt us for days after we have beard them - no specific individuality, in brief. The second part of the concert opened with M. Benedict's glorious "Crusaders " - a remarkable composition, and which was received, as it deserved, with quite a furore of enthusiasm. Two marches (Mendelssohn) appeared to us out of place in a concert-room, and might have well been dispensed with, especially in such immediate proximity to "Angels ever bright and fair," which Madame Anna Bishop gave with exquisite delicacy and feeling. The "Ave Maria " and Finale from Lorley was again repeated; and of the first we can only say that it grows more delicious with every repetition. The next concert will take place on Wednesday evening, 25th of May, with full chorus. (Sharpe's London magazine of entertainment and instruction for general reading, Saturday, 1 January 1859) VOCAL ASSOCIATION, ST. JAMES's HALL. The last undress Concert of this Association took place on the 17th ult., when the conductor's baton fell into the hands of M. Otto Goldschmidt. The performance consisted of a repetition of Mr. Lindsay Sloper's "Birth-day," and a miscellaneous selection, the most noticeable of which were Hatton's part-song, "I know a maiden," which was very pleasingly given by Messrs. Frend, Crump, Walton, and Holloway. A sola "Zeffiretta" (Idomenio), Mozart, by a very promising debutante, Miss Eleanor Wilkinson, followed, and met with the honour of an encore. This lady's full, fresh, fluent voice, with careful training, which it evidently wants, will prove a valuable addition to our rapidly increasing list of lady vocalists. The gem of the evening, admirably given by members of the Vocal Association, wag Benedict's part-song, for male and female voices, "The Warbler of the Forest," than which we have rarely heard anything more fresh, quaint, and original. Mendelssohn's "Departure" closed the Concert, with a sweetness of its own. The dress Concert of the 25th ult. was, unfortunately, a day too late for notice in the current number of our magazine; we reserve, therefore, for the next part, our impressions of the evening's entertainment. (Sharpe's London magazine of entertainment and instruction for general reading, Saturday, 1 January 1859) We are told, too, that Mr. L. Sloper's coming Cantata is also based on a home fancy. The perpetual recurrence to such musical works as Horsley's part-settings of English poetry, - to such more theatrical ware as Bishop's dealings with Shakspeare and Scott and Joanna Baillie, - is perhaps now beginning to tell. (The Athenaeum, Saturday, 29 January 1859) MUSICAL NOTES OF THE WEEK. - At the last concert of the Vocal Association, the "Ave Maria " from Mendelssohn's Loreley (solos by Mdle. Hayes) was repeated, with the same success of a fortnight since. Mr. Benedict's vigorous and animated overture to the Minnesingers was capitally given, and elicited an "ovation" for its composer. Handel's Acis and Galatea, to which the first part of the programme was devoted, left very much to desire, neither solo singers nor choruses being "up to the mark." Mozart's additional accompaniments were used. At the next concert we are promised a new cantata by Lindsay Sloper, entitled The Birth Day. (The Literary gazette : A weekly journal of literature, science, and the fine arts, Saturday, 26 March 1859) VOCAL ASSOCIATION. - M. Benedict's programme for the third dress concert, held on Wednesday evening last, was open to one exception - its length. The first part (Acid and Galatea) occupying two hours ; and the second part (miscellaneous) bringing it to considerably after eleven ere the last piece had been performed. That this is a mistake, must be universally acknowledged Players, singers, and audience are all alike fatigued ; the latter gradually thinning off, disturbing those who wish to remain (thinking they can never have too much of a good thing), and disheartening those artists who are placed late in the scheme, and have to "waste their sweetness " on the "desert" room. Having thus briefly dismissed our one objection, we turn to a more pleasing duty, the awarding praise to the general execution of Handel's genial, ever fresh and charming Acis and Galatea, which was rendered in a manner highly creditable to all concerned. True, that, were we disposed to be hypercritical, there might be some points at which we should cavil - a little more regularity in some of the choruses for instance - but still, on the whole, the work was well given, and, should it be repeated, we have no doubt that increased familiarity on the part of the amateurs will insure au unexceptionable performance. To Miss Louisa Vinning was assigned the part of the lovelorn Galatea ; Mr. George Perren sustaining that of the luckless Acis; and Mr. Suchet Champion, the gentle shepherd Damon; while to Mr. Santley was entrusted the amorous and revengeful Polyphemus. To the last-named a warm encore was awarded for his vigorous rendering of "O ruddier than the cherry," which was repeated to the satisfaction of an audience who frequently throughout manifested their delight by hearty applause ; this being especially the case after the lovely air of Galatea, "Hush, ye pretty warbling choir," with its exquisite accompaniment, and the no less tender and charming song of Acis, "Love in her eyes sits playing." The inspiriting air, "Love sounds th' alarm, ' overtaxed the singer's powers, as it requires voice and execution such as Mr. Sims Reeves alone can boast, to do full justice to its beauties. Nevertheless, Mr. George Perren exerted himself to the utmost. Miss Louisa Vinning's capabilities are too well known to require any eulogy from us. Suffice it, she sang in her best manner, and was well received. Mr. Suchet Champion appears to have a voice which would be heard to greater advantage if he possessed a better method of using it. In the second part, Mendelssohn's "Ave Maria" was encored, and repeated by the unanimous desire of the audience, the solo part being sung by Madame Catherine Hayes. Each hearing of this exquisite piece only makes the lover of music more sincerely regret that we should be obliged to speak of the "unfinished" opera of Loreley. Had but this and Christus been completed, how vastly would the fame of the composer and delight of connoisseurs have been augmented. Two of M. Benedict's compositions were given. The overture to The Minnesinger, and the scena with chorus from The Brides of Venice, "O tell me not if sadness," the solo part being sustained by Mad. Catherine Hayes, the audience in each instance fully manifesting their appreciation of the merits of the accomplished composer and conductor. It is needless to say that the band, under the leadership of M. Sainton, was unexceptionable. Miss Stabbach sang the cavatina from Der Freischütz, "Tho' clouds by tempests," extremely well, and Mr. Santley, "Non piu andrai." Of the last three pieces in the programme we cannot speak, not having remained till the end, for the same reasons which induced so many of the audience to depart. For the next performance (April 6th) a novelty is announced, in the shape of a cantata from the pen of Mr. Lindsay Sloper, entitled The Birthday, composed expressly for the Vocal Association, and in which Mad. Catherine Hayes and Miss Dolby will appear. (The Musical world, Saturday, 26 March 1859) The great success which attended the performance of Mendelssohn's "Ave Maria," by the Vocal Association, has rendered it again necessary to repeat the work, with the whole of the Finale to the Opera of "Loreley," on Wednesday evening next, April 6th. "Two Marches," composed for a military band at Dusseldorf by Mendelssohn, and a new Cantata, "The Birth-day," by Mr. Lindsay Sloper (both for the first time in public), will be the additional attractions of the evening's performance. The band and choir, under the direction of M. Benedict, will number 400 performers. (Leader and Saturday analyst, Jan. 7-June 30, 1860, Saturday, 2 April 1859) ST. JAMES'S HALL. - VOCAL ASSOCIATION. - Conductor M. BENEDICT. - WEDNESDAY April 6, at Eight. Mendelssohn's LORELY, including the AVE MARIA (which will be repeated by general desire) ; and, for the first time in public. Two MARCHES, composed by Mendelssohn for a Military Band at Dusseldorf; also Mr. Lindsay Sloper's New Cantata, THE BIRTH-DAY (first time of performance). Principal Vocalists: Madame Catherine Hayes, Madame Anna Bishop. Miss Dolby, and Mr. Tennant. Band and Choir of 400 performers. - Tickets, 2s. 6d., 5s., 7s. 6d. ; Sofa Stalls, 10s. 6d. each. At all the principal Musicsellers, and St. James's Hall Ticket Office, 28, Piccadilly, W. (The Athenaeum, Saturday, 2 April 1859) The great success which attended the performance or Mendelssohn's " Ave Maria," by the Vocal Association at St. James's Hall has rendered it again necessary to repeat the work, with the whole of the finale to the opera of "Lorely," on Wednesday evening next, April 6th. "Two Marches," composed for a military band at Dusseldorf by Mendelssohn, and a new cantata, "The Birth day," by Mr. Lindsay Sloper (both for the first time in public), will be the additional attractions of the evening's performance. The band and choir, under the direction of M. Benedict, will number 400 performers. (The Critic, Saturday, 2 April 1859) Those who take any interest in the English school of music will hear with pleasure that Mr. Charles Horsley has completed a new oratorio, entitled Gideon, which is to be produced at the Glasgow Festival, this coming autumn. Not less welcome will be the news that Mr. Sims Reeves, almost entirely recovered, sang with the greatest success at the New Music Hall, Leicester, on Monday evening, when a performance of Handel's Messiah was given, for the annual concert of Messrs. H. and A. Nicholson. To conclude, a new cantata by Mr. Lindsay Sloper, entitled The Birthday, is to be produced on Wednesday by the Vocal Association. (The Literary gazette : A weekly journal of literature, science, and the fine arts, Saturday, 2 April 1859) VOCAL ASSOCIATION. - The great success which attended the two performances of Mendelssohn's "Ave Maria," by the Vocal Association, has rendered it again necessary to repeat it, with the whole of the finale to the opera of Loreley on Wednesday evening next. Two marches, composed for a military band at Dusseldorf by Mendelssohn, and a new cantata, the Birthday, by Mr. Lindsay Sloper (both for the first time in public), will be the additional attractions of the evening's performance. (The Musical world, Saturday, 2 April 1859) ST. JAMES'S HALL.- The great success which attended the performance of Mendelssohn's Ave Maria. by the Vocal Association, has rendered it again necessary to repeat the work, with the whole of the finale to the opera of Loreley, on Wednesday evening next, April 6. "Two Marches," composed for a military band at Dusseldorf by Mendelssohn, and a new cantata, "The Birthday," by Mr Lindsay Sloper (both for the first time in public), will be the additional attractions of the evening's performance. The band and choir, under the direction of M. Benedict, will number 400 performers. (Daily News, Monday, 4 April 1859) THE VOCAL ASSOCIATION. The fourth dress concert of the Vocal Association took place last evening at the St. James-hall, under the direction of Mr. Benedict. The principal feature of the programme was a new cantata, entitled "The Birthday," written by Mr. H.F. Chorley, and composed by Mr. Lindsay Sloper. The theme is the birth of a boy, destined apparently to occupy a lofty and responsible position in society, inasmuch as all the choruses of "tenantry," "guardian angels," and the various solos, &c., signify nothing more than good wishes and happy predictions, combined with such moral reflections and embellished with such poetical fancies as are appropriate to the subject. That Mr. Chorley's work is well adapted to its professed purpose, which was to suggest musical ideas, needs no stronger proof than the result, which is a composition of remarkable merit, the best perhaps which has yet been produced by Mr. Lindsay Sloper. The performance was by no means irreproachable, on the part of the choir especially ; but despite unsteadiness in " taking up points," as the phrase goes, and a frequent want of the important chiaro-oscuro of expression, sufficient justice was done to the score to show that it is the work of a highly accomplished and intellectual musician. The programme also included some other matters of great interest, the most important of which were two noble marches, written for a military band by Mendelssohn, and played on the present occasion for the first time in England. The solo vocal music, entrusted to those most admirable artists Miss Catherine Hayes, Miss Dolby, and Madame Anna Bishop, was done ample justice to ; and honourable mention may also be made of Mr. Tennant, who sang Handel's "Deeper and deeper still" with much more than his usual excellence. The band was throughout all that could be wished, if we except unhappy blundering on the part of the brass instrument, in Mr. Benedict's brilliant overture to "The Crusaders," which was nevertheless executed in other respects with great spirit and perfect precision ; so well indeed as to make the audience demand to bear it again. There never was a more genuine encore; but Mr. Benedict, with too great modesty, declined the intended honour. If the generally excellent choir were a little abroad in Mr. Sloper's cantata, they subsequently made amends by their irreproachable execution of the choruses in Mendelssohn's "Lorely," and the same author's beautiful "Ave Maria," which, it may be remembered, was first produced in this country at one of the " Vocal Association's" recent concerts. The hall was well attended. (Morning Post, Thursday, 7 April 1859) ST. JAMES'S HALL. The Vocal Association gave their fourth concert last evening. The programme specially presented to our notice a cantata by Lindsay Sloper, two marches (performed for the first time at these concerts), the "Ave Maria," and Finale to the first act of "Lorely," by Mendelssohn. Mr. Lindsay Sloper's cantata is undoubtedly a work of merit, and carefully written; it is also what few compositions of the present day can boast of, peculiarly English. Mr. Sloper has not allowed the German school to influence him; his melodies are fresh and pleasing; his harmonies are certainly neither elaborate nor striking, perhaps we should say its fault chiefly lies in the want of some decided feature in its composition; we were most pleased with the short introductory movement for orchestra, the opening chorus, the contralto solos, rendered most effectively by Miss Dolby, and the final duet and chorus, As a whole we consider it as fresh, but not original, pleasing, but not striking, and lacking those sterling qualities which are requisite for a work of the kind to become a lasting favourite. The "Ave Maria" was repeated with the addition of the finale to the first act, which has now become a most familiar concert piece. Madame Catherine Hayes's singing of both the "Ave Maria" and the finale deserves most unqualified praise. She was encored in the "Ave Maria," a compliment she well merited. Madame Anna Bishop's singing of Mendelssohn's grand scena "infelice," deserves also to be noticed; it was most artistically rendered. Of the two marches by Mendelssohn, we prefer the second; they are among his manuscripts, which are to remain unpublished, a decision wisely arrived at by his executers, as their talented author (had he been alive) world never have suffered them to go forth to the world in their present form. We understand at the next undress concert of this association, Sterndale Bennett's "May Queen" will be given without any accompaniment from the orchestra. The concert was evidently well received by a most crowded and fashionable audience. (Morning Chronicle (1801), Thursday, 7 April 1859) At the Vocal Association was brought forward Mr. Lindsay Sloper's new work, 'The Birthday' - an English scene, the words of which are by Mr. Henry F. Chorley, written for two choruses, one of female, the other of male, voices; with a song for soprano, another for contralto, and a final duett for them with chorus. The solos were sung by Madame Hayes and Miss Dolby. - The rest of the Concert had a strong Mendelssohnian colour.- His rather infelicitous scena 'Infelice' was expressively sung by Madame Bishop, the 'Loreley' selection by Madame Hayes. Further, two Marches for wind instruments, trifles belonging to the Düsseldorff period of Mendelssohn's life were played. Besides these, we had the overtures to 'Oberon,' to 'Prometheus' and Mr. Benedict's 'Crusaders' - (we perceive, by the way, that his Fest-Overture has just been successfully given at Brussels), - Mr. Tennant also sang 'Deeper and deeper still' from 'Jephtha.' The recitative demands more power than Mr. Tennant has to give; but, generally, as a singer, he shows improvement. (The Athenaeum, Saturday, 9 April 1859) Whether the performances of Vocal Association are eminently successful or otherwise, no one can charge the executive with want of vigour in the prosecution of original designs, or with in the production of novelties. At the fourth dress concert on Wednesday evening, at St. James's Hall, a portion of Mendelssohn's posthumous opera of "Lorely" was repeated, and the "Ave Maria," by general desire. Two new marches of the same illustrious composer and a birthday "Cantata" by Mr. Lindsay Sloper were also introduced for the first time. To illustrate the chief vocal points in this portion of the programme, Mme. Catherine Hayes and Miss Dolby were engaged, while Mme. Anna Bishop and Mr. Tennant assisted in giving due prominence to other choice fragments scattered through the bill of particulars. Mr. Tennant appeared immediately after the overture to "Oberon," with the recit. And air, "Deeper and deeper still" and "Waft her, Angels." From the rarity of hearing this gem from "Jephtha" the singer made an evident impression, as the recit. was extremely well declaimed. and the air effectively sung. A duet of a totally opposite style - "Serbami ognor," from Semiramide," sung by Mme. Catherine Hayes and Miss Dolby - exhibited two artists of high and finished acquirement in the florid school. Mme. Anna Bishop's choice "Infelice" was a much less triumph. Mr. Lindsay Sloper's cantata is not a very captivating affair. It opens with a chorus of tenantry, who celebrate the birth of an heir. and, being primed with good old October, they are made to shout lustily under its potent influence. As a set-off to this, a band of guardian angels "from the palaces by Eve" echo back the joy, and weave a chain around the cradle of the young visitor. The child's fortunes are predicted in alternating choruses of tenants and angels. A solo is given to a soprano (Mme. Hayes). "Though the primrose bank," and another to a contralto (Miss Dolby), "Oh, never say that Love is gay." Both were admirably sung, but in neither case was any startling effect produced. The finest portion of the composition is pressed into the concluding duet and chorus, "Give him conquest just and proud." This birthday cantata has at least the merit of not being prosy. Mr. Lindsay Sloper stands in a prominent rank among pianoforte professors, and deservedly so; but we fail to discover any promise of a like eminence in the branch of composition to which he has thus recently turned his attention. The two marches by Mendelssohn were written for a military band at Dusseldorf. Mr. Benedict conducted, and the hall was, as usual, fully and respectably attended. (The Critic, Saturday, 9 April 1859) VOCAL ASSOCIATION. - At the last concert (in St. James's Hall, on Wednesday night), the new cantata of Mr. Lindsay Sloper, entitled The Birth Day, was introduced, with much less success than had been anticipated. The poem (by Mr. H. F. Chorley) is none of the most suggestive, which may or may not be the reason of Mr. Sloper's comparative failure; but certainly something very much more striking was anticipated from the pen of one who enjoys such considerable repute as a musician. Mdme. Hayes and Miss Dolby were entrusted with the solos, and their part in the performance left little to desire. The rest was less commendable. At the same concert the "Ave Maria" from Loreley was repeated (for the third time), and, as a contemporary remarks, might now just as well be printed, since everybody is more or less acquainted with it. There were also two marches, composed by Mendelssohn for a military baud at Dusseldorf, but surely not intended to be performed with single parts, as on the present occasion. Mr. Benedict's overture to The Crusaders was murdered, rather than played, by the band. Besides the singers we have named, there were Mdme. Bishop and Mr. Tennant, the former of whom sang Mendelssohn's concert-scene, "Infelice," with remarkable spirit, the latter (to name his best effort) the "Song of the Quail." Mr. Benedict conducted. The chorus of the Vocal Association does not improve. (The Literary gazette : A weekly journal of literature, science, and the fine arts, Saturday, 9 April 1859) THE VOCAL ASSOCIATION. - Two novelties were produced at the fourth concert, a new Cantata, by Mr. Lindsay Sloper, entitled The Birthday, the words by H. F. Chorley, and two Marches by Mendelssohn, composed for a military band at Dusseldorff. Of the latter it is sufficient to say that, although without pretension, they are worthy their composer, being inspiriting, and exactly suited for the purpose for which they were written. The Cantata opens with a short introduction, which leads to a chorus of tenantry, who are supposed to be celebrating the birth of an heir. This is succeeded by a chorus of guardian angels, and a pretty solo, "Through the primrose bank," for soprano, sung by Madame Catherine Hayes, with a lullaby chorus. The tenantry and guardian angels alternate their choruses, the former sending round the October and predicting that the new-born heir "shall be in war renowned," the latter tempering their discourse with moral reflections. A contralto solo, sung with much expression by Miss Dolby ("O never say that Love is gay"), and a concluding duet and chorus, form the remainder of the work, which was altogether well rendered. The Cantata is carefully written and was well received. We may probably recur to it elsewhere. Mendelssohn's "Ave Maria" was sung for the third time, and, as usual, encored. This time it was appropriately succeeded by the finale to Loreley, which was not so well executed as we have heard it. The general arrangement of the programme was open to objection. The recitative, "Deeper and deeper still," and air, "Waft her, angels," from Handel's Jephtha, over-taxed the powers of Mr. Tennant. To this succeeded the duet from Semiramide "Serbami ognor," sung by Madame Hayes and Miss Dolby, followed by Mendelssohn's grand scena, "Infelice," sung with great feeling and expression, by Madame Anna Bishop. The prolonged applause given to Mr. Benedict's overture to The Crusaders would have induced most conductors to yield to the demand for repetition, which was wisely resisted by the accomplished composer. "Angels ever bright and fair," although exquisitely sung by Madame Bishop, coming after the finale to Loreley, was another justification of the complaint we have already made as to the arrangement. "The Song of the quail," Benedict's part song, "Home, sweet home," and Beethoven's overture to the Men of Prometheus, to which a better place should have been accorded than the last in the programme, brought the concert to a close. Miss Arabella Goddard and Mr. Sims Reeves are announced for Wednesday, May 25th. (The Musical world, Saturday, 9 April 1859) The Vocal Association. At the fourth concert of this association, which took place on Wednesday evening at the St. James's Hall a cantata by Mr. Lindsay Sloper was performed for the first time in public. The words, by Mr. H. F. Chorley, designated The Birth Day, describes the rejoicings which take place on the natal day of a heir, and the joviality which a large body of tenantry is apt to indulge in under such circumstances, mingled with hymns of hope and apostrophe, ejaculated by beings of angelic mould, who are supposed to be hovering over the paternal house. The words are prettily written, and express a homely and agreeable sentiment. The music, without being original, is neat and pleasing. The composer is one of the most popular teachers of the day, and of acknowledged ability as a pianist in the classical concert room. He has written much for the pianoforte, but this is the first time that he has essayed anything of an operatic kind. The cantata is, unquestionably a work of merit, and betrays a skilful hand in the arts of construction, both orchestral and choral. The principal solos were executed by Madame Catherine Hayes and Miss Dolby. The remainder of the concert consisted chiefly of Mendelssohn's "Infelice," Handel's "Deeper and deeper still," Weber's overture to Oberon, aid Benedict's to the Crusaders. The vocalists were Madame Anna Bishop and Mr. Tennant. The concert was well attended. Mr. Benedict conducted. (The Era, Sunday, 10 April 1859) ST. JAMES'S HALL. - THIS EVENING, April 6, Madame CATHERINE HAYES will sing the whole of the soprano music to Mendelssohn's Loreley, including the Ave Maria; and will also appear with Miss Dolby in Mr. Lindsay Sloper's new Cantata, The Birthday. Madame Anna Bishop will sing the grand scena Infelice, Mendelssohn, and Angels ever bright and fair, Handel. The best places can be secured at the St. James's-hall ticket-office, 28, Piccadilly, W. (The Times, Wednesday, 13 April 1859) A new cantata, the composition of Mr. Lindsay Sloper, entitled "The Birthday," was brought out by the Vocal Association at the St. James Hall, London, a few evenings ago. (Irish Times, Thursday, 14 April 1859) GOSSIP. A new cantata, the composition of Mr. Lindsay Sloper, entitled "The Birthday." was brought out by the Vocal Association, at the St. James' Hall, a few evenings ago. The libretto by Mr. Chorley. (Birmingham Journal, Saturday, 16 April 1859) Thursday, 14 April 1859 : Mr. Headland, (Secretary, St. Martin's Hall)'s First Evening Concert at St. Martin's Hall. ST. MARTIN'S HALL. - Mr. HEADLAND, Secretary, St Martin's Hall, begs to announce his FIRST CONCERT, Thursday, April 14, at 7.30. Vocalists - Mme. Endersohn, Miss Banks, Miss Clara Smithson, Miss Dolby, Miss Palmer, Mr. Sims Reeves, Mr. Wilbye Cooper, Mr. Thomas. Instrumentalists - Messrs. Blagrove, H, W. Webb, G. Collins, Howell, Maycock, Mann, Hausser. Solo violin, Herr Wieniawski. Solo pianoforte - Lindsay Sloper. Conductors-- Mr E. J. HOPKINS, Signor RANDEGGER, and FRANCESCO BERGER. Tickets, 1s., 2s. 6d.; sofa stalls, 5s. (The Times, Wednesday, 6 April 1859) ST. MARTIN'S HALL.- MR. HEADLAND, Secretary, St. Martin's Hall, begs to announce his FIRST CONCERT, Thursday, April 14, at 7-30, Vocalists - Madame Endersohn, Miss Banks, Miss Clara Smithson, Miss Dolby, Miss Palmer; Mr. Sims Reeves, Mr. Wilbye Cooper, Mr. Thomas. Instrumentalists" - Messrs. Blagrove, H. W. Webb, G. Collins, Howell, Mayock, Mann, Hausser. Solo violin - Herr Wieniawski. Solo pianoforte, Lindsay Sloper. Conductors-Mr. E. J. HOPKINS, Signor RANDEGGER, and Mr. FRANCESCO BERGER. Tickets, 1s.; 2s 6d.; Sofa Stalls, 5s. (The Athenaeum, Saturday, 9 April 1859) (Also: The Era, Sunday, 10 April 1859; The Athenaeum, Saturday, 16 April 1859; The Times, Wednesday, 13 April 1859; Daily News, Monday, 11 April 1859; Morning Post, Tuesday, 12 April 1859.) On Monday afternoon chamber-concerts were held by Herr Lehmeyer, in the Beethoven Rooms, and Herr Otto Goldschmidt at Willis's. The last-named gave a well-judged selection of pieces, among which may especially be mentioned the 17 Variations Sérieuses of Mendelssohn (pianoforte solus), and Beethoven's sonata in G minor, with violoncello (Sig. Piatti). The concert began with a piano quartet by Mozart (E flat), and ended with Hummel's popular Septet (the longest but not the best of his works), the principal part in which was sustained with vigour and brilliancy by Herr Goldschmidt. M. Sainton was the violinist. While on the subject of concerts, we may name the first of the London Glee and Madrigal Union as having taken Place ; and that Mr. Headland, the active and polite secretary of St. Martin's Hall, accomplished his first concert on Thursday evening, assisted by M. Wieniawski, Miss Dolby, Mr. Lindsay Sloper, and other artists of merit. Lastly, Mr. W. H. Holmes, pianist, gave the first of three performances on the morning of the same day, in the Hanover Square Rooms, when two of his pupils essayed their strength… (The Literary gazette : A weekly journal of literature, science, and the fine arts, Saturday, 16 April 1859) ST. MARTIN'S HALL. - Mr. Headland's first concert took place on Thursday last, and, despite the unpropitious state of the weather, was honoured by a good attendance. The courteous and urbane secretary of St. Martin's Hall had provided a good bill of fare for his patrons, having engaged Mr. Sims Reeves, Madame Enderssohn, Misses Dolby, Palmer, Banks, Smithson, Messrs. Wilbye Cooper and Thomas, while the instrumentalists included M. Wieniawski, Lindsay Sloper, Henry Blagrove, Webb, G, Collins, Howell, Maycock, Hausser, and Mann, the conductors being Messrs. E. J. Hopkins, Francesco Berger, and Signor Randegger. The septet of Beethoven, for violin, tenor, violoncello, double bass, clarionet, bassoon, and horn, opened the concert, and was rendered in an admirable manner, giving evident satisfaction; but the decided feature of the evening was Mr. Sims Reeves, who, upon appearing on the platform, was hailed with a deafening shout of welcome which the British public knows so well to give to a special favourite. Mr. Sims Reeves' admirable delivery of the beautiful scene from Der Freischütz, "Thro' the forest," was nothing short of perfection ; his magnificent voice and finished style produced the greatest effect, and a most vigorous attempt at an encore followed as a matter of course, which Mr. Reeves declined accepting, merely returning to bow his acknowledgments. In his second song, however, there was no resisting the demand. Mr. Reeves gave Balfe's "Come into the garden, Maud," as a substitute for "Let me whisper in thine ear," previously sung. M. Wieniawski came in for a full share of the popular feeling, and was recalled after the Russian airs with variations in which he displayed those marvellous qualities to which we have so frequently alluded. Nor was his execution of Ernst's brilliant fantasia (Il Pirata) less commendable, creating an equally great sensation. Miss Dolby declaimed Purcell's "Mad Bess," and was also set down for Balfe's "Daybreak." Mr. Thomas was encored in the Pedlar's song from Mendelssohn's Son and Stranger, "I'm a roamer" and gave also a song of Mr. Hullah's, "The last buccaneer." A new song, composed by Mr. Hullah for Miss Palmer, "The Storm," had ample justice done to it by that very clever and promising young contralto. Miss Smithson is rather too ambitious in selecting such pieces as "Casta diva" and "De piacer," which are at present beyond her powers, although she possesses a nice voice and some execution. Mr. Lindsay Sloper's performance of Beethoven's sonata in E flat (No. 2, Op. 27) was much applauded, being played with the well known ability of the talented artist. Want of space prevents our doing more than alluding to various other pieces, all of which appear to have afforded great satisfaction to the audience. (The Musical world, Saturday, 16 April 1859) Monday, 18 April 1859 : Mr. Arthur Chappell's Monday Popular Concert at St. James's Hall, Piccadilly. MONDAY POPULAR CONCERTS, St. James's Hall. - NEW SERIES. - In commencing a new series of entertainments, the design of which may be understood by reference to the programmes of eight performances already held,-the last on Monday, April 4th, consisting of a selection from the Vocal and Instrumental works of Bach and Handel - the Directors of the Monday Popular Concerts wished to endow their undertaking with a more universal character than it had previously assumed. The advantages offered by St. James's Hall, and the resources placed at their disposal by the liberal support of the public, would, it was confidently hoped, enable them to carry out their Plan with success. So rapidly is the taste for pure and healthy music spreading through all classes of the community, that no enterprise of this kind can hope to prosper for any length of time, much less to attain a solid permanency, without taking this great social fact into consideration. The policy which had led to the institution of the Monday Popular Concerts, and regulated their management from the beginning was in no way subverted by the introduction of a wholly new feature. On the contrary, variety was gained without sacrificing expediency, and a fresh source of recreation to the public combined with such results as encouraged the Directors to use redoubled efforts for the gratification of their supporters, in the hope of still further enlarging the sphere of musical enjoyment. The plan, which, after reflection, it was thought proper to adopt, while laying no pretence to absolute novelty, recommended itself as fittest for the purpose, and best calculated to command attention. In its application principally to chamber music, moreover, the experiment might claim to be regarded as new; and so rich is the catalogue of vocal and instrumental works bequeathed by the great composers in this special branch of their art, so marked by sterling excellence, and undeserving of neglect, that, backed by the suffrages of the public, the Directors of the Monday Popular Concerts had no doubt whatever of being able to present a succession of entertainments unprecedented, at least in variety of attraction. The classical repertory of the stringed quartet, and of the sonata for piano, solus or accompanied, is almost inexhaustible, while that of the chamber song, duet, and trio, is equally unlimited. It was proposed to inaugurate the new experiment by a series of six concerts, each devoted to one, or at most two, of the recognized masters of the art; and, should the performances be honoured by public approval, to renew them at intervals. Instead of six concerts, however, eight were given, and with such unvarying success as to encourage the Directors in undertaking second series on the same plan. Of these eight concerts, one was devoted to Mendelssohn, two to Mozart, one to Haydn and Weber, three to Beethoven, and one to Bach and Handel. During the series (besides a large number of vocal pieces, solo and concerted) were heard the following important works :-Quintets - in B flat. Mendelssohn; in G minor, Mozart; in C, Beethoven. Quartets - in D, Mendelssohn in C, Mozart; in C (God stave the Emperor), Haydn; in F (Rasoumowsky), C minor (Op. 18). and E flat (No. 10), Beethoven. Sonatas for piano and violin-in F minor. Mendelssohn ; in B flat and D major, Mozart: in G major (Op. 30),:and A (Kreutzer), Beethoven. Trios by Haydn, Mozart, and Weber. Sonatas for pianoforte alone - in C (dedicated to Haydn), and in C minor (Pathetique), Beethoven; besides Mozart's Tema con variazioni in A; Beethoven's andante in F for pianoforte solus; Mendelssohn's Tema con variazioni for pianoforte and violoncello; a selection from Weber's chamber duets for pianoforte ; Bach's Fugue Scherzando, and grand fugue in A, minor, for pianoforte solus …Bach's pedal fugus in E flat and G minor, Handel's Concerto No. 3 and prelude and fugue in F minor (Suites de Pieces), for organ solus, &c. As it is the wish of the Directors to render the Monday Popular Concerts as comprehensive as practicable, and their belief that the more the public hear of these great compositions, the keener their desire for more, it will be arranged at each succeeding performance (unless when a unanimous desire is experienced to have a particular selection repeated) to present an entirely new Programme. The programme selected from the works of Mendelssohn for Monday evening Is a specimen of the plan which will be strictly adhered to, so far as that is possible, in the future concerts of the series. The Directors have endeavoured to combine a certain regularity of form with a revelation of the composer's genius in the various departments of chamber music. The whole (provided there are no encores) will it is calculated, allowing for the interval between the parts, occupy somewhere about two hours and a half, and the capability of even one of the great composers to entertain and delight a music-loving audience during that space of time, uninterruptedly, has been shown at concerts, where, nevertheless, the music has been of a character uniformly serious, and unrelieved by those lighter vocal pieces which the Directors trust may prove the more acceptable from their association with the quartet and ottet for stringed instruments, the pianoforte duet (variations), and the Lieder ohne Worte. In order to render the concerts as attractive as possible, and to give due effect to the music comprised in the programmes, the most eminent available vocal and instrumental talent, foreign and native will be engaged, and nothing left undone to render the undertaking worthy of public support. The programme for Monday evening, April 18th, to commence at 8 o'clock), will be entirely new. By general desire, Mendelssohn. Part I. Grand quartet in E minor (op. 44). for two violins, viola, and violoncello. H. Wieniawski, Herr Ries, M. Schreurs, and Signor Piatti - Mendelssohn; Song, The Garland, Mr. Wylbye Cooper - Mendelssohn. Two-part song, Autumn Song, Miss Marian Moss and Miss Dolby - Mendelssohn; variations in B flat, for two performers on the pianoforte, Mr. Lindsay Sloper and Mr. Benedict - Mendelssohn; song, Once more the light of day is gone, Miss Dolby - Mendelssohn (his last composition); four-part song, When the west with evening glows, Miss Marian Moss, Miss Dolby, Mr. Wilbye Cooper. and Mr. Santley - Mendelssohn; Part II. Grand ottet, for four violins, two tenors, and two violoncellos, M. Wieniawski, Mr. Ries, M. Carrodus, M. Goffrie, Mr. Doyle, Herr Schreurs M. Daubert, and Signor Piatti -Mendelssohn; song, Zuleika, Miss Theresa Jeffrys - Mendelssohn; song, the Savoyard's Song, Miss Dolby - Mendelssohn; Lieder ohne Wrote, Mr. Lindsay Sloper - Mendelssohn; song, the Shepherd's Lay, Mr. Santley - Mendelssohn ; four-part song, Season of Pleasures, Miss Moss, Miss Dolby, Mr. Wilbye Cooper, and Mr. Santley - Mendelssohn, Conductor Mr. BENEDICT. Sofa stalls 5s, reserved seats, 3s.; unreserved seats 1s.; May be obtained at the hall, 28, Piccadilly; Keith, Prowse, and Co's, 48, Cheapside; Hammond's; Cramer and Co.'s, Regent-street, H. Brook's newspaper and concert ticket office, 24, Old Cavendish-street; Leader's; Olliviers; and Chappell and Co.'s, 50, New Bond-street. (The Times, Friday, 15 April 1859) ST. JAMES'S HALL. MONDAY POPULAR CONCERTS. By General Desire. MENDELSSOHN. on Monday evening, April 18. To commence at eight o'clock. - Part I. Grand quartet in E minor (op. 44). for two violins, viola, and violoncello. H. Wieniawski, Herr Ries, M. Schreurs, and Signor Piatti - Mendelssohn; Song, The Garland, Mr. Wylbye Cooper - Mendelssohn. Two-part song, Autumn Song, Miss Marian Moss and Miss Dolby - Mendelssohn; variations in B flat, for two performers on the pianoforte, Mr. Lindsay Sloper and Mr. Benedict - Mendelssohn; song, Once more the light of day is gone, Miss Dolby - Mendelssohn (his last composition); four-part song, When the west with evening glows, Miss Marian Moss, Miss Dolby, Mr. Wilbye Cooper. and Mr. Santley - Mendelssohn; Part II. Grand ottet, for four violins, two tenors, and two violoncellos, M. Wieniawski, Mr. Ries, M. Carrodus, M. Goffrie, Mr. Doyle, Herr Schreurs M. Daubert, and Signor Piatti -Mendelssohn; song, Zuleika, Miss Theresa Jeffrys - Mendelssohn; song, the Savoyard's Song, Miss Dolby - Mendelssohn; Lieder ohne Wrote, Mr. Lindsay Sloper - Mendelssohn; song, the Shepherd's Lay, Mr. Santley - Mendelssohn ; four-part song, Season of Pleasures, Miss Moss, Miss Dolby, Mr. Wilbye Cooper, and Mr. Santley - Mendelssohn, Conductor Mr. BENEDICT. Sofa stalls 5s, reserved seats, 3s.; unreserved seats 1s.; May be obtained at the hall, 28, Piccadilly; Keith, Prowse, and Co's, 48, Cheapside; Hammond's; Cramer and Co.'s, Regent-street, H. Brook's newspaper and concert ticket office, 24, Old Cavendish-street; Leader's; Olliviers; and Chappell and Co.'s, 50, New Bond-street. (The Musical world, Saturday, 16 April 1859) MENDELSSOHN TONIGHT.- M. Wieniawski, Sig. Piatti, and Miss Dolby, at the MONDAY POPULAR CONCERTS. St. James's-hall. - Part I. Grand quartet in E minor (op. 44). for two violins, viola, and violoncello. H. Wieniawski, Herr Ries, M. Schreurs, and Signor Piatti - Mendelssohn; Song, The Garland, Mr. Wylbye Cooper - Mendelssohn. Two-part song, Autumn Song, Miss Marian Moss and Miss Dolby - Mendelssohn; variations in B flat, for two performers on the pianoforte, Mr. Lindsay Sloper and Mr. Benedict - Mendelssohn; song, Once more the light of day is gone, Miss Dolby - Mendelssohn (his last composition); four-part song, When the west with evening glows, Miss Marian Moss, Miss Dolby, Mr. Wilbye Cooper. and Mr. Santley - Mendelssohn; Part II. Grand ottet, for four violins, two tenors, and two violoncellos, M. Wieniawski, Mr. Ries, M. Carrodus, M. Goffrie, Mr. Doyle, Herr Schreurs M. Daubert, and Signor Piatti -Mendelssohn; song, Zuleika, Miss Theresa Jeffrys - Mendelssohn; song, the Savoyard's Song, Miss Dolby - Mendelssohn; Lieder ohne Wrote, Mr. Lindsay Sloper - Mendelssohn; song, the Shepherd's Lay, Mr. Santley - Mendelssohn ; four-part song, Season of Pleasures, Miss Moss, Miss Dolby, Mr. Wilbye Cooper, and Mr. Santley - Mendelssohn, Conductor Mr. BENEDICT. Sofa stalls 5s, reserved seats, 3s.; unreserved seats 1s.; May be obtained at the hall, 28, Piccadilly; Keith, Prowse, and Co's, 48, Cheapside; Hammond's; Cramer and Co.'s, Regent-street, H. Brook's newspaper and concert ticket office, 24, Old Cavendish-street; Leader's; Olliviers; and Chappell and Co.'s, 50, New Bond-street. (The Times, Monday, 18 April 1859) "Monday Popular Concerts" began their new series with a splendid programme from the works of Mendelssohn. The great instrumental pieces were the quartet in E minor (Op 44), and the magnificent Ottet (Op. 20) - both led by M. Wieniawski, who in the last excelled all his previous efforts. Herr Ries, Mr. Doyle, M. Schreurs, Mr. Carrodus, Herr Goffrie, M. Daubert, and Signor Piatti were the other players in the Ottet, the execution of which was one of the musical events of the season. The variations in B flat (a posthumous publication) were brilliantly performed on the pianoforte by Messrs. Benedict and Lindsay Sloper, the latter of whom also afforded the highest gratification in three of the most attractive of the Lieder ohne Worte. From an attractive selection of vocal pieces we can only single out "The Song of Night" and "The Savoyard," both intrusted to Miss Dolby and both encored; and " Zuleika," which was similarly honoured, and most deservedly; for never has this exquisite song been sung in a more expressive manner than by Miss Theresa Jefferys, who took signal advantage of the opportunity for distinction thus for the first time afforded her. The next Monday Popular Concert (April 25) is to be exclusively devoted to vocal and instrumental works by English composers. (The Times, Friday, 22 April 1859) The Halls of St. James, St. Martin, and Exeter - not to speak of the Hanover Square Rooms, in which the Amateur Society met on Monday, have had "the call" during this lively week. On Monday there was yet another Mendelssohn night. This set yet another seal on the increasing reputation of Herr Wieniawski, who led the concerted music, and brought forward one of our London pianists, whom we hear too seldom - Mr. L. Sloper. The concert scheme was well made up; but the "Programme and Analytical Remarks" belonging to it must not pass without comment. Why wander out of the business of the evening? On no grounds of good taste can be defended the attack on those with whom Mendelssohn's MSS. remain, for "wantonly keeping back" music, which he himself did not prepare for publication. Neither have the long panegyric and testimonial in praise of a living composer, however well merited, nor the story of a certain notorious election for the Reid Professorship of Edinburgh (however flagrant was the job), anything to do with the duett variations in B flat, to which they were hung - so many extraneous discords! - Whatever be the scene of such personal concert gossip in print, whether it be "a musical union" meeting, or a popular concert, on grounds of principle it must be discouraged, and especially in Mendelssohn's case. Never lived artist to whom such invasion of privacy, such a mixing up of quarrel with music, would have been more distasteful than to him. On one occasion, when certain mis-statements by a musician in a German periodical were shown him by belligerent friends, eager to induce him to reply - "O no, no!" was his decided answer. "My business is merely to make my music as well as I can." Surely the known habits and propensities of a man should be respected by his admirers after his death. The epitaph on Shakspeare's tomb is susceptible of many "glosses." The consequence of this inquisitorial rummaging, which the taste of the times encourages, will be with many persons, - who are as little afraid of publicity as they are solicitous for notoriety,+ the destruction by them during life of memorials. This has been done largely (to illustrate from the world of letters) by many men, every scrap from whose pens had a value, - to name but two, Sydney Smith and Douglas Jerrold. - The Popular Concerts should be mannerly as well as musical; and it is in hearty sympathy with their objects and pleasure at their success that we re-state old convictions and lay down old principles of reserve and courtesy. (The Athenaeum, Saturday, 23 April 1859) CONCERTS. ST. JAMES'S HALL. - Last Monday's Popular Concert was devoted to Mendelssohn by general desire, it being the great composer's second night in the classical series. The selection was first-rate, and included, for the stringed morceaux, the grand quartet in E minor, No. 2, Op. 44, and the ottet, in E flat, Op. 20. The other instrumentals were the andante with variations, in flat, for two performers on the pianoforte ; and three of the Lieder ohne Worte. The quartet had for executants M. Wieniawski, Herr Ries, Herr Schreurs, and Signor Piatti. It was played on the whole well (although every movement suffered from being taken too slow). Each movement was received with tumultuous applause. The ottet was a more satisfactory performance, and indeed left nothing to be desired. The players were M. Wieniawski, Herr Ries, Mr. Carrodus, Herr Goffrie, Herr Schreurs, Mr. M. Daubert, and Sig. Piatti. The Allegro con fuoco was exactly suited to M. Wieniawski's impetuous style, which was never displayed to greater advantage. The whole performance was a treat of the highest order. How many who listened to this magnificent work for the first time could have suspected that it was the work of a boy of fifteen? And yet such was the case. Perhaps the history of the art cannot furnish a parallel instance of such precocity of intellect. The "Andante with Variations," introduced (like the whole programme, in short) for the first time at the Monday Popular Concerts, was first performed in public by Mendelssohn himself, with Professor (then Mr.) Sterndale Bennett, at a concert given by the latter, in the Hanover-square Rooms, in June, 1844. The executants on Monday night were Messrs. Benedict and Lindsay Sloper. The Lieder Ohne Worte were No. l, Book 7, Andante espressivo, in F major; No. 5, Book 4 (Volkslied), Allegro con fuoco, in A minor; and No. 6, Book 6, Allegretto non troppo, in E major. Mr. Lindsay Sloper performed the three - the first and last more especially - with that finished taste and elegance of style which are conspicuous in his playing. All were received with loud applause. The vocal selection could with difficulty be improved. It led off with the charming song, "The garland," written by Thomas Moore to the same verses employed by Horsley in the popular glee, "By Celia's Arbour." That Mendelssohn's is by far the most beautiful melody cannot be denied. Mr. Wilbye Cooper gave "The garland" with genuine sentiment and becoming expression. Miss Marian Moss and Miss Dolby followed with the two-part song, "Autumn song," and acquitted themselves admirably. The exquisitely melodious and plaintive "Song of night" - "Vergangen ist der lichte Tag" - perfectly sung by Miss Dolby (may we be allowed, par parenthese, to make an exception to the forcible enunciating of the last notes ?), obtained a rapturous encore. The expressive four-part song, "When the west with ev'ning glows" - sung by Misses Marian Moss and Dolby, Messrs. Wilbye Cooper and Santley - was also redemanded. The sweet voice and unpretending style of Miss Theresa Jefferys - perhaps the most promising soprano amongst our young singers - won a third encore in the song of "Zuleika," another gem. The quaint and pretty "Savoyard's Song" (Pagenlied), by Miss Dolby, the "Shepherd's Lay," by Mr. Santley, and the four-part song, Season of Pleasure," by the quartet, we must pass over with strong commendation of the performance in each particular instance. The last terminated the concert. The hall was well filled, but not as crowded as on the first Mendelssohn night. No doubt Holy Week prevented many from attending; and it is a question whether the directors acted wisely in giving concerts at all. (The Musical world, Saturday, 23 April 1859) ST. JAMES'S POPULAR CONCERTS. The second series, which we last week announced as projected, opened on Monday with a "Mendelssohn night," and a programme not a whit less scientific, yet more popular - as more tuneful - than many of its classic predecessors. The grand piece was an Otett for four violins, two tenors and two violoncellos - played by Messrs. Wieniawski, Ries, Carrodus, Goffrie, Doyle, Schreurs, Daubert, and Piatti. What these eight can do is now a matter of fame, thanks to the management of these concerts, who, while they gracefully admit M. Jullien's services to the cause of popularisation, have done well by music and the public in bringing the great soloists into double, fourfold, and eightfold harness. We had never the wit we confess, and it may thus be seen we are not of the elect but of the people, to appreciate Wieniawski, when he was nightly tormenting, before promenade audiences, our old pontes asinorum, the Carnaval de Venise and Rode's Air. We fancied somehow (of course we were wrong), that by taking any young fiddler of moderate taste and ear, fine fingers, and a very good instrument, and locking him up certain years with those two pieces and a book of exercises for company, he might be brought out in time, by dint of printer's ink and other Barnumisms, as a musical wonder. But now that, weekly, we hear our artist in some classic composition entirely new to us ; now that we mark his devotion, his superb intensity, his execution, and his wondrous tone, piercing, as it were, through mobs of music, we are ourselves being educated by these popular concerts into an understanding and admiration of him and of the music he plays, and are glad enough to call others to the class. We have not left ourselves space for a notice of the long Otett, but must give our admiration to its exquisite and original scherzo (3rd) movement. Next in importance was the quartett in E minor, for two violins, tenor, and violoncello, played for its first time at these concerts. Of its four movements we prefer the third, "Andante con moto," as having the charm of a sentimental and sustained melody; while the second, a scherzo allegro di molto, exhibits to the full the author's power of intricate construction, and called for fairy-like delicacy of fingering to hit off its extremely rapid passages. The performers were Wieniawski, Ries, Schreurs, and Piatti. Their splendid playing no less honoured themselves than the composer. WE never heard Mr. Wilbye Cooper to greater advantage than in the well-known "Garland " which followed. He gave this beautiful strain without the slightest fire, but with a perfect musical accentuation and pure simplicity of voice that was a treat to hear. Mr. Benedict and Mr. Lindsay Sloper gave, as it seemed to us, without sufficient light and shade, an unpretending andante pianoforte duo, which, played at the Hanover Rooms by Mendelssohn and Sterndale Bennett, in 1844, caused a sensation in the musical world. We were not able to be present throughout the concert, which was a long one, but were much surprised at the loud encore vouchsafed to Miss Dolby in "the Song of Night." It is a truly grand and simple declamation, of hynmal character towards its close ; but while we admit the profundity of the singer's voice, we were sorry to miss its music. At the end of the first part, Miss Marian Moss, Miss Dolby, Mr. Wilbye Cooper, and Mr. Santley, sang admirably a graceful four part songs without accompaniment. When the "West with Evening glows" is, as says the excellent little hand-book to the performance sold in the room, "one of the most melodious and one of the most popular (we should almost say the most popular) of the Master's vocal quartetts." We should mention, in conclusion, that the second encore of the evening was cordially awarded to Miss Theresa Jeffries, whose singing of "Zuleika" fairly deserved the honour. (Leader and Saturday analyst, Jan. 7-June 30, 1860, Saturday, 23 April 1859) St. James's Hall. Music has been in the ascendant here during the past week. On Monday night the regular "Popular Concerts" took place, and on Tuesday and Wednesday evenings the directors again invited the public to musical repasts, served up in a similar fashion to the schemes originally provided before the "classical" assumed the permanent position that we now witness. On Monday night, the selection was derived solely from the works of Mendelssohn. The Quartet in E minor (No. 2, op. 44) and the Ottetto in E flat (op. 20) were the two principal instrumental pieces, and these were superbly performed. The quartet devolved upon M. Wieniawski, Herr Ries, Herr Schreurs, and Signor Piatti - a party of artists of unrivalled skill, and whose sympathy with compositions of this refined and poetical kind has been too often tested to need declaration now. The same performers appeared also in the ottetto, in association with Mr. Carrodus, Mr. Doyle, M. Goffrie, and M. Daubert. Mr. Benedict and Mr. Lindsay Sloper were the pianists, and executed with fitting ability the Andante duo in B flat; the latter gentleman contributing also a group of the "Lieder ohne Worte," and with admirable expression and effect. The vocalists were Miss Dolby, Miss Marian Moss, Miss Teresa Jeffreys, Mr. Wilbye Cooper, and Mr. Santley; and the selection made for them consisted of certain of Mendelssohn's best songs, single and part, more than one of which was encored. The reappearance of Mr. Sims Reeves, after his long absence from the concert-room, in consequence of indisposition, gave to the first of the two miscellaneous concerts unusual importance. The popular tenor experienced the most enthusiastic of receptions. We were glad to find him in such excellent voice, notwithstanding the infirmity which so frequently prostrates him. This was abundantly proved in his delivery of the exacting scene from Oberon, "O, 'tis a glorious sight to see," which he gave with a fire and energy evincing no sort of vocal deterioration whatever. An encore would have followed had the singer been compliant, but he did not refuse the compliment in his subsequent effort, a ballad by Henry Smart, in lieu of which he gave one by Frank Mori. The remainder of the concert consisted of performances by Mr. Charles Hall, Miss Poole, Miss Dolby, M. Wieniawski, and other artists of celebrity. (The Era, Sunday, 24 April 1859) Monday, 25 April 1859 : Mr. Arthur Chappell's Monday Popular Concert - English Night at St. James's Hall, Piccadilly. ST. JAMES'S HALL. MONDAY POPULAR CONCERTS ENGLISH NIGHT. MONDAY EVENING, APRIL 25th, To commence at Eight o'clock. PROGRAMME. PART 1. QUINTET in G minor, for pianoforte, violin, tenor, violoncello, and double bass, Mr. Charles Hallé, M.M. Wieniawski and Ries, Signor Piatti, and Mr. ---- - G. A. Macfarren. DUET, "Come, let us be gone" Miss Theresa Jefferys and Miss Palmer. - Henry Smart. SONG, "Ah non lasciarmi, no" Mr. Sims Reeves. - G. A. Macfarren. SONATA in A major, pianoforte Mr. Charles Hallé. - Pinto. DUET, "Two merry Gipsies are we" Miss Theresa Jefferys and Miss Palmer. - G. A. Macfarren. SONG, "Swifter far than Summer's flight" Miss Palmer. - J. W. Davison. GLEE, "Blow, gentle gales" - Bishop. PART II. QUARTET, in D major (No. 6), for two violins, tenor, and violoncello, M.M. Wieniawski, Ries, Schreurs, and Signor Piatti. - E. J. Loder. SONG, "Oh, pleasant days of sunshine" Miss Theresa Jefferys. - H. Glover. SONG, "It was a young Knight Troubadour," Mr. Sims Reeves. - J. Barnett. TRIO for pianoforte, violin, and violoncello Mr. Charles Hallé, M. Wieniawski, and Signor Piatti. - W. S. Bennett. BACCHANALIAN SONG, "Down, down with the sorrows, " Mr. Thomas - Henry Smart. DUET, "Trust her not" Miss Theresa Jefferys, and Miss Palmer. - M. W. Balfe. GLEE "The chough and crow" Bishop. CONDUCTOR. - MR. LINDSAY SLOPER. Sofa stalls, 5s. ; reserved seats, 3s. ; unreserved seats, 1s. May be obtained at the Hall, 28, Piccadilly; Keith, Prowse, and Co.'s, 48, Cheapside ; Mr. Turner, 19, Poultry; Hammond's; Cramer and Co.'s: Schott and Co., Regent-street; H. Brooks's Newspaper and Concert Ticket Office, 24, Old Cavendish-street ; Ewer and Co, 390, Oxford-street; Leader; Olivier; Campbell; and Chappell and Co.'s. 50, New Bond-street. (The Musical world, Saturday, 23 April 1859) MONDAY POPULAR CONCERTS. The " English" concert of last night consisted wholly of a selection from the works of Bishop, Sterndale Bennett, George Macfarren, Howard Glover, John Barnett, Henry Vincent Pints, J. W. Davison, Edward Loder, and Balfe ; the instrumental executants being Mr. Charles Hallé, Messrs. Ries, Piatti and Wieniawski ; the vocalists, Miss Palmer, Miss Theresa Jeffereys, Mr. Thomas, and Mr. Sims Reeves; the accompanyist, Mr. Lindsay Sloper. The concert attracted a very numerous audience, and was enthusiastically applauded from first to last. (Morning Post, Tuesday, 26 April 1859) (Also: Bell's Weekly Messenger, Saturday, 30 April 1859.) CONCERTS OF THE WEEK.- On Monday, to begin, - at the St. James's Hall, the Popular Concert, conducted by Mr. Lindsay Sloper, was made up as under:- Pianoforte Quintett, in G minor: Song, 'Ah! non lasciarmi, no'; and Duett, G. A. Macfarren. - Duett and Bacchanalian Song, Henry Smart. - Sonata, Pinto. - Song, J. W. Davison. - Glees, Bishop. - Stringed Quartett, E. J. Loder. - Songs, H. Glover and J. Barnett. - Pianoforte Trio, W. S. Bennett. - Duett, M. W. Balfe. (The Athenaeum, Saturday, 30 April 1859) On Easter Monday the programme of the Popular Concerts at St. James's Hall was made up from the works of English composers. The selection was one of the most interesting, and the performance, in some respects, one of the worst ever attended. The playing of M. Wieniawski, in the Quintet (G minor) of Mr. Macfarren, with which the concert began, was unworthy of a tyro ; nor was it much better in Professor Bennett's Trio (A major), or in Mr. Loder's sixth Quartet (D major), both of which were included in the second part. M. Wieniawski has been praised too much. He takes liberties with the public, and neglects his art. His bad playing on Monday night could scarcely have resulted from his contempt for English music, for he himself is utterly incapable of having written eight bars of any one of the three compositions we have named, and which were only saved from going "to pieces" by the magnificent talents of the pianist and violoncellist - M. Charles Hallé and Sig. Piatti, foreigners, like M. Wieniawski, but infinitely better musicians, far more conscientious in the performance of their duties, and entertaining a more reasonable idea of their obligations towards the public. The other instrumental piece was Pinto's sonata in A minor, for pianoforte solus, a tranquil and beautiful inspiration, which M. Hallé gave with admirable effect. The vocal music was selected from the works of Messrs. Macfarren, Henry Smart, John Barnett, Balfe, Howard Glover, J. W. Davison, and the late Sir Henry Bishop. The singers were Misses Theresa Jefferys and Palmer, Messrs. Sims Reeves and Santley. Mr. Sims Reeves was encored in Mr. Macfarren's beautiful aria, "Ah ! non lasciarmi, no," and Miss Palmer in Mr. J. W. Davison's setting of Shelley's Lament, "Swifter far than Summer's flight." Mr. Lindsay Sloper was the accompanist. The next concert will introduce an entirely new programme from the vocal and instrumental compositions of Mozart. (The Literary gazette : A weekly journal of literature, science, and the fine arts, Saturday, 30 April 1859) MONDAY POPULAR CONCERTS. - The programme of the concert on Monday evening week was devoted exclusively to English composers. The instrumental selection comprised a quintet in G minor by Mr. Macfarren, sonata in A major (No. 2, op. 3) for pianoforte by Pinto, Mr. Loder's quartet in D major (No. G), and Professor Sterndale Bennett's chamber trio in A major. The quintet, in the hands of MM. Charles Hallé, Wieniawski, Schreurs, Piatti, and Howell, would have gone better had the celebrated Polish virtuoso thought it a little more worthy of his attention. The sonata of Pinto was played to perfection by M. Hallé. The quartet by Loder, though not well executed, was admired for its intrinsic beauty, just as it was at the concerts of the Quartet Association, where it was extremely well executed. Professor Bennett's trio owed all its success to the masterly performance of M. Charles Hallé and Sig. Piatti. Two of Mr. Henry Smart's vocal pieces were given, the duet, "Come, let us be gone," sung by Misses Jefferys and Palmer, and the Bacchanalian song, "Down, down, With the sorrows and troubles of earth," sung with great spirit by Mr. Thomas. Mr. Sims Reeves sang for the first time Mr. G. A. Macfarren's "Ah ! non lasciarmi, no !" and was enthusiastically encored. A like compliment was also paid to Miss Palmer for her expressive singing of a ballad called "Swifter far than summer's flight," the words by Shelley. The duet of Mr. Macfarren, "Two merry gipsies," rendered so familiar to the public in former days by the then Misses Williams, was nicely sung by Misses Jefferys and Palmer, who also gave Mr. Balfe's duet, "Trust her not," the first-named lady singing in her best style Mr. Howard Glover's "O, pleasant days of sunshine" - a song of more than ordinary beauty. We have always protested against encores in general, and Mr. Sims Reeves does wisely in setting his face against them in common with other distinguished artists; but on Monday evening there was no resisting the demand which followed his singing John Barnett's "Young knight troubadour," and Mr. Reeves accordingly returned to the platform. Thrice, however, was he interrupted by one or two individuals in the gallery who persisted in calling for "My pretty Jane." After the third attempt Mr. Reeves retired from the orchestra, a course which he was perfectly justified in pursuing after the annoyance to which he had been subjected. Upon the appearance of M. Hallé, Wieniawski, and Piatti, to perform the succeeding trio, the malcontents persisted in their calls for "Sims Reeves," to such an extent that these gentlemen in their turn had to retire. Nor was it until the conductor, Mr. Lindsay Sloper, had come forward and announced that "Mr. Reeves, having been three times interrupted, had left the hall," that tranquillity was restored, and the concert suffered to proceed. Two of Sir Henry Bishop's well known glees, "Blow, gentle gales," and "The chough and crow," completed the scheme of this very interesting concert. Last Monday, the name of Mozart proved, for the third time, a potent spell to attract an enthusiastic audience to these weekly gatherings, which have now assumed a high importance, and mark an epoch in the advancing musical taste of the age. The scheme was entirely different from its predecessors, and presented a series of interesting pieces which, with one or two unimportant exceptions, had not previously been heard elsewhere than at the select and high-priced concerts patronised by the "Upper ten," rather than the "popular" audience which forms the largest and most appreciative item at Saint James's Hall. The quartet in G major (No. 1, Op. 10), dedicated to Haydn, one of the most masterly compositions ever penned, and the quintet in D major, no less admirable for its richness of invention and exuberance of melody, were rendered in a manner to satisfy the most exacting. But, perhaps, the greatest feature in the evening was the sonata in F major, for pianoforte and violin, played b' Messrs. Charles Hallé and Wieniawski in such perfection as to call forth a most hearty encore for the tema con variazioni, which was repeated to the delight of all, despite the lateness of the hour and the concert being nearly at an end. The pianoforte solo in A major was executed by M. Hallé with the utmost delicacy and expression, and well deserved the warm applause with which it was rewarded. Miss Jefferys sang "Dove Sono " from Le Nozze with admirable taste, and Miss Palmer again gave "L'Addio " with the same genuine pathos as on a former occasion. The lovely quartet, forming the finale to the second act of the Seraglio, was repeated by very general demand. In addition to the artists we have named, Messrs. Tennant, Seymour and Santley contributed to the vocal, and Messrs. Bernard, Doyle, Schreurs and Piatti to the instrumental parts of the programme, Mr. Lindsay Sloper conducting with his usual ability. The next concert on Monday, May 16th, will be devoted to a selection from the works of Spohr, when Herr Joachim will make his appearance. (The Musical world, Saturday, 7 May 1859) CONCERTS. - Though our Italian Operas have had "the call" (the success or failure of new singers being the musical question of the hour), we must not forget how England, too, has been asserting itself. On Monday, to begin, - at the St. James's Hall, the Popular Concert, conducted by Mr. Lindsay Sloper, was made up as under:- Pianoforte Quintet, in G minor; Song. 'Ah! non lasciarmi, no'; and Duet, G. A. Macfarren. Duet and Bacchanalian Song, Henry Smart. Sonata, Pinto. Song, J. W. Davison. Glees, Bishop. Stringed Quartet. E. J. Loder. Songs, H. Glover and J. Barnett. Pianoforte Trio, W. S. Bennett. Duet, M. W. Balfe. Last Monday, the name of Mozart proved, for the third time, a potent spell to attract an enthusiastic audience to these weekly gatherings, which have now assumed a high importance, and mark an epoch in the advancing musical taste of the age. (Dwight's journal of music, Saturday, 4 June 1859) Monday, 2 May 1859 : Mr. Arthur Chappell's Monday Popular Concert at St. James's Hall, Piccadilly. JAMES'S HALL. MONDAY POPULAR CONCERTS By general desire. MOZART NIGHT. MONDAY EVENING, MAY 2nd, 1859, To commence at Eight o'clock. PROGRAMME. PART 1. QUARTET in G major (dedicated to Haydn), for two violins, tenor, and violoncello MM. Wieniawski, Ries, Schreurs, and Signor Piatti. - Mozart. DUET, "Crudel Perche" (Figaro) - Mozart. SONG. "When mirth displays" (Sciaglio) - Mozart. SONATA in A minor, pianoforte Mr. Charles Hallé - Mozart. VENETIAN BOAT SONG - Mozart. QUARTET, "Each budding flower" (Sciaglio) - Mozart. PART II. - QUINTET in D major, for two violins, two tenor, and violoncello MM. Wieniawski, Ries, Doyle, Schreurs, and Signor Piatti. - Mozart. SONG. "L'Addio" (by desire) - Mozart. DUET, "Ah. che tutto in un momento" - Mozart. SONATA in F major. for pianoforte and violin M. Wieniawski, and Mr. Charles Hallé. - Mozart. SONG "Se vuol ballare" - Mozart. QUARTET-CANON, "E nel tuo cosi fan tutti" CONDUCTOR - MR. LINDSAY SLOPER. Sofa stalls, 5s.; reserved seats, 3s. ; unreserved seats, 1s. May be obtained at the Hall, 28, Piccadilly; Keith. Prowse, and Co.'s, 48. Cheapside; Mr. Turner, 19, Poultry; Hammond's; Cramer and Co.'s: Schott and Co., Regent street; H. Brooks's Newspaper Concert Ticket Office, 24, Old Cavendish-street; Ewer and Co., 390, Oxford-street; Leader; Ollivier; Campbell; and Chappell and Co.'s., 50, New Bond-street. (The Musical world, Saturday, 30 April 1859) ST. JAMES'S HALL, REGENT STREET AND PICCADILLY. MOZART. (BY GENERAL DESIRE.) MONDAY POPULAR CONCERTS. MR. CHARLES HALLE, WIENIAWSKY, SIGNOR PIATTI, &c., WILL PERFORM ON MONDAY EVENING NEXT, MAY 2, In an entirely New Programme, selected from the Works of Mozart. PROGRAMME.QUARTET in G major (dedicated to Haydn), for two violins, tenor, and violoncello MM. Wieniawski, Ries, Schreurs, and Signor Piatti. - Mozart. DUET, "Crudel Perche" (Figaro) - Mozart. SONG. "When mirth displays" (Sciaglio) - Mozart. SONATA in A minor, pianoforte Mr. Charles Hallé - Mozart. VENETIAN BOAT SONG - Mozart. QUARTET, "Each budding flower" (Sciaglio) - Mozart. PART II. - QUINTET in D major, for two violins, two tenor, and violoncello MM. Wieniawski, Ries, Doyle, Schreurs, and Signor Piatti. - Mozart. SONG. "L'Addio" (by desire) - Mozart. DUET, "Ah. che tutto in un momento" - Mozart. SONATA in F major. for pianoforte and violin M. Wieniawski, and Mr. Charles Hallé. - Mozart. SONG "Se vuol ballare" - Mozart. QUARTET-CANON, "E nel tuo cosi fan tutti" CONDUCTOR - MR. LINDSAY SLOPER. Sofa stalls, 5s.; reserved seats, 3s. ; unreserved seats, 1s. May be obtained at the Hall, 28, Piccadilly; Keith. Prowse, and Co.'s, 48. Cheapside; Mr. Turner, 19, Poultry; Hammond's; Cramer and Co.'s: Schott and Co., Regent street; H. Brooks's Newspaper Concert Ticket Office, 24, Old Cavendish-street; Ewer and Co., 390, Oxford-street; Leader; Ollivier; Campbell; and Chappell and Co.'s., 50, New Bond-street. (The Literary gazette : A weekly journal of literature, science, and the fine arts, Saturday, 30 April 1859) Monday, 16 May 1859 : Mr. Arthur Chappell's Monday Popular Concert at St. James's Hall, Piccadilly. HERR JOACHIM, Mr. Charles Hallé, Sig. Piatti, Miss Theresa Jeffreys, Miss Palmer, M. Fedor, and Mr. Santley, at the MONDAY POPULAR CONCERTS, at St. James's Hall, on Monday evening next, May to commence at 8 0'clock. The programme will be selected from the works of Schubert and Spohr. Part I. - Schubert: Quartet in A minor, for two violins, viola and violoncello; Song " Ave Maria," Serenade, "Through the night;" Grand sonata in D major. Pianoforte, Mr. Charles Hallé ; Song, "The Wanderer." Song, "The Erl King." Rondeau brillant, pianoforte and violin, Herr Joachim and Mr. Chas. Hallé. Part II. - Spohr: double quartet in E minor, for four violins, two violas, and two violoncellos; Song, "In the silver beams of Luna." Song, "Be still, my heart," with violoncello obbligato ; Sonata, violin and harp, Herr Joachim, and a celebrated harpist from the Continent ; Song, "Rippling waters." Song, "This day is Sunday." Duet, "Faust." Conductor, Mr. Lindsay Sloper. Sofa stalls, 5s.; reserved seats. 3s. ; unreserved seats, 1s., may be obtained at the Hall, 28, Piccadilly ; Keith, Prowse and Co.'s, 48, Cheapside; Mr. Turner's, 19, Poultry ; Hammond's; Cramer and Co.'s; Schott and Co.'s, Regent-street ; H. Brooks's newspaper and concert ticket office, 24, Old Cavendish-street ; Ewer and Co.'s, 890, Oxford-street; Leader's; Olliviers; Campbell's; and Chappell and Co.'s, 50, New Bond-street. (The Musical world, Saturday, 14 May 1859) MONDAY POPULAR CONCERTS. These pleasing and attractive concerts progress in public estimation, and the entertainment given last evening St. James's Hall by the directors this series of musical performances was in all respects worthy of the patronage bestowed upon them. The programme presented a felicitous selection from the works of Schubert and Spohr, both vocal and instrumental, and some of our first-rate artists were engaged to give due effect to the productions of the masters of the art which we have mentioned. The vocal portion the entertainment, although of most delightful character was, after all, subordinate to the instrumentation, which was illustrated with powerful effect by such able performers, Herr Joachim, Mr. Charles Hallé, Signor Piatti, Mons. Ries, Mr. Lindsay Sloper, &c. The great attraction of the evening however, was Herr Joachim, whose execution on the violin is near perfection as it is possible to be. In Schubert's quartet in A minor, in which he was assisted MM. Ries, Schreurs, and Signor Piatti-on the violin, viola, and violoncello-his mechanism was faultless, while his reading of the work proved him to be a representative ,of the highest school m his art. He was equally He was equally successful in Schubert's brilliant rondo for violin and, pianoforte, Mr. C. Hallé ably supporting him on the latter instrument. Again, in the grand double quartet Op. in E minor, from Spohr's works,-for four violins two violas, and two violoncellos, his execution was…marked [by] all the grace and beauty of his style, and called forth warm demonstrations of admiration from the audience. Indeed the piece, a whole, was executed with great ability by the various instrumentalists engaged in its illustration-including,! addition to the violinists already noticed, Messrs. Goffrie, Doyle, Deichman, and Daubert. In Spohr's sonata for violin and harp, Herr Joachim also exhibited his mastery over the instrument with which his fame is identified, and Madlle. Mossner was very truthful … exponent of the composer's ideas in connexion with the sonata, which, by the way, was written by Dr. Spohr expressly for his wife, who was excellent performer on the harp. We may also mention that Mr. Charles Hallé performed Schubert's grand sonata in major in brilliant manner on the pianoforte, and was rewarded for the effort by the plaudits of the audience. The vocalisation of the evening was assigned to Miss Theresa Jefferys, Miss Palmer, Mr. Fedor and Mr. Santley. The first-mentioned vocalist sang Schubert's beautiful chamber song, Ave Maria," in which the composer seems to pour out his soul in song to the Virgin Mother, with exquisite taste and feeling. Miss Palmer was equally successful in u The Erl King;" and Mr. Santley gave the Wanderer" in unexceptionable manner. The concert, although prolonged very much beyond the usual time, gave very general satisfaction to a numerous and elegant audience; and Mr. Lindsay Sloper conducted with his usual ability. (Morning Advertiser, Tuesday, 17 May 1859) (Also: Morning Advertiser, Tuesday, 17 May 1859.) MONDAY POPULAR CONCERTS. - The programme of the last concert was divided between Franz Schubert and Louis Spohr, the selection from both masters being first-rate - of Schubert we had the string Quartet (No. 1) in A minor ; Grand Sonata for the pianoforte (No. 2) in D major ; Rondeau brillant, in B minor, for pianoforte and violin ; "Ave Maria Serenade (Standchen) ; "The Wanderer;" and "The Erl-King." The reputation which Schubert enjoys in this country has been in no way compromised by the doubtful reception awarded to his orchestral symphony at the recent concert of the Musical Society of London. Enough has been said in this journal to show that any important work of his is entitled to serious consideration. The difference of opinion which existed respecting the symphony was, perhaps, one reason why so many amateurs assembled at St. James's Hall, on Monday night. Those who knew Schubert's compositions and admired them, were anxious that he should have an opportunity of redeeming his partially lost credit with the public; and those who knew his instrumental works by report only, were willing to hear and judge for themselves. Schubert may be said to have taken his revenge for the slight he met with at the Musical Society. His three instrumental pieces were heard with delight, and there was no second opinion as to the merits of any one. The Quartet was executed by Messrs. Joseph Joachim, Ries, Schreurs, and Signor Piatti ; the Sonata for pianoforte, by M. Charles Hallé ; and the Rondeau, by M. Charles Hallé and Herr Joachim. Of the string Quartets, the one introduced on the present occasion (Op. 29) is the first, The Sonata for pianoforte solus (Op. 3) is the second of five, in D major. The Rondeau for piano and violin stands as "Op. 70" in the catalogue of his works. The execution of all these was admirable. Herr Joachim, who is playing this year even better than before, shows his command of all styles, and has his thorough appreciation of every great composer. He created a marked sensation both in the Quartet and the Rondeau, his coadjutors, in each instance, earning no small share of the applause. M. Hallé's performance of the Sonata was throughout masterly, and he was rapturously applauded in each movement. Then the introduction of Schubert, as an instrumental composer, at the Monday Popular Concerts was eminently successful. Of course there was no apprehension whatever about his songs. Many of Schubert's songs are "household words," as familiar as Dibdin's, or Bishop's, while they all have a material individual character of their own. The four selected on Monday are among the best. The "Ave Maria" was very sweetly sung by Miss Theresa Jefferys, whose talent is beginning to be recognised, as we foretold some time since. M. Fedor - the Russian tenor, who several years ago made a favorable impression at Drury Lane - sang the serenade with excellent taste ; Mr. Santley gave a vigorous reading of "The Wanderer," while Miss Palmer showed her artistic style to great advantage in the famous "Erl King." 'The Spohr selection commenced with the Grand Double Quartet in E minor, No. 3 (Op. 87) - first quartet, Herr Joachim, Herr Goffrie, Mr. Doyle, and Signor Piatti ; second, Herr Louis Ries, M. Bernard, Herr Schreurs, and Mr. Daubert. This was a very great performance of a great masterpiece. The other instrumental piece was the sonata in E flat, for violin and harp, played by Herr Joachim and Madlle. Mössner, a harpist of considerable talent. It was much applauded. The vocal selection comprised the beautiful song, "In the silver beams of Luna," sung by Miss Theresa Jefferys, with duet piano accompaniment, played to perfection by M. Hallé and Mr. Lindsay Sloper ; the mournful but not less charming "Rippling waters," by Miss Palmer ; and the well-known duet for soprano and bass from Faust, by Miss Jefferys and Mr. Santley. Mr. Lindsay Sloper officiated throughout as conductor. (The Musical world, Saturday, 21 May 1859) Tuesday, 17 May 1859 : The Vocal Association's Fifth Undress Concert at St. James's Hall, Piccadilly. It must suffice us simply to announce the publication of The Birthday, an English Scene, the music by Lindsay Sloper, to words by Henry F. Chorley (Chappell & Co.). We understand that Mr. Lindley Sloper's Cantata, 'The Birthday,' will shortly be repeated by the Vocal Association. (The Athenaeum, Saturday, 14 May 1859) (Also: The Athenaeum, Saturday, 14 May 1859.) ST. JAMES'S-HALL. - The VOCAL ASSOCIATION. Conductor. M. BENEDICT. - To-morrow, May 17, at 5, VOCAL PERFORMANCE of Mr LINDSAY SLOPER's CANTATA, the BIRTHDAY. Glee, When winds breathe soft - Webbe. Hymn, To Thee, O Lord - Haydn. Part-Song, Warbler of the Forest, &c. At the piano - Herr Ganz and M. Bohrer. Mr. Otto Goldschmidt has kindly consented to conduct; for M. Benedict on this Occasion. Sofa stalls, 2s. 6d. each, at St. James's hall ticket office, 23, Piccadilly. (The Times, Monday, 16 May 1859) CONCERTS. VOCAL ASSOCIATION. - The fifth undress concert was given on Tuesday evening last at St. James's Hall. It commenced with the sacred part-song by Haydn, "To Thee, O Lord," which, considering that it was sung for the first time, went well. Miss Sale, a member, between diffidence and want of power, was unequal to "Batti, Batti." Miss Telbin displayed some promise in Handel's "Harmonious Blacksmith" and Mendelssohn's caprice, in F sharp minor. Mr. Lindsay Sloper's cantata, "The Birthday," improves on acquaintance. Mr. Hatton's part-song, "I know a maiden," was well sung; as was also "Pretty maiden," so effectively, indeed, as to gain an encore. Miss Eleanor Wilkinson, in Mozart's air, "Zeffiretta," if not sufficiently in tune with the accompaniment to satisfy very acute ears, sang steadily, and with a nice quality of tone. The part-song by Benedict, "The warbler of the forest," obtained a well-deserved encore, and the concert concluded with Mendelssohn's part-song, "The departure," which, as far as the confusion occasioned by the company leaving their seats would allow us to judge, was the best performance of the evening. (The Musical world, Saturday, 21 May 1859) CONCERTS OF THE WEEK. - The list of concerts drawn out last week, though long enough, it will be owned, to satisfy the most exacting appetite, was still not complete. - Mention should have been made of a meeting of the Vocal Association, at which Mr. Lindsay Sloper's cantata, "The Birthday,' was repeated; and of benefit entertainments given by Mrs. Gardner and Madame Sala. This day week an excellent second Matinée was given by Madame Schumann and Herr Jules Stockhausen, at which the lady was playing her best - among other music, with Miss Emma Busby, the four-handed allegro in A major by Mendelssohn, which we never relished so much before. As a singer of the air of the Seneschal from Boieldieu's 'Jean de Paris,' Herr Stockhausen could not be exceeded, - and the same may be said of Herr Joachim's solo performance of the suite of pieces by Bach. A chamber-concert of superior quality could not be imagined. - One as good was given by Mr. Lindsay Sloper on Monday, including (among other noticeable matters) the giver's playing of Dussek's 'Invocation' Sonata, a noble work, though perhaps too gloomy for public use, - Mr. Sloper's vocal duett of "Memories," - Signor Piatti's suite of pieces by Bach, - the singing of Mr. Sims Reeves in 'Excelsior,' about as fine as the singing of tenor man can be (to the height of the well-known poem, which Mr. Hatton's music hardly is), - and of Miss Dolby in her disinterred Handel-song from 'Admetus,' also a graceful Serenade by Signor Randegger. - Miss Theresa Jeffreys claims a word as a promising beginner, with a fair soprano voice and more sensibility than training. The fact speaks sharply to the premature haste with which singers now-a-days present themselves, that almost every beginner has to learn to sing in tune after having begun before the public. This cannot be right. (The Athenaeum, Saturday, 28 May 1859) Friday, 20 May 1859 : Mrs. Gardner's Evening Concert at St. James's Hall, Piccadilly. ST. JAMES'S HALL, REGENT STREET AND PICCADILLY. MRS. GARDNER, (Organist of St. Peter's, Notting Hill), BEGS to announce to her pupils and friends that her concert will take place, as above, on Friday Evening, May 1859. Artistes: Madame Catherine Hayes, Madame Faure, Mademoiselle Finoli, Mrs. Gardner; Mr. Sims Reeves, Signor Belletti, Signor Campanella. Violin, M. Sainton; Violoncello, M. Piatti; Harp, Mr. Chatterton; Piano, Mrs. Gardner and Mr. Lindsay Sloper. Conductor, Mr. Lindsay Sloper. Doors open at half-past 7, commence at 8. Stalls, 10s. 6d.; Reserved Area, 5s.; Balcony Stalls, 7s. 6d. and 5s.; Tickets, 2s.6d. to be had Leader and Cock, 63, New Bond-st. ; at the Ticket Office, St. James's Hall (West Middlesex Advertiser and Family Journal, Saturday, 7 May 1859) (Also: West Middlesex Advertiser and Family Journal, Saturday, 14 May 1859.) ST. JAMES'S HALL.- Mrs. GARDNER begs to announce that her CONCERT will take place as above. on Friday evening, May 20. Madame Catherine Hayes, Mdlle. Finoli, Mme. Lemmens Sherrington, Mme. Gardner. Mr. Sims Reeves, Signor Belletti, Signor Campanella, M. Sainton. M. Piatti. Mr. Frederick Chatterton. Conductors, Mr. Lindsay Sloper and Signor Pelito. Doors open at half past 7, commence at 8. Stalls, 10s. 6d.; reserved are, 5s.; balcony stalls, 10s. 6d. and 7s, 6d. and 5s.; tickets, 2s. 6d. To be had of Leader and Cock. 63. New Bond-street; Cramer and Beale, Regent-street ; Chappell's New Bond-street; ticket-office, St. James's-hall; and of Mrs. Gardner, 23, Devonshire-terrace, Notting-hill. TO-NIGHT. - Herr Joachim, Mr. Charles Hallé, Sig. Piatti, Mdlle. Mossner, Miss Theresa Jeffreys, Miss Palmer, M. Fedor, and Mr. Santley, at the MONDAY POPULAR CONCERTS St. James's-hall, THIS EVENING. Programme :-Schubert: Part I :-Quartet In A minor, MM. Joachim. Ries, Schreurs and Sig. Piatti: song, Ave Maria; serenade, Quando avvolto: grand sonata in D major, pianoforte, Mr. Chas. Hallé; Song. The Wanderer; song, The Erl King; rondeau brilliant, pianoforte and violin, Mr. Chas. Hallé and Herr Joachim, Part II: Spohr:- grand double quartet. Op. 87 in E minor; song, In the silver beams of Luna; sonata, violin and harp, Herr Joachim and Mdlle. Mossner; song, Rippling waters; duet, Dearest, let thy footsteps follow. (Faust). Conductor, Mr. LINDSAY SLOPER, Sofa stalls, 5s.; reserved seats, 3s.; unreserved seats, 1s., may be obtained at the Hail, 28, Piccadilly; Keith, Prowse, and Co.'s, 48 Cheapside; Mr. Turner's, 19, Poultry; Hammond's; Cramer and Co.'s; Schott and Co.'s, Regent-street: H. Brooks's, newspaper and concert ticket office, 2. Old Cavendish-street; Ewer and Co.'s., 320, Oxford-street; Leader's; Ollivier's; Campbells; and Chappell and Co.'s, 50, New Bond-street. (The Times, Monday, 16 May 1859) (Also: The Times, Friday, 20 May 1859.) Monday, 23 May 1859 : Mr. Lindsay Sloper's Annual Morning Concert at St. James's Hall, Piccadilly. MR. LINDSAY SLOPER begs to announce that he will give his ANNUAL MORNING, CONCERT in the St. James's-hall on Monday, May 23d. Full particulars will shortly be announced. (The Times, Saturday, 7 May 1859) MR. LINDSAY SLOPER begs to announce that his ANNUAL MORNING CONCERT will take place on MONDAY next, May 23, at St. James's Hall, commencing at half-past two o'clock, on which occasion a selection of Chamber Music will be performed by the following artists :- Vocalists : Miss Dolby. Miss Theresa Jefferys. and Mr. Sims Reeves. Instrumentalists - Herr Joachim. Mr. Ries, Mr. Webb, Signer Piatti, and Mr. Benedict. At the pianoforte, Mr. Francesco Berger.- Sofa stalls, 10s. 6d. may be obtained of Mr. Lindsay Sloper, 70, Cambridge-terrace ; Chappell and Co., 50, New Bond-street ; and all musicsellers. (The Athenaeum, Saturday, 14 May 1859) (Also: The Times, Friday, 20 May 1859; Morning Post, Tuesday, 17 May 1859; The Times, Saturday, 21 May 1859; The Athenaeum, Saturday, 21 May 1859; Morning Post, Saturday, 21 May 1859; The Musical world, Saturday, 21 May 1859; Morning Post, Friday, 20 May 1859; Daily News, Tuesday, 17 May 1859; Daily News, Wednesday, 18 May 1859; Morning Post, Monday, 16 May 1859; The Musical world, Saturday, 14 May 1859; Morning Post, Thursday, 19 May 1859.) CONCERTS FOR THE ENSUING WEEK … MON. … Mr. Sloper's Annual Morning Concert, St James's Hall, 2½ … (The Critic, Saturday, 21 May 1859) THIS DAY. - MR. LINDSAY SLOPER'S ANNUAL MORNING CONCERT. This day, May 23, at St. James's Hall, commencing at half-past two o'clock. Programme:- Quartett in E flat major (Op. 74) for two violins, viola, and violoncello, Herr Joachim, Herr Ries, Mr. Webb and Signor Piatti, Beethoven; song, "Excelsior," Mr. Sims Reeves, J. L. Hatton; sonata,"L'Invocation", (Op 77), pianoforte. Mr. Lindsay Sloper, Dusseck; song, "Zuleika," Miss Theresa Jefferys, Mendelssohn; prelude, sarabande, and gavotte, violoncello, Signor Piatti, Bach; duet, "Memories," Miss Dolby and Mr. Sims Reeves, Lindsay Sloper. Part II - Sonata in F major (No. 14), for violin end pianoforte, Herr Joachim and Mr. Lindsay Sloper, Mozart: aria, " Cangio d'aspetto," Miss Dolby (Admetus), Handel; song, "In the silver beams of Luna," Miss Theresa Jefferys, with duet accompaniment, Mr. Benedict and Mr. Lindsay Sloper, Spohr; characeristic movements for two performers on the pianoforte, Mr. Benedict and Mr. Lindsay Sloper, Weber; serenade, "Sleep dearest, sleep," (first time) Miss Dolby, Randegger ; selection from the Nouvelles Etudes (Op. 90). pianoforte. Mr. Lindsay Sloper, Stephen Heller. Conductor, Mr. Francesco Berger and Mr. Lindsay Sloper. Sofa stalls, 10s. 6d.; reserved seats, 5s.; gallery 2s, 6d.; to be obtained of Mr. Lindsay Sloper, 70, Cambridge-terrace, Hyde-park;. at the Hall,28, Piccadilly; Keith, Prowse, and Co.'s, 48, Cheapside and Chappell's, 50, New Bond-street. (The Times, Monday, 23 May 1859) MR. LINDSAY SLOPERS ANNUAL CONCERT. Neither foreign wars, nor the coming struggles of political parties, Parliament, fresh from the hustings, seem to have any appreciable effect upon the entertainments of artistic and aesthetic nature which characterise the usual London Season. We have had occasion to notice within the last fortnight the fact that large and enthusiastic audiences have been attracted by the concerts which our popular instrumentalists and vocalists are accustomed to give at this period of the year, and Mr. Lindsay Sloper's annual concert yesterday afternoon, in St. James's Hall, was no exception. The spacious and elegant Hall was well filled at an early hour by a company representing the rank, fashion, and wealth of the metropolis, and the fact that with comparatively few exceptions they remained to the close, is the strongest proof that can be adduced, not only of the excellent taste displayed in making the programme, but of the distinguished ability with which both the instrumental and vocal pieces selected were performed. The mere enumeration of the artistes engaged is sufficient account for this result without entering into details as to the peculiar merits of each respective performance. Miss Dolby, Miss Theresa Jeffreys, and Mr. Sims Reeves were the singers ; Herr Joachim, Herr Ries, Mr. Webb, Signor Piatti, M. Benedict, and Mr. Sloper the instrumentalists ; and the selection included master pieces from Beethoven, Dussek, Mendelssohn, Bach, Mozart, Handel, Spohr, and Stephen Heller-who may be called the "classics" in music; while modern compositions, from Hatton, Randegger, and Mr. Sloper himself, were not wanting give variety and zest to the whole. Beethoven's fine quartette in E flat Major (Op. 74), for two violins, viola, and violoncello, performed by Joachim, Ries, Webb, and Piatti, was a masterpiece of execution, expression, and finish. Mr. Sloper, in his pianoforte sonata, "L'Invocation," from Dussek, exhibited that vigorous touch, clear reading, and soundness of tone, conjoined with brilliancy, for which he is so well known. The concluding rondo and allegro moderato were especially happy and spirited. Sig. Piatti's Prelude, Sarabande, and Gavotti," from Bach, elicited marked and unanimous approbation, and, indeed, the whole of the instrumental performances were of a very high order. With respect to the vocal portion of the concert it is only requisite to say that included among the solos "Excelsior," by Mr. Sims Reeves; the aria "Cangio d'aspetto." from Handel's Admetus; and a serenade (first time), Sleep, dearest, sleep" (Randegger), by Miss Dolby; and two songs by Miss Jeffreys, from Mendelssohn and Spohr. In addition, Mr. Sims Reeves sang in "Memories," the words by Mr. H. F. Chorley, the music by Mr. Lindsay Sloper, both of a very effective and dramatic character, and admirably interpreted by two of the most finished native singers who have ever shed lustre on the musical history of our country. Both were in their best voice, and Mr. Sims Reeves was compelled to repeat his unrivalled reading of Longfellow's poem, so beautifully set to music by J. L. Hatton. Miss Theresa Jeffreys is a decided acquisition to the concert-rooms of the metropolis, and has a brilliant future before her. The concert was in every sense, save one, most successful. When will our musicians comprehend and act upon the good old adage-" You may have too much of a good thing." (Morning Advertiser, Tuesday, 24 May 1859) MR. LINDSAY SLOPER this year gives his Annual Morning Concert on his own account. For the last four or five years he was wont to invite his friends to his intellectual entertainment conjointly with Miss Dolby. He has taken care, nevertheless, whatever may have been the cause of the separation, not to dispense with the services of that eminent songstress, and Miss Dolby figures as conspicuously as ever in Mr. Lindsay Sloper's programme. The selection, as usual, was admirable. The first piece was Beethoven's stringed quartet in E flat major (Op. 74), executed by Herr Joseph Joachim, Herr Louis Ries, Mr. Webb, and Signor Piatti. This was a superb performance, and was received with tumultuous applause. Another fine performance, and equally well received, was Mozart's sonata in F major (No. 14), for violin and piano, by Herr Joachim and Mr. Lindsay Sloper. The remaining performances by the concert-giver, comprised Dussek's "L'Invocation " Sonata (Op. 77), selection from Stephen Heller's "Nouvelles Etudes" (Op. 90), and, with Mr. Benedict, "Characteristic Movements" for two performers on the pianoforte. Mr. Lindsay Sloper's playing is distinguished by great neatness, perfect execution, and thorough refinement. There is no attempt at display, no violent contrasts, no contortions of the body, no extra employment of the pedal to hide wrong notes or missed notes. Mr. Sloper is a legitimate pianoforte player, and some of the great celebrities of the day might take lessons from him in more than one respect. Signor Piatti introduced the "Prelude, Sarabande, and Gavotte" of Bach, for the violoncello, which produced so great a sensation at the Monday Popular Concerts, on the Bach and Handel night. The singers were Miss Dolby, Miss Theresa Jeffreys, and Mr. Sims Reeves. Miss Dolby sang thrice, her best performance being in Handel's aria, "Cangio d'aspetto," from Admetus - like Bach's pieces, also heard under favourable circumstances at the Bach and Handel night of the Monday Popular Concerts. Mr. Sims Reeves sang Mr. J. L. Hatton's version of Longfellow's "Excelsior" - which some scores of composers besides have written - and joined Miss Dolby in Mr. Lindsay Sloper's very pleasing and well-written duet, "Memories." Miss Theresa, Jefferys gave Mendelssohn's song "Zuleika," and Spohr's "In the silver beams of Luna," with duet accompaniment on the pianoforte by Messrs. Benedict and Lindsay Sloper. All the vocal music was unexceptionable. The conductors were Mr. Francesco Berger and Mr. Lindsay Sloper. (The Musical world, Saturday, 28 May 1859) Mr. Lindsay Sloper. The annual concert of this gentleman on Monday morning, at the St. James's Hall, was, as is generally the case, one of the most interesting of the season. Mr. Sloper enjoys, we need not remark, high celebrity as a pianist, and his readings of the best works written for the instrument are among the finished and intelligent that we have. His programme upon the present occasion included Dussek's "Invocation," Beethoven's sonata in F (No. 14), for pianoforte and violin; Auber's "Characteristic pieces," for two pianofortes; and a selection from compositions of his own. In addition to these, all of which he played admirably, the concert further contained Beethoven's quartet in E flat, op. 74, which was most ably and effectively rendered by Herr Joachim, Herr Ries, Mr. Webb, and Signor Piatti. The last-mentioned artist also gave a remarkably fine delivery of Bach's "Prelude, Saraband, and Gavotte," upon the violoncello. The singers were Mr. Sims Reeves, Miss Dolby, and Miss Theresa Jeffreys. The concert was well, and we apprehend, profitably attended, but had it been shorter it would have been better enjoyed. (The Era, Sunday, 29 May 1859) Monday, 30 May 1859 : Mr. Arthur Chappell's Monday Popular Concert at St. James's Hall, Piccadilly. MONDAY POPULAR CONCERTS, ST. JAMES'S HALL. By unanimous desire. LAST CONCERT OF THE SEASON. MONDAY EVENING, MAY 30th, 1859, To commence at Eight o'clock punctually. PROGRAMME. PART 1. QUARTET in C major, Op. 59, dedicated to Rasoumowsky, Herr Joachim, Mr. Ries, Mr. Doyle, and Signor Piatti. - Beethoven. SONG, "Adelaide" Mr. Fedor. - Beethoven. SONATA, pianoforte solo, in C major, Op. 53 Miss Arabella Goddard. - Beethoven. PART II. QUARTET in A, op. 18, Herr Joachim, Mr. Ries, Mr. Doyle, and Signor Piatti. - Beethoven. SONG, "The Garland" Miss Theresa Jefferys. - Beethoven. SONG, "The Farewell" Mr. Santley. - Beethoven. SONATA, for pianoforte and violin, Op. 47, dedicated to Kreutzer, Miss Arabella Goddard and Herr Joachim. - Beethoven. CONDUCTOR - MR. LINDSAY SLOPER. Sofa stalls, 5s.; reserved seats, 3s.; unreserved seats, ls. May be obtained at the Hall, 28, Piccadilly; Keith, Prowse, and Co.'s, 48 Cheapside ; Mr. Turner, 10, Poultry; Hammond's; Cramer and Co.'s: Schott and Co., Regent-street; H. Brooks's Newspaper and Concert Ticket Office, 24, Old Cavendish-street; Ewer and Co., 390, Oxford-street; Leader; Ollivier; Campbell; and Chappell and Co.'s., 50, New Bond-street. (The Musical world, Saturday, 21 May 1859) BEETHOVEN. - MONDAY POPULAR CONCERTS. - Miss Arabella Goddard and Herr Joachim. - On Monday evening, May 30, 1859, at St. James's-hall, to commence at 8 'clock punctually. Programme: Part 1. Quartet in C major, Op. 59 dedicated to Rasoumowsky, Herr Joachim, Mr-. ---, Mr. Doyle, and Signor Piatti; song, Adelaide, Mr. Fedor; sonata, pianoforte solo, in C major, Op. 53. Miss Arabella Goddard. Part 2. Quartet in A, Op. 18, Herr Joachim, M. Ries, Mr. Doyle, and Signor Piatti; song, the Garland, Miss Theresa Jefferys; song, the, Farewell, Mr. Santley; sonata, for pianoforte and violin. Op. 47, dedicated to Kreutzer, Miss Arabella Goddard and Herr Joachim. Conductor - Mr. Lindsay Sloper. Sofa stalls, 5s.; reserve seats, 3s.; unreserved seats, 1s. May be obtained at the hall, 28, Piccadilly; Keith Prowse, and Co.'s, 48, Cheapside; Mr. Turner, 19, Poultry; Hammonds; Cramer and Co.'s; Schott and Co's, Regent-street, H. Brook's newspaper and concert ticket office, 24 Old Cavendish-street; Ewer and Co.'s, 390, Oxford-street; Leader's; Ollivier's; Campbell's; and Chappell and Co.'s, 50, New Bond-street. (The Times, Wednesday, 25 May 1859) (Also: The Times, Thursday, 26 May 1859; The Times, Friday, 27 May 1859.) MONDAY POPULAR CONCERTS. ST. JAMES'S HALL. BEETHOVEN. By general desire - Miss Arabella Goddard and Herr Joachim. - Monday evening, May 30, 1859, to commence at 8 'clock punctually. Programme: Part 1. Quartet in C major, Op. 59 dedicated to Rasoumowsky, Herr Joachim, Mr-. ---, Mr. Doyle, and Signor Piatti; song, Adelaide, Mr. Fedor; sonata, pianoforte solo, in C major, Op. 53. Miss Arabella Goddard. Part 2. Quartet in A, Op. 18, Herr Joachim, M. Ries, Mr. Doyle, and Signor Piatti; song, the Garland, Miss Theresa Jefferys; song, the, Farewell, Mr. Santley; sonata, for pianoforte and violin. Op. 47, dedicated to Kreutzer, Miss Arabella Goddard and Herr Joachim. Conductor - Mr. Lindsay Sloper. Sofa stalls, 5s.; reserve seats, 3s.; unreserved seats, 1s. May be obtained at the hall, 28, Piccadilly; Keith Prowse, and Co.'s, 48, Cheapside; Mr. Turner, 19, Poultry; Hammonds; Cramer and Co.'s; Schott and Co's, Regent-street, H. Brook's newspaper and concert ticket office, 24 Old Cavendish-street; Ewer and Co.'s, 390, Oxford-street; Leader's; Ollivier's; Campbell's; and Chappell and Co.'s, 50, New Bond-street. (The Musical world, Saturday, 28 May 1859) The Monday Popular Concerts - to use a sporting phrase - "have had a long and a brilliant run." Their end is now drawing to a close; nevertheless, the attendance at St. James's Hall seems to say that public patronage is by no means on the point of exhaustion. The complexion of the hall when filled, last Monday, was very different to that when the venture to make these weekly séances successful and popular had to be tried. Regent-street is not exactly the musical atmosphere for the million to breathe; for when the claptrap style of music was almost withdrawn they withdrew too. Bagatelles, made popular by popular singers, have at length given way to a "classical series," so that the loftier strains of "Adelaida " have chased the witcheries of "My Pretty Jane," and the romance attached to "Marble Halls" is exchanged for the beautiful realities of the twilight bower in the land "where the citron blows." In the programme of Monday eight pieces were selected. First in order was the quartet of Beethoven in C major (Op. 59), known as No. 3 of the set dedicated to Count Rasoumowski, the Russian Ambassador at Vienna, whom the Emperor Alexander created a prince under this title, at the Congress of Vienna in 1815. The artists engaged to interpret this exquisite and fanciful composition, together with another quartet by the same composer in A (No. 5, Op. 1b), were Herr Joachim, Herr Deichmann, Mr. Doyle, and Sig. Piatti. We of late have frequently remarked on these eminent instrumentalists so that the simple statement of their engagement in this instance will suffice. The largest share of the suffrages of the meeting was awarded to the Kreutzer sonata, in which Arabella Goddard almost surpassed herself. In the vocal department there was nothing of a very exalted character. M. Fedor's reading of "Adelaida" was neither elegant nor correct. The attempt to gloze over vocal defects by pronouncing the same word in two ways, only served to render his faulty style more apparent. In the absence of M. Benedict, the onerous duty of conductor was assigned to Mr. Lindsay Sloper. (The Critic, Saturday, 4 June 1859) ST. JAMES's HALL.- The second series of Popular Concerts will be shortly brought to a close, and we must congratulate the directors on the success which has attended their undertaking, not merely in a pecuniary sense (which we have a right to infer from the generally crowded state of the Hall), but in a still higher - the artistic meaning of the term. For the first time has the British public - the Shilling audience - been enabled to judge of the merits of chamber music, selected with excellent taste from the best composers, and executed by the first talent in the profession ; and right well has that same public vindicated its claim to a knowledge and appreciation not always to be found in the jaded frequenters of our Philharmonic Society and Italian Opera - notoriously the coldest and most apathetic audience possible. If it was a treat to listen to the exquisite performance of Monday last, it was no less so to watch the attentive countenances of an audience which literally crammed every corner of the room, and to hear the genuine, hearty, and unanimous applause that followed each movement of the various pieces performed evincing a degree of connoisseurship which might convince the most sceptical "Mossoo" that we really are a musical people, and do not say to a sonata, "Sonate, que me veux-tu ?" The programme, devoted to Beethoven, was as follows :- Quartet in C major (Op. 590); air, Adelaida;" song, "The Farewell;" Grand Sonata in C major, (Op. 53), pianoforte ; Quartet in A, No. 5 (Op. 18); Song, "Knows't thou the land;" Song, "Coi quattrin;" Sonata in A (Op. 47), for pianoforte and violin, dedicated to Kreutzer. The string quartet was led by Herr Joachim, with whom were associated Messrs. Deichmann Doyle, Piatti, and Miss Arabella Goddard, pianist; Miss Theresa Jeffreys, Messrs. Santley and Fédor, vocalists. Mr. Lindsay Sloper was conductor. The cheval de bataille wag evidently the Kreutzer sonata, played with a degree of brilliancy by those incomparable artists, Miss Arabella Goddard and Herr Joachim, that it would be impossible to surpass, and more than difficult to equal. The attention with which this was listened to throughout, and the hearty plaudits that succeeded, showed how thoroughly it was enjoyed, although coming so late in the evening. The quartets were irreproachable, and no less so was the Waldstein sonata in C for piano, the last movement of which is nothing short of marvellous in difficulty, Miss Goddard was unanimously recalled after its performance, as was also Mr. Santley for his expressive delivery of "The farewell." Miss Jefferys displayed her purity of style and goodness of taste in "Know'st thou the land" and had Mr. Fédor infused some little light and shade into "Adelaida," his fine voice would have been heard to still greater advantage. The final concert of the series will take place on June 27th, when Miss Arabella Goddard and Herr Joachim are again engaged. - H. C. (The Musical world, Saturday, 4 June 1859) Saturday, 11 June 1859 : Miss Dolby's First Evening Concert at St. James's Hall, Piccadilly. MISS DOLBY begs to announce that she will give TWO CONCERTS, at St. James's Hall, as follows, viz., SATURDAY AFTERNOON, June 11. to commence at three o'clock, on which occasion the programme will consist of Classical Chamber Music ; and MONDAY EVENING. June 13, to commence at eight o'clock, when the programme will be selected from the works of miscellaneous authors. Vocalists : - Madame Lemmens Sherrington, Madame Enderssohn, Miss Theresa Jefferys, Miss Marian Moss, and Miss Dolby; Mr. Santley, Mons. Jules Lefort, and Mr. Sims Reeves. Violins - Herr Joachim and Mons. Sainton ; violoncello - Signor Piatti; pianoforte- Miss Arabella Goddard, Mr. Lindsay Sloper and Mr. C. Hallé ; harmonium, Herr Engel ; at the piano-forte. Messrs. Francisco Berger and Lindsay Sloper. Sofa stalls. 10s. 6d.; reserved seats, 5s. To be obtained of Miss Dolby, 2, Hinde street, Manchester-square. (The Times, Saturday, 21 May 1859) (Also: The Times, Saturday, 4 June 1859; The Times, Thursday, 9 June 1859; The Times, Friday, 10 June 1859; Morning Post, Wednesday, 8 June 1859; The Times, Monday, 6 June 1859; Morning Post, Monday, 6 June 1859; The Musical world, Saturday, 4 June 1859; The Athenaeum, Saturday, 4 June 1859; Illustrated London News, Saturday, 4 June 1859; The Times, Wednesday, 1 June 1859; Morning Post, Tuesday, 31 May 1859; The Times, Tuesday, 31 May 1859; The Times, Friday, 27 May 1859.) MISS DOLBY begs to announce that she will give TWO CONCERTS, at St. James's Hall, as follows, viz., TOMORROW AFTERNOON, June 11. to commence at three o'clock, on which occasion the programme will consist of Classical Chamber Music ; and MONDAY EVENING. June 13, to commence at eight o'clock, when the programme will be selected from the works of miscellaneous authors. Vocalists : - Madame Lemmens Sherrington, Madame Enderssohn, Miss Theresa Jefferys, Miss Marian Moss, and Miss Dolby; Mr. Santley, Mons. Jules Lefort, and Mr. Sims Reeves. Violins - Herr Joachim and Mons. Sainton ; violoncello - Signor Piatti; pianoforte- Miss Arabella Goddard, Mr. Lindsay Sloper and Mr. C. Hallé ; harmonium, Herr Engel ; at the piano-forte. Messrs. Francisco Berger and Lindsay Sloper. Sofa stalls. 10s. 6d.; reserved seats, 5s. To be obtained of Miss Dolby, 2, Hinde street, Manchester-square. (Morning Post, Friday, 10 June 1859) MISS DOLBY begs to announce that she will give TWO CONCERTS, at St. James's Hall, as follows, viz., THIS AFTERNOON (Saturday), to commence at three o'clock, and MONDAY EVENING. June 13, to commence at eight o'clock, when the programme will be selected from the works of miscellaneous authors. Vocalists : - Madame Lemmens Sherrington, Madame Enderssohn, Miss Theresa Jefferys, Miss Marian Moss, and Miss Dolby; Mr. Santley, Mons. Jules Lefort, and Mr. Sims Reeves. Violins - Herr Joachim and Mons. Sainton ; violoncello - Signor Piatti; pianoforte- Miss Arabella Goddard, Mr. Lindsay Sloper and Mr. C. Hallé ; harmonium, Herr Engel ; at the piano-forte. Messrs. Francisco Berger and Lindsay Sloper. Sofa stalls. 10s. 6d.; reserved seats, 5s. To be obtained of Miss Dolby, 2, Hinde street, Manchester-square, and of all the principal musicsellers. For full particulars see programmes. (The Times, Saturday, 11 June 1859) (Also: Atlas, Saturday, 11 June 1859.) TO-NIGHT. MISS DOLBY'S CONCERT takes place THIS EVENING (MONDAY), at St. James's Hall, to commence at eight o'clock. Vocalists- Mesdames Lemmens Sherrington, Enderssohn, Jefferys, Marian Moss, and Dolby. Messrs. Santley and Sims Reeves. Violin- M. Sainton, pianoforte- Miss Arabella Goddard; harmonium- Herr Engel. Conductors- Mr. Francesco Berger and Mr. Lindsay Sloper. Sofa stalls, 10s. 6d.; reserved seats. 5s.: balcony, 5s. ; unreserved seats, 1s. Maybe obtained at the Hall ; and of the principal musicsellers. (Morning Post, Monday, 13 June 1859) MISS DOLBY's TWO CONCERTS came off on Saturday morning, and on Monday evening, in St. James's Hall. The Morning Concert was most important, the classic feature being strongly regarded in a duet for violin and pianoforte, by Mozart, executed by Herr Joachim and Mr. Lindsay Sloper ; in Beethoven's Sonata for the pianoforte, in C, Op. 59, performed by Mr. Charles Hallé ; and in Mendelssohn s Trio, in C minor, for pianoforte, violin, and violoncello, played by Mr. Charles Hallé, Herr Joachim, and Signor Piatti. Miss Dolby's share of the selection comprised the scena from Gluck's Orfeo, "Euridice, ombra cara ;" Mendelssohn's "Song of Night ;" Mr. G. A. Macfarren's "Wishes ;" and two old English songs of the sixteenth century - "There were three ravens sat on a tree," and "Come, ye young men, come along." The scena from Orfeo, if not the most applauded, was the finest performance, as displaying to the greatest advantage Miss Dolby's beautiful voice and pure classic taste. Mendelssohn's song was irreproachably given, as was also Mr. Macfarren's "Wishes," and the two old English airs were genuine specimens of unsophisticated ballad-singing. The evening concert, on Monday, was less classical and more vocal, the instrumental performances being restricted to two solos by Miss Arabella Goddard - Dussek's Air with Variations," The Troubadour," and Benedict's Irish fantasia "Erin ;" a violin solo by M. Sainton ; and one on the harmonium by Herr Engel. Miss Goddard was encored, as usual, in Mr. Benedict's sparkling and brilliant Fantasia, and gave Thalberg's "Home, sweet home" in its place. A word apart may be accorded to Dussek's Troubadour (No. 2 of Bijoux Perdus), one of the most delicious airs variés, the subject being the quaint old melody, "Ah vous dirai-je, maman ?" The revival of such genuine unaffected music cannot be too warmly encouraged. Such an air with variations is worth a dozen of our modern fantasias, and was played to perfection by Miss Arabella Goddard. Miss Dolby sang the air, "Elena, oh tue," from the Donna del Lago; serenad, "Sleep, dearest, sleep" Mr. Duggan's ballad, "Many a time and oft" (encored) ; and the Irish song, "Katey's Letter." Mr. Sims Reeves sang Beethoven's song, "The Quail," and the old ballad, "The enchanted river," and was encored in both. Mesdames Lemmens Sherrington, and Enderssohn also sang, and contributed largely to the entertainment, as did Miss Marian Moss, Miss Theresa Jefferys, and Mr. Santley. Miss Theresa Jefferys was compelled to repeat Bishop's song, "Tell me, my heart" (The Musical world, Saturday, 18 June 1859) Tuesday, 14 June 1859 : Mr. Lindsay Sloper's Morning Concert [Approx Date] at St. James's Hall, Piccadilly. M. Charles Hallé, too, has given his first Pianoforte Recital (the term, invented by Dr. Liszt, is as affected as most of that strange enthusiast's inventions), with a programme as full of variety and interest as on any previous occasion. At Miss Dolby's first concert one of the most salient features was Beethoven's grand sonata, dedicated to Count Waldstein, executed, by the same industrious and thoroughly conscientious pianist, from memory. M. Hallé plays almost as many pieces "by heart" as Herr Joachim, who, on this occasion accomplished a similar feat with a barcarole and schema of Spohr. Miss Dolby gratified her admirers with a rich selection of vocal music from Gluck, Handel, Mendelssohn, Macfarren, and the "16th century." That she is one of our most admirable singers need not be insisted on here, any more than that no female singer before the public is more universally appreciated. Almost the whole selection was what is termed "classical." Besides the instrumental pieces already named, Mr. Lindsay Sloper - who, as a pianist, may be said to stand midway between Herr Hallé and Herr Pauer, owning some of the best qualities of both, and in delicacy of touch perhaps superior to either - was put down for a duet of Mozart with Herr Joseph Joachim. Miss Marian Moss (Miss Dolby's clever pupil) and M. Jules Lefort were also among the singers while M. Engel, harmonium, and Signor Piatti, violoncello, were both included in the programme. Mis Dolby's second and last concert took place on Monday night. The morning concert of Mr. Lindsay Sloper (at St. James's-hall) was in every respect entitled to notice; but we are compelled, after acknowledging the general recording that the principal instrumental point was Dussek's splendid and passionate sonata in F minor, entitled. "L'Invocation" (Op. 77), for pianoforte solus, performed by Mr. Sloper himself, and that the great vocal feature was Mr. J. L. Hatton's setting of Professor Longfellow's (too often set) "Excelsior," which Mr. Sims Reeves sang so finely and poetically that, long as it is he was forced to repeat it uncurtailed. (The Times, Wednesday, 15 June 1859) Monday, 27 June 1859 : Mr. Arthur Chappell's Monday Popular Concert at St. James's Hall, Piccadilly. MUSIC. Monday Popular Concerts.-The fourteenth and last concert of the series attracted the largest audience ever assembled in St. James's Hell. More than 2,500 persons were present, and nearly 1,000 denied admission, there being not even standing room in any part of the building shortly after the performance began. And yet the programme consisted exclusively of chamber music, vocal and instrumental, selected from the works of the classical composers, That these entertainments have now taken a firm hold on the public is unquestionable, and the fact of their popularity is a proof that the taste for first-class music is still advancing in this metropolis. The singers were Miss Clari Fraser, Mr. Santley, and Mr. Sims Reeves. The lady (one of our youngest and most improving artiste) was entrusted with Haydn's canzonet, Mr. Santley with Schubert's romance, and Mr. Sims Reeves with the two pieces of Beethoven, in the first of which he was accompanied on the pianoforte by Mr. Lindsay Sloper. Spohr's duet, the only operatic extract in the selection, was consigned to Miss Fraser and Mr. Santley. The audience was enthusiastic beyond measure, and besides encoring Miss Goddard in the charmingly melodious suite of Handel, and Mr. Sims Reeves in "Adelaida," listened to the quartets led by Herr Joachim, to Dussek's sonata, and to Bach's pieces for the violoncello, with an attention which, the inconveniently crowded state of the hall taken into consideration, was quite marvellous, applauding every one of them with a fervour almost unparalleled. (Reynolds's Newspaper, Sunday, 3 July 1859) MONDAY POPULAR CONCERTS, ST. JAMES'S HALL. .*. In answer to numerous inquiries, the Directors beg to announce the Monday Popular Concerts will be renewed early in November, 1859, in St. James's Hall, and continued Weekly through the Winter and Spring. Prospectus with full particulars will be issued in due time. OPINIONS OF THE PRESS on the FOURTEENTH MONDAY POPULAR CONCERT (the last of the present Series), June 27th, 1859. From the Times. "The fourteenth and last concert of the series attracted the largest audience ever assembled in St. James's Hall. More than 2,500 persons were present, and nearly 1,000 denied admission, there being not even standing room in any part of the building shortly after the performance began. And yet, as will be seen below, the programme consisted exclusively of chamber music, vocal and instrumental, selected from the works of the classical composers. PART I. Quartet in C, No. 6 - Mozart Canzonet, 'My mother bids me bind my hair' - Haydn. Suite de Pieces in E major, pianoforte, concluding with ' The Harmonious Blacksmith' - Handel. Lieder-Kranz (Lays of the Heart - from an absent Lover to his Mistress) - Beethoven. Sonata in B flat, pianoforte and violin - Dussek. PART II. Quartet in E minor, Op 41 - Mendelssohn. Song, 'Adelaide' - Beethoven. Song, 'The Wanderer,' - Schubert. 'Prelude,' 'Sarabande' and 'Gavotte,' violoncello - Bach. Duet, 'Dearest, let thy footsteps follow' - Spohr. Conductor - Mr. Benedict. "That these entertainments have now taken a firm bold on the public is unquestionable, and the fact of their popularity is a proof that the taste for first-class music is still advancing in this metropolis. In the Monday Popular Concerts Messrs. Chappell (the originators) may lay claim to having established, not merely a chamber-Philharmonic, but a Philharmonic for the people ; and the spirit and judgment with which the project has been carried on from the beginning does the utmost credit to the directors, in whom one quality not a little worthy of respect is the implicit confidence they evidently repose in the general public, as able and ready to appreciate music of the highest order. Hitherto the programmes have been devoted to one or two of the great masters ; but on the present occasion it will be seen that while the pieces were, without exception, what is termed no less than nine different composers were contributors - the only name that appeared twice being that of Beethoven. For a farewell concert this innovation was an excellent idea. "The quartets, both masterpieces, were played by Messrs. Joachim, Deichmann Doyle, and Piatti. The sonata of Dussek (a very acceptable novelty) was allotted to Miss Arabella Goddard and Herr Joachim ; Handel's 'Suite de Pieces' to Miss Goddard; and Bach's Prelude, 'Sarabande and Gavotte,' to Signor Piatti. The singers were Miss Clari Fraser, Mr. Santley, and Mr. Sims Reeves. The lady (one of our youngest and most improving artists) was intrusted with Haydn's canzonet, Mr. Santley with Schubert's romance. And Mr. Sims Reeves with two of Beethoven, in the first of which (the Lieder-Kranz' - another most welcome novelty) he was accompanied on the pianoforte by Mr. Lindsey Sloper. Spohr's duet, the only operatic extraction in the selection, was consigned to Miss Fraser and Mr. Santley. "The audience was enthusiastic beyond measure, and besides encoring Miss Goddard in the charmingly melodious suite of Handel, and Mr. Sims Reeves in 'Adelaida,' listened to the quartets led by Herr Joachim, to Dussek's sonata, and to Bach's pieces for the violoncello, with an attention which, the inconveniently crowded crowded state of the hall taken into consideration, wag quite marvellous, applauding every one of them with a fervour almost unparalleled. Equally successful was the 'Lieder-Kranz,' one of the most elevated and beautiful of the vocal compositions of Beethoven, at the end of which Mr. Sims Reeves and Mr. Lindsay Sloper were unanimously recalled. "The Monday Popular Concerts being now firmly established, are to be renewed in November, and - as we learn from the programmes - will be carried on till late in the spring of 1860. The good they have already effected, and are likely to effect, can hardly be over-estimated. Any undertaking that helps to place art in its proper light before the great multitude deserves encouragement ; and that the Monday Popular Concerts are eminently calculated to perform that service beyond a doubt." From the Morning Herald." The last concert of the second series of the Monday Popular Concerts was given on Monday evening at St. James's Hall, and as the programme was made up of selections from the works of all the great masters, it formed an appropriate conclusion to one of the most remarkable musical events that we have had occasion to notice. Commenced without plan or any definite purpose, these concerts were at first nothing more than mere musical entertainments, distinguished by that heterogeneous mixture of trivial nothings with the really good, which has heretofore distinguished 'popular concerts.' Being no better than the average they demanded no special recognition, and had such a system continued they would long since have passed into oblivion. But after the first eleven concerts, an experiment of a bold and novel description was adventured upon, which at once gave to these concerts an individuality of the highest order. It must be confessed that despite the progress that has been made within the last few years in the appreciation of really good music by London audiences, the experiment was a hazardous one, and the truth of this will be sufficiently apparent when it is said that the programmes for each evening were made up of the finest chamber music of the greatest composers ; indeed. of those classical works which were hitherto confined exclusively to those so-called 'learned' musical societies, or were only occasionally administered in homeopathic doses to the general public. The experiment has not proved merely successful, but eminently so; the establishment of these concerts seems to have evoked audiences whose presence was hitherto unknown in the concert-room - highly appreciative and demonstrative audiences, who marked their sense of the beauties of the music that was given to them by applause, which was at once hearty and discriminative, These audiences neither displayed the listless apathy of the fashionable world nor indulged in the cynicism of 'dilletanti,' but, on the contrary, they evinced the highest delight, and evidently enjoyed the magnificent masterpieces which week after week were provided for them. But instead of mixing up different styles and schools of music a definite plan was laid down and adhered to ; thus, in the first series, consisting of eight concerts, two were devoted to Mendelssohn, two to Mozart, one to Haydn and Weber, three to Beethoven, and one to Bach and Handel. The second series comprised six concerts, of which one was absorbed by Beethoven, one by Mozart, one by English composers, one by Spohr and Schubert, and the last by Bach, Handel, Haydn, Mozart. Dussek, Beethoven, Schubert, Mendelssohn, and Spohr. During the two series, in addition to a large number of solo and concerted vocal pieces, many very important instrumental works were given, including quintets and quartets for stringed instruments, sonatas and fugues, being the masterpieces of the great composers, but some of which had never been heard before in England. Moreover, to do full justice to these works, the best artists were engaged, and as a proof of this it is sufficient to state that at the last concert on Monday evening the instrumentalists were Miss Arabella Goddard, Herr Joachim, Herr Ries, Mr. Doyle, Signor Piatti, Mr. Benedict, and Mr. Lindsay Sloper ; while the vocalists were Miss Clari Fraser, Mr. Sims Reeves, and Mr. Santley. Such being the plan and such the executants at these concerts, it is not too much to assume that they have formed a remarkable era in our musical history, and it is with sincere pleasure that we are enabled to announce that the Monday Popular Concerts are to be resumed in November, and to be continued during the winter months. It is right to state that these concerts originated with Messrs. Chappell, and that the admirable manner in which they have been carried out due to the energy and perseverance of Mr. Arthur Chappell. " * * All inquiries with reference to the Monday Popular Concerts, to be addressed to CHAPPELL and Co., 50, New Bond-street, or to Mr. ARTHUR S. CHAPPELL, St. James's Hall. (The Musical world, Saturday, 9 July 1859) (Also: The Musical world, Saturday, 9 July 1859.) Monday, 4 July 1859 : Mr. George A. Osborne's Annual Concert at Hanover-Square Rooms. MR. G. A. OSBORNE'S CONCERT. Mr. G. A. Osborne, one of our most accomplished professors of the pianoforte, and one of the most popular of modern composers of drawing-room bagatelles, to say nothing of works of higher merit, gave his annual concert last evening at the Hanover-square Rooms. The important pieces were Beethoven's Sonata, in G, op. 30, played by Mr. Osborne and Herr Molique, and prelude and fugue by Sebastian Bach, and presto from Mendelssohn's Lieder ohne Worte, performed by Mr. Osborn solus. These were all played well. Herr Molique, as everybody knows, is a master of the violin, wanting, notwithstanding in that warmth and enthusiasm which constitute so eminent an attraction in all instrumental performance, more particularly in fiddle-playing. None, however, who heard the fine sonata of Beethoven could fail to be impressed by the pure style, freedom of bowing, correct intonation; and finished execution of the German artist. Mr. Osborne played his very best, and the audience appeared delighted with the entire performance. In Bach's prelude and fugue Mr. Osborne distinguished himself still more, showing great suppleness of finger, and a thorough knowledge of the manner of the grand old contrapuntist. The execution of Mendelssohn's Presto was not less worthy of praise. A Nocturne, by Chopin, interposed between Bach's piece and Mendelssohn's, entitled "Il Lamento," in its sentimentality and romantic abstraction, furnished an excellent contrast to the pieces just named. Mr. Osborne's other contributions comprised his own duet for two pianofortes on airs from Meyerbeer's Etoile du Nord executed with Mr. Lindsay Sloper; duet for pianoforte and violin; in A minor, by Osborne and Do Beriot, with Herr Molique; and some solos of his own composition, for the pianoforte, played by himself. Of these we liked best the duo for piano and violin, which is admirably written for the instruments and extremely effective. The vocal music was supplied by Madame Catherine Hayes, the Misses Claudine end Della Hampton, Herr Reichardt, and Mr. Patey. Madame Catherine Hayes gave the air, "Ah ! mon fils," from the Prophète with infinite feeling; and a new song, by Mr. Osborne, "The Dew-drop," a charming composition, with admirable expression. Herr Reichardt sang the lovely tensor air, "Un aura amarosa," from Mozart's Cosi fan Tutti, in the most finished and artistic manner, and with great charm of voice. This gentleman should be heard more frequently in the concert room; his singing is invariably satisfactory, and his style and manner are extremely agreeable. Moreover, Herr Reichardt is a master in all schools, and can sing a florid air by Rossini. with no less skill than the braver strains of Mozart and Beethoven. The Misses Hampton sang two German duets very prettily. These young ladies, however, are evidently drawing-room cantatrice, and have not as yet power enough for a large room like that in Hanover-square. The eldest, Miss Claudine, subsequently sang two German lieder, and was encored in one; when she substituted the popular song "The Recruit.' Miss Claudine Hampton has been well taught, and has turned her teaching to much advantage. A little more force would render her a desirable acquisition to the concert-room. Mr. Patey added an air called "The Singers," composed by Mr. Osborne, the gist of which, not having the words before us, and Mr. Patey's articulation, from a bad method of speaking and producing tone, not being particularly distinct, we confess we could not understand. The room was very full, and the attendance fashionable. (Morning Chronicle (1801), Tuesday, 5 July 1859) OPERA AND CONCERTS…At Mr. Benedict's second concert Miss Balfe made her debut in the character of a concert-singer; and Miss Whitty, who brings with her a great reputation acquired in Italy, made her first appearance before an English audience. On each occasion the programmes included the names of the most attractive members of Mr. Smith's Italian troupe-that is to say, Mdlles. Sarolta and Guarducci, MM. Mongini, L. Graziani, Badiali, &c. Mr. Benedict and Mr. Lindsay Sloper conducted; and at the second concert there was an efficient orchestra, under the alternate direction of Mr. Benedict and Signor Arditi. The most remarkable of the vocal pieces were the "Cujus animam" (L. Graziani), the " Quis est homo " (Mdlle. Artôt and Madame Hayes), the "Pro peccatis" (Badiali), and the "Inflammatus" (Madame Hayes), from the " Stabat Mater," all accompanied by the orchestra. "The Last Rose of Summer," sung very charmingly by Miss Balfe, and encored; the Miserere scene from the "Trovatore," in which the solos were sung by Mdlle. Sarolta and L. Graziani. Leonora, in the "Trovatore," is the part in which Mdlle. Sarolta made her debut at the Italian Opera of Paris (with Mario as Maurice), and is said to be her best impersonation. Of this it is impossible to judge from hearing only one scena (above all, in a concert-room); but it appears to us that Mdlle. Sarolta's talent is more especially adapted to lighter parts, such as that of Violetta, which, as we have already had occasion to remark, she plays to perfection. In the air from "Romeo" Mdlle. Guarducci's magnificent voice was heard to great advantage. This vocalist sings with admirable expression, and the richness of her lower notes is unsurpassed, except by Mdlle. Alboni. In the air from the "Cenerentola " Mdlle. Artôt displayed the very highest qualities. This young lady, who is a pupil, or rather the pupil (the only one), of Madame Viardot Garcia, comes to us from the Grand Opera of Paris, where she played with great success the principal parts in the "Prophète," "Sappho," "La Magicienne," "La Trouvere " (French version of the " Trovatore"), and other works. No one in England sings the music of Rossini so well as Mdlle. Artôt, and yet Mdlle. Artôt never sang the music of Rossini until she came to London. Miss Whitty, who, as we have said, made her debut at this concert, has a clear, brilliant voice, of great compass and considerable power. She sings with much expression, and at the conclusion of each of her morceaux was much applauded. In "Bel raggio " she was especially successful. If Mr. G. Osborne could persuade all the young ladies who have played, or tried to play, "La pluie de perles," to join in presenting its author with a testimonial, he would possess one of the most valuable offerings ever made to an artist. Instead of doing this Mr. Osborne confines himself to giving a concert from time to time which is always well attended, and always thoroughly successful. We were unable to be present at the entertainment given by this distinguished pianist and composer last Monday at the Hanover-square Rooms, at which the concert-giver was to have played several pianoforte pieces (including the new well-known duo concertante for two pianos, with Mr. Lindsay Sloper); while various other instrumentalists and a number of vocalists were to have appeared. Among the latter we may mention the Misses Hampton, of whose performance in Signor Billetta's operetta we have spoken above. (Illustrated Times, Saturday, 9 July 1859) Mr. Osborne's concert of classical and modern music, the Hanover-square Rooms, on Monday evening, was also an entertainment of a high order. Mr. Osborne is one of our most accomplished pianists and composers for the pianoforte, and the concert was calculated to show his powers in both capacities. Beethoven's sonata in G, op. 30, for the piano and violin, was played by him with M. Molique. He then played a solo, consisting of a prelude and fugue of Bach, a nocturne of Chopin, and one of the Lieder ohne Worte" of Mendelssohn-three beautiful morceaux which formed a delightful whole. We were especially struck with the admirable clearness with which Bach's fugue (one of his finest) was executed. Mr. Osborne's grand duet for two pianos on themes from the "Étoile du Nord," performed by him and Mr. Lindsay Sloper, and his duet for the piano and violin in A minor, played by him and M. Molique, were admirable and most effective performances. Two sisters, Misses Claudine and Bella Hampton (Mr. Osborne's nieces), made their début on this occasion as singers. They are attractive and interesting young ladies, possessed of fine voices, taste, feeling, and, evidently, an excellent education. They sang several German songs and duets in a graceful and musicianlike manner. Some vocal pieces were sung by Madame Catherine Hayes, M. Depret, and M. Patey. (Illustrated London News, Saturday, 9 July 1859) Mr. Osborne's concert, at the Hanover-square Rooms on Monday, was an admirable entertainment -a mixture of the classical with the lighter and more modern style, which were blended agreeably and without incongruity. the Misses Claudine and Bella Hampton, nieces of Mr. Osborne, two young ladies who arc just beginning their professional career sang several German songs and with a sweetness, grace, and expression which gave promise of brilliant future. Among the instrumental pieces was a solo played by Mr. Osborne, consisting of prelude and fugue of Bach, a nocturne of Chopin, and one of Mendelssohn Lieder ohne Worte;" pleasant melange, which showed his mastery of very different styles. His grand duet for two pianos on themes from the Étoile du Nord was played by himself and Mr. Lindsay Sloper, and his duet for the piano and violin in A Minor was played by him with … [Abridged] (Bell's Weekly Messenger, Saturday, 9 July 1859) Mr. Osborne. The concert given by this gentleman, a composer and pianist of long repute in the metropolis, on Monday evening, at the Hanover-square Rooms, was, as usual, admirably selected. It embraced certain performances of his own, in which his title to classical excellence was amply vindicated; Bach, Chopin, and Mendelssohn being the sources he drew upon. His own well-known duet upon themes from the Étoile du Nord, brought him into competition with Mr. Lindsay Sloper, and not to his disadvantage from an executive point of view. M. Molique was also his partner in a duet for the violin and pianoforte. The concert, an excellent one in every respect, including, as it also did, vocalisms by Madame Catherine Hayes, Miss Claudine, and Miss Bella Hampden (niece of Mr. Osborne, and who recently gave some pleasant evidences of vocal and histrionic talent, in a little interlude, at the concert of Signor Biletta, at Campden House), Herr Reichardt, and M. Depret, was thoroughly appreciated, and obtained much enthusiastic applause. (The Era, Sunday, 10 July 1859) CONCERTS. On Monday evening last Mr. G. A. Osborne gave his annual conceit at the Hanover square Rooms. The programme included three classic pieces, namely, Beethoven's "Sonata for piano and violin in G, Op. 80," exceedingly well executed by Mr. Osborne and Herr Molique ; " Prelude and Fugue," by Sebastian Bach, and "Presto," from Mendelssohn's "Leider ohne Worte," both of which were played by Mr. Osborne. The programme, as might have been expected, contained several of the latter gentleman's own compositions, among which may be mentioned three pieces for the piano, " L'Esperance" (nocturne), " Sweet-briar " (morceau de salon), and " Marche Caracteristique" (morceaux de concert), all exceedingly good samples of Mr. Osborne's style, and it is perhaps superfluous to add that they were given with great effect by the composer. Mr. Osborne's grand duet for two pianos, on themes from Meyerbeer's "L'Étoile du Nord," was extremely well received, as Mr. Lindsay Sloper with Mr. Osborne executed the duet to perfection. Two of Mr. Osborne's vocal compositions were given, one a pretty and effective song called the "Dew Drop," which was exceedingly well rendered by Madame Catherine Hayes ; the other, a more ambitious composition called "The Singers " was entrusted to Mr. Patey, who delivered it with taste and judgment. One of the best pieces in the programme was Osborne and De Beriot's "Duet for piano and violin in A minor," in which Mr. Osborne was assisted by Herr Molique, and their performance of the work gave great delight to the audience. In addition to what has been already mentioned, Madame Catherine Hayes sang "Ah! mon fils," from the Prophète, with much feeling and passion'; Herr Reichardt gave "Un aura amoroso." from the "Cosi fan tutti" with a great deal of expression, and the Misses Claudine and Bella Hampton sang two German duets, and proved that although they have very agreeable voices, they have still something to learn before they can hope to shine in the concert-room. Miss Claudine Hampton, however, afterwards sang a German ballad, and gave the air so charmingly, that she richly deserved the encore with which her performance was honoured. Messrs. Bolzer, Mori, and Walter Macfarren acted as conductors. (The Standard, Monday, 11 July 1859) At the concert of Mr. George Osborne, that excellent pianist and composer, besides playing a sonata of Beethoven (with Herr Molique), together with specimens of Bach, Chopin, and Mendelssohn, joined Mr. Lindsay Sloper in a duet for two pianofortes, and Herr Molique in a duet for piano and violin, both compositions of his own. To these Mr. Osborne added (solus) some smaller examples of his recent contributions to the pianoforte-"du salon" - as those who prefer the French to the English tongue, and would shrink from using so vulgar a term as "drawing-room," are used to express it. Among the singers were Misses Claudine and Bells Hampton, nieces of Mr. Osborne, and who, though very young aspirants, were received with great favour, promising, moreover, to become acquisitions to the concert-room. (The Times, Monday, 18 July 1859) TWO other pianoforte concerts have also taken place since our last summary. At one of these Mme. Wartell, from Paris, distinguished herself by her familiarity with Beethoven and Mendelssohn, and the very artistic manner in which selections from some of the choicest works of these great German maestri were rendered. Mr A. Osborne, the béneficiaire in the second instance, is too well known to require minute description. Among the many classical items of which his programme was compounded, a sonata of Beethoven's for pianoforte and violin, played by him and Herr Molique. appeared to give unlimited satisfaction. A duet also, for two pianofortes, in which Mr Lindsay Sloper took part, came in for a large measure of approval. The singers on this occasion were the Misses Claudine and Bella Hampton. (The Critic, Saturday, 23 July 1859) Whilst speaking of concerts, we must not omit to record Mr. Osborne's, at the Hanover Square Rooms. Mr. Osborne is one of our most accomplished pianists and composers for the pianoforte, and at his concert (consisting of classical and modern music), he shone in both capacities. Mr. Lindsay Sloper and M. Molique were among the stars on the occasion, and the duett of the gifted and interesting vocalists, the Misses Claudine and Belan[?] Hampton, furnished another agreeable feature of the concert. The young ladies are Mr. Osborne's nieces, and they have evidently received an excellent musical education. (The Ladies' Treasury: An Illustrated Magazine of Entertaining Literature, Monday, 1 August 1859) Monday, 4 July 1859 : Mr. Julius Benedict's Annual Morning Concert at St. James's Hall, Piccadilly. MR. BENEDICT'S CONCERT. On Monday, a large audience assembled to do Mr. Benedict honour at his morning concert in the St. James's Hall. The vocalists and instrumentalists included most of those whose names are so dear to the occupants, not only of area seats and sofa stalls, but of dress circle and private boxes. In other words, the stage and the concert room united to afford Mr. Benedict's friends a very delightful morning. Mesdames Guarducci and Sarolta (place aux dames!) lent their aid, the former giving great pleasure with her lovely voice and expressive singing -- the latter failing to charm ears so well as eyes. Madame Clara Novello gave an air of Bach's, for the first time in public, accompanied on the violoncello by Signor Piatti; also the "'Ave Maria," with female chorus, from the Lorely of Mendelssohn. This met with an encore. Something quite new to us was the very charming singing of Mdlle. Artôt. This lady possesses a rich and beautiful mezzo-soprano voice, which has been well trained. Her execution is brilliant, and she sings with passion and feeling. In "Rode's air," and "Ah! mon fils," she exhibited all these qualifications, and although she came upon her audience almost by surprise, having, we believe, only sang once before in London, if we may gather any notion from her favourable reception, she will become a bright particular amongst our concert-goers. Another novelty was a selection from the new opera of Meyerbeer, Le Pardon de Ploermel, consisting of songs, duet, and trio, sung by Madame Lemmens Sherrington, and Messieurs Reichart, Jules Lefort, and Stockhausen. There is much promise in it for the success of the entire opera, exhibiting as it does originality, character, and melody. The song "Ombre qui suit mes pas," was charmingly sung by the lady, and warmly applauded. Amongst instrumentalists, we may mention MM. Wieniawski, Piatti, and Leopold des Meyer, as playing their very best. The latter afterwards accompanied Mr. Benedict in a duet for two pianos, both gentlemen deservedly gaining all the applause due to old favourites. As names not yet mentioned, we may instance Signor Mongini, who in some parts of "Sperto Gentil" abused as well as used his magnificent voice; Signor L. Graziani, who did full justice to his name-also Signori Belletti and Marini, joining in the usual amount of popular concert duet, trios, &c. Messrs. Benedict, Arditi, and Lindsay Sloper conducted. Mr. Benedict gives another concert on the 4th of July. (Lloyd's Illustrated Newspaper, Sunday, 19 June 1859) MR. BENEDICT'S CONCERT, On Monday Morning, July 4. ST. JAMES'S HALL. To begin at half-past 1 o'clock. Mesdames Catherine Hayes, Guarducci, Sarolta, Vaneri, Brambilla, Enderssohn, Stabbach, Anna Whitty. (her first appearance in England), Mdlle. Rose Caillag (from the Imperial Opera, Paris), and Mdlle. Victoire Balfe (her first appearance at a Concert); Messrs. Mongini, L. Graziani, Corsi, Badiali, Marini, Fagotti, Lanzoni, Herr Reichardt, and Mr. Santley, Miss Arabella Goddard, M. Leopold de Meyer, M. Louis Engel, M. Paque, and Herr Joachim. Messrs. Arditi, Ganz, and Lindsay Sloper, with full hand and Chorus, will appear on the Occasion. Sofa Stalls, £1 1s.; Balcony Stalls (front row), £1 1s.; second row, 10s. 6d.; Reserved Seats, 10s. 6d.; at all the principal music shops; the Box-office of the Royal Italian Opera Drury-lane; Ticket-office, St. James's Hall, 28, Piccadilly, W.; and Mr. Benedict's Residence, 2, Manchester-square. (The Times, Tuesday, 21 June 1859) (Also: The Times, Wednesday, 22 June 1859; The Musical world, Saturday, 25 June 1859; The Musical world, Saturday, 2 July 1859.) MR. BENEDICT'S CONCERT, On Monday Morning, July 4. ST. JAMES'S HALL. To begin at half-past One o'clock. Mesdames Catherine Hayes, Guarducci, Sarolta, Vaneri, Brambilla, Enderssohn, Stabbach, Anna Whitty. (her first appearance in England), Mdlle. Rose Caillag (from the Imperial Opera, Paris), and Mdlle. Victoire Balfe (her first appearance at a Concert); Messrs. Mongini, L. Graziani, Corsi, Badiali, Marini, Fagotti, Lanzoni, Herr Reichardt, and Mr. Santley, Miss Arabella Goddard, M. Leopold de Meyer, M. Louis Engel, M. Paque, and Herr Joachim. Messrs. Arditi, Ganz, and Lindsay Sloper, with full hand and Chorus, will appear on the Occasion. Sofa Stalls, £1 1s.; Balcony Stalls (front row), £1 1s.; second row, 10s. 6d.; Reserved Seats, 10s. 6d.; at all the principal music shops; the Box-office of the Royal Italian Opera Drury-lane; Ticket-office, St. James's Hall, 28, Piccadilly, W.; and Mr. Benedict's Residence, 2, Manchester-square. (Illustrated London News, Saturday, 25 June 1859) (Also: The Athenaeum, Saturday, 25 June 1859; The Era, Sunday, 26 June 1859; The Era, Sunday, 3 July 1859; The Era, Sunday, 3 July 1859.) MR. BENEDICT'S CONCERT, This Morning, July 4. ST. JAMES'S HALL. To begin at half-past One o'clock. Mesdames Catherine Hayes, Guarducci, Sarolta, Vaneri, Brambilla, Enderssohn, Stabbach, Anna Whitty. (her first appearance in England), Mdlle. Rose Caillag (from the Imperial Opera, Paris), and Mdlle. Victoire Balfe (her first appearance at a Concert); Messrs. Mongini, L. Graziani, Corsi, Badiali, Marini, Fagotti, Lanzoni, Herr Reichardt, and Mr. Santley, Miss Arabella Goddard, M. Leopold de Meyer, M. Louis Engel, M. Paque, and Herr Joachim. Messrs. Arditi, Ganz, and Lindsay Sloper, with full hand and Chorus, will appear on the Occasion. Sofa Stalls, £1 1s.; Balcony Stalls (front row), £1 1s.; second row, 10s. 6d.; Reserved Seats, 10s. 6d.; at all the principal music shops; the Box-office of the Royal Italian Opera Drury-lane; Ticket-office, St. James's Hall, 28, Piccadilly, W.; and Mr. Benedict's Residence, 2, Manchester-square. (Morning Chronicle (1801), Monday, 4 July 1859) MR. VAN PRAAG'S CONCERT.-This came off on Wednesday evening, at St. James's Hall, which was filled in every part. Mr. Van Praag did not hide himself from scrutinising eyes, like the artists, but showed himself liberally in the room, and was congratulated by his numerous friends, who all wished him "a short trip and a merry one." The band was composed, as the bills informed us, of members of the orchestral forces of the Royal Italian Opera and Her Majesty's Theatre. The programme consisted of thirty-four pieces ; the artists, vocal and instrumental, numbered thirty-six, independent of the band ; while the conductors were two, and the accompanyists seven. Mr. Van Praag was naturally anxious to obtain all the talent he could to make his bill look strong, and hence the quality of the entertainment. We need only mention a few particulars. Signor Belletti obtained the only encore of the evening in Ricci's barcarole, "Sulla poppa del mio brick." Among the performances which created the most marked sensation, we may name Thalberg and De Beriot's duet, for piano and violin, on themes from the Huguenots, by Miss Arabella Goddard and M. Sainton ; Wieniawski's violin solo (Russian airs) ; fantasia on the concertina by Signor Regondi; flute solo by Master Drew Dean; and the following vocal pieces Guglielmi's "Gratias Agimus," sung by Madame Anna Bishop ; an air from Handel's Admetus, by Miss Dolby ; M. Randegger's bolero, "Vien della danza e' l'ora," by Madame Rudersdorff; "Martial Song," composed and sung by Madame Enderssohn; Sir Henry Bishop's "Tell me, my heart," by Miss Theresa Jefferies ; ballad, "Oh ! the lark is singing in the sky," by Miss Emily Gresham ; and the Scotch ballad, " Jock o'Hazledean," by Miss Messent. These were all favourably received. Mr. Van Praag has to congratulate himself on the good feeling exhibited towards him by the public, and the best way in which he can show his respect is to hurry back from America as soon as possible. (The Musical world, Saturday, 9 July 1859) (Also: The Musical world, Saturday, 9 July 1859.) London. Mr. BENEDICT has had his annual "monster concert," with the usual success, and the usual enormous length of programme. This time the multifarious medley embraced thirty pieces. Here is an account of it from the Musical World (July 9): The band on the present occasion was, as usual, select and efficient, and executed, under the able direction of Mr. Benedict himself, the overture to Der Freischütz, and Benedict's "Triumphal March," the pieces with which the entertainment respectively commenced and terminated. A selection from Rossini's Stabat Mater was one of the chief vocal attractions. This included "Cujus Animam," sung by Signor Ludovico Graziani; "Quis est homo;" by Madame Catharine Hayes and Madlle. Artôt; "Pro peccatis," by Signor Badiali; and the air with chorus, "Inflammatus," Madame Catharine Haves taking the solo part. There was also a selection from Signor Verdi's operas, commencing with a duo from the Vépres Siciliennes. This introduced to the London public Mademoiselle (why not Miss?) Anna Whitty, a young lady who has lately been creating a considerable sensation at some of the principal theatres in Italy. Miss Whitty was evidently nervous when she began the duet with Signor Mongini, whose powerful voice was enough to make any debutante timid. Subsequently, however, in "Bel raggio," Miss Whitty appeared to have resumed her self-possession. Here the young artist displayed capabilities of no common order. That her voice is powerful and agreeable in quality, and that she exhibits remarkable proficiency in her art, is to say no more than the simple truth. Moreover, she gave evidence of vigor of style, energetic expression, and true dramatic feeling. At the termination of the air Miss Whitty retired from the platform overwhelmed with plaudits. Signor Mongini was encored in "La Donna è mobile; " Mdle. Sarolta and Signor Graziani (with chorus) gave the "Miserere " from Trovatore; and Mdlle. Guarducci sang "Te Romeo t'uccise un figlio," from Bellini's Capuletti e Montecchi, with unsurpassable beauty of voice and the most genuine expression. Mdlle. Victoire Balfe, nothing daunted by these Italian displays, came forward with the Irish ballad, "The last rose of summer," which she sang with so much unaffected sentiment and such true simplicity as to elicit a loud and genuine encore. Mdlle. Artôt followed with the rondo finale from Cenerentola, a very brilliant performance. The largo, "Nacqui, all affarno," had many fine points, and showed the young artist a mistress of cantabile no less than bravura. Herr Reichardt sang "The Troubadour's serenade," a pleasing composition by Mr. Benedict, in his very best manner. Into the merits of the other vocal performances - which were many - we cannot enter, merely naming Madame Enderssohn's execution of her own song, "The laurel," and Miss Stabbach's of "Scenes of my youth," from Benedict's Gipsy's Warning, as worthy all consideration. The instrumental performances, besides those of the band already mentioned, were varied and excellent. Herr Engel played a pasticcio on the harmonium, introducing the serenade from Don Giovanni; Miss Arabella Goddard executed Hummel's "Rondeau Brillant," in B flat (on a Russian theme), and, with Herr Leopold de Meyer, the "Concertante" for two pianofortes, composed expressly for Mr. Benedict's concerts, by the great Austrian pianist; Herr Joachim gave Spohr's "Dramatic Scena," for the violin; M. Paque performed Batta's romanza, "Scul sur la terre," on the violoncello; Mdlle. Marie Moesner executed Godefroid's fantasia, "La Danse des Sylphes," on the harp; and last, not least, Mr. Benedict played his own fantasia for the pianoforte, on "Where the bee sucks." Hummel's "Rondeau Brillant," magnificently played by Miss Goddard, was applauded enthusiastically; the duet for two pianofortes by Herr Leopold de Meyer, one of the most difficult pieces ever composed for the instrument, and executed by both artists with extraordinary brilliancy and finish, was applauded with acclamations; and Spohr's dramatic scena, in which Herr Joachim displayed all the wonders of his execution, although coming so late, created a furore. The chorus sang "Rataplan" from the Huguenots, and the "Hunting Chorus" from Der Freischütz. As appendix we may state, that Madlle. Vaneri, from the Drury Lane Italian Opera, gave the Scotch ballad, "Annie Laurie," with excellent effect. Nor should Mr. Santley be overlooked, not merely for his impressive singing in Beethoven's "Farewell," but for his volunteering to act as substitute for Sig. Fagotti, and giving "Non piú andrai," in such a spirited manner as to make the audience perfectly satisfied with the change. To terminate the "appendix," let us pay a just compliment to Sig. Marini, for his admirable execution of "Madamina." The post of orchestral conductor was shared between Mr. Benedict and Signor Arditi; that of accompanist at the pianoforte between Mr. Benedict and Mr. Lindsay Sloper. (Dwight's journal of music, Saturday, 6 August 1859) Wednesday, 6 July 1859 : Mr. Van Praag's Benefit Concert (Evening) at St. James's Hall, Piccadilly. ST. JAMES'S HALL - Mr. VAN PRAAG'S BENEFIT CONCERT. on Wednesday evening, July 6 to commence at 8 o'clock, when the following ladies and gentlemen, artists, have kindy volunteered their services:- Mme. Rudersdorff, Miss Dolby. Mme. Weiss Miss Poole, Mme. Borchardt, Miss Messent, Miss Lascelles, Miss Palmer, Miss Leffler, Miss Jefferys, Miss Julia Bleaden and Mme. Bishop; Messrs. Wilbye Cooper, Signor Solieri, Tennant, Seiss, Santley, Signor Ciabatta, Thomas, Patey, Mons. Borchardt, and Signor Belletti. Quartet Glee Union, Instrumentalists: Miss Arabella Goddard, Herr Wieniawski, Mons. Sainton, Signor Piatti, Signor Giulio Regondi, Master Drew Dean, and the bands of the Royal Italian Opera, Covent Garden, and of her late Majesty's Theatre. Conductor, Mr. Benedict; Accompanyists, Messrs Lindsay Sloper, Randegger, Campana, Aguilar, Francesco Berger, Pillotti, Ganz. Sofa stalls 5s, balconies, 3s.; gallery, 1s; to be had at all the principal musicsellers; of Keith Prowse and Co., city; and of Mr. Van Praag, at the Anglo-Saxon printing office, 25 Rupert-street, Haymarket. (The Times, Monday, 20 June 1859) (Also: The Times, Tuesday, 21 June 1859; The Musical world, Saturday, 2 July 1859.) ST. JAMES'S HALL.--Mr. VAN PRAAG'S BENEFIT CONCERT on Wednesday, July 6, to commence at Eight o'clock, when the following ladies and gentlemen artistes have kindly volunteered their services:-Mdme. Rudersdorff, Mdme. Enderssohn, Miss Dolby, Mdme. Weiss, Miss Poole, Mdme. Borchardt., Mrs. Santley (late Miss Kemble), Miss Messent, Miss Palmer, Miss Leffler, Miss Jeffreys, Miss Julia Bleaden. Miss Ransford, Miss E. Gresham. Miss Lizzie Wilson, and Mdme. Anna Bishop; Mr. Wilbye Cooper, Signor Solieri, Mr. Tennant, Mr. Weiss, Mr. Santley, Signor Ciabatta. Mr. Thomas, Mr. Patey, Mons. Borchardt, and Signor Belletti; Quartet Glee Union. Instrumentalists; Miss Arabella Goddard, Herr Wieniawski, Mons. Sainton, Signor Piatti, Signor Giulio Regondi, Master Drew Dean, and the bands of the Royal Italian Opera, Covent-garden, and of Her Majesty's late Theatre. Conductor, Mr. Benedict. Accompanyists, Messrs. Lindsey Sloper, Randegger, Campana, Aguilar, Francesco Berger, Pilotti, and Ganz. Sofa Stalls, 5s.; Balcony, 3s.; Area, 2s.; Gallery, 1s.; to be had of the principal musicsellers; of Keith, Prowse. and Co., City; and of Hr. Van Praag, at the Anglo Saxon Printing-office, 25, Rupert-street, Haymarket, (The Athenaeum, Saturday, 25 June 1859) (Also: Morning Chronicle (1801), Thursday, 30 June 1859; The Era, Sunday, 3 July 1859; The Era, Sunday, 3 July 1859; Illustrated London News, Saturday, 25 June 1859.) Monday, 11 July 1859 : Mr. Howard Glover's Grand Morning Concert at Drury-Lane Theatre. MR. HOWARD GLOVER begs to announce that his GRAND MORNING CONCERT for the million will take place at DRURY LANE THEATRE, on Monday, July 11, Artists already engaged:-Madame Rudersdorff, Madame Anna. Bishop,; Madame Lemmens Sherrington, Mdlle Finoli, Miss Palmer, Miss Lascelles, Madame. Weiss, Signor Belletti, Mr Wilbye Cooper, Mr Thomas, Mr G. Perren, Signor Belart, Signor Vialletto, M. Jules Lefort, Signor Cimino, Mdlle R Werner, Miss E Green, Herr Reichardt, and Mr Weiss; Miss Arabella Goddard, Herr Molique, Madame Endersohn, M Sainton, the Brousil Family, Miss Laura Baiter, Miss T Jeffereys, Miss Brougham Miss Horder, Herr Leopold de Meyer, Signor Pezze, Signor Garaldoni and Herr Joachim; also Mdlle Desiree Artôt (prima donna of the Académie Imperiele, in addition to the celebrated Drury Lane company, including Madame Guarducci, Mdlle Vaneri. Mdlle Brambilla, Madame Lemaire, Signor Badiali, Signor Marini, Signor Fagotti, Signor Graziani, and Signor Mongini; and also the celebrated Vocal Association Choir of 200 Voices. The programme will include selections from Howard Glover's "Comala," and "Tam O'Shanter," together with Grand Fantasie, "Souvenir de Naples"- Herr Leopold de Meyer - Leopold de Meyer; Cavatina, "Robert toi que j'aime" - Madame Rudersdorff - Meyerbeer. Aria, "Se Romeo I'ucise" - Mdlle. Guarducci - Bellini. Aria, "Il mio piano e preparato" - Signor Belletti - Rossini. Duetto. "Al capricci della sort" - Mdlle. Guarducci and Signor Belletti - Rossini. Grand Duo Concertante (for two pianos) -Miss Arabella Goddard end Herr Leopold do Meyer - Leopold de Meyer Cavatina.-Signor Violetta. Grand Aria - Signor Belart - Donizetti. Grand Concertante Duet (for two violins) - Herr Joachim and Herr Molique - Molique. National Swedish Melodies - Mdlle. E. Werner (Her first appearance in England). Duet, "Your pardon, Senor" - The Misses Brougham - Balfe. Song, " Let the bright Seraphim" - Madame Anna Bishop - Handel. Grand Aria, "Ombre Legere'" (Le Pardon de Ploermel) - Madame Lemmens Sherrington - Meyerbeer. Flute, "Mazurka Polonaisie" (first time of' Performance) - Herr Reichardt-Reichardt. Duo Concertante, Violoncello and Contrabasso - Signori Pezze and Giraldoni. Grand Trio (from "William Tell") - Signors Mongini, Badiali, and Mongini. Cavatina, "Une Voce" - Mdlle. Finoli - Rossini. Trio, " Viva Bacco!" (for three tenors) -Signors Belart, Graziani and Mongini - Curschmann. Cavatina" O mon fils!" Mdlle. Desiree Artôt - Meyerbeer Cavatina, "Nobil Signor" Mdlle Lemaire - Meyerbeer. Aria, "Di tanti palpiti" - Miss Palmer - Rossini. Recit. and Aria,"Sem'abbandoni"-Mdlle Laura Baxter - Mercadente. Trio, "Te prega, oh madre" - Madame Weiss, Miss Lascelles, and Mr. Wilbye Cooper - Curschmann. Song," Angels roam abroad to-night" - Mr G. Perren. Ballad - Miss Theresa Jeffereys. Aria Quartettino "Raymond and Agnes ") -Madame Weiss, Miss T. Jeffereys, Mr G. Perren, and Mr Thomas - Edward Loder. French Romance, "Ma Barque"-M. Jules Lefort - A. Quidant. Fantasia, The Brousil Family. Aria, Signor Cimino - Bellini. Song "The Laurel " - Madame Enderssohn - Enderssohn. Ballad, "Lily Lye"-Miss Lascelles - G. Macfarren. Grand Duet (from Mose) - Signor Mongini and Signor Badiali - Rossini. Aria, "Non mi dir"-Mddle Vaneri - Mozart. Fantasia (violin) -M Sainton - Sainton. Solo and Chorus, "O Bone Pastor" solo by Mdlle Vaneri - Louis Spohr. Song - Mr Thomas - Hatton. Aria, "Quanto fu" - Miss Horder - Mozart Song, "But here my Muse`'-Mr Wilbye Cooper (violin obligato) -M. Sainton - H. Glover's. "Tam O'Shanter" Trio, "My Lady the Contesa'-Misses Brougham and Madame Enderssohn - Cimarosa. Conductors, Mr Benedict, Mr Lindsay Sloper, Signor Randegger, Mr Francesco Berger, Mr Howard Glover, and Signor Arditi. Commence at One, o'clock precisely ; doors open at Half-past Twelve. On this occasion only the prices will be reduced thus.- Stalls, 5s; Private Box Seats, 4s; Dress Boxes, 3s ; Upper Circle, 2s. 6d. Pit, 2s.; Gallery, 1s. Tickets and places to be had at the Box-office and of all Music-sellers and Librarians. (Leader and Saturday analyst, Jan. 7-June 30, 1860, Saturday, 9 July 1859) (Also: The Era, Sunday, 10 July 1859; Bell's Life in London and Sporting Chronicle, Sunday, 10 July 1859; The Economist, Saturday, 9 July 1859.) MR. HOWARD GLOVER's Concert, on Monday morning, at Drury Lane Theatre, was a "monster," in the truest sense. The selection comprised fifty pieces ; the artists - among whom were some of the most distinguished of the day - were more than forty, independently of the Vocal Association, and the conductors seven, in number. The concert commenced at one, and was not brought to conclusion until long past six. Mr. Howard Glover's Comala was to have been given entire ; but only two of the choruses, Roll, streamy Caron," and "Where are our chiefs of old ?" by the Vocal Association, were really introduced, much to the general disappointment. Mr. Howard Glover was, indeed, unaccountably scrupulous, since his name appeared only three times more. The concert opened with his quartet, "The fatal hour," sung by Madame Weiss, Miss Theresa Jefferys, Mr. George Perren, and Mr. Weiss. About the thirtieth piece was his ballad, "The strain I heard in happier days," sung by Miss Theresa Jefferys ; and about the forty-eighth, the air, "But here, my muse," from Tam O'Shanter, for Mr. Wilbye Cooper - violin obbligato, M. Sainton. In the vocal programme, the features were, the air "Se Romeo," from Bellini's Capuletti ed e Montecchi, by Mdlle. Guarducci; the duet, "Dell' imago," from Semiramide, by the same lady and Signor Belletti ; "Let the bright Seraphim," by Madame Anna Bishop ; the trio from Guillaume Tell, by Signors Mongini, Badiali, and Marini ; "Ombre legere," from Meyerbeer's Pardon de Ploermel, by Madame Lemmens Sherrington ; and the duet from Mosé in Egitto, "Parlar, non spiega," by Signors Mongini and Fagotti. Some of the instrumental pieces were no less attractive. The duo Concertante for two pianofortes, by M. Leopold de Meyer, was marvellously executed by the composer and Miss Arabella Goddard, and received with the utmost enthusiasm, M. Leopold de Meyer having previously played his Grande Fantasia, solus, entitled "Souvenir de Naples," with immense effect. Among the other noticeable instrumental performances, we may mention a violin solo by M. Sainton, and the last movement of Herr Molique's duet for two violins, performed by Herr Joachim and himself with the same effect as at the concert of its composer. The conductors were MM. Benedict, Lindsay Sloper, Francesco Berger, Howard Glover, and Signors Randegger, Biletta, and Arditi. (The Musical world, Saturday, 16 July 1859) Monday, 28 November 1859 : Mr. Arthur Chappell's Monday Popular Concert at St. James's Hall, Piccadilly. ST. JAMES'S HALL, REGENT STREET AND PICCADILLY. MONDAY POPULAR CONCERTS. SECOND SEASON. On MONDAY EVENING, Nov. 28th, 1859, The instrumental Pieces will be selected from the Works of LOUIS SPOHR. Including the celebrated Double Quartet, in F, minor, and the Quartet in G major, op. 146, THE LAST QUARTET of the COMPOSER. PROGRAMME. PART 1. QUARTET in G major, No. 32, op. 146 First time at these Concerts.) M. Sainton, M. Wieniawski, Mr. Doyle, and Sig. Piatti. - Spohr. DUET. "Absence," Miss Fanny Rowland and Madlle Behrens. - Henry Smart. ARIA, "Dalle sua pace," Mr. Sims Reeves. - Mozart. SONG, "Sighs return," Miss Fanny Rowland - Mendelssohn. SONATA in A flat, pianoforte solus, (dedicated to Mendelsohn) (First time at these Concerts.) Mr. Lindsay Sloper. - Spohr PART II. - INTRODUCTION and RONDO, for Pianoforte and violin, in E major. Mr. Lindsay Sloper and M. Sainton. - Spohr. ARIA, "Pieta Signori" Mdlle Behrens, - Stradella. SONG "Adelaida" (By desire) Mr. Sims Reeves. - Beethoven. DUET, "Two Merry Gipsies," Miss Fanny Rowland and Mdlle Behrens. - Macfarren. DOUBLE QUARTET in E minor, No. 3 Op. 87, First Quartet - M. Wieniawski, Herr Ries, Mr. Doyle, Sig. Piatti. Second Quartet - M. Sainton, Herr Goffrie, M. Schreurs, and M. Daubert. CONDUCTOR, Mr. BENEDICT. Sofa Stalls, 5s.; Balcony, 3s.; Unreserved seats, 1s. Tickets to be had of Mr. Austin, at the Hall, 28, Piccadilly; Messrs. Cramer and Co., Hammond, Addison and Co.; Schott and Co.; Ewer and Co.; Simpson, Carter and Octzmann and Co., Regent-street; Brooks, 24, Old Cavendish-street; Bradberry's, London, Crystal Palace, Oxford-street; Duff and Co., 65, Oxford-street; Prowse, Hanway-street; Wylde, Great Hall, Hungerford Market; Chidley, 195 High Holborn; Purday, 50, St. Paul's Church-yard, Keith, Prowse and Co., 48, Cheapside; Turner, 19, Cornhill ; Cook and Co., 6, Finsbury-place ; Mitchell, Leader and Co., Ollivier, Willis, and Chappell and Co., Bond-street. The Concert to commence at, eight o'clock precisely. (The Musical world, Saturday, 26 November 1859) MONDAY POPULAR CONCERTS. The third concert, given last night, was devoted, in the instrumental section, to the works of Dr. Spohr, as a tribute, we may presume, to the memory of the late illustrious master. The selection was highly interesting and novel, and the first appearance of Mr. Sims Reeves this season at the Monday Popular Concerts constituted, it may be supposed, a special attraction. The programme is worthy of insertion in full:- PART I. Quartet, in G major, No. 32, Op. 140, M. Sainton, M. Wieniawski, Mr. Doyle, and Signor Piatti - Spohr. Duet, "Absence," Miss Fanny Rowland ant Mdlle. Behrens - Henry Smart. Aria, " Dalla sua pace," Mr. Sims Reeves - Mozart. Song, "Suleika," Miss Fanny Rowland - Mendelssohn. Sonata in A flat (pianoforte alone), Mr. Lindsay Sloper - Spohr. PART II, Double Quartet, in E minor, No. 3, Op. 87.(First Quartet: M. Wieniawski, Herr Ries, Mr. Doyle, and Signor Piatti. Second Quartet : M. Sainton, Herr Goffrie, M. Schreurs, and M. Daubert.) - Spohr. Aria, "Che faro," Mdlle. Behrens .- Gluck. Songs, "The Savoyard" and "The stolen Kiss," Mr. Sims Reeves - Beethoven. Duet, " Two merry gipsies" Miss Fanny Rowland and Mdlle. Behrens - Macfarren. Introduction and Rondo, for pianoforte and violin, in E major, Mr. Lindsay Sloper and M. Sainton. Spohr. Conductor - Mr. Benedict. Both the quartet in G major and the pianoforte sonata were heard for the first time at St. James's Hall. The quartet is one of Spohr's latest works, and, considering it was written at the advanced age of 70, is indeed a remarkable composition. That the treatment should be masterly is no wonder, but that the ideas should be fresh and spontaneous is matter of large surprise. The Adagio is as pregnant with grace and genuine sentiment as though the author was in the heyday of youth. The pianoforte was not the instrument of Spohr's predilection, and the sonata presented last night, besides being the only composition of the kind attempted by him, makes an item in a very inconsiderable number of works devoted to the pianoforte. The sonata was evidently no labour of love to Spohr. He wrote without his heart, and the result is what might have been expected even from so great a musician. Although admirably executed by Mr. Lindsay Sloper last evening, it created little or no sensation. The vocal music was in some respects unexceptionable. Mr Sims Reeves, who was welcomed with the utmost enthusiasm from all parts of the house, sang three song from Don Giovanni with such inimitable taste and feeling as to elicit a unanimous encore; upon, which, feeling no doubt that the demand was unanimous, he returned without hesitation to the platform and sang Beethoven's "Adelaida." This was a rare turn of good luck for the visitors, Beethoven's song not being announced in the programme, and being acknowledged one of the artist's most splendid accomplishments. Finer, more magnificent singing, indeed, we have seldom heard, and more finished singing it would be impossible to hear. Not only was the applause at the end rapturous, but Mr. Reeves had now and then to undergo interruptions from uncontrollable "bravos" that came from a… (Morning Chronicle (1801), Tuesday, 29 November 1859) PART II. Double quartet In E major. No. 3 (Op. 87) Spohr. Pint quartet. M. Wieniawski. Herr Ries, Mr. Doyle, and Signor Piatti. Second quartet, M. Sainton, Herr Goffrie, M. Schreurs, and M. Daubert. Aria, "Che faro" Gluck. Mdlle. Bebroud. Songs, "The Savoyard," and "The stolen kiss" Beethoven. Mr. Sims Reeves. Duet, "Two merry ripales" Macfarren, Miss Fanny Rowland and Mdlle. Behrens. Introduction and Rondo, for pianoforte and violin In E major, Spohr. - Mr. Lindsay Sloper and M. Sainton. In the illustration of the instrumentation there was, as will be seen in the names mentioned above, a combination of talent that could be rarely met with in any other country in the world. The consequence was that the opening quartet, and the double quartet-which, by the way, terminated instead of beginning the second part-were executed in manner that elicited the enthusiastic applause of the audience, many of whom were amongst the elite of the musical world. Of M. Wieniawski it is unnecessary to say one word as regards his ability as violinist. It is, however, but mere justice to the other artists to state that they were, in every respect, most effective coadjutors in giving effect to Dr. Spohr's compositions. Mr. Sims Reeves never sang more delightfully than he did last evening. He was encored in Mozart's aria, Dalla sua pace," but he substituted in the repeat Beethoven's "Adelaida," which gave with all the grace, finish, and delicacy that could he desired. In "The Savoyard" and "The Stolen Kiss," both of which are genial and attractive specimens of Beethoven's light and playful fancy-when the mood was the great tone-poet to divert himself in sporting with his art-was equally effective. His rendering of The Stolen Kiss " exhibited a true appreciation of the composer's idea, and told so well upon the audience that an enthusiastic encore was the consequence. The gifted vocalist readily complied with the demand made upon him, and the audience were highly gratified. The lady vocalists sang the airs and duets assigned to them tastefully and well, and contributed materially to the complete success of the concert. (Morning Advertiser, Tuesday, 29 November 1859) Monday's Popular Concert was well attended, though the entertainment was, for our tastes, cloying, - made up, so far as its instrumental portion was concerned, of Spohr's music. This, even the skilful recommendations of the analytical programme (which, by the way, is carefully and thoroughly done, without fulsome over-praise) cannot prevail on us to enjoy in so large a quantity. Mr. L. Sloper was the pianist, playing very well. Mr. Sims Reeves was singing finely, and on being encored in Mozart's 'Della sua pace,' answered the call by giving 'Adelaide.' (The Athenaeum, Saturday, 3 December 1859) MONDAY POPULAR CONCERTS. THE third concert attracted the largest audience of the present season, and in some respects was the most interesting which has yet been given. The programme, for reasons not less honourable than obvious, was devoted in its most important branches, to the music of Dr. Spohr, about whom and whose recent lamented demise our readers have been sufficiently well-informed, to spare us the necessity of further allusion to this subject - at least for the present. The selection was as follows :- Quartet in G major, No. 32, Op. 146 - Spohr. Duet, "Absence" - Henry Smart. Aria, "Dalla sua pace" - Mozart. Song, "Suleika" - Mendelssohn. Sonata in A flat, pianoforte solus - Spohr. Part II. Introduction and Rondo, for pianoforte and violin, in E major - Spohr. Aria, "Che faro" - Stradella, Songs "The Savoyard" and "The Stolen Kiss" - Beethoven. Duet, "Two Merry Gipsies" - Macfarren. Double quartet in minor, No. 3 (Op. 87) - Spohr. Conductor - Mr. Benedict. Let us begin with the singers. The duets both perfect in their way) were extremely well sung by Miss Fanny Rowland and Madlle. Behrens. The last-named lady developed good contralto tones in Gluck's "Che faro," and Miss Fanny Rowland gave Mendelssohn's "Zuleika" (No. 2 -- the fine outburst in E major) with a degree of passionate expression which showed at one and the same time her power to appreciate the sentiment of the music, and her capability of executing it in such a manner as to convey to the audience and enlist their sympathies for all that poet - Goethe and composer - Mendelssohn intended. This is great praise, but at the same time, thoroughly well merited. Mr. Sims Reeves surpassed himself, and in "Dalla sua pace" was, as it were, Mario and Reeves fused into one. Such faultless singing could not but elicit enthusiasm, and no wonder there was a unanimous encore. Instead of repeating Mozart's air, however, Mr. Reeves gave "Adelaide," and in such a way as to prove (if a long admitted axiom wanted proof) that he was as familiar with Beethoven as with Beethoven's incomparable predecessor. With the "Savoyard" and the "Stolen Kiss," exquisite trifles from the pen of the same "tone-poet," Mr. Reeves knew equally how to touch to move his hearers. Both were delivered con amore, and with perfect taste, the "Stolen Kiss" (a specimen of ballad singing which Incledon could never have surpassed - presuming Incledon, as tradition asserts, the king of ballad singers) was rapturously encored. Thus Mr. Reeves understood and was understood by his audience, and both were satisfied. The instrumental pieces were, as the Parisian critics say "foudroyants" (thundering-ly good). The magnificent double quartet in E minor, which had so brilliant a success last season, was equally a triumph now. M. Wieniawski, who led the first quartet (choir?) surpassed all his previous efforts. The, Pole though he be, had thoroughly imbued himself with the spirit of the Brunswick altmeister, and played as Spohr would have liked to hear his music played. Then at the head of the second quartet (choir?) was M. Sainton, who knows his Spohr as a true believer knows his Bible, and who reads him as though he had shared the post of Kapellmeister with the illustrious musician during the seven-and-thirty years he groaned in servitude (consoling himself by giving chef-d'oeuvres to the world) under the electoral despotism of Hesse-Cassel. The other performers in the double quartet* were (1st quartet), Herr Ries, Mr. Doyle, and Signor Piatti; (2nd quartet), MM. Goffrie, Schreurs, and Daubert. In the first part M. Sainton (to whom M. Wieniawski, a genuine artist, played "second fiddle " - honouring alike himself and his brother fiddler) led the Quartet in G major, Op. 146 (Spohr's last - a wonder of vigour and freshness, as the editor of the Monday Popular Concerts programmes justly remarks, the advanced age at which it was written considered), and played so superbly that he should have been awarded a laurel crown. Mr. Doyle and Signor Piatti (the violoncello of violoncellos) were both "at their best," and the result may be well imagined. Enthusiasm was the order of the night The pianist was Mr. Lindsay Sloper, whose performance of the very trying and difficult solo sonata was masterly from end to end - as finished and satisfactory to the nice ear as it was émouvant to those who look for the mere poetry of music. Not less charming was the Introduction and Rondo for pianoforte and violin (the violin part being as arduous and exacting as a concerto), played with consummate excellence by Mr. Sloper and M. Sainton. The concert was one uninterrupted series of successes. (The Musical world, Saturday, 3 December 1859) Apart from the consideration of a "Spohr night" at St. James's Hall on Monday last, the third "Popular Concert" was unquestionably the best of the present series. There was an admirably constituted programme, faithfully adhered to; while the number and efficiency of the executants tended to bring out and display every point in it to the greatest advantage possible. A quartet in G major stood at the head of the list. This claimed special attention from the fact of its being the last quartet composed by Spohr, and the first time introduced at St. James's Hall. Though ushered into the world very late in the composer's life, it startles by its freshness, and seems to possess a vigour equal to his quartet in the same key with which the musical profession were familiar nearly half a century ago. The adagio in C minor may be classed among the richest of the kind extant. To quote an anonymous commentator, "No one knew better how to write for the violin than Spohr, and in him is represented a school of playing the most solid, legitimate, and classically pure, if not the most graceful. brilliant, and impetuous." The executants were M. Sainton first violin, Herr Wieniawski second, Mr. Doyle viola, and Sig. Piatti violoncello. A grand sonata in A flat for pianoforte solus (Op. 125), played by Mr. Lindsay Sloper, claimed profound attention from a fact enunciated in the programme of its being the only sonata of the kind that Spohr ever wrote, and from the circumstance of its dedication to Mendelssohn. It is well known that Spohr wrote less for the pianoforte than any of the other great composers, and the reason assigned for this is, that he was no pianist. The sonata, though brilliantly played by Mr. Sloper, failed to create the enthusiasm usually attendant on the works of other celebrated German maestri. In the second part of the programme a grand double quartet in E minor (Op. 87), for four violins, two violas, and two violoncellos, constituted the chief and most attractive item. This form of composition owes its paternity to Spohr. It differs from the otetto of Mendelssohn and the nonetto of Spohr himself, just as the double choruses of Handel may be said to differ from those in which the choir is undivided. Spohr composed three of these double quartets, of which the one in E minor was the last. The executants in the first quartet on Monday were Herr Wieniawski. Herr Ries, Mr. Doyle, and Sig. Piatti; in the second, M. Sainton, Herr Goffrie, M. Schreurs, and M. Daubert. It may probably be remembered that Op. 87 was performed in May last at St. James's Hall, when Herr Joachim was in this country. The success on that occasion induced the directorate of the Monday Popular Concerts to comply with a request for repetition. It was lauded as much on the 28th of November as on the 16th of May, probably more. This is not to be wondered at, as every fresh hearing reveals more and more the ingenuity of the master in the resources of his art. The vocalists were Miss Fanny Rowland, Mlle. Behrens, and Mr. Sims Reeves. There was nothing extraordinary in their portion of the entertainment. The ladies discoursed a duet of Mr. Henry Smart's - a sort of lament for an absent lover - and Macfarren's "Merry gipsies." Reeves was cheered vociferously previous to, and after the singing of, an aria from "Don Giovanni," "Dalla sua pace" (scene 10, act 1); and on his reappearing, "Adelaide" increased the enthusiasm. As on the previous occasions, the Hall was attended by music-lovers of "high and low degree" in the scale, but all equally alive to the value of the entertainment afforded. (The Critic, Saturday, 3 December 1859) MONDAY POPULAR CONCERTS. - The third concert attracted the largest audience of the present season, and in some respects was the most interesting which has yet been given. The programme, for reasons not less honorable than obvious, was devoted in its most important branches, to the music of Dr. Spohr. Quartet in G major, No. 32, Op. 146 - Spohr Duet, "Absence " - Henry Smart Aria, "Dalla sua pace" - Mozart Song, "Suleika" - Mendelssohn Sonata in A flat, pianoforte solus - Spohr Introduction and Rondo, for pianoforte and violin, in E major - Spohr Aria, " Che faro " - Stradella Songs, "The Savoyard" and "The Stolen Kiss" - Beethoven Duet, "Two Merry Gipsies" - Macfarren Double quartet in E minor, No. 3 (Op. 87) - Spohr Conductor-Mr. Benedict. Let us begin with the singers. The duets (both perfect in their way) were extremely well sung by Miss Fanny Rowland and Madlle. Behrens. The last-named lady developed good contralto, tones in Gluck's "Che faro," and Miss Fanny Rowland gave Mendelssohn's "Zuleika" (No. 2, the fine outburst in E major) with a degree of passionate expression which showed at one and the same time her power to appreciate the sentiment of the music, and her capability of executing it in such a manner as to convey to the audience and enlist their sympathies for all that poet - Goethe and composer - Mendelssohn intended. This is great praise, but at the same time, thoroughly well merited. Mr. Sims Reeves surpassed himself, and in "Dalla sua pace" was, as it were, Mario and Reeves fused into one. Such faultless singing could not but elicit enthusiasm, and no wonder there was a unanimous encore. Instead of repeating Mozart's air, however, Mr. Reeves gave "Adelaide." The magnificent double quartet in E minor, which had so brilliant a success last season, was equally a triumph now. M. Wieniawski, who led the first quartet (choir ?) surpassed all his previous efforts. He, Pole though he be, had thoroughly imbued himself with the spirit of the Brunswick altmeister, and played as Spohr would have liked to hear his music played. Then at the head of the second quartet (choir ?) was M. Sainton, who knows his Spohr as a true believer knows his Bible, and who reads him as though he had shared the post of Kapellmeister with the illustrious musician during the seven-and-thirty years he groaned in servitude (consoling himself by giving chef-d'oeuvres to the world) under the electoral despotism of Hesse-Cassel. The pianist was Mr. Lindsay Sloper, whose performance of the very trying and difficult solo sonata was masterly from end to end, as finished and satisfactory to the nice ear as it was emouvant to those who look for the mere poetry of music. Not less charming was the Introduction and Rondo for piano-forte and violin (the violin part being as arduous and exacting as a concerto), played with consummate excellence by Mr. Sloper and M. Sainton. (Dwight's journal of music, Saturday, 31 December 1859) Monday, 5 December 1859 : Mr. Arthur Chappell's Monday Popular Concert [Date Approx] at St. James's Hall, Piccadilly. The allusion to St. James's-hall brings us to the Monday Popular Concerts, the vogue of which goes on increasing. So firm a hold on popular sympathy was possibly never taken in so short a space of time by any new enterprise, which, after all, merely proves that the public knows what is good and will flock to hear it. The quartets of Haydn, Mozart, Beethoven, Spohr, and Mendelssohn promise soon to be as familiar to the masses as the overtures of Weber, Rossini, and Auber. The most profound works are appreciated - witness the reception accorded to the last quartet of Beethoven (In F major, Op. 135 - one of the two so-called "Posthumous"), played (and superbly played) by M. Wieniawski, Herr Ries, Mr. Doyle, and Signor Piatti; the slow movement being unanimously encored and the whole listened to with rapt attention. Witness, too, on the night allotted to Spohr, the immense success of the last quartet bequeathed us by the venerable Alt Meister (in G, Op. 146), and the extraordinary enthusiasm raised by his magnificent double-quartet in B minor, when MM. Wieniawski and Sainton, friendly rivals in art, alternately played first and second fiddle to each other - M. Schreurs dividing the viola with Mr. Doyle, Mr. Goffrie the second violin with Herr Ries, and M. Daubert the violoncello with Signor Piatti, the "great magician" of the instrument. Then, again, the pianoforte pieces - all as unhackneyed as they are admirable - have met with appreciation no less intelligent; the fine energy and intellectual reading of Mr. Charles Hallé, in the second and least-known sonata from Beethoven's Op. 27; the highly finished execution of Mr. Lindsay Sloper in the solo sonata which Spohr dedicated to Mendelssohn (the only one of the master); and the spirit, grace, and brilliancy of Miss Arabella Goddard in Woelfl's celebrated Non Plus Ultra - which she was the first to revive, and hitherto has been the only one to attempt in public (to say nothing of duets and trios for piano and stringed instruments), eliciting, without exception, the applause and admiration to which they were so justly entitled. At the concert M. Paque won general approval as substitute for Signor Piatti (who has been performing with Herr Joachim, at Hanover); and Herr Becker, from Baden-Baden, in quartets by Haydn and Beethoven (the latter from Op. 18, with the graceful and melodious variations), made a thoroughly successful appearance, and showed himself incontestably a classical violinist of eminent capabilities. The vocal music, so admirably accompanied by Mr. Benedict, has been more than usually good, including, among other things, two of the most exquisite airs of Mozart-"`Dalla sua pace" and " Deh per questo" (from Don Giovanni and Tito) - both sung to perfection by Mr. Sims Reeves, and vociferously re-demanded. Herr Reichardt, in "Un aura amorosa" - one of the most beautiful pieces from Cosi fan Tutte - more than confirmed the good opinion he produced at the first concert. Mademoiselle Behrend, the young contralto, sang so carefully as to warrant a belief that her studies are now both serious and diligent; while Miss Fancy Rowland, in Mendelssohn's "Zuleika" (No. 2), obtained a success as unequivocal as it was legitimate. At the concert to-night all the instrumental pieces are to be from Mendelssohn. (The Times, Tuesday, 13 December 1859) |
Wednesday, 9 September, 2020