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1862

Concert Advertisements and Reviews - 1862.

Saturday, 11 January 1862 : Mr. Howard Glover's Grand Annual Concert at St. James's Hall, Piccadilly.

MR. HOWARD GLOVER'S GRAND ANNUAL CONCERT at St. James's Hall will take place on SATURDAY MORNING, Jan. 11, commencing at half past one o'clock, on which occasion Mr. Sims Reeves will appear, for the first time this season; and the celebrated sister vocalists, Madlle. Carlotta Marchisio and Madlle. Barbara Marchisio, who made so great a sensation at Mr. Land's recent concerts at St. James's Hall, will appear for the third time in England, in conjunction with the following artistes: - Madlle. Parepa, Madlle. Jenny Baur, Madlle. Georgi, and Madame Guerrabella ; Madame Laura Baxter, Madlle. Florence Lancia, Miss Augusta Thomson, Mrs. Meres, Miss Stabbach, Madlle. Dario, Miss Hiles, Miss Mina Poole, Miss Camille Chipp. Madame Nita Norrie (pupil of Mr. H. Glover), and Madame Weiss; Miss Eliza Horder (pupil of Mr. H. Glover), Miss Emma Heywood, and Madame Sainton-Dolby; Signor Belletti and Signor Ciampi, Herr Formes, Mr. W. Weiss. Mr. Walton Bolton, Mr. George Perren, Mr. John Morgan, Mr. Lewis Thomas, Signor Eugenio Cosselli, and Mr. Swift. Solo Pianists- Miss Alice Mangold, Mr. John Wilson, Mr. Brinley Richards. Mr. Martin Lazare, and Arthur Napoleon. Solo Violinists - M. Vieuxtemps, M Sainton, and Herr Ole Bull. Violoncello - M. Lamoury. Clarionet - Mr. Lazarus. Conductors-Mr. Benedict, Mr. Lindsay Sloper, Mr. H. Thomas, Mr. W. Ganz, Mr. Land, Mr. Howard Glover, and Mr. Francesco Berger. Sofa stalls, 7s.; reserved seats, 5s.,- balcony, 3s.; body of the hall, 2s. - Tickets to be had at Chappell and Co.'s, 50, New Bond-street ; Cramer and Co.'s, 201, Regent-street ; Hammond's, 214, Regent-street ; Leader and Co.'s, 63, New Bond-street ; Ollivier's, 19, Old Bond-street : Mitchell's, 33, Old Bond-street; Keith, Prowse, and Co.'s, 48, Cheapside: at Austin's ticket-office, St. James's Hall, 28, Piccadilly ; and of Mr. Howard Glover, 28, Alfred-place, Bedford-square. (London Observer, Sunday, 5 January 1862) (Also: Morning Post, Monday, 6 January 1862.)

MR. HOWARD GLOVER'S GRAND ANNUAL CONCERT at St. James's Hall will take place on SATURDAY MORNING, Jan. 11, commencing at half past 1 o'clock, on which occasion Mr. Sims Reeves will appear, for the first time this season; and the celebrated sister vocalists, Madlle. Carlotta Marchisio and Madlle. Barbara Marchisio, who made so great a sensation at Mr. Land's recent concerts at St. James's Hall, will appear for the third time in England, in conjunction with the following artistes: - Madlle. Parepa, Madlle. Jenny Baur, Madlle. Georgi, and Madame Guerrabella ; Madame Laura Baxter, Madlle. Florence Lancia, Miss Augusta Thomson, Mrs. Meres, Miss Stabbach, Madlle. Dario, Miss Hiles, Miss Mina Poole, Miss Camille Chipp. Madame Nita Norrie (pupil of Mr. H. Glover), and Madame Weiss; Miss Eliza Horder (pupil of Mr. H. Glover), Miss Emma Heywood, and Madame Sainton-Dolby; Signor Belletti and Signor Ciampi, Herr Formes, Mr. W. Weiss. Mr. Walton Bolton, Mr. George Perren, Mr. John Morgan, Mr. Lewis Thomas, Signor Eugenio Cosselli, and Mr. Swift. Solo Pianists- Miss Alice Mangold, Mr. John Wilson, Mr. Brinley Richards. Mr. Martin Lazare, and Arthur Napoleon. Solo Violinists - M. Vieuxtemps, M Sainton, and Herr Ole Bull. Violoncello - M. Lamoury. Clarionet - Mr. Lazarus. Conductors-Mr. Benedict, Mr. Lindsay Sloper, Mr. H. Thomas, Mr. W. Ganz, Mr. Land, Mr. Howard Glover, and Mr. Francesco Berger. Sofa stalls, 7s.; reserved seats, 5s.,- balcony, 3s.; body of the hall, 2s. - Tickets to be had at Chappell and Co.'s, 50, New Bond-street ; Cramer and Co.'s, 201, Regent-street ; Hammond's, 214, Regent-street ; Leader and Co.'s, 63, New Bond-street ; Ollivier's, 19, Old Bond-street : Mitchell's, 33, Old Bond-street; Keith, Prowse, and Co.'s, 48, Cheapside: at Austin's ticket-office, St. James's Hall, 28, Piccadilly ; and of Mr. Howard Glover, 28, Alfred-place, Bedford-square. (The Times, Tuesday, 7 January 1862)

Monday, 20 January 1862 : Mr. Arthur Chappell's Monday Popular Concert at St. James's Hall, Piccadilly.

Monday Popular Concerts. Last night's concert, devoted to the works of "various masters," demands a brief record, not merely on account of the general excellence of the performance, -with M. Sainton, as first violin, in one of Haydn's least known quartets (first time), and Mr. Lazarus as clarinet, in Weber's grand duet in B flat, for pianoforte and clarinet, but also on account of the unexpected appearance of our excellent English pianist, Mr. Lindsay Sloper. Mr. Sloper, as all our musical readers are aware, is one of the most finished executants of the day, besides being thoroughly familiar with the "classical" repertory; but the distinction he earned on the present occasion was all the more honourable from the very short notice afforded him that his services would be in request. Owing to the sudden indisposition of the pianist who had been advertised for the sonata with Mr. Lazarus, itself a composition of no ordinary difficulty, and for the far more difficult solo-sonata in C major (terminating with the famous presto, known as the moto perpetuo") it was indispensable either to change the programme, postpone the concert, or supply a deputy. It is hardly too much to say that not one player out of a hundred foreign or English, would have undertaken without preparation to perform these two sonatas before a vast and well-instructed audience; and it speaks volumes both for the advanced cultivation of our native professors generally and for the artistic acquirements of Mr. Sloper in particular, that such a task should not merely have been readily accepted, but triumphantly accomplished. At the conclusion of the solo-sonata Mr. Sloper - as he well deserved to be was unanimously recalled. The vocalists were Miss Banks, who was encored in "Ah, why do we love ?" (from Macfarren's Don Quixote), and Mr. de la Haye. The last piece in the programme was Mozart's beautiful quintet (in A), for clarinet and wind instruments, which has become an established favourite at St. James's Hall. At the next concert we are promised Beethoven's so-called Moonlight Sonata, by Mr. Hallé - and, for the first time - Hummel's justly renowned septet, for pianoforte, with wind and stringed instruments. (The Times, Tuesday, 21 January 1862)

The Monday Popular Concerts are flourishing as they deserve to do, and St. James's Hall was again crowded this week in response to the invitations of the programme. These might well have been deemed, by any true lover of music irresistible. The selection, though not recondite, was in the strictest sense classical; and as for the execution. it was simply that which was to he expected of artists all at the highest point of their several departments. One of Haydn's most beautiful quartets was played by MM. Sainton, Ries, Webb, and Pezze. Weber's grand sonata in E flat, for pianoforte and clarinet, concluded the first portion of the concert, the executants being Mr. Lindsay Sloper and Mr. Lazarus. The first-named gentleman took the place of Miss Arabella Goddard at very short notice, and thus obviated the necessity of a change in the programme. He played not only in the duet, but in the far more difficult solo sonata in C major terminating with the famed presto commonly known as the "moto perpetuo," with consummate taste, feeling, and brilliancy. The last piece in the programme was Mozart's beautiful quintet for clarinet and stringed instruments. On the first performance of this composition at the Monday Popular Concerts we ventured to predict that it would be repeated, not once or twice only, but many times. There seems every reason to believe that this prophecy - a tolerably safe one, we allow-is in a fair way to be verified; for the quintet, announced as being performed "by general desire" was heard last Monday with increased delight, and was applauded with the heartiness which greets an established favourite. The vocal branch of the concert was divided between Miss Banks and Mr. De la Haye. Next Monday we are to have Beethoven's far-famed "Moonlight Sonata." by Mr. Hallé; and for the first time Hummel's renowned septet for wind and stringed instruments, with pianoforte. (Illustrated Times, Saturday, 25 January 1862)

ST. JAMES'S HALL. - Mindless of seven degrees of frost and a biting east wind that prevailed on the 20th inst., the last Monday Popular Concert attracted a large number of persons to the scene of action. Neither Beethoven, Mendelssohn, nor Spohr's name figured among the various composers of which the programme was made up ; but then Haydn, Weber, and Mozart atoned for their exclusion. The eighty-two quartets by the patriarch Haydn still possess an unfailing source of variety, while that in F major (No. 26), played for the first time at St. James's Hall, is not only a fine example of charming melody, but in many instances of original and beautiful counterpoint. In this, as in some other similar productions of the same fertile master, the ideas so new and so varied were not at first universally admired, even in musical Germany; but Haydn lived long enough to know that his reputation as a quartet writer had embraced the circle of the universe, and to this hour, despite all the efforts of fast men of modern times, who substitute extravagance for simplicity, and affectation for genius, the music of Francis Joseph Haydn is ever fresh, and affords delight for its science and invention. Weber's grand sonata, in C major. Op. 241. for pianoforte alone, was played Mr. Lindsay Sloper for Miss Arabella Goddard, suddenly indisposed. This sonata is chiefly remarkable for the final rondo, an incessant outpouring of rapidly iterated semiquavers, not improperly termed "presto moto continuo." A sonata in E flat, for pianoforte and clarionet (Mr. Sloper and Mr. Lazarus), is very rarely introduced to the public, although regarded by the cognoscenti as the most complete and effective work of its kind extant, and one on which Weber prided himself. With such an accomplished pair of executants as those prenamed, it is scarcely necessary to expend a sentence relative to the treatment the sonata met with from beginning to end. Mozart's quintet in A major for clarionet, two violins, viola, and violoncello, "repeated by general desire," may be regarded as the brightest feature in the programme. This really captivating work received full justice at the hands of the artistes to whom it was entrusted, and each movement (the larghetto especially, in D major, con sordini) evoked applause of the hearty and unmistakeable kind. The strings consisted of Messrs. Sainton, Ries, Webb, and Signor Pezze. About the vocal music, the less said the better. Miss Banks was not very happy in her choice of pieces, and M. de la Haye exhibited a pitiable lack of competence both in the favourite tenor song from "Il Flauto Magico," and a fugitive piece of Rossini's, "La Promessa." Hummel's grand septet in D minor, set down for Monday next will amply repay a visit to this fashionable habitation of the Muses. (The Critic, Saturday, 25 January 1862)

A few words must suffice to chronicle another success, not on the stage, but in the concert-room. Miss Arabella Goddard, who was to have appeared at the last "Monday Popular Concert," could not fulfil her engagement owing to sudden indisposition. An artiste of such high standing is not easily replaced, but to prevent disappointment, Mr. Arthur Chappell obtained the aid of Mr. Lindsay Sloper, one of our most accomplished pianists, who at the shortest notice, not only to perform in her stead, but to play both pieces set down for Miss Goddard. They consisted in two sonatas by Weber, one for pianoforte solus, the other for pianoforte and clarionet. On the former we cannot express an opinion having arrived too late to judge of its merits. But of the latter we can state, that Mr. Sloper executed the music with considerable skill, vieing with Mr. Lazarus, our excellent clarionettist, in delicacy, feeling, and brilliancy of tone. The heartiest applause was bestowed upon their performances, and we must own it was most fully deserved. Mozart's celebrated quintett for stringed instruments and clarionet was again repeated on this occasion, M. Sainton the violinist. So beautiful is this composition, that people seemingly never tire of hearing it, and would fain listen to it for ever. It brought the concert to a successful close. (The London review and weekly journal of politics, literature, art, and society, July 7, 1860-June 29, 1861, Saturday, 25 January 1862)

MONDAY POPULAR CONCERTS. - Last night's concert, devoted to the works of "various masters," demands a brief record, not merely on account of the general excellence of the performance - with M. Sainton, as first violin, in one of Haydn's least known quartets (first time), and Mr. Lazarus as clarionet, in Weber's grand duet in E flat, for pianoforte and clarionet, - but also on account of the unexpected appearance of our excellent English pianist, Mr. Lindsay Sloper. Mr. Sloper, as all our musical readers are aware, is one of the most finished executants of the day, besides being thoroughly familiar with the "classical " repertory ; but the distinction he earned on the present occasion was all the more honourable from the very short notice afforded him that his services would be in request. Owing to the sudden indisposition of the pianist who had been advertised for the sonata with Mr. Lazarus, Itself a composition of no ordinary difficulty, and for the far more difficult solo-sonata in C major (terminating with the famous presto, known as the moto perpetuo), it was indispensable either to change the programme, postpone the concert, or supply a deputy. It is hardly too much to say that not one player out of a hundred foreign or English would have undertaken without preparation to perform these two sonatas before a vast and well-instructed audience ; and it speaks volumes both for the advanced cultivation of our native professors generally, and for the artistic acquirements of Mr. Sloper in particular, that such a task should not merely have been readily accepted, but triumphantly accomplished. At the conclusion of the solo-sonata Mr. Sloper - as he well deserved to be - was unanimously recalled. The vocalists were Miss Banks, who was encored in "Ah, why do we love ? " (from Macfarren's Don Quixote), and Mr. De la Haye. The last piece in the programme was Mozart's beautiful quintet (in A), for clarionet and wind instruments, which has become an established favourite at St. James's Hall. At the next concert we are promised Beethoven's so-called Moonlight Sonata, by Mr. Hallé for the first time, Hummel's justly renowned septet, for pianoforte, with wind and stringed instruments. - Times. (The Musical world, Saturday, 25 January 1862)

MONDAY POPULAR CONCERTS.-The programme of last Monday's concert comprised Haydn's quartet in F. No. 26, and Mozart's clarinet quintet in A, both of which were performed to admiration by the executants concerned in them, namely, Sainton, Ries, Webb, Pezze, and Lazarus. The quintet, owing to the exquisite manner in which it has been rendered, has become a special favourite at these concerts, as well as it may, for Mozart has composed few things more beautiful, or more congenial as regards the instrument for which it was principally written. The quartet by Haydn had not been before heard at these meetings, but it is by no means unknown to chamber players. M. Sainton acquitted himself in the leading violin part with that superb ability which always distinguishes him, his tone, finish, and expression being alike irrepreachable. The pianoforte sonata was Weber's in O, the earliest of the four which emanated from the pen of its gifted author. Miss Arabella Goddard was announced to have been the performer, but indisposition prevented her. In this emergency Mr Lindsay Sloper undertook to fill the vacant seat. Like all other pianoforte players, this gentleman, as a matter of course, was well "up" in the concerto in question, and he consequently rendered it with great efficiency-efficiency of a most satisfactory kind, for the responsibilities involved, it need not be remarked, were of uncommmon magnitude. There are few studies written for the pianoforte more difficult than this, and few that demand a more brilliant and more untiring finger. The last movement the well-known "Moto perpetuo," is of an extremely exacting character, but Mr. Lindsay Sloper delivered it with consummate rapidity and energy, and failed neither in exhibiting its form nor its meaning. The clarinet sonata in E flat, by the same composer, was likewise undertaken by Mr. Sloper, at the commencement of the second part, Mr. Lazarus being his unrivalled associate, and with the best success. The vocalists were Miss Bankes and Mr. De la Haye. The lady, in songs by Gluck and Macfarren, corroborated all former good impressions by the purity and unaffectedness of her style; but the gentleman, a tenor, proved voiceless and insufficient, and did not escape condemnation. (London Observer, Sunday, 26 January 1862) (Also: London Observer, Monday, 27 January 1862.)

Of the last "Monday Popular Concert " the Times (Jan. 21.) says: Last night's concert, devoted to the works of "various masters," demands a brief record, not merely on account of the general excellence of the performance, - with M. Sainton, as first violin, in one of Haydn's least known quartets (first time), and Mr. Lazarus as clarionet, in Weber's grand duet in E flat, for pianoforte and clarionet, - but also on account of the unexpected appearance of our excellent English pianist, Mr. Lindsay Sloper. Mr. Sloper, as all our musical readers are aware, is one of the most finished executants of the day, besides being thoroughly familiar with the " classical " repertory; but the distinction he earned on the present occasion was all the more honorable from the very short notice afforded him that his services would be in request. Owing to the sudden indisposition of the pianist who had been advertised for the sonata with Mr. Lazarus, itself a composition of no ordinary difficulty, and for the far more difficult solo-sonata in C major (terminating with the famous presto, known as the moto perpetuo), it was indispensable either to change the programme, postpone the concert, or supply a deputy. It is hardly too much to say that not one player out of a hundred, foreign or English, would have undertaken without preparation to perform these two sonatas before a vast and well-instructed audience: and it speaks volumes both for the advanced cultivation of our native professors generally, and for the artistic acquirements of Mr. Sloper in particular, that such a task should not merely have been readily accepted, but triumphantly accomplished. At the conclusion of the solo-sonata Mr. Sloper - as he well deserved to be - was unanimously recalled. The vocalists were Miss Banks, who was encored in "Ah, why do we love?" (from Macfarren's Don Quixote), and Mr. De la Haye. The last piece in the programme was Mozart's beautiful quintet (in A), for clarionet and wind instruments, which has become an established favorite at St. James's Hall. At the next concert we are promised Beethoven's so-called Moonlight Sonata, by Mr. Hallé - and, for the first time, Hummel's justly renowned septet, for pianoforte, with wind and stringed instruments. (Dwight's journal of music, Saturday, 22 February 1862)

Tuesday, 21 January 1862 : 36th Middlesex Rifles's Evening Concert at Bayswater Athenaeum, Westbourne-Grove.

VOLUNTEER MOVEMENTS. 36th MIDDLESEX RIFLES. Last evening a concert in aid of the funds of the band attached to the above corps, was held at the Bayswater Athenaeum, Westbourne-grove. The hall was crowded with a fashionable audience, and the programme provided by the committee was a liberal one, comprising the following names:- Vocalists - Mddle. Florence Lancia, Miss Clara. Fisher, Miss Fitzwalter, Miss Stabbach, Mr. Wilbye Cooper, and Mr. Lewis Thomas. Instrumentalists - piano-forte, Miss Arabella Goddard; harp, Miss L. V. Trust and Sir. Trust; Conductors - Mr. Lindsay Sloper and Mr. Frank Mori. The band of the corps was in attendance and performed some selections in good style. (Morning Chronicle (1801), Wednesday, 22 January 1862)

THIRTY-SIXTH MIDDLESEX (PADDINGTON VOLUNTEERS). On Tuesday evening a grand concert was given by this rifle corps at the ball of the Bayswater Athanaeum, Westbourne-grove, aid of the band fund, and came off with the greatest success. The entertainment was under the distinguished patronage ot Lady M. B. Hope, Lady Kindersley. Lady Havelock, Dowager Lady Duckett, Lady Nicholls, Lady Marshall, Lady C. Bathurst, Lady Prior, Lady Sleigh, Lady Crossley, Mrs. Admiral Cator, Mrs. Colonel Wood, Mrs. General Willoughby, and host of other ladies, the majority of whom were among the highly fashionable audience that crowded all the available space of the hall. The vocalists were Mdlle. Florence Lancia, Miss Clara Fraser Miss Fitzwilliam (her first appearance), and Miss Stabbach, Mr. Wilbye Cooper, and Mr. Lewis Thomas. The The instrumentalists were Miss Arabella Goddard, Miss L. V. Trust, and Mr. Trust, and the band of the regiment. Messrs. Lindsay Sloper and Frank Mori were the conductors. The programme was on an extensive scale. Notwithstanding the limited space the hall, … [Abridged] (Morning Advertiser, Thursday, 23 January 1862)

Monday, 10 February 1862 : Mr. Arthur Chappell's Monday Popular Concert at St. James's Hall, Piccadilly.

MONDAY POPULAR CONCERT S, St. James's Hall.- On MONDAY EVENING next, Feb. 10, the programme will include Beethoven's celebrated Pastoral Sonata for Pianoforte Solo, and the Kreutzer Sonata for Violin and Pianoforte, by the same master. Pianoforte, Mr. Charles Hallé ; violin, M. Sainton ; violoncello, Signor Piatti. Vocalists -Miss Palmer and Mr. Weiss. Conductor- Mr. Lindsay Sloper. Sofa stalls, 5s. ; balcony, 3s. ; admission, 1s. (Morning Post, Tuesday, 4 February 1862) (Also: The Times, Saturday, 8 February 1862; Saturday review of politics, literature, science and art, Saturday, 8 February 1862; Morning Post, Saturday, 8 February 1862; London Evening Standard, Saturday, 8 February 1862; Daily News, Saturday, 8 February 1862; Illustrated London News, Saturday, 8 February 1862; The Times, Friday, 7 February 1862; Morning Post, Friday, 7 February 1862; The Times, Thursday, 6 February 1862; Morning Post, Thursday, 6 February 1862; The Times, Wednesday, 5 February 1862; Morning Post, Wednesday, 5 February 1862; Daily News, Friday, 7 February 1862.)

ST. JAMES'S HALL, Regent Street and Piccadilly. MONDAY POPULAR CONCERTS, SEVENTY - FOURTH CONCERT, on MONDAY EVENING, February 10th, 1862, MR. CHARLES HALLE, M. SAINTON, and Signor PIATTI will appear. PROGRAMME. PART I. - Quintet in D major, for two Violins, two Violas, and Violoncello. MM. SAINTON, L. RIES, H. WEBB, HANN and PIATTI (Mozart). Song, "L'addio " Miss PALMER (Mozart). Song. The Star of the Valley," Mr. WEISS (Henry Smart). Pastoral Sonata, in D, Op. 23, Mr. CHARLES HALLE (Beethoven). PART II - Sonata in A major, for Violoncello, with Pianoforte accompaniment, Signor PIATTI and Mr. LINDSAY SLOPER (Boccherini). Song. "Sleep, heart of mine," Miss PALMER (Henry Smart). Song, "Per la gloria," Mr. WEISS (Buononcini). Sonata, in A major. Op. 47, for Violin and Pianoforte, dedicated to Kreutzer, Mr CHARLES HALLE and M. SAINTON (Beethoven). Conductor, MR. SLOPER. To commence at eight o'clock precisely. NOTICE. - It is respectfully suggested that such persons as are not desirous of remaining till the end of the performance can leave either before the commencement of the last instrumental piece, or between any two of the movements, so that those who wish to hear the whole may do so without interruption. Between the last vocal piece and the Sonata, an interval of Five Minutes will be allowed. The Concert will finish not later than half-past ten o'clock. Stalls, 5s.; Balcony, 3s.; Admission, 1s. Tickets to be had of MR. AUSTIN, at the Hall, 28 Piccadilly ; CHAPPELL and Co., 50 New Bond Street, and of the principal Musicsellers. (The Musical world, Saturday, 8 February 1862)

MONDAY POPULAR CONCERT S, St. James's Hall.- THIS EVENING (MONDAY), Feb. 10, the programme will include Beethoven's celebrated Pastoral Sonata for Pianoforte Solo, and the Kreutzer Sonata for Violin and Pianoforte, by the same master. Pianoforte, Mr. Charles Hallé ; violin, M. Sainton ; violoncello, Signor Piatti. Vocalists -Miss Palmer and Mr. Weiss. Conductor- Mr. Lindsay Sloper. Sofa stalls, 5s. ; balcony, 3s. ; admission, 1s. (Daily News, Monday, 10 February 1862) (Also: Morning Post, Monday, 10 February 1862.)

St. James's Hall was well filled last evening, on the occasion of the 10th concert of the season. Mr. Benedict was, of course, absent but his place was supplied by Mr, Lindsay Sloper, who, in addition to accompanying the vocal music, assisted Signor Piatti in a sonata for-violoncello, by Boccherini. This sonata, by the way, was quite the success of the evening, and Signor Piatti was twice recalled at the conclusion, the audience being evidently desirous that the last movement should be repeated. There was no quartett. Probably this was the first concert of the seventy-four already given, at which so remarkable an omission took place. There was a quintett, Mozart's No. 4, in D, played excellently by MM. Sainton, Ries, Webb, Hann, and Piatti, and, for the finale to the concert, we had the famous Kreutzer. sonata of Beethoven, the execution of which was confided to Mr. Charles Hallé, and M. Sainton. The former of these artists gave Beethoven's "Sonata Pastorale" in unexceptionable style. The vocal music was of the first order, but was not altogether favourably received. Miss Palmer sang Mozart's "Addio," with all the pathos the song demands, and "Sleep, heart of mine," by Henry Smart. Miss Weiss also gave a song by this English composer, and Buononcini's "Per Ia gloria," and was much applauded. (Morning Chronicle (1801), Tuesday, 11 February 1862)

ST. JAMES'S HALL. - Perfection is of slow growth, and in the art of music especially so. When found, it ought to be duly estimated, and there ae good reasons for believing it to be so, with reference to the concerns of the Monday Popular Concerts, for, regardless of counter-attractions, there is sure to be found within the walls of this fashionable temple a large and appreciative auditory at each and every weekly summons . From the excellence invariably displayed by the instrumentalists selected from time to time by Mr. Arthur Chappell, chamber music is vastly increasing its circle of admirers. The mysterious web surrounding the compositions of classic masters becomes by degrees unwoven, and if the listener cannot at all times, even with the aid of an explanatory programme, fully comprehend the idea intended, he is furnished with a good outline - one broad enough for the play of a vigorous fancy - and thus to some extent he may realise the "thoughts that breathe and the notes that burn." On no previous occasion has a more satisfactory entertainment been afforded than on that of the 10th inst. Novelty was less its characteristic than general excellence. Hence, "by express desire," the Kreutzer Sonata, for pianoforte and violin (Mr. Charles Hallé and M. Sainton), and the Pastoral Sonata, for pianoforte alone - two compositions quite sufficient to confer on Beethoven the wreathe of immortality, if he had not compassed another bar. But in addition to these was Mozart's delicious quintet in D major (No. 4), played once before, and received then, as now, with general enthusiasm. A sonata in A for violoncello, with pianoforte accompaniment, proved to be a novelty of the most pleasurable kind. Sig. Piatti has before shown a marvellous liking for the compositions of Boccherini ; and, as the sonata in question offered many temptations to a violoncellist of the first class, he took the opportunity, not only of exhibiting his mastery over the instrument, but of imparting an unexpected charm. One of the movements received so hearty and general an encore that it could only be silenced by a repetition. Miss Palmer and Mr. Weiss were the vocalists of the evening. Mr. Lindsay Sloper presided at the pianoforte in lieu of Mr. Benedict whose opera at Covent Garden claimed his attendance there. (The Critic, Saturday, 15 February 1862)

Monday Popular Concerts.- The programme of last Monday (tenth concert) was selected from various masters, the instrumental portion including Mozart's string Quintet (No. 4) in D major, Beethoven's Sonata Pastorale, Boccherini's Sonata in A, for violoncello and pianoforte, (first lime), and the never-tiring "Kreutzer" - the last "by unanimous desire:" there was consequently no "quartet." Messrs. Sainton, Ries, Webb, Hann and Signor Piatti being executants, the quintet "went" to perfection, the adagio coming in for the warmest approbation. Nor was Mr. Charles Hallé's rendering of the "Pastoral Sonata " less cordially admired, the rondo especially commanding the admiration of his hearers. Signor Piatti's marvellous playing in the sonata of Boccherini raised an enthusiasm which would hardly be satisfied by his returning to the orchestra to acknowledge the compliment. Mr. Lindsay Sloper's rendering of the pianoforte part was no less admirable. The accompaniments and the songs were also given by this gentleman in his best manner, which is equivalent to saying "on ne peut mieux." Miss Palmer and Mr. Weiss shared the vocal music, the lady being heard to the best advantage, both in Mozart's "Addio " and Mr. Henry Smart's plaintive song, "Sleep heart of mine;" while Mr. Weiss's noble voice and thoroughly artistic delivery produced a marked effect in a manuscript song also by Henry Smart - "Star of the Valley" (another genuine inspiration) and "Per la gloria" of Buononcini. The very few who did not remain until the end missed a rich treat in the "Kreutzer" Sonata, the performance of which by MM. Hallé and Sainton was such as to delight all present. At the next concert Cherubini's third quartet (in C) will be given for the first time, and Mr. Sims Reeves make his first appearance this season. (The Musical world, Saturday, 15 February 1862)

Wednesday, 26 February 1862 : Concert for the Benefit of the Bereaved of the Hartley Colliery Accident at St. James's Hall, Piccadilly.

THE HARTLEY COLLIERY ACCIDENT. - A CONCERT will-take place at St. James's-hall on Wednesday, Feb. 26. The under-named artistes have generously granted their valuable assistance. Vocalists:- Mesdames, Louisa Vinning, Florence Lancia, Palmer, Steele, Poole, Stabbach, Augusta Thompson, Lascelles, and Merest, the Sisters Alexandri; Messrs. Tennant, Perren, Morgan, Th. Distin, and the Orpheus Glee Union. Instrumentalists :- Miss Eleanor Ward; Messrs Benedict, Ernst Pauer, Lindsay Sloper, Wilhelm Ganz, Brinley Richards, Harold Thomas, Francesco Berger, A. L. Tamplin, Aptommas, Paque, Sidney Pratten, and Ole Bull, who will compose a Grand descriptive fantasia for the Occasion. Further particulars will be duly announced. Sofa stalls, 7s. 6d.; balcony stalls, 5s.; area seats, 3s.; lower gallery, 2s.; upper gallery, 1s. - at the Hall, and at all the principal music warehouses. Subscriptions in behalf of a general fund will be also most thankfully received by Robert W. Ollivier, musicseller and publisher. 19, Old Bond-street, Piccadilly, W. (The Times, Monday, 3 February 1862) (Also: The Times, Friday, 7 February 1862; The Times, Saturday, 22 February 1862; The Times, Friday, 21 February 1862; The Times, Thursday, 20 February 1862; The Times, Saturday, 15 February 1862; The Times, Monday, 24 February 1862; The Times, Thursday, 13 February 1862; The Times, Thursday, 6 February 1862; The Times, Wednesday, 5 February 1862; The Times, Tuesday, 4 February 1862; The Times, Tuesday, 11 February 1862; The Times, Saturday, 8 February 1862.)

HARTLEY COLLIERY ACCIDENT. A CONCERT for the Benefit of the Bereaved will take place at St. James's Hall, on WEDNESDAY, Feb. 26. The under-named artistes have generously granted their valuable assistance: - Vocalists: Mesdames Louisa Vinning, Florence Lancia, Stabbach, Augusta Thompson, Poole, Messent, Georgi, Wilkinson, Henderson, Lascelles, and Merest, the Sisters Allessandri ; Messrs. Tennant, Morgan, Th. Distin, Walworth, and the Orpheus Glee Union. Instrumentalists: Miss Eleanor Ward; Messrs. Benedict, Ernst Paver, Lindsay Sloper, Wilhelm Ganz, Harold Thomas, Francesco Berger, A. L. Tamplin, Paque, Sidney Pratten, and Ole Bull, who will compose a grand descriptive fantasia for the occasion. Sofa stalls, 7s. 6d.; balcony stalls, 5s.; and seats, 3s.; lower gallery, 2s.; upper gallery, 1s.- of Mr. Austin, at the Hall, and at all the principal music warehouses. Subscriptions in behalf of a general fund will be also most thankfully received by the above, and Robert W. Ollivier, music-seller and publisher, 19, Old Bond-street, Piccadilly, W. (Morning Post, Friday, 21 February 1862)

ST. JAMES'S HALL, - WEDNESDAY, Feb. 26. - Messrs. Ernst, Pauer, Harold Thomas, Lindsay Sloper, and Wilhelm will perform Ascher's Piano Quartet … at the CONCERT for the BENEFIT of the SUFFERERS the HARTLEY COLLIERY ACCIDENT … [Abridged] (Illustrated London News, Saturday, 22 February 1862)

HARTLEY COLLIERY CONCERT, for the Benefit of the Bereaved, at St. James's Hall, on WEDNESDAY, Feb. 26.- The BRASS BAND of the St. George's Volunteer Rifle Corps, under the direction of Herr Stoeckel, will perform the Traviata Valse and the St. George's Slow March, in addition to the attractions already announced. - Tickets and programmes at the Hall ; and all the music warehouses. JAMES'S HALL, WEDNESDAY, Feb. 26. -Messrs. Ernst Paver and Harold Thomas. Lindsay Sloper and W. Ganz will perform Ascher's Piano Quartet "Concordantia," at the CONCERT for the Benefit of the Sufferers by the Hartley Colliery Accident.- Tickets and programmes at the Hall ; and all the musicsellers. GRAND CONCERT, at St. James's Hall, for the Benefit of the Hartley Colliery Sufferers, on WEDNESDAY EVENING next. (Morning Post, Monday, 24 February 1862)

THE HARTLEY COLLIERY ACCIDENT.- A CONCERT for the benefit of the Bereaved will take place at ST. JAMES'S HALL, To-morrow (Wednesday). The under-named artistes have generously granted their valuable assistance. Vocalists: - Mesdames Louisa Vinning, Florence Lancia, Stabbach, Augusta Thompson, Poole. Messent, Georgi, Wilkinson, Henderson, Lascelles, and Merest, the Sisters Allessandri; Messrs. Tennant, Morgan, Th. Distin, Walworth, and the Orpheus Glee Union. Instrumentalists:- Miss Eleanor Ward, Messrs. Benedict, Ernst Paver, Lindsay Sloper, Wilhelm Ganz, Harold Thomas, Francesco Berger, A. L. Tamplin, Paque, Sidney Pratten, and Ole Bull, who will compose a grand descriptive fantasia for the occasion. Sofa stalls, 7s. 6d.; balcony stalls. 5s.; area seats, 3s.: lower gallery, 2s. : upper gallery, 1s. - of Mr. Austin, at the Hall; and at all the principal music warehouses. Subscriptions in behalf of a general fund will be also most thankfully received by the above, and Robert W. Ollivier, musicseller and publisher, 19, Old Bond-street, Piccadilly, W. (Morning Post, Tuesday, 25 February 1862) (Also: The Standard, Tuesday, 25 February 1862; Daily News, Tuesday, 25 February 1862.)

THE HARTLEY COLLIERY ACCIDENT. - A CONCERT will-take place at St. James's-hall To-morrow, Feb. 26. The under-named artistes have generously granted their valuable assistance. Vocalists:- Mesdames, Louisa Vinning, Florence Lancia, Palmer, Steele, Poole, Stabbach, Augusta Thompson, Lascelles, and Merest, the Sisters Alexandri; Messrs. Tennant, Perren, Morgan, Th. Distin, and the Orpheus Glee Union. Instrumentalists :- Miss Eleanor Ward; Messrs Benedict, Ernst Pauer, Lindsay Sloper, Wilhelm Ganz, Brinley Richards, Harold Thomas, Francesco Berger, A. L. Tamplin, Aptommas, Paque, Sidney Pratten, and Ole Bull, who will compose a Grand descriptive fantasia for the Occasion. Further particulars will be duly announced. Sofa stalls, 7s. 6d.; balcony stalls, 5s.; area seats, 3s.; lower gallery, 2s.; upper gallery, 1s. - at the Hall, and at all the principal music warehouses. Subscriptions in behalf of a general fund will be also most thankfully received by Robert W. Ollivier, musicseller and publisher. 19, Old Bond-street, Piccadilly, W. ST. JAMES'S-HALL, To-morrow, Feb. 26.-Messrs Ernst Pauer and Harold Thomas, Lindsay Sloper, and W. Ganz will perform Ascher's Piano Quartet "Concordantia," at the CONCERT for the Benefit of the Sufferers by the Hartley Colliery Accident. Tickets and programmes at the Hall; and all the musicsellers'. (The Times, Tuesday, 25 February 1862)

THE HARTLEY COLLIERY ACCIDENT.- A CONCERT for the benefit of the Bereaved will take place at ST. JAMES'S HALL, THIS (Wednesday) EVENING Feb. 26th. The under-named artistes have generously granted their valuable assistance. Vocalists: - Mesdames Louisa Vinning, Florence Lancia, Stabbach, Augusta Thompson, Poole. Messent, Georgi, Wilkinson, Henderson, Lascelles, and Merest, the Sisters Allessandri; Messrs. Tennant, Morgan, Th. Distin, Walworth, and the Orpheus Glee Union. Instrumentalists:- Miss Eleanor Ward, Messrs. Benedict, Ernst Paver, Lindsay Sloper, Wilhelm Ganz, Harold Thomas, Francesco Berger, A. L. Tamplin, Paque, Sidney Pratten, and Ole Bull, who will compose a grand descriptive fantasia for the occasion. Ollivier's Quadrille Band, of Twenty Performers, under the direction of Mr. Nicholas Henderson, and the Brass Band of the St. George Rifle Volunteers, under direction of Herr Stoeckel. Sofa stalls, 7s. 6d.; balcony stalls. 5s.; area seats, 3s.: lower gallery, 2s. : upper gallery, 1s. - of Mr. Austin, at the Hall; and at all the principal music warehouses. Subscriptions in behalf of a general fund will be also most thankfully received by the above, and Robert W. Ollivier, musicseller and publisher, 19, Old Bond-street, Piccadilly, W. (Morning Chronicle (1801), Wednesday, 26 February 1862)

THE HARTLEY COLLIERY ACCIDENT.- A CONCERT for the benefit of the Bereaved will take place at ST. JAMES'S HALL, THIS EVENING (Wednesday). The under-named artistes have generously granted their valuable assistance. Vocalists: - Mesdames Louisa Vinning, Florence Lancia, Stabbach, Augusta Thompson, Poole. Messent, Georgi, Wilkinson, Henderson, Lascelles, and Merest, the Sisters Allessandri; Messrs. Tennant, Morgan, Th. Distin, Walworth, and the Orpheus Glee Union. Instrumentalists:- Miss Eleanor Ward, Messrs. Benedict, Ernst Paver, Lindsay Sloper, Wilhelm Ganz, Harold Thomas, Francesco Berger, A. L. Tamplin, Paque, Sidney Pratten, and Ole Bull, who will compose a grand descriptive fantasia for the occasion. Ollivier's Quadrille Band, of Twenty Performers, under the direction of Mr. Nicholas Henderson, and the Brass Band of the St. George Rifle Volunteers, under direction of Herr Stoeckel. Sofa stalls, 7s. 6d.; balcony stalls. 5s.; area seats, 3s.: lower gallery, 2s. : upper gallery, 1s. - of Mr. Austin, at the Hall; and at all the principal music warehouses. Subscriptions in behalf of a general fund will be also most thankfully received by the above, and Robert W. Ollivier, musicseller and publisher, 19, Old Bond-street, Piccadilly, W. (The Standard, Wednesday, 26 February 1862) (Also: Morning Post, Wednesday, 26 February 1862.)

THE HARTLEY COLLIERY ACCIDENT. - A CONCERT will-take place at St. James's-hall This Evening, Feb. 26. The under-named artistes have generously granted their valuable assistance. Vocalists:- Mesdames, Louisa Vinning, Florence Lancia, Palmer, Steele, Poole, Stabbach, Augusta Thompson, Lascelles, and Merest, the Sisters Alexandri; Messrs. Tennant, Perren, Morgan, Th. Distin, and the Orpheus Glee Union. Instrumentalists :- Miss Eleanor Ward; Messrs Benedict, Ernst Pauer, Lindsay Sloper, Wilhelm Ganz, Brinley Richards, Harold Thomas, Francesco Berger, A. L. Tamplin, Aptommas, Paque, Sidney Pratten, and Ole Bull, who will compose a Grand descriptive fantasia for the Occasion. Further particulars will be duly announced. Sofa stalls, 7s. 6d.; balcony stalls, 5s.; area seats, 3s.; lower gallery, 2s.; upper gallery, 1s. - at the Hall, and at all the principal music warehouses. Subscriptions in behalf of a general fund will be also most thankfully received by Robert W. Ollivier, musicseller and publisher. 19, Old Bond-street, Piccadilly, W. ST. JAMES'S-HALL, This Evening, Feb. 26.-Messrs Ernst Pauer and Harold Thomas, Lindsay Sloper, and W. Ganz will perform Ascher's Piano Quartet "Concordantia," at the CONCERT for the Benefit of the Sufferers by the Hartley Colliery Accident. Tickets and programmes at the Hall; and all the musicsellers'. (The Times, Wednesday, 26 February 1862) (Also: The Times, Wednesday, 26 February 1862.)

ST. JAMES'S HALL. Another concert was given last evening for the benefit of sufferers by the recent accident at Hartley Colliery. It appeared to us to be rather inadequately supported, but as the subscriptions to the fund have reached so large an amount, the public probably cared not to support one of those miscellaneous musical performances, which, now-a-days, seem to stand in the way of the art's progress. Either the first or second part of the concert would have sufficed for one evening's programme - an evil which arose, we expect, from the large amount of assistance offered by singers and instrumentalists. At half-past eleven the second part was about half finished, so the finale was probably reached after midnight, and performed to comparatively empty benches. The following artists gave their services:- Madame Louisa Vinning, Madlle. Florence Lancia, Miss Stabbach, Miss Augusta Thomson, Miss Eleanora Wilkinson, Madlle, Georgi, Miss Robertine Henderson, The Sisters Alessandri, Miss Poole, Miss Lascelles, Miss Messent, Mrs. Frederic Dickens, Mrs. Merest, Mr. Tennant, Mr. John Morgan, Mr. Theodore Dittin, Mr. Wallworth, the members of the Orpheus Glee Union, Miss Eleanor Ward, Mr. Benedict, Herr Ernst Pauer, Mr. Lindsay Sloper, Mr. Harold Thomas, Mr. Francesco Berger, Herr Wilhelm Ganz, Mr Augustus Tamplin, M. Ole Bull, M. Paque, and Mr. Sidney Pratten. The brass band of the St. George's Volunteer Rifle Corps was in attendance, under the direction of Herr Stoeckel, and Ollivier's full quadrille band of twenty performers, under the direction of Mr. Nicholas Henderson. The programme was, as we have observed, so lengthy, that it would be impossible to give more than a cursory notice of the performance. M. Ole Bull composed a characteristic fantasia for the occasion. Mdlle. Lancia was much applauded for her delivery of the grand scena from Der Freischütz. A quartett for two pianofortes (Archer) was spiritedly played by MM. Pauer, Harold Thomas, Lindsay Sloper, and Ganz. Miss Robertine Henderson was successful in a "Gondoliera" by Pauer. Miss Eleonora Wilkinson and M. Ole Bull were recalled after Handel's "Sweet bird," and Miss Eleanor Ward experienced a similar compliment after her pianoforte solos, a " Spinnlied" by Litolff, and a galop by Ganz. The performances of the bands afforded an agreeable relief to the long string of vocal pieces. (Morning Chronicle (1801), Thursday, 27 February 1862)

On Wednesday evening, a concert was given at St. James's Hall, on behalf of the bereaved sufferers the accident Hartley Colliery, but regret to state that the audience was not so large could have been desired -the hall not being more than two-thirds filled. The artistes gave their services gratuitously, among whom were Louisa Vinning, Miss Stabbach, Miss Eleonora Wilkinson, Miss Poole, Messrs. Distin, Benedict, Pauer, Lindsay Sloper, M. Paque, and the Orpheus Union. There being no less than [?] pieces performed, it is impossible to particularise - but cannot help making special mention of a Song, "Sweet Bird," which was sung by Miss Wilkinson, M. Ole Bull accompanying the lady with a violin obligato. (Bell's Weekly Messenger, Saturday, 1 March 1862) (Also: Bell's Weekly Messenger, Monday, 3 March 1862.)

A Concert was given on Wednesday evening, the 26th ult, at St. James's Hall, on behalf of the Hartley Colliery Fund. It was a veritable monster entertainment, but did not prove eminently attractive notwithstanding. The singers, players and items of the programme were so numerous as to preclude the possibility of our doing more than mentioning a few of the most prominent performances. Among the vocalists Mad. Florence Lancia was especially noticeable for her fine expressive rendering of the scena "Softly sighs " from Der Frieschutz; Miss Stabbach for her admirable singing in a new song, entitled "The mourning bride;" Mlle. Georgi for her agreeable voice and the commendable method exhibited in the scena "O Mio Fernando " from the Favorita; Miss Robertine Henderson, for her clear voice and pure expression in Herr Pauer's " Gondoliero;" and the sisters Alessandri, for their compact ensemble singing in Gabussi's duetto "La Zingara." Rossini's Grand Coro "La Carita," by all the female singers, did not go so well as a few rehearsals might have made it. The special instrumental feature was a grand quartet for four performers, on two pianofortes, the composition of Herr Ascher, executed by Messrs. Harold Thomas and Ernest Pauer, Lindsay Sloper and Wilhelm Ganz. (The Musical world, Saturday, 8 March 1862)

Saturday, 1 March 1862 : Herr Ernst Pauer's Fifth Pianoforte Concert at Willy's Rooms.

Herr Ernst Pauer.-The "periods" illustrated by this gentleman at his fifth pianoforte concert, yesterday afternoon, at Willie's Booms, included Or. Bull, Orlando Gibbons, and Purcell; secondly, Handel, Dr. Arne, and John Christian Bach ; thirdly, Woelfl, Pinto, and Potter; and fourthly, Salaman, Barnett, Lindsay Sloper, and Litolff The attendance as before, was large, and the music, though comprising so many different styles, was listened to with interest as well as attention. Herr Pauer's playing was marked by its usual vigour and decision. The selection from Handel's "Suites de Pieces" (No. 6 in P sharp minor) was one of the illustrations that seemed to please the most-the gigue especially. The specimen of our distinguished countryman, Sterndale Bennett (the charming Mutauolle from his 4th concerto), we may add, was encored. (London Observer, Sunday, 2 March 1862)

Thursday, 6 March 1862 : Mr. Ransford's Annual Grand Concert (Evening) at St. James's Hall, Piccadilly.

ST. JAMES'S HALL- Mr. RANSFORD'S ANNUAL GRAND CONCERT, THURSDAY EVENING, March 6. Doors open at seven ; to commence at eight o'clock. Vocalists - Mesdames Parepa, Poole, Guerrabella, Eliza Hughes, Eyles, Nita Norrie, Ransford, and Lascelles ; Messrs. Sims Reeves, G. Perren, M. Winter, Winn, Allan Irving, Weiss, and Ransford. Instrumentalists - Pianoforte, Miss Arabella Goddard ; Violoncello, M. Paque ; Concertina, Mr. R. Blagrove. Conductors, Messrs. Lindsay Sloper and Francesco Berger. - Sofa stalls, 6s. ; balcony, 3s. ; body of the hall, 2s. ; gallery or orchestra, 1s. Stalls and tickets to be had of Mr. Austin at the hall and of the principal Musicsellers, and of Messrs. Ransford and Son, 2, Princes-street, Oxford-street, Regent-circus. (Morning Post, Saturday, 22 February 1862) (Also: Daily News, Monday, 3 March 1862; Morning Chronicle (1801), Friday, 28 February 1862; Morning Chronicle (1801), Wednesday, 5 March 1862; Morning Chronicle (1801), Tuesday, 4 March 1862; Morning Post, Tuesday, 4 March 1862; The Standard, Monday, 3 March 1862; Morning Post, Monday, 3 March 1862; The Era, Sunday, 23 February 1862; The Era, Sunday, 2 March 1862; Morning Post, Thursday, 27 February 1862; Daily News, Wednesday, 26 February 1862; Morning Post, Tuesday, 25 February 1862; Daily News, Monday, 24 February 1862; Daily News, Saturday, 1 March 1862.)

ST. JAMES'S HALL- Mr. RANSFORD'S ANNUAL GRAND CONCERT, THURSDAY EVENING, March 6. Doors open at 7 ; to commence at 8 o'clock. Vocalists - Mesdames Parepa, Poole, Guerrabella, Eliza Hughes, Eyles, Nita Norrie, Ransford, and Lascelles ; Messrs. Sims Reeves, G. Perren, M. Winter, Winn, Allan Irving, Weiss, and Ransford. Instrumentalists - Pianoforte, Miss Arabella Goddard ; Violoncello, M. Paque ; Concertina, Mr. R. Blagrove. Conductors, Messrs. Lindsay Sloper and Francesco Berger. - Sofa stalls, 6s. ; balcony, 3s. ; body of the hall, 2s. ; gallery or orchestra, 1s. Stalls and tickets to be had of Mr. Austin at the hall and of the principal Musicsellers, and of Messrs. Ransford and Son, 2, Princes-street, Oxford-street, Regent-circus. (The Times, Monday, 24 February 1862) (Also: The Times, Tuesday, 25 February 1862.)

The Hartley Colliery Accident. - A concert was given in St. James's Hall last night for the benefit of the sufferers by the late dreadful accident at the Hartley Colliery. The artistes, who gave their services gratuitously, included Madlle. Florence Lancia, Madame Louisa Vinning, Miss Stabbach, and Miss Poole. Among the instrumentalists were Mr. Benedict. Mr. Lindsay Sloper, Herr Wilhelm Ganz, and M. Ole Bull. The members of the Orpheus Glee Union sang several part songs, and the band of the St. George's Rifles also gave their services. The programme was a very lengthy one, and contained a rich and varied selection of music. (Evening Star and Dial, Thursday, 27 February 1862)

ST. JAMES'S HALL- Mr. RANSFORD'S ANNUAL GRAND CONCERT, To-morrow EVENING, March 6. Doors open at seven ; to commence at eight o'clock. Vocalists - Mesdames Parepa, Poole, Guerrabella, Eliza Hughes, Eyles, Nita Norrie, Ransford, and Lascelles ; Messrs. Sims Reeves, G. Perren, M. Winter, Winn, Allan Irving, Weiss, and Ransford. Instrumentalists - Pianoforte, Miss Arabella Goddard ; Violoncello, M. Paque ; Concertina, Mr. R. Blagrove. Conductors, Messrs. Lindsay Sloper and Francesco Berger. - Sofa stalls, 6s. ; balcony, 3s. ; body of the hall, 2s. ; gallery or orchestra, 1s. Stalls and tickets to be had of Mr. Austin at the hall and of the principal Musicsellers, and of Messrs. Ransford and Son, 2, Princes-street, Oxford-street, Regent-circus. (Morning Post, Wednesday, 5 March 1862)

ST. JAMES'S HALL- Mr. RANSFORD'S ANNUAL GRAND CONCERT, THIS EVENING, March 6. Doors open at seven ; to commence at eight o'clock. Vocalists - Mesdames Parepa, Poole, Guerrabella, Eliza Hughes, Eyles, Nita Norrie, Ransford, and Lascelles ; Messrs. Sims Reeves, G. Perren, M. Winter, Winn, Allan Irving, Weiss, and Ransford. Instrumentalists - Pianoforte, Miss Arabella Goddard ; Violoncello, M. Paque ; Concertina, Mr. R. Blagrove. Conductors, Messrs. Lindsay Sloper and Francesco Berger. - Sofa stalls, 6s. ; balcony, 3s. ; body of the hall, 2s. ; gallery or orchestra, 1s. Stalls and tickets to be had of Mr. Austin at the hall and of the principal Musicsellers, and of Messrs. Ransford and Son, 2, Princes-street, Oxford-street, Regent-circus. (Morning Chronicle (1801), Thursday, 6 March 1862) (Also: The Standard, Thursday, 6 March 1862.)

ST. JAMES'S HALL- Mr. RANSFORD'S ANNUAL GRAND CONCERT, THIS EVENING (Thursday), March 6. Doors open at seven ; to commence at eight o'clock. Vocalists - Mesdames Parepa, Poole, Guerrabella, Eliza Hughes, Eyles, Nita Norrie, Ransford, and Lascelles ; Messrs. Sims Reeves, G. Perren, M. Winter, Winn, Allan Irving, Weiss, and Ransford. Instrumentalists - Pianoforte, Miss Arabella Goddard ; Violoncello, M. Paque ; Concertina, Mr. R. Blagrove. Conductors, Messrs. Lindsay Sloper and Francesco Berger. - Sofa stalls, 6s. ; balcony, 3s. ; body of the hall, 2s. ; gallery or orchestra, 1s. Stalls and tickets to be had of Mr. Austin at the hall and of the principal Musicsellers, and of Messrs. Ransford and Son, 2, Princes-street, Oxford-street, Regent-circus. (Daily News, Thursday, 6 March 1862)

ST. JAMES'S HALL- Mr. RANSFORD'S ANNUAL GRAND CONCERT, THIS EVENING (Thursday). Doors open at seven ; to commence at eight o'clock. Vocalists - Mesdames Parepa, Poole, Guerrabella, Eliza Hughes, Eyles, Nita Norrie, Ransford, and Lascelles ; Messrs. Sims Reeves, G. Perren, M. Winter, Winn, Allan Irving, Weiss, and Ransford. Instrumentalists - Pianoforte, Miss Arabella Goddard ; Violoncello, M. Paque ; Concertina, Mr. R. Blagrove. Conductors, Messrs. Lindsay Sloper and Francesco Berger. - Sofa stalls, 6s. ; balcony, 3s. ; body of the hall, 2s. ; gallery or orchestra, 1s. Stalls and tickets to be had of Mr. Austin at the hall and of the principal Musicsellers, and of Messrs. Ransford and Son, 2, Princes-street, Oxford-street, Regent-circus. (Morning Post, Thursday, 6 March 1862)

MR. RANSFORD'S CONCERT. Mr. Ransford, the well-known vocalist, gave his annual concert last evening, at the St. James's Hall, before a very large audience. Mr. Ransford had, with his usual care for the gratification of his numerous friends and patrons, provided a most liberal programme, including Mr. Sims Reeves, whose name was, of course, the chief attraction; but unfortunately the hoarseness which recently prevented our famous English tenor from fulfilling engagements at Exeter Hall and the Monday Popular Concerts again rendered the performance of his professional duties impossible. Mr. Ransford did everything in his power to apprise the public of the contretemps, and thus there was no manifestation of displeasure from the audience excepting some demands for "Sims Reeves" from the occupants of the cheap places, who probably had entered the hall too hurriedly to notice the apologetic placards posted all about. To these malcontents .Mr. Ransford addressed a few explanatory words, which were amiably received, and so the matter dropped. Making due allowance for a very important deduction from the promised pleasures of the evening (for which certainly no one was to blame), we may describe this concert as a really excellent thing of its kind. Indeed, with such first-class vocalists as Madame Guerrabella, Miss Poole, Miss Lascelles, Miss Eyles, and Madame Parepa; Mr. Weiss, Mr. Winn, and Mr. George Perren, the popular concert-giver and his daughter, beside many other singers not unknown to fame ; and such instrumentalists as Miss Arabella Goddard, M. Paque, Mr. K. Blagrove, Mr. Lindsay Sloper, Mr. W. Ganz, and Mr. Francesco Berger, there was assuredly enough to satisfy a ravenous appetite for music. It were long to tell the details of this capital concert. Madame Guerrabella sang Bellini's "Qui la voce" and Crouch's "Kathleen Mavourneen" so well that she was recalled into the orchestra after the former, and encored in the latter. Miss Lascelles displayed her magnificent contralto voice to the best advantage in Rossini's " Di tanti palpiti" and Horn's " In the deep sea,'' eliciting in both instances unanimous applause of the warmest kind. Madlle. Parepa' s mastery over the art of florid vocalisation completely charmed the audience in a song by Hatton, called "The Future Flower,'' and Arditi's rondo à la valse, "Il Bacio" (also redemanded). Mr. Weiss likewise won the honour of an encore for his expressive delivery of a new song of his own composition, called "Light Before the Cloud ;"' and Miss Arabella Goddard was similarly complimented for her brilliant execution of a fantasia by Liszt, upon the famous quartet from Verdi's "Rigoletto." The fair pianist, however, merely bowed her acknowledgment, declining to repeat the performance. Mr. Ransford sang, with his well-known ability, a new song by Nelson, "Try again,' bearing the inspiring burthen, "'Never despair;" and his accomplished daughter gave, with excellent effect, an elegant and musicianly "rondo brilliant" entitled, "Ti sovien," from the pen of Mr. Francesco Berger. Mr. Perren's powers were strikingly exhibited in Donizetti s " Fra poco," and a popular ballad of his own. "The Old Green Lane." Among the other great successes of the concert we may mention Miss Poole's rendering if Mrs. Norton's "Juanita," and Mr. R. Blagrove s solo on the concertina, both of which were redemanded. Madame Nita Norrie also elicited much applause by her execution of the music allotted to her, as did Mr. Winn, in his performance of Balfe's "My Own Sweet Child." (Morning Post, Friday, 7 March 1862)

ST. JAMES S HALL. Mr. Ransford's annual concert, which took place last night, was, as usual, a brilliant monster entertainment, in which numberless singers and many instrumentalists assisted. These elongated programmes, it would seem, possess unusual attractions for the public. St. James's Hall was filled in every part by an audience that seemed more enthusiastic than discriminating, as the applause showered on many performances of questionable merit demonstrated. The concert-giver himself, who has been, we need hardly inform our readers, a thorough good bass singer, and exhibits yet no little remains of former excellence, was contented with one solo, but took part in sundry duets and trios. The solo was a new song, called "Try again," in which he was vociferously applauded. Miss Ransford sustained the full honours of the family name, and must be set down as among the principal attractions of the evening. This lady, who is too seldom seen in the concert-room, especially distinguished herself in a new "valse" entitled "Ti Sovvian" (composed for the occasion by Mr. Francesco Berger) - a very brilliant achievement in the bravura style, displaying a fine quality of voice as well as considerable powers of execution. Miss Lascelles, one of our most accomplished contraltos, with a voice of extraordinary power and depth, sang the grand air "De tanti palpiti" with irreproachable taste and expression, and added Horn's cavatina, in which she was equally successful. Madame Guerrabella, ex-prima donna of the Royal English Opera company, supplied the cavatina "Qui la voce," from I Puritani, and Crouch's ballad, "Kathleen Mavourneen." She was encored in the latter, but we did not think it a very happy effort. Of the remainder of the ladies we must be satisfied with particularising Miss Poole, who sang the popular song "Juanita" with her usual sweetness and simplicity of manner; and Mdlle. Parepa, who gave Arditi's "Il Bacio" with great brilliancy. Of the gentlemen Mr. Weiss seemed to please most. A new song, composed by himself, with the taking title of "Light beyond the cloud," was loudly redemanded. His other song - "Will the wanderer, " was also of his own making, We do not confess to any great admiration for Mr. Weiss's compositions, which we think he introduces too often into public, and should prefer hearing his manly voice and fine style exhibited in more elevated and sterling works. That Mr. Weiss's songs, nevertheless, please the public, is not to be denied. Miss Arabella Goddard - the " bright particular star" of the concert - played Liszt's fantasia on Rigoletto, and Mr. Benedict's new fantasia on "Cherry Ripe," with magical effect, being recalled with thunders of applause after each performance. Mr. Paque (violoncello) and Mr. Richard Blagrove (concertina) played each a solo on his respective instrument with evident satisfaction. The conductors were Messrs. Lindsay Sloper, Francesco Berger, and Wilhelm Ganz. (The Standard, Friday, 7 March 1862)

MR. RANSFORD'S ANNUAL CONCERT. On night Mr. Ransford had his Annual Grand Concert in St. James'S Hall, which proved to eminently successful. It will seen from the names comprised in the list of vocalists and instrumentalists, that every effort was used to make the concert attractive and satisfactory. The vocalists were- Mdlle. Parepa, Madame Guerrabella, Miss Poole, Madame Nita Norrie, Miss Eliza Hughes, Miss Eyles, Miss Ransford, and Miss Lascelles; Mr. Geo. Perren, Mr Melchor Winter, Mr. W. Winn, Mr. Allan Irving, Mr. Weiss, and Mr. Ransford. The instrumentalists were - Miss Arabella Goddard, M. Paque, and Mr. Richard Blagrove. The conductors were - Messrs. Lindsay Sloper, Francesco Berger, and Wilhelm Ganz. Mr. Sims Reeves was announced, but was unable to appear through indisposition. The selections were made with Mr. Ransford's usual good taste, and the varied character of the programme was well calculated to meet the tastes of his numerous patrons. The first part opened with the trio "The Fairies' Glee," very prettily sung by Miss Eliza Hughes, Miss Ransford, and Mr. Ransford, and this was followed by favourite compositions from Mozart, Donnizetti, Zingarelli, Bellini, Balfe, Crouch, Arditi, C. E. Horn, J. L. Hatton, S. Glover, &c. It is sufficient to say that Miss Arabella Goddard played two fantasias the pianoforte in the manner with which all concert goers are sufficiently familiar. Paque played a solo on the violoncello, "Souvenirs de Lucia Lammermoor," and Mr. Richard Blagrove played a fantasia on the concertina on Scotch airs, in exquisite taste. In the second part, when Miss Lascelles came forward to sing C. E. Horn's beautiful ballad, The deep, deep sea," a cry was raised from various parts of the Hall-" Where's where's Reeves?" Miss Lascelles having withdrawn, Mr. [?] appeared and, addressing the audience, said he was extremely sorry that any disappointment had occurred but the fact was that Mr. Reeves was suffering from severe indisposition ; that was, he was hoarse, he was quite unable to sing; and upon receiving the intimation he (Mr. Ransford) had caused large printed bills to be placed at the several entrances the Hall announcing the circumstance, and containing a copy of the medical certificate. He was not able to do more. He had received a letter from Mr. Sims Reeves, which, if the audience wished he would read to them.-(Cries of "No, no; that will do.") Mr. Ransford then retired amidst loud applause, and the remainder of the concert proceeded satisfactorily. Notwithstanding the great length of the programme several encores were demanded, and good-naturedly but injudiciously complied with. Such a practice ought, as much as possible, be discouraged for, excepting in rare cases, it is more a source of annoyance than otherwise to the great majority of the audience. The large concert room of the Hall, we are well pleased to say, was fully and fashionably attended. In the course of the concert, a new valse, "Ti Souvien," a pleasing composition by Francesco Berger, and composed expressly for Miss Ransford, was exceedingly well sung by that young lady ; and a new duet, "Colin and Patty," composed by Mr. B. Nelson, illustrative of the loves of a rustic swain and his sweetheart, the words and music of which are characteristic and expressive, was sung by Mr. and Miss Ransford with good comic humour and effect, and was loudly cheered. (Morning Advertiser, Saturday, 8 March 1862)

Mr. Ransford's Concert. - Mr. Ransford's annual invitation to his friends to pay him a visit in his public capacity was, on Thursday evening, responded to by a large concourse gathered in St. James's Hall as has invariably been the case, for the last - we won't say how many - years. The public do not lose sight of old favourites, and when the once popular basso comes again to remind them of past times, - the times of "I am the Gipsy King, ha ! ha !" - they assemble in crowds to give him a "chevey." Though a veteran, however, Mr. Ransford does not yet deem it time to cry "Peccavi" as a singer; and to prove that his lungs and his science are still capable of being turned to good account, sang a new song on Thursday, written for him by Mr. S. Nelson, called "Try again," with a vigour and expression that astonished and gratified the audience, who roared applause in chorus. Miss Ransford, like her father, was content with a single solo, but that was as good as two or more. It was a new "Valse," entitled "Ti Sovvien," composed expressly for the occasion by Mr. Francesco Berger, a very difficult bravura and long, after the manner of "II Bacio." The fair artist sang it with great brilliancy, in the most exacting and rapid passages always showing the even and charming quality of her voice. The other lady vocalists who created the greatest sensation were Mlle. Parepa (encored in "II Bacio"), Mad. Guerrabella (encored in "Kathleen Mavourneen," singing, moreover, another English ballad and "Qui la voce," from Puritani), and Miss Lascelles, who gave a vigorous reading of "Di tanti Palpiti." Miss Poole, Miss Eyles, Miss Hughes and Mad. Nita Norrie also sang. Mr. Weiss among the gentlemen carried off the lion's share of applause, being encored in two of his own songs. Mr. George Perren, Mr. Winn, Mr. Melchor Winter, Mr. Wallworth, &c., lent their efficient services. The instrumentalists were Miss Arabella Goddard, Mr. Richard Blagrove and M. Paque. The fair pianist played Liszt's fantasia on Rigoletto and Mr. Benedict's new fantasia on "Cherry Ripe," with so much brilliancy and such unerring precision as to raise the audience to the highest enthusiasm. Miss Goddard was recalled to the platform as a matter of course after each performance. The conductors were Mr. Lindsay Sloper, Mr. Francesco Berger and Herr Wilhelm Ganz. (The Musical world, Saturday, 8 March 1862)

Tuesday, 18 March 1862 : M. Sainton's Second Soirée Musicale at His Residence, 5, Upper Wimpole-Street.

M SAINTON'S SECOND SOIREE will take place at his Residence. 5, Upper Wimpole-street, on TUESDAY next, March 18, at half-past eight o'clock. Programme-Second Quintet. (Fetis) first time of performance; Sonatas, piano and violin, L. Sloper ; Quartet in B Flat, posthumous, Beethoven; Solos, pianoforte, violoncello. Executants - MM. Sainton. Pollitzer, Webb, Hann, and Piatti. Pianist, Mr. Lindsay Sloper.- Single ticket, half a guinea; to be had of M. Sainton, at his residence, and at the principal musicsellers. (Morning Post, Friday, 14 March 1862) (Also: Morning Post, Friday, 14 March 1862; The Athenaeum, Saturday, 15 March 1862.)

M SAINTON'S SECOND SOIREE will take place at his Residence, 5 Upper Wimpole Street, on TUESDAY next, the 18th Inst., at half-past Eight o'clock. Programme: Second Quintet, first time of performance (Fells); Sonatas, piano and violin. L. Sloper; Quartet, in B flat, Posthumous (Beethoven); Solos, pianoforte and violoncello. Executants: MM. Sainton, Pollitzer, Webb, Hann, Piatti. Pianist, Mr. Lindsay Sloper. Single Tickets, Half-a-Guinea, to be had of M. Sainton, at his Residence, and at the principal Musicsellers. (The Musical world, Saturday, 15 March 1862)

M SAINTON'S SECOND SOIREE will take place at his Residence, 5, Upper Wimpole-street, THIS EVENING (TUESDAY), at half-past eight o'clock. Programme-Quintet in C. Mozart; Sonata, piano and violin, L. Sloper; Quartet in B flat, posthumous, Beethoven; Solos, pianoforte, violoncello. Executants - MM. Sainton, Pollitzer, Webb, Hann, and Piatti. Pianist, Mr. Lindsay Sloper. - Single ticket, half a guinea; to be had of M. Sainton, at his residence, and at the principal musicsellers. (Morning Post, Tuesday, 18 March 1862) (Also: Morning Post, Tuesday, 18 March 1862.)

M. SAINTON'S SOIRÉE MUSICALE The second of an announced series of six soirées was given by the famous French violinist, M. Sainton, on Tuesday evening, at his residence in Wimpole. street. The admirable artist's ability could scarcely have found fuller scope than in the violin quintet in C major by Mozart, and the quartet in B flat (op. 130) by Beethoven - the chief instrumental concerted pieces in the programme. Beethoven's immense work taxes, indeed, the first violin players powers to the utmost, but M. Sainton came triumphantly through the ordeal, and succeeded in making the most recondite beauties of Beethoven's third manner (as exemplified in the B flat quartet) perfectly intelligible to a numerous audience. M. Sainton was enthusiastically applauded, as he well deserved to be; and so were also his thoroughly efficient colleagues, Messrs. Pollitzer, H. Webb, Hann, and Piatti. A most interesting feature in this concert was a musicianly and eminently graceful sonata for piano and violin, composed by Mr. L. Sloper, and played to perfection by the author and M. Sainton. The instrumental music was not relieved by a single vocal piece. Where was the concert-giver's better-half, the accomplished Madame Sainton-Dolby ? The rooms were filled with fashionable company. (Morning Post, Thursday, 20 March 1862)

With the exception of the vocal music, which has no place in M. Sainton's programmes this season, his last soirée bore a strong resemblance to the concert we have just mentioned, both in point of selection and execution of the Beethoven's posthumous quartet in B flat, formed the piece de résistance on this occasion ; but, so far from weighing heavily on the mind of the audience as, from its substantial nature it might have been supposed to do, it was the most enjoyable, and the crowning piece of the evening. Many there were who felt Somewhat alarmed at the word "posthumous," it being as they thought tantamount to extravagant, dark, and confused. But great was their surprise and delight when movement after movement succeeded each other, fraught with fresh beauties, and studded with gems of the rarest kind. Of all the later quartets of the immortal composer, that in B flat, while being the most profound and wonderful of compositions, is also the most intelligible to the uninitiated. The andante, the presto, "La Danza Tedesca," the cavatina, and the allegro final are each and all unparalleled creations of an unfathomable genius. The execution was worthy of the music. We regret to be compelled, through want of space, to speak briefly of the sonata for violin and piano, by Mr. Lindsay Sloper, a composition which may rank with the best modern examples of that class. Its chief characteristics consist in grace, fluency, choice effects of harmony, and musician-like treatment. The "scherzo," and the finale, a kind of tarantella, are particularly striking and bring out the two instruments to the best advantage. Mr. Sloper and M. Sainton were very liberally applauded. The accomplished pianist, later in the evening, performed three of Stephen Heller's waltzes (Nos. 9, 11, 12), and accompanied Signor Piatti in one of his solos for the violoncello, of which he remains the undisputed master. The whole concert was one of the most pleasing and distingué we have attended for some time. (The London review and weekly journal of politics, literature, art, and society, July 7, 1860-June 29, 1861, Saturday, 22 March 1862)

M. Sainton's Soirées-Musical amateurs have been well feasted this week. The ink is scarcely dry on our report of Monday's Popular Concerts, and the wonderful quartet in A minor, Op. 130 of Beethoven, than we are invited to hear the next of these unapproachable masterpieces (Op. 131 in B flat), by M. Sainton, whose second Soirée took place on Tuesday last. The independent genius of Beethoven is impressed on every movement of this quartet, the whole exhibiting gigantic power and royal energy. The hand of a master - an [greek?] - is everywhere apparent; and never can the hearer forget his prodigious strength, even during the melodious cavatina of the sportive "Danza Tedesca," which reminds one of the prosopopeia of the violinist - "Why leap ye, ye high hills?" The quintet of Mozart, with which the concert commenced, was the one in C major. Full of beautiful thoughts, geniality, and pleasantness, it is impossible to listen to it without feeling refreshed and invigorated. The minuet and trio are examples of ingenious elaboration and graceful playfulness. The quartet was performed by MM. Sainton, Politzer, H. Webb, and Piatti; Mr. Hann took the second tenor in the quintet. Both pieces were given in first-rate style. - The other important piece was Mr. Lindsay Sloper's sonata for pianoforte and violin in A; a composition free from affectation, trickery and exaggeration; full of earnestness, beauty, and genuine feeling. The adagio is a refined and original melody; while the final allegro shows great impetuosity and vigour, made subservient to the highest expression. If, in the first movement, the pianoforte has the best part of the effect, it may be fairly attributed to Mr. Sloper's affection for the instrument on which he plays with such consummate ability. The performance of the sonata was admirable throughout; the breadth of tone and perfect phrasing of M. Sainton being given con amore in aid of the composer, who played the pianoforte part with surprising effect. Signor Piatti displayed his unique talent in a nocturne and tarantella of his own composition for violoncello. The latte is a gem of beauty, although to an ordinary player it would be nearly impossible, on account of its difficulty. Mr. Sloper ended the concert with three waltzes from the pen of M. Stephen Heller, elegant and original morceaux, elegantly and gracefully played.-N. (The Musical world, Saturday, 22 March 1862)

M. Sainton's Soirées. The third and last of these interesting performances took place on Tuesday evening. The programme contained two novelties - a quartet for stringed instruments, by Herr Meyer Lutz, and a trio for pianoforte, violin, and violoncello, by Auber. The quartet of Herr Lutz exhibits that earnest endeavour to do well which must always command respect. Every movement betrays the evidence of careful consideration, and, besides this, a resolution on the part of the author to be indebted to no other than his own inspiration for ideas. When it is remembered how few, even of the most practised and laborious among musicians, have succeeded in producing a quartet worthy to be ranked, at however great a distance, with the models which the genuine masters of the art have bequeathed us, the applause due to a new aspirant for so creditable an effort will hardly be withheld. Herr Lutz was lucky in having such exponents as M. Sainton, Herr Pollitzer, Mr. Doyle, and M. Paque, who all did their best to realize his intentions, and obtained very general and hearty approval for his work. The trio of Auber is delicious, from one end to the other a "pastoral," in the truest and most graceful sense. We can single out no particular feature for praise inasmuch as each of the four movements is in its way perfection and that the musical embodiment of France itself is apparent throughout, may readily be surmised; but when it is stated that this trio is the composer's "Opus I." - written at least 20 years before Masaniello and Fra Diavolo - many amateurs, indifferent, more or less, to the seductions of the opera, are likely to express regret that Auber should ever have been induced to devote his exclusive attention to dramatic music. It is fair to add, that, in bringing forward this trio-which was played to perfection by Mr. Charles Hallé, at the piano (M. Sainton being violin, and Mr. Paque violoncello, the giver of these soirées has forestalled the Monday Popular Concerts - Mr. Arthur Chappell having announced it, months ago, as one of the "novelties" of the present season. The grand piece of the evening, however, was Mendelssohn's quartet in A minor (by the performers already named) - a work to the merits of which we have recently alluded, in appropriate terms of admiration. Often as M. Sainton's quartet-playing has been eulogized, he never, in our remembrance, has stood out so conspicuously as a thoroughly accomplished master. The whole quartet created an impression upon the audience, the genuine nature of which was not to be mistaken; and, irresistible as is the quaint and (taking into account the time at which it was written) unprecedented scherzo, the plaudits it elicited were scarcely more warm and unanimous than those accorded to the other three movements. M. Sainton's associates were quite up to the mark. Herr Pollitzer, as second violin, and M. Paque, as violoncello, sustained their well-earned reputation; but it would be unjust not to bestow a special word of praise upon the admirable playing of Mr. Doyle - a performer on the viola (as the frequenters of the Royal Italian Opera are aware) of equal capacity and intelligence. That a pianist like Mr. Hallé was not engaged exclusively to take part in a trio, may be well imagined. He joined Sainton in three of those exquisite pieces for pianoforte and violin, which a quarter of a century since - under the title of Pensées Fugitives - were conjointly written by M. Stephen Heller and Herr Ernst, and, as "solo," delighted his hearers with a Sarabande, Gavotte and Musette of J. S. Bach, followed by one of the liveliest "pieces de Clavecin" of Domenico Scarlatti - that very prolific composer (contemporary of Handel), of whose works scarcely more than a fourth have been perpetuated in type. The last of the Pensées Fugitives and the presto (a "presto" without compromise, as rendered by Mr. Hallé - such a "presto" as would have astonished the worthy Domenico, in his quiet domicile at Madrid) were both encored and repeated with, if possible, increased effect. The music of Herr Ernst is too rarely introduced now-a-days; but with one who can enter into its spirit so enthusiastically as M. Sainton, there is no reason why it should not be frequently heard. These soirées have been attractive for two reasons - first, as excellent performances of high-class music; and, secondly, as the medium of bringing forward several unknown compositions-among which the Trio of Auber, and the Sonata, for pianoforte and violin, of Mr. Lindsay Sloper (at the second soirée), may be cited, as likely to be heard again and again, at concerts where sterling music is looked upon as the chief desideratum. (The Times, Thursday, 3 April 1862)

Wednesday, 19 March 1862 : The Vocal Association's Concert [Date Approx] at St. James's Hall, Piccadilly.

VOCAL ASSOCIATION, St. James's Hall. The sixth season of this Association, which has achieved a permanent rank amongst the musical societies of the country, will commence on Wednesday, March 19th, and will be extended to the 13th of June. The subscribers having voted their unqualified approval of the Conversazione, it has been resolved that this should take place in the last week in June. Amongst a large number of vocalists and instrumentalists engaged for the coming season, we notice Miss L. Pyne, Madame Lemmens Sherrington, Miss Anna Whitty, Madame Lemaire, Madame Laura Baxter; Signors Gardoni, Beletti, Guglielma, Herr Formes. Miss A. Goddard, Lindsay Sloper, in conjunction with the talented conductor, M. Benedict, Sainton, Ole Bull, Aptommas; the Quintet Union, whose delightful performances gave such a zest to the last year's concerts, and the well-known organist M. Lemmens. This list by no means includes the whole of the talent promised. Subscriptions for the series, &c., received at Mr. Mitchell's, Royal Library, Old Bond-street. (Sharpe's London magazine of entertainment and instruction for general reading, Saturday, 1 March 1862) (Also: The ladies' companion., ser. 2, v. 21 (1862), Wednesday, 31 December 1862.)

Tuesday, 1 April 1862 : M. Sainton's Third and Last Soirée.

M. Sainton's Soirées. - The third and last of these interesting performances took place on Tuesday evening. The programme contained two novelties - a quartet for stringed instruments, by Herr Meyer Lutz, and a trio for pianoforte, violin, and violoncello, by Auber. The quartet of Herr Lutz exhibits that earnest endeavour to do well which must always command respect. Every movement betrays the evidence of careful consideration, and, besides this, a resolution on the part of the author to be indebted to no other than his own inspiration for ideas. When it is remembered how few, even of the most practised and laborious among musicians, have succeeded in producing a quartet worthy to be ranked, at however great a distance, with the models which the genuine masters of the art have bequeathed us, the applause due to a new aspirant for so creditable an effort will hardly be withheld. Herr Lutz was lucky in having such exponents as M. Sainton, Herr Pollitzer, Mr. Doyle, and Mr. Paque, who all did their best to realize his intentions, and obtained very general and hearty approval for his work. The trio of Auber is delicious, from one end to the other a " pastoral," in the truest and most graceful sense. We can single out no particular feature for praise, inasmuch as each of the four movements is, in its way, perfection. That the style which the ripening of years matured into the musical embodiment of France itself is apparent throughout, may readily be surmised; but when it is stated that this trio is the composer's "Opus I." - written at least 20 years before Masaniella and Fra Diavolo - many amateurs, indifferent, more or less, to the seductions of the opera, are likely to express regret that Auber should ever have been induced to devote his exclusive attention to dramatic music. It is fair to add, that in bringing forward this trio - which was played to perfection by Mr. Charles Hallé, at the piano (M. Sainton being violin, and Mr. Paque violoncello), the giver of these soirées has forestalled the Monday Popular Concerts - Mr. Arthur Chappell having announced it, months ago, as one of the "novelties " of the present season. The grand piece of the evening, however, was Mendelssohn's quartet in A minor (by the performers already named) - a work to the merits of which we have recently alluded, in appropriate terms of admiration. Often as M. Sainton's quartet-playing has been eulogised, he never, in our remembrance, has stood out so conspicuously as a thoroughly accomplished master. The whole quartet created an impression upon the audience, the genuine nature of which was not to be mistaken; and, irresistible as is the quaint and (taking into account the time at which it was written) unprecedented scherzo, the plaudits it elicited were scarcely more warm and unanimous than those accorded to the other three movements. M. Sainton's associates were quite up to the mark. Herr Pollitzer, as second violin, and M Paque, as violoncello, sustained their well-earned reputation ; but it would be unjust not to bestow a special word, of praise upon the admirable playing of Mr. Doyle - a performer on the viola (as the frequenters of the Royal Italian Opera are aware) of equal capacity and intelligence. That a pianist like Mr. Hallé was not engaged exclusively to take part in a trio, may be well imagined. He joined M. Sainton in three of those exquisite pieces for pianoforte and violin, which a quarter of a century since - under the title of Pensées Fugitives - were conjointly written by M. Stephen Heller and Herr Ernst, and, as "solo" delighted his hearers with a Sarabande, Gavotte and Musette of J. S. Bach, followed by one of the liveliest "pieces de Clavecin" of Domenico Scarlatti - that very prolific composer (contemporary of Handel), of whose works scarcely more than a fourth have been perpetuated in type. The last of the Pensées Fugitives and the presto (a "presto" without compromise, as rendered by Mr. Hallé - such a "presto" as would have astonished the worthy Domenico, in his quiet domicile at Madrid) were both encored and repeated, with, if possible, increased effect. The music of Herr Ernst is too rarely introduced now-a-days; but with one who can enter into its spirit so enthusiastically as M. Sainton, there is no reason why it should not be frequently heard. These soirées have been attractive for two reasons - first, as excellent performances of high-class music; and, secondly, as the medium of bringing forward several unknown compositions - among which the Trio of Auber, and the Sonata, for pianoforte and violin, of Mr. Lindsay Sloper (at the soirée), may be cited, as likely to be heard again and again, at concerts where sterling music is looked upon as the chief desideratum. (The Musical world, Saturday, 5 April 1862)

Thursday, 8 May 1862 : Concert at Liverpool.

LIVERPOOL PHILHARMONIC SOCIETY THE Third SUBSCRIPTION CONCERT take place on Tuesday, the 8th May next. Principal Vocalists-Madame ALBONI and Signor BELLETTI. Solo Pianoforte - Mr. LINDSAY SLOPER. Solo Violoncello - Mr. LIDEL. Conductor - Mr. J. ZEUGHEER HERRMANN Tickets for unappropriated Stalls for Ladies and [?] each ; Gallery Stalls 5s. 5s.; Gallery, 2s. 6d. By order of the Committe. (Liverpool Mail, Saturday, 14 April 1855)

PHILHARMONIC CONCERT. The fourth subscription concert of the Philharmonic Society, on Tuesday evening, was the best, in every sense of the word, given by them this season. The vocalists were Madame Alboni and Signor Belletti, and the solo instrumentalists Mr. Lindsay Sloper, pianiste, and Mr. Lidel. Alboni was, of course, the great attraction of the concert. She has not been heard here for some years past, but the public still cherished the liveliest and most pleasant recollections of her lovely voice, and of her exquisitely perfect vocalism. On the present occasion she sang Hummell's air with variations, known by the English title of fondest, my fairest,, and the famous brindisi from Lucrezia " segreto." The former served for the display of her extraordinary compass of voice, and the latter for the exhibition of those unrivalled contralto notes which have never been equalled for fulness, richness, and purity of tone. On the present occasion, the fair artiste (who though more matronly as becomes a countess) even handsomer … her best mood; she sang with irreproachable taste and with that apparent ease which alike astonishes and bewilders the listener, but there was absence of that energy formerly one of her vocal specialities. She warmed, however, in Donizetti's popular drinking song, which was encored with the most boisterous expressions of delight, the wonderful shake she introduces so artistically, and executes with such a birdlike and fluent ease being more especially provocative of the unanimous enthusiasm. She also sang with Belletti in the well known duetts "Pronto io son," from Don Pasquale, and "Dunque io son" from II Barbiere. Signor Belletti, who received a hearty welcome, sang the airs Bella siccome," from Don Pasqua'e, and mio piano, from La Gazza Ladra. We only heard the former, which was very warmly and judiciously encored, being sung with the most unaffected elegance by the artiste, who is never careless, and always on his very best (vocal) behaviour. Mr. Lindsay Sloper played an andante and polonaise, by Chopin, but without creating any particular sensation. He is a most correct, though somewhat frigid performer, admirable in classical chamber concerts, but not possessed of that poetically nervous organisation required for the proper interpretation of Chopin's delicate fancies, and not dashing enough as a solo performer in a large room like the Philharmonic Hall. Mr. Lidel's performance of solo on the violoncello was masterly, but de trop, and though it exacted a fair share of the applause of the night, we think it might have been reserved for another concert, for after the exquisite warblings of la Tyrolienne of Alboni, it is no injustice to Mr. Lidel to state that his JSorituri sounded somewhat harsh and anti-climatrical. The performances of the band at this concert deserve especial notice-their manifest improvement at the last two or three concerts having been most favourably canvassed by the audience. We think this pleasing fact is principally due to Mr. Thomas's concerts, at which the majority of of them have been engaged, but at all events their their performance of the whole of Beethoven's Symphony in A major was most admirable, and could not well be surpassed by any orchestra. The allegretto more particularly, which has been frequently played at Mr. Thomas's concerts, was given with a lightness and graceful delicacy which elicited the marked approval of the audience. In the second part Messrs. Lindsay Sloper, Jennings, H. P. Sorge, Chisholm, and Wicket played Beethoven's Quintet, Op. 16, for piano-forte, oboe, clarionet, bassoon, and horn. This exquisite work, played here for the first time, is well worthy of its composer ; it abounds with a series of the most exquisite melodies, the principal motif, resembling very much the celebrated Adelaide song. The performance was most praiseworthy and effective, and though some of the audience evidently considered it too long, the majority listened to it from the first note to the last bar with unaffected pleasure. We question the policy of giving much classical music at these concerts, but the directors deserve every credit for introducing works of such undeniable excellence and wondrous beauty as this quintet. The band also played the overture to Figaro, which served as the chant de depart. The choir sang Haydn's Hunting Chorus, and Benedict's four part song, Sweet, lovely, chaste. The former did not go well, but the latter, a most exquisite musical and poetical effusion, was sung with unexceptionable delicacy and point. Alboni sings again at the Philharmonic Hall, on the 22d instant, when when Madlle. Jenny Bauer, Signor Lorenzo, Mr. Land, Herr Ernst, and Signor Li Calzi will also appear. (Liverpool Mail, Saturday, 12 May 1855)

Monday, 19 May 1862 : Mr. Harold Thomas's Matinée Musicale at Willis's Rooms, King-Street, St. James's.

MR. HAROLD THOMAS'S Matinée Musicale, at Willis Rooms, King-street, St. James's, on Monday, May 19th, to commence at Three o'clock. Instrumentalists:-MM Joachim, Piatti, Lazarus, Blumenthal, Cusins, and Professor Sterndale Bennett (Mus. Dir.). Vocalists :-Mdme Guerrabella, Mr Tennant and Mr Santley. Conductors :- MM. Benedict and Lindsay Sloper. tickets, half-a-guinea each; Family Tickets (to admit Three), one guinea, may be had at the principal music warehouses; and of Mr. Harold Thomas, No. 37, Maddox street, Bond-street. W. (The Times, Monday, 5 May 1862) (Also: The Times, Monday, 12 May 1862; The Times, Wednesday, 7 May 1862.)

MR. HAROLD THOMAS'S Matinée Musicale, at Willis Rooms, King-street, St. James's, on Monday, May 19th, to commence at Three o'clock. Instrumentalists:-MM Joachim, Piatti, Lasaruz, Blumenthal, Cusins, and Professor Sterndale Bennett (Mus. Dir.). Vocalists :-Mdme Guerrabella, Mr Tennant and Mr Santley. Conductors :- MM. Benedict and Lindsay Sloper. tickets, half-a-guinea each; Family Tickets (to admit Three), one guinea, may be had at the principal music warehouses; and of Mr. Harold Thomas, No. 37, Maddox street, Bond-street. W. (The Times, Saturday, 10 May 1862) (Also: The Times, Saturday, 17 May 1862; The Athenaeum, Saturday, 17 May 1862; The Times, Tuesday, 13 May 1862; The Athenaeum, Saturday, 10 May 1862.)

MR. HAROLD THOMAS'S MATINEE MUSICALE, AT WILLIS'S ROOMS, King Street, St. James's, on MONDAY, May 19, to commence at 3 O'clock. INSTRUMENTALISTS: MM. JOACHIM. PIATTI, LAZARUS. BLUMENTHAL, CUSINS, and PROFESSOR STERNDALE BENNETT (Mus. Doc). VOCALISTS: MAD. GUERRABELLA, MR. TENNANT, and MR. SANTLEY. CONDUCTORS: MM. BENEDICT AND LINDSAY SLOPER. Tickets. Half-a-Guinea each; Family Tickets, to admit three, One Guinea. May be had at the principal Music Warehouses; and of Mr. Harold Thomas, 37 Maddox Street, Bond Street, W. (The Musical world, Saturday, 10 May 1862) (Also: The Musical world, Saturday, 17 May 1862; The London review and weekly journal of politics, literature, art, and society, July 7, 1860-June 29, 1861, Saturday, 17 May 1862.)

MR. HAROLD THOMAS'S Matinée Musicale, at Willis Rooms, on Monday, May 19th, to commence at Three o'clock. Instrumentalists:-MM Joachim, Piatti, Lazarus, Blumenthal, Cusins, and Professor Sterndale Bennett (Musical Director). Vocalists :-Mdme Guerrabella, Miss Banks; Mr Tennant and Mr Santley. Conductors :- MM. Benedict and Lindsay Sloper. tickets, 10s. 6d. each; Family Tickets (to admit Three), £1 1s. 37, Maddox street, Bond-street. W. (The Era, Sunday, 11 May 1862)

MR. HAROLD THOMAS'S MATINEE MUSICALE, at Willis's Rooms, on MONDAY, May 19, to commence at three o'clock. MM. Joachim, Piatti, Lazarus, Blumenthal, Cusins, and Professor Sterndale Bennett (Mus. Doc.) Vocalists : Madame Guerrabella, Mr. Tennant, and Mr. Santley. Conductors : MM. Benedict and Lindsay Sloper. - Tickets, 10s. 6d. each; family ditto (to admit three), £1 1s. - 37, Maddox-street, Bond-street, W. (Morning Post, Monday, 12 May 1862) (Also: Morning Post, Wednesday, 14 May 1862.)

Mr. Harold Thomas's Concert.- Mr. Harold Thomas, one of our ablest native professors, gave a matinée musicale yesterday, at Willis's Rooms. The programme was most creditable to the taste of the concert-giver, for not only were the works selected of the very highest order, but performers of the first class- such as Herr Joachim, Signor Piatti, Mr. Lazarus, and Professor Sterndale Bennett, Madame Guerrabella, Miss Banks, Mr. Cusins. M. Santley, Mr. Lindsay Sloper, and Mr. Benedict- were employed to give due effect to them. Mr. Harold Thomas's ability, both as pianist and composer, was strikingly displayed in a characteristic piece of his own, called "Across Country." A song from his pen, "Wind of the Western Sea," tastefully rendered by Miss Banks, was also much admired; and Mr. Thomas's powers were further exemplified by his performance of the pianoforte part of Professor Bennett's chamber trio (Op. 26), and Schubert's rondeau brillant (Op. 70), for piano and violin. A most interesting feature in this concert was the very fine execution of the duet sonata in E major (by S. Bach) by Herr Joachim and Professor Sterndale Bennett. The latter plays so rarely now in public that his reappearance made quite a sensation. Madame Guerrabella, who seems to be rising daily in estimation as a concert-singer, also made great effect with Mozart's "Porto ma tu ben mio," charmingly accompanied on the clarinet by Mr. Lazarus. (Morning Post, Tuesday, 20 May 1862)

Mr. Harold Thomas's Matinée Musicale. The above gentleman gave his usual Morning Concert at Willis's Rooms on Monday last, and was honoured with a numerous and fashionable audience. The vocalists were Madame Guerrabella, Miss Banks, Messrs. Tennant and Santley; and the instrumentalists Herr Joachim, Signor Piatti, Mr. Lazarus, Mr. W. G. Cusins, and Professor Sterndale Bennett; the Conductors, Mr. Benedict and Mr. Lindsay Sloper. The Programme was a most attractive one, and contained, amongst other compositions of a first-class quality, Dr. Bennett's chamber trio, played by Herr Joachim, Signor Piatti, and Mr. Harold Thomas; a Sonata by Bach, played by Professor Bennett and Herr Joachim; and "A Moonlight Scene," performed by Mr. Cusins and Signor Piatti. (The Era, Sunday, 25 May 1862)

Thursday, 22 May 1862 : Mr. Lindsay Sloper's First of Two Performances of Pianoforte Music at St. James's Hall, Piccadilly.

MR. LINDAY SLOPER's TWO PERFORMANCES of PIANOFORTE MUSIC (interspersed with Vocal Music) at St. James's-hall, on Thursday afternoons, May 22, and June 5, commencing at 3 o'clock. Subscription, for reserved sofa stall, 15s.; admission to single performance, half-a-guinea. Tickets at all the principal music warehouses. (The Times, Thursday, 8 May 1862)

MR. LINDAY SLOPER's TWO PERFORMANCES of PIANOFORTE MUSIC (interspersed with Vocal Music) at St. James's-hall, on Thursday afternoons, May 22, and June 5, to commence at 3 o'clock. Vocalists - Miss Banks, Mr. Tennant, and Mr. Santley; instrumentalists - Mr. Charles Hallé and Mr. Stephen Heller, Herr Joachim, and M. Sainton; at the pianoforte, Mr. Benedict and Mr. Harold Thomas. Subscription tickets (for reserved seats) 15s. each; tickets for a single performance, 10s. 6d; to be had of Mr. Lindsay Sloper, 70, Cambridge-terrace, Hyde-park, W; and of all the principal musicsellers. (The Times, Monday, 12 May 1862) (Also: The Times, Tuesday, 13 May 1862.)

MR. LINDSAY SLOPER'S TWO PERFORMANCES of PIANOFORTE MUSIC (interspersed with vocal music) on THURSDAY AFTERNOONS, May 22 and June 5, 1862, at St. James's Hall, to commence at three o'clock. Vocalists: Miss Banks, Miss Robertine Henderson, Mr. Tennant, and Mr. Santley; Mr. Lindsay Sloper will be assisted by Chas. Hallé, and Mr. Stephen Heller, Herr Joachim, and M. Sainton; at the pianoforte, Mr. Benedict and Mr. Harold Thomas. Subscription tickets (for reserved seats), 15s. each; tickets for a single performance, 10s. 6d., to be had of Mr. Lindsay Sloper, 70, Cambridge-terrace, Hyde-park, W.; and of all the principal musicsellers. (Morning Post, Friday, 16 May 1862) (Also: Morning Post, Monday, 19 May 1862; The Standard, Thursday, 22 May 1862; Daily News, Thursday, 22 May 1862; Daily News, Wednesday, 21 May 1862; Morning Post, Tuesday, 20 May 1862; London Observer, Sunday, 18 May 1862; Morning Post, Saturday, 17 May 1862; Morning Post, Wednesday, 21 May 1862.)

MR. LINDAY SLOPER's TWO PERFORMANCES of PIANOFORTE MUSIC (interspersed with Vocal Music) at St. James's-hall, on Thursday afternoons, May 22, and June 5, to commence at 3 o'clock. Vocalists - Miss Banks, Miss Robertine Henderson, Mr. Tennant, and Mr. Santley; Mr. Lindsay Sloper will be assisted by Mr. Charles Hallé and Mr. Stephen Heller, Herr Joachim, and M. Sainton; at the pianoforte, Mr. Benedict and Mr. Harold Thomas. Subscription tickets (for reserved seats) 15s. each; tickets for a single performance, 10s. 6d; to be had of Mr. Lindsay Sloper, 70, Cambridge-terrace, Hyde-park, W; and of all the principal musicsellers. (The Times, Friday, 16 May 1862) (Also: Illustrated London News, Saturday, 17 May 1862.)

MR. LINDSAY SLOPER'S TWO PERFORMANCES of PIANOFORTE MUSIC (interspersed with Vocal Music), on Thursday Afternoons, May 22 and June 5, 1962, at St. James's Hall. To commence at 3 0'clock. Vocalists: - Miss BANKS, Miss ROBERTINE HENDERSON, Mr. TENNANT, and Mr. SANTLEY. Mr. LINDSAY SLOPER will be assisted by Mr. CHARLES HALLE and Mr. STEPHEN HELLER, Herr JOACHIM and M. SAINTON. At the Pianoforte, Mr. BENEDICT and Mr. HAROLD THOMAS Subscription Tickets for Reserved Seats, 15s. each ; Tickets for Single Performance, 10s. 6d. To be had of Mr. Lindsay Sloper, 70 Cambridge Terrace, Hyde Park, and of all the principal Musicsellers. (The Musical world, Saturday, 17 May 1862)

MR. LINDSAY SLOPER'S TWO PERFORMANCES OF PIANOFORTE MUSIC (interspersed, with Vocal Music), on Thursday Afternoons. May 22 and June 5, 1802, at St. James's Hall. To commence at 3 o'clock. Vocalists, Miss Banks, Miss Robertine Henderson, Mr. Tennant, and Mr. Santley; Mr. Lindsay Sloper will be assisted by Mr. Charles Hallé and Mr. Stephen Heller, Herr Joachim, and M. Sainton. At the Pianoforte, Mr. Benedict and Mr. Harold Thomas. Subscription Tickets (for Reserved Seats) 15s. each. Tickets for single performance 10s. 6d., to be had of Mr. Lindsay Sloper, 70 Cambridge Terrace, Hyde Park, W., and of all the principal Musicsellers. (Saturday review of politics, literature, science and art, Saturday, 17 May 1862)

MR. LINDSAY SLOPER'S TWO PERFORMANCES of PIANOFORTE MUSIC (interspersed with Vocal Music), on Thursday Afternoons, May 22 and June 5, 1962, at St. James's Hall. To commence at 3 o'clock. Vocalists: - Miss BANKS, Miss ROBERTINE HENDERSON, Mr. TENNANT, and Mr. SANTLEY. Mr. LINDSAY SLOPER will be assisted by Mr. CHARLES HALLE and Mr. STEPHEN HELLER, Herr JOACHIM and M. SAINTON. At the Pianoforte, Mr. BENEDICT and Mr. HAROLD THOMAS Subscription Tickets for Reserved Seats, 15s. each ; Tickets for Single Performance, 10s. 6d. To be had of Mr. Lindsay Sloper, 70 Cambridge Terrace, Hyde Park, and of all the principal Musicsellers. (The London review and weekly journal of politics, literature, art, and society, July 7, 1860-June 29, 1861, Saturday, 17 May 1862)

MR. LINDSAY SLOPER's TWO PERFORMANCES of PIANOFORTE MUSIC (interspersed with Vocal Music) at St. James's-hall, on Thursday afternoons, May 22, and June 5, to commence at 3 o'clock. Vocalists - Miss Banks, Miss Robertine Henderson, Mr. Tennant, and Mr. Santley; Mr. Lindsay Sloper will be assisted by Mr. Charles Hallé and Mr. Stephen Heller, Herr Joachim, and M. Sainton; at the pianoforte, Mr. Benedict and Mr. Harold Thomas. Subscription tickets (for reserved seats) 15s. each; tickets for a single performance, 10s. 6d; to be had of Mr. Lindsay Sloper, 70, Cambridge-terrace, Hyde-park, W; and of all the principal musicsellers. (The Times, Saturday, 17 May 1862) (Also: The Times, Tuesday, 20 May 1862.)

MR. LINDSAY SLOPER'S TWO PERFORMANCES of PIANOFORTE MUSIC (interspersed with vocal music) THIS AFTERNOON (THURSDAY), May 22 and June 5, 1862, at St. James's Hall, to commence at three o'clock. Vocalists: Miss Banks, Miss Robertine Henderson, Mr. Tennant, and Mr. Santley; Mr. Lindsay Sloper will be assisted by Chas. Hallé, and Mr. Stephen Heller, Herr Joachim, and M. Sainton; at the pianoforte, Mr. Benedict and Mr. Harold Thomas. Subscription tickets (for reserved seats), 15s. each; tickets for a single performance, 10s. 6d., to be had of Mr. Lindsay Sloper, 70, Cambridge-terrace, Hyde-park, W.; and of all the principal musicsellers. (Morning Post, Thursday, 22 May 1862)

MR. LINDAY SLOPER's TWO PERFORMANCES of PIANOFORTE MUSIC (interspersed with Vocal Music) THIS DAY (Thursday), May 22, and June 5, at St. James's-hall, to commence at 3 o'clock. Vocalists - Miss Banks, Miss Robertine Henderson, Mr. Tennant, and Mr. Santley; pianoforte - Mr. Charles Hallé and Mr. Stephen Heller, and Mr. Lindsay Sloper; violin - Herr Joachim, and M. Sainton; at the pianoforte, Mr. Benedict and Mr. Harold Thomas. Subscription tickets (for reserved seats) 15s. each; tickets for a single performance, 10s. 6d; to be had of Mr. Lindsay Sloper, 70, Cambridge-terrace, Hyde-park, W; of Chappell and Co., 50, New Bond-street; and of all musicsellers. M. SAINTON will PLAY Mr. Lindsay Sloper's sonata for pianoforte and violin, with the composer, at his Performance of Pianoforte Music, THIS DAY, May 22, at St. James's-hall. commencing at 3 o'clock. MR. STEPHEN HELLER will PLAY a New Tarantella, for two pianofortes, with Mr. Lindsay Sloper, at Mr. Sloper's Performance of Pianoforte Music, THIS DAY (Thursday), May 22, at St. James's-hall, commencing at 3 o'clock. Vocalists - Miss Robertine Henderson and Mr. Tennant, Subscription (for sofa stalls) to this and the second performance on June 5, 15s.; single tickets, 10s. 6d.; balcony tickets. 5s.; may be had of all musicsellers (The Times, Thursday, 22 May 1862)

MR. LINDSAY SLOPER'S CONCERT. Yesterday afternoon Mr. Lindsay Sloper, one of our very best native pianists, gave the first of a series of two concerts at the St. James's Hall. He played several pieces by various masters -namely, Weber's sonata in D minor, an allemande and gavotte by Sebastian Bach, a passecaille by Couperin, Sterndale Bennett's scherzo in E minor (Op. 27) and study in E major (Op. 11), two M.S. "thoughts" of Mr. J Arthur Sullivan, and a duet for two pianofortes by M. Stephen Heller, who took part in its performance. Mr. Lindsay Sloper, moreover, played his own admirable sonata in A, for piano and violin, with M. Sainton, and two charming characteristic pieces (also from his pen), entitled "Valse pastorale" and "Joy bells." Mr. Sloper's executancy was so masterly in every instance that we find it difficult to select any points for special praise. His rendering of Weber's sonata exhibited mechanical excellence of the highest order, though it was not, perhaps, quite so impassioned as it might have been. The utterly undemonstrative audience of a fashionable morning concert is enough to chill any artist, but Mr. Sloper warmed to his labour of love as the entertainment proceeded. The easy abandon and exquisitely graceful point which characterised his delivery of the short pieces by Bach and Couperin showed that he had quite got over the gene that slightly damped his ardour at first ; and this happier state of feeling was still more strikingly displayed in his own sonata- a long and difficult work, which he executed throughout with perfectly sympathetic expression, no less than consummate skill Why does not Mr. Lindsay Sloper come more frequently before the public ? It is really a treat to hear so genuine an artist in these days of empty pretension, and musical England wants all her worthiest champions at such a moment as this, when foreigners of every denomination are closely watching all we do, and carefully comparing our intellectual achievements with their own. Mr. Sloper was also assisted by Mr. Benedict, Mr. Tennant, and Miss Robertine Henderson; and his concert, taken as a whole, may be described as one of the very best which the present season has brought forth. (Morning Post, Friday, 23 May 1862)

MR. LINDSAY SLOPER'S PERFORMANCE of PIANOFORTE MUSIC (interspersed with vocal music) on THURSDAY AFTERNOON, June 5, at St James's Hall, to commence at three o'clock. Vocalists: Miss Banks, Miss Robertine Henderson, Mr. Tennant, and Mr. Santley. Pianoforte, Mr. Chas. Hallé, Stephen Heller, and Mr. Lindsay Sloper; violin, Herr Joachim and M. Sainton; at the pianoforte, Mr. Benedict and Mr. Harold Thomas. Subscription tickets (for reserved seats), 15s. each; tickets, 10s. 6d.- to be had of Mr. Lindsay Sloper, 70, Cambridge-terrace, Hyde-park, W.; and of Chappell and Co., 50, New Bond-street; and all musicsellers. (Morning Post, Friday, 23 May 1862) (Also: Morning Post, Saturday, 24 May 1862.)

… MR. LINDSAY SLOPER'S CONCERT. Yesterday Mr. Lindsay Sloper gave his first performance of pianoforte music in St. James's Hall, assisted by Mr. Sainton on the violin, and also by Miss Robertine Henderson and Mr. Tennant vocalists. The burthen of the performance was, however, borne by Mr. Sloper himself, whose merits a performer on the pianoforte are well known and sufficiently established. The first part opened with Weber's Sonata in D minor, Op. 49, charmingly played by Mr. L. Sloper, who also played three other pieces in the course of the concert, and a duett with Mr. Sainton on the violin and pianoforte. Miss Robertine Henderson sang two songs by Meyerbeer and Schubert, and Mr. Tennant a song by Pinsuti. The concert went off very successfully. (Morning Advertiser, Friday, 23 May 1862)

… MR. LINDSAY SLOPER'S MATINEE. The first of the two performances of pianoforte music, which Mr. Lindsay Sloper some weeks ago announced, took place on Thursday afternoon at St. James's Hall, and presented many features of particular interest to the countless amateurs of the most comprehensive of all instruments. (Bell's Weekly Messenger, Saturday, 24 May 1862)

MR. LINDSAY SLOPER'S FIRST PERFORMANCE of PIANOFORTE MUSIC was given on Thursday evening at St. James's Hall. The solo pieces played by Mr. Sloper were Weber's sonata in D minor, Op. 49; Allemande and Gavotte, by Sebastian Bach ; Passecaille, by Couperin ; in E minor, Op. 27, and Study in E major, Op. 11, by Sterndale Bennett; two "Thoughts," by Mr. Arthur Sullivan; Valse Pastorale ("A Daisy Chain "), and Toccata ("Joy bells") of his own composition. In addition he performed, with M. Sainton, his own sonata in A major, Op. 17, for violin and pianoforte, and, with M. Stephen Heller, a new Tarantella in E minor, for two pianofortes, from the pen of that distinguished composer. Mr. Sloper's own contributions naturally commanded most attention. The Sonata for pianoforte and violin, the work of a thorough master, executed to perfection, was received with distinguished favour, and produced a marked impression. The Valse Pastorale, too, was immensely liked, and so were the other pieces. The Tarantella for two pianofortes of M. Stephen Heller was heard with delight. Nothing could be more finished, or indeed more masterly, than the joint performance of Messrs. Lindsay Sloper and Stephen Heller in this extremely effective morceau. We must leave our readers to surmise how so accomplished a pianist as Mr. Sloper gave Weber's brilliant and difficult sonata, Professor Bennett's piquant Scherzo, and his no less charming Study. The vocal music was supplied by Miss Robertine Henderson and Mr. Tennant, the lady singing the Prayer and Barcarole from the Étoile du Nord, and two airs by Schubert, in her best manner; the gentleman introducing Himmel's "Yarico to her lover," and an air by Sig. Pinsuti. in both of which his agreeable voice and artistic style told with effect. (The Musical world, Saturday, 24 May 1862)

On Thursday afternoon Mr. Lindsay Sloper, one of our very best native pianists, gave the first of a series of two concerts at the St. James's Hall. He played several pieces by various masters - namely, Weber's sonata in D minor, an allemande and gavotte by Sebastian Bach, a passecaille by Couperin, Sterndale Bennett's scherzo in E minor (Op. 27), and study in E major (Op. 11), two MS. "thoughts" of Mr. Arthur Sullivan, and a duet for two pianofortes by M. Stephen Heller, who took part in its performance. Mr. Sloper was also assisted by Mr. Benedict, Mr. Tennant, and Miss Robertine Henderson. (The Lady's Newspaper & Pictorial Times, Saturday, 31 May 1862)

CONCERTS OF THE WEEK. - In fulfilment of our intention expressed last week, we give Mr. Lindsay Sloper's programme so far as its instrumental portion is concerned:- "Sonata, in D minor, Weber, - Selection, Couperin and C. P. E. Bach,- Selection, W. S. Bennett and A. Sullivan ,-Sonata, in A major, violin, M. Sainton, and pianoforte, Lindsay Sloper, - Valse Pastorale, 'A Daisy Chain,' Toccata, Joy Bells,' Lindsay Sloper, - Tarantella, in E minor, with M. Stephen Heller, for two pianofortes (MS.), Stephen Heller." The interest of a concert like this to those who have ears for novelty need not be dwelt on ; it may be truly said that there was not a single hackneyed piece, nor one unworthy of its place in the concert of a choice musical artist. Mr. Sloper, we believe, was the first among English players who disinterred Couperin's music; the 'Passecaille,' by this old French writer, was excellent in its national quaintness. England was more than creditably represented by the specimens from Dr. Bennett's shorter pieces, by two of Mr. A. Sullivan's 'Thoughts,' which do not belie their title nor will injure the reputation he has just gained, - by the concert-giver's sterling and ingenious duett Sonata (in which the first is, perhaps, the least interesting movement), and by his two fancy pieces, of which pair the 'Toccata' is the more original. Lastly, M. Heller's new duett for two pianofortes is noticeable as a new and masterly 'Tarantella' to enhance the value of the feat, by one who has already written some half-a-dozen movements in a style necessarily limited. It is a bright and vigorous concert piece. The singers were Mr. Tennant and Miss Robertine Henderson. As we are watching the development of this young lady's talent with interest, we may counsel her, without any disparagement of her real promise, to avoid what is lacrymose in style. (The Athenaeum, Saturday, 31 May 1862)

Saturday, 24 May 1862 : The Bach Society's Concert at St. James's Hall, Piccadilly.

…Previous to Saturday last, we believe, there has only been one great performance of the Passions-Musik." It took place some four or five years ago, and was attended the lamented Prince Consort, who was so greatly interested it that he had it soon afterwards repeated Windsor Castle. At that time it attracted considerable attention in musical circles, hut not among the public generally, and the impression which it then made had become almost obliterated. This impression, however, has, to some extent, been revived the performance of Saturday last; and, this performance is followed others at reasonably short intervals, the great work of one of the most illustrious musicians the world ever saw may gradually gain a footing in a country where sacred music, the highest branch of the art, more successfully cultivated at the present day than in any other country in the world. The performance on Saturday last was attended large audience, including a number of our most distinguished musicians and amateurs. The grand and enormously difficult music was on the whole admirably executed. The principal vocal part, the tenor-a series of recitatives running with little intermission from the beginning to the end of the work -was sustained by Mr. Sims Beeves with great vocal power, energy, and feeling. The other solo-singers were Mdme. Sainton-Dolby, Miss Banks, Miss Martin, Mr. Wall worth, and Mr. Weiser®! l of acquitted themselves with care and ability. . Mr. Hopkins was the organist, and the recitatives were accompanied the pianoforte by Mr. Lindsay Sloper. The orchestra and chorus were made up of excellent performers, though deficient in numerical strength. Altogether, the performance was very satisfactory ; and success, we trust, will lead to its being repeated before the impression now made by has passed away. (Illustrated London News, Saturday, 31 May 1862)

The Musical Union and the Monday Popular Concerts occupy the same ground; but "The Union" is rather aristocratic in its tendencies, while "The Popular" endeavours to deserve its name. At each, however, the same performers are heard, and they are the very best that London can produce. In this class of music nothing more perfect than the execution of Beethoven's celebrated trio for violin, violoncello, and pianoforte, as given at the Musical Union could be desired. Joachim, Piatti, and Charles Hallé present a combination utterly impossible to surpass. The same artists have also played Mendelssohn's trio at the Monday Popular Concerts, the slow movement of which has always seemed to us to be amongst the most tearful in the whole range of music. The Musical Union has not been as fully attended as the excellence of the selection and its performance deserves; but indeed a Morning Concert, unless on some special occasion, appeals to only half the lovers of music, for men feel themselves sadly out of place at such an entertainment. There have been several performances of pianoforte music during the month, at one of which, given by Mr. Lindsay Sloper, we were glad to hear two MS. pieces of Mr. Sullivan, clearly showing he could write quite as cleverly for the piano as for the orchestra, and perhaps with even more originality. Mr. Sloper, one of our very best pianists, who only requires a little more fire and animation in his execution to attain a higher reputation than he already enjoys, played these "thoughts," as they are called, as if he felt they were something very much above the ordinary run of pianoforte pieces. The piano, however, is just now in the ascendant. Mr. Charles Hallé is repeating his Beethoven recitals, which were so marked a feature in the musical season of last year, and that giant among pianists, Thalberg, the inventor of the "Firework" school of pianoforte music, the extravagance of which successive imitators have exaggerated without giving us the masterly and original harmonies we meet with in M. Thalberg's arrangements, announces four performances, which have a peculiar interest as including some, yet unheard, pieces of that tantalising composer, Signor Rossini, which have been specially entrusted to M. Thalberg. An event of more than usual interest to the musical world took place on Saturday evening last at St. James's Hall-namely, the performance by the members of the Bach Society of the music which the Cantor of Leipsic set to the history of our Lord's Passions as related by St. Matthew. This intensely difficult and technically abstruse work has only once before been performed in England, and that by the same Society, four years ago. What perseverance and increased knowledge will do was shown by the extraordinary superiority of the performance on Saturday evening over that of 1858. Indeed, when we consider the fact that the chorus was composed absolutely of amateurs, and take into account the almost insurmountable difficulties of the music, it is impossible to speak too highly of the result - a result which must have been in the highest degree gratifying to Professor Sterndale Bennett, to whose zeal and exertions the origin of the Society and its successful continuance are principally owing. Professor Bennett was fortunate in securing so able a set of professional performers to aid his enthusiastic band of volunteers; but it is chiefly to Mr. Sims Reeves that the success of the performance was owing. It is not, indeed, too much to say that, in the opinion of all the connoisseurs who were present, the great tenor added more to his reputation by his wonderful declamation of the narrative than by any other single achievement within our recollection. The difficulty of the intervals and the variety and frequency of the recitatives, all of which were sung with the greatest correctness, cannot but have occasioned Mr. Sims Reeves a vast amount of study; and it is in the highest degree creditable to a great public singer, who can command such large sums for singing three or four simple songs in one evening, to devote himself to what most artists would think the ungrateful and unremunerative task of interpreting a long string of cramp recitatives. We have seldom, if ever, heard anything finer than his delivery of many portions of the text of St. Matthew. In the account of St. Peter's denial of Christ he infused such expression into the words "And he went out and wept bitterly," that it was only his own good sense which stood in the way of an encore. The accompanied recitative, "O grief! now pants His agonizing heart," followed by the song "With Jesus I will watch and pray." in which the chorus takes up the refrain, "Then fare thee well each darling sin," was admirable. Of the accompanied airs and recitatives the greatest share falls to the contralto, on this occasion Madame Sainton-Dolby, who sang throughout the evening with a musician-like feeling and a devotional expressiveness which cannot be too highly admired. The soprano has a song and recitative in each part, which Miss Banks gave in a way which left nothing whatever to be desired. Mr. Weiss was the bass, and sang his difficult and responsible part with a breadth and dignity which showed how fully he appreciated his task. A few words must be devoted to the solo instrumentalists, for they play a very prominent part in the work. Two flutes and two violas are called into frequent requisition in the accompaniments of the airs, in which they have parts of considerable complexity, requiring both care and skill for their effective performance. Seeing that both our great orchestras were engaged at the Opera Houses, Professor Bennett was lucky to be able to get such efficient soloists as Messrs. Rockstro and Card (flutes), and Messrs. R. Blagrove and Baetens (violas). M. Lavigne, whose splendid oboe playing is so well known, also distinguished himself frequently during the evening, and particularly in the soprano air, "Jesus, Saviour, I am thine," which Miss Banks gave with admirable taste and purity. Mr. Cooper played the violin obligato to the bass air, "Have mercy upon me, O Lord." Mr. E. J. Hopkins presided at the organ - a very important feature in the performance - and in such hands it is almost needless to state that it was throughout most effective. The pianoforte accompaniments to the narrative recitatives were played by Mr. Lindsay Sloper, as only a genuine and conscientious musician like him could play them. Altogether, the performance was one of the most interesting and important musical events which have taken place in London for some time. (Saturday review of politics, literature, science and art, Saturday, 31 May 1862)

BACH SOCIETY. THE performance on Saturday night of the Grosse Passions-Musik, at St. James's Hall, was a great success. Never before has the work been so well done, and consequently never before have the energy, grandeur, sublimity, pathos and beauty of this sacred masterpiece of J. S. Bach been so thoroughly demonstrated. The orchestra and chorus were well up to the difficulties of the work, and the solo singing was beyond reproach. The dreamy-melody of the opening double chorus, with the interjected quavers from the second choir, and the strangely-beautiful chorale for trebles only (sung by boy voices), were remarkable for the extreme correctness of the singing, and even more so for fluent delivery and perfect phrasing, which are, indeed, only too rare in choral performances. The narrational recitative which follows, introduces the story with the words, "When Jesus had finished all these sayings." Then follows a chorale, "O blessed Jesus, what is thy transgression?" - a passage for beauty of melody and contrapuntal harmony second to none of the numerous chorales in the work. After another narrative passage, a short chorus of wonderful impetuosity and force, "Not on the feast-day, lest there be an uproar among the people," ends that part of the history. Then follows a recitative, "Now when Jesus was in Bethany," and the story of the Magdalene, with a chorus somewhat similar to the last in vigour of manner, "To what purpose is this waste?" Then comes the first aria, "Grief for sin." preceded by an introductory passage, "Thou blessed Saviour." These two pieces were sung by Mad. Sainton with such wonderful ease and grace, that the extreme difficulty of the music was lost sight of, and there only remained to admire the chaste and dignified manner, and the beauty of expression which never fails this true artist. The obbligati parts to this song are a study in themselves. After three short recitatives comes the chorale, "My sin it was which bound thee," the air of which is identical with that of many others subsequently occurring; but the harmonic treatment, or the key, is so varied in each as to produce new effect. Then comes a recitative and air for soprano, "Jesus, Saviour, I am thine," which for grace and beauty rivals the tenor air that follows it. For what M. Fetis so well describes as "rhythmic melody," the soprano song is, perhaps, the more remarkable. Miss Banks was the singer, and although since her first appearance some years ago, she has never failed to sing any music she has undertaken with unimpeachable correctness and artist-like intelligence, she has never had an opportunity of showing the height to which she could rise till last Saturday. To deliver such a song with unfaltering tune, and to phrase its long passages with ease, is the work of a mistress of the mechanical part of the vocal art; to imbue it with the spirit and life that animated Bach himself when he wrote it, is a triumph such as is reserved for those who have great natural gifts, and who bring laborious perseverance and study in aid of them. The applause which followed the song showed the feeling the singer created; a more hearty and spontaneous evidence of appreciation we never heard. Three more recitatives, with another version of the chorale above mentioned, to the words "O Lord, thy love's unbounded," bring us to the tenor solo with chorus, "With Jesus I will watch and pray," a song varied in character, with oboi obbligati, and blended with the chorus with all Bach's felicitous skill. The florid parts of this song are original even to being beyond limitation, and the sense of subdued strength imparted to the passage "He endureth my griefs," is most impressive. The singing of Mr. Sims Reeves in this song was superlatively great. The brightness and power of his upper tones are almost indispensable to such a piece; and the vigorous declamatory manner which distinguishes him from all other tenor singers, found noble opportunities in the recitatives (of the Evangelist) throughout the work. A chorale, "O Father, let Thy will be done," and two short narrative passages are followed by a duet for soprano and contralto (the former part being sung with great care by Miss Martin), accompanied by a chorus of interjectional phrases of great power, leading to a chorus "Have lightnings and thunders," which, as marvellous combination of simplicity and power, is equalled only by that great number of Israel in Egypt, "He gave them hailstones for rain." Another chorus, "O man, thy heavy sin lament," ends the first part of the oratorio which is remarkable for the variety of choral effects produced during its progress, and the skill with which phrases dissimilar in manner are connected together. The second part is introduced by an air for contralto, with chorus, "Alas, now is my Saviour gone?" This may. perhaps, be more convincingly quoted as a proof of the tenderness of Bach's melodic genius than any other air in the work. Mad. Sainton delivered the phrases of this exquisite piece in her own style. Such music must have been written in the hope that such a singer would some day arise to do it justice. The scene before Pilate is then described in several recitatives. Mr. Sims Reeves, in "Then did they spit in his face," produced a tremendous effect by his emphasis and force; and at the words "He went out and wept bitterly," the pathetic expression imparted to the chromatic passage was listened to in solemn silence, until the last note died away, when the applause burst forth from all parts of the hall. The chorale, "O Lord, who dares to smite Thee ? " was redemanded and repeated; and it could not have been otherwise. Mr. Weiss created a profound impression by his very admirable delivery of "Have mercy on me, O Lord." The recitatives which follow describe the appeal to the people as to the release of a malefactor, answered by the shout of the choir, "Barabbas!" which was the only very faulty piece of singing of the evening.* The following number is the other great soprano air, "From mercy will my Saviour perish," a grand specimen of Bach's genius. Let any one who is accustomed to consider Bach a mere chord-compiler, compare this song with some of more modern origin, and observe how thoroughly the Saxon master was acquainted with the most delicate capabilities of the human voice. It was sung by Miss Banks, in a manner and with an effect no way inferior to her former display. The short chorus "Let Him be crucified," which follows one of the recitatives, is then reiterated with increased emphasis in a key a tone higher. Here the Evangelist's account of the Crucifixion is strictly followed, interrupted only by another version of the chorale above-mentioned to the words "O Thou, whose head was wounded." A recitative accompanied, "O Golgotha," with air, "See the Saviour's outstretched arm," for contralto voice, is truly sacred music, in which the science of the musician serves to express devotional feelings of the greatest intensity. The singing of the two pieces by Mad. Sainton, rendered Bach's admirers still more indebted to her. Another chorale and a recitative brings us to a beautiful air for bass voice, "'Twas in the cool of eventide," which Mr. Wallworth sang with due appreciation of its excellence. Then the narration ends at the tomb, and a recitative and chorus, "Now doth the Lord in peace recline," introduces the finale "In tears of grief," a chorus of unapproachable melody and deep impressiveness. The oboe of Mr. Lavigne, the flutes of Messrs. Rockstro and Card, and the violin of Mr. H. C. Cooper did great service in the obbligati parts. Mr. E. J. Hopkins was at the organ, and Mr. Lindsay Sloper at the pianoforte, the latter instrument being introduced occasionally with excellent effect. We have been thus particular in alluding to the several numbers of this important work, because Mr. Bennett and the Bach Society have our best wishes in their undertaking to make Bach's works better known to the English public. The bugbears of "impossibility " and "unvocalism " have been long since destroyed, and a few more concerts, such as that of last Saturday, will further the good cause. Let us hope that Dr. Bennett and his friends will not loiter by the way. They have gained much ground by this performance, and we trust they will maintain it. N. * Then the self-reproach and self-contempt of Peter are wonderfully portrayed in a air to words judiciously chosen from the Psalms, and sung by Mr Weiss with great power. The appeal to the people as to the releasing malefactor at the feast time succeeds it, and the shouts of the crowd - "Barabbas ! " (The Musical world, Saturday, 31 May 1862)

Grosse Passions - Musik. St. James's Hall. The Bach Society gave a performance of the above celebrated composition at St. James's Hall on Saturday last, before a large and attentive audience. The performance, conducted by Dr. Sterndale Bennett, was extremely well done; but the music, being written for the most part in the minor key, is of a nature not likely to become highly popular - a little of it going a very long way indeed. The Orchestra and Chorus were complete, and well up in their Work. The solo vocalists were Madame Sainton-Dolby, Miss Banks, Miss Martin, Messrs. Walworth, Weiss, and Sims Reeves. Mr. Hopkins presided at the organ, and Mr. Lindsay Sloper at the piano; whilst the oboe, a most important item in the instrumentation, was played by Mr. Lavigne. Dr. Bennett, on mounting the platform, was received with long-continued applause. The Hall was quite filled. (The Era, Sunday, 1 June 1862)

BACH'S PASSIONS-MUSIK. (From the Saturday Review.) Professor Bennett was fortunate in securing so able a set of professional performers to aid his enthusiastic band of volunteers; but it is chiefly to Mr. Sims Reeves that the success of the performance was owing. It is not, indeed, too much to say that, in the opinion of all the connoisseurs who were present, the great tenor added more to his reputation by his wonderful declamation of the narrative than by any other single achievement within our recollection. The difficulty of the intervals and the variety and frequency of the recitatives, all of which were sung with the greatest correctness, cannot but have occasioned Mr. Sims Reeves a vast amount of study; and it is in the highest degree creditable to a great public singer, who can command such large sums for singing three or four simple songs in one evening, to devote himself to what most artists would think the ungrateful and unremunerative task of interpreting a long string of cramp recitatives. We have seldom, if ever, heard anything finer than his delivery of many portions of the text of St. Matthew. In the account of St. Peter's denial of Christ he infused such expression into the words "And he went out and wept bitterly," that it was only his own good sense which stood in the way of an encore. The accompanied recitative, "O grief! Now pants his agonising heart," followed by the song, "With Jesus I will watch and pray," in which the chorus takes up the refrain, "Then fare thee well, each darling sin," was admirable. Of the accompanied airs and recitatives the greatest share falls to the contralto, on this occasion Mad. Sainton-Dolby, who sang throughout the evening with a musician-like feeling and a devotional expressiveness which cannot be too highly admired. The soprano has a song and recitative in each part, which Miss Banks gave in a way which left nothing whatever to be desired. Mr. Weiss was the bass, and sang his difficult and responsible part with a breadth and dignity which showed how fully he appreciated his task. A few words must be devoted to the solo instrumentalists, for they play a very prominent part in the work. Two flutes and two violas are called into frequent requisition in the accompaniments of the airs, in which they have parts of considerable complexity, requiring both care and skill for their effective performance. Seeing that both our great orchestras were engaged at the Opera-houses, Professor Bennett was lucky to be able to get such efficient soloists as Messrs. Rockstro and Card (flutes), and Messrs. R. Blagrove and Baetens (violas). M. Lavigne, whose splendid oboe-playing is so well known, also distinguished himself frequently during the evening, and particularly in the soprano air, "Jesus, Saviour, I am thine," which Miss Banks gave with admirable taste and purity. Mr. Cooper played the violin obbligato to the bass air, "Have mercy upon me, O Lord." Mr. E. J. Hopkins presided at the organ - a very Important feature in the performance - and in such hands it is almost needless to state that it was throughout most effective. The pianoforte accompaniments to the narrative recitatives * were played by Mr. Lindsay Sloper.as only a genuine and conscientious musician like him could play them. Altogether, the performance was one of the most interesting and important musical events which have taken place in London for some time. * A very judicious innovation.-Ed, M.W. (The Musical world, Saturday, 7 June 1862)

London. Bach's Passion Music was performed here in the beginning of the month, by the Bach Society, under the direction of William Sterndale Bennett. The Saturday Review says of it: Professor Bennett was fortunate in securing so able a set of professional performers to aid his enthusiastic band of volunteers; but it is chiefly to Mr. Sims Reeves that the success of the performance was owing. It is not, indeed, too much to say that, in the opinion of all the connoisseurs who were present, the great tenor added more to his reputation by his wonderful declamation of the narrative than by any other single achievement within our recollection.- The difficulty of the intervals and the variety and frequency of the recitatives, all of which were sung with the greatest correctness, cannot but have occasioned Mr. Sims Reeves a vast amount of study; and it is in the highest degree creditable to a great public singer, who can command such large sums for singing three or four simple songs in one evening, to devote himself to what most artists would think the ungrateful and unremunerative task of interpreting a long string of cramp recitatives. We have seldom, if ever, heard anything finer than his delivery of many portions of the text of St. Matthew. In the account of St. Peter's denial of Christ has infused such expression into the words "And he went out and wept bitterly," that it was only his own good sense which stood in the way of an encore. The accompanied recitative, "O grief! now pants his agonizing heart," followed by the song, "With Jesus I will watch and pray," in which the chorus takes up the refrain, "Then fare thee well each darling sin," was admirable. Of the accompanied airs and recitatives the greatest share fell to the contralto, on this occasion Mad. Sainton-Dolby, who sang throughout the evening with a musician-like feeling and a devotional expressiveness which cannot he too highly admired. The soprano has a song and recitative in each part, which Miss Banks gave in a way which left nothing whatever to be desired. Mr. Weiss was the bass, and sang his difficult and responsible part with a breadth and dignity which showed how fully he appreciated his task. A few words must be devoted to the solo instrumentalists, for they play a very prominent part in the work. Two flutes and two violas are called into frequent requisition in the accompaniments of the airs, they have parts of considerable complexity, requiring both care and skill for their effective performance. Seeing that both our great orchestras were engaged at the Opera-houses, Professor Bennett was lucky to be able to get such efficient soloists as Messrs. Rockstro and Card (flutes), and Messrs. R. Blagrove and Baetens (violas). M. Lavigne, whose splendid oboe-playing is so well known, also distinguished himself frequently during the evening, and particularly in the soprano air, "Jesus, Saviour, I am thine," which Miss Banks gave with admirable taste and purity. Mr. Cooper played the violin obbligato to the bass air, "Have mercy upon me, O Lord." Mr. E. H. Hopkins presided at the organ - a very important feature in the performance - and in such hands it is almost needless to state that it was throughout most effective. The piano-forte accompaniments to the narrative recitatives, were played by Mr. Lindsay Sloper, as only a genuine and conscientious musician like him could play them. Altogether, the performance was one of the most interesting and important musical events which have taken place in London for some time. (Dwight's journal of music, Saturday, 21 June 1862)

BACH SOCIETY.- All accounts indicate that the great Passion-Musik (according to St. Matthew), under Sterndale Bennett's direction, was a remarkable success. The Musical World says of it:. The dreamy melody of the opening double chorus, with the interjected quavers from. the second choir, and the strangely-beautiful chorale for treble only (sung by boy voices), were remarkable for the extreme correctness of the singing and ever afore so for fluent delivery and perfect phrasing, which are, indeed, only too rare in general performances. The narrational recitative which follows introduces the story with the words, "When rests had finished all these sayings." Then follows a choral, "O blessed Jesus, what is thy transgression ?" - a passage for beauty of melody and contrapuntal harmony second to none of the numerous chorals in the work. After another narrative passage, a short chorus of wonderful impetuosity and force, "Not on the feast-day, lest there be an uproar among the people," ends that part of the history. Then follows a recitative, "Now when Jesus was in Bethany," and the story of the Magdalen, with a chorus somewhat similar to the last in vigor of manner, "To what purpose is this waste '" Then comes the first aria, "Grief for sin," preceded by an introductory passage, "Thou blessed Saviour." These two pieces were sung by Mad. Sainton with such wonderful ease and grace, that the extreme difficulty of the music was lost sight of, and there only remained to admire the chaste and dignified manner, and the beauty of expression which never fails this true artist. The obbligati parts to this song are a study in themselves. After three short recitatives comes the chorale, "My sin it was which bound thee," the air of which is identical with that of many others subsequently occurring; but the harmonic treatment, or the key, is so varied in each as to produce a new effect. Then comes a recitative and air for soprano, "Jesus, Saviour, I am thine," which for grace and beauty rivals the tenor air that follows it. For what M. Fetis so well describes as "rhythmic melody," the soprano song is, perhaps, the more remarkable. Miss Banks was the singer, and although since her first appearance some years ago, she has never failed to sing any music she has undertaken with unimpeachable correctness and artist-like intelligence, she has never had an opportunity of showing the height to which she could rise till last Saturday. To deliver such a song with unfaltering tune, and to phrase its long passages with ease, is the work of a mistress of the mechanical part of the vocal art; to imbue it with the spirit and life that animated Bach himself when he wrote it, is a triumph such as is reserved for those who have great natural gifts, and who bring laborious perseverance and study in aid of them. The applause which followed the song showed the feeling the singer created; a more hearty and spontaneous evidence of appreciation was never heard. Three more recitatives, with another version of the chorale above mentioned, to the words "O Lord, thy love's unbounded," bring us to the tenor solo with chorus, "With Jesus I will watch and pray," a song varied in character with oboe obbligati and blended with the chorus with all Bach's felicitous skill. The florid parts of this song are original even to being beyond imitation, and the sense of subdued strength imparted to the passage "He endureth my griefs," is most impressive. The singing of Mr. Sims Reeves in this song was superlatively great. The brightness and power of his upper tones are almost indispensable to such a piece; and the vigorous declamatory manner which distinguishes him from all other tenor singers, found noble opportunities in the recitatives (of the Evangelist) throughout the work. A chorale, "O Father let thy will be done," and the two short narrative passages are followed by a duet for soprano and contralto (the former part being sung with great care by Miss Martin), accompanied by a chorus of interjectional phrases of great power, leading to a chorus "Have lightnings and thunders," which, as a marvellous combination of simplicity and power, is equalled only by that great number of Israel in Egypt, "He gave them hailstones for rain." Another chorus, "O man, thy heavy sin lament," ends the first part of the oratorio, which is remarkable for the variety of choral effects produced during its progress, and the skill with which phrases dissimilar in manner are connected together. The second part is introduced by an air for contralto with chorus, "Alas, now is my Saviour gone?" This may, perhaps, be more convincingly quoted as proof of the tenderness of Bach's melodic genius than any other air in the work. Mad. Sainton delivered the phrases of this exquisite piece in her own style. Such music must have been written in the hope that such a singer would some day arise to do it justice. The scene before Pilate is then described in several recitatives. Mr. Sims Reeves, in "Then did they spit in his face" produced a tremendous effect by his emphasis and force; and at the words "He went out and wept bitterly," the pathetic expression imparted to the chromatic passage was listened to in 'solemn silence, until the last note died away, when the applause burst forth from all parts of the hall. - The chorale, "O Lord, who dares to smite Thee?" was redemanded and repeated; and it could not have been otherwise. Mr. Weiss created a profound impression by his very admirable delivery of "Have mercy on me, O Lord." The recitatives which follow describe the appeal to the people as to the release of a malefactor, answered by the shout of the choir, "Barabbas !" which was the only very faulty piece of singing of the evening. The following number is the other great soprano air, "From mercy will my Saviour perish," a grand specimen of Bach's genius. Let any one who is accustomed to consider Bach a mere chord-compiler, compare this song with some of more modern origin, and observe how thoroughly the Saxon master was acquainted with the most delicate capabilities of the human voice. It was sung by Miss Banks, in a manner and with an effect no way inferior to her former display. The short chorus "Let Him be crucified," which follows one of the recitatives, is then reiterated with increased emphasis in a key a tone higher. Here the Evangelist's account of the Crucifixion is strictly followed, interrupted only by another version of the chorale above-mentioned to the words "O Thou, whose head was wounded." A recitative accompanied, "O Golgotha," with air, "See the Saviour's outstretched arm," for contralto voice, is truly sacred music, in which the science of the musician serves to express devotional feelings of the greatest intensity. The singing of the two pieces by Mad. Sainton rendered Bach's admirers still more indebted to her. Another chorale and a recitative brings us to a beautiful air for bass voice, "'Twas in the cool of eventide," which Mr. Wallworth sang with due appreciation of its excellence. Then the narration ends at the tomb, and a recitative and chorus, "Now doth the Lord in peace recline," introduces the finale, "In tears of grief," a chorus of unapproachable melody and deep impressiveness. The oboe of Mr. Lavigne, the flutes of Messrs. Rockstro and Card, and the violin of Mr. H. C. Cooper did great service in the obbligato parts. Mr. E. J. Hopkins was at the organ, and Mr. Lindsay Sloper at the pianoforte, the latter instrument being introduced occasionally with excellent effect. (Dwight's journal of music, Saturday, 5 July 1862) (Also: Dwight's journal of music, Saturday, 5 July 1862.)

Thursday, 5 June 1862 : Mr. Lindsay Sloper's Second of Two Performances of Pianoforte Music at St. James's Hall, Piccadilly.

MR. LINDSAY SLOPER'S SECOND PERFORMANCE of PIANOFORTE MUSIC (Interspersed with Vocal Music) on Thursday. Afternoon next, June 5th, at St. James's Hall, to commence at Three o'clock. Vocalists, Miss Banks, Mr. Tennant, and Mr. Santley. Pianoforte, Mr. Charles Hallé and Mr. Lindsay Sloper. Violin, Herr, Joachim. At the Pianoforte, Mr. Harold Thomas and Mr. Sullivan. Sofa stalls, 10s. 6d.: Balcony, 5s. Tickets at Mr. Lindsay. Sloper's, 70. Cambridge Terrace, Hyde Park; at Chappell & Co.'s, 50 New Bond Street; and of all Musicsellers. (Saturday review of politics, literature, science and art, Saturday, 24 May 1862) (Also: The London review and weekly journal of politics, literature, art, and society, July 7, 1860-June 29, 1861, Saturday, 24 May 1862.)

MR. LINDSAY SLOPER'S SECOND PERFORMANCE of PIANOFORTE MUSIC (interspersed with vocal music) on THURSDAY AFTERNOON, June 5, at St James's Hall, to commence at three o'clock. Vocalists: Miss Banks, Mr. Tennant, and Mr. Santley. Pianoforte, Mr. Chas. Hallé, and Mr. Lindsay Sloper; violin, Herr Joachim; at the pianoforte, Mr. Harold Thomas and Mr. Sullivan. Sofa stalls, 10s. 6d.; Balcony, 5s. Tickets at Chappell and Co., 50, New Bond-street. (The Athenaeum, Saturday, 24 May 1862)

MR. LINDSAY SLOPER'S SECOND PERFORMANCE of PIANOFORTE MUSIC (interspersed with vocal music) on THURSDAY AFTERNOON, June 5, at St James's Hall, to commence at three o'clock. Vocalists: Miss Banks, Mr. Tennant, and Mr. Santley. Pianoforte, Mr. Chas. Hallé, and Mr. Lindsay Sloper; violin, Herr Joachim and M. Sainton; at the pianoforte, Mr. Harold Thomas and Mr. Arthur Sullivan. Sofa stalls, 10s. 6d each; balcony, 5s.; Tickets of Mr. Lindsay Sloper, 70, Cambridge-terrace, Hyde-park, W.; and of Chappell and Co., 50, New Bond-street; and all musicsellers. (The Times, Monday, 26 May 1862)

MR. LINDSAY SLOPER'S LAST PERFORMANCE of PIANOFORTE MUSIC (interspersed with vocal music) on THURSDAY AFTERNOON next, June 5, at St. James's Hall to commence at three o'clock. Vocalists-Miss Banks, Mr. Tennant, and Mr. Santley. Pianoforte - Mr. Chas. Hallé and Mr. Lindsay Sloper; violin, Herr Joachim; at the pianoforte, Mr. Harold Thomas and Mr. Sullivan. - Sofa stalls, 10s. 6d.; balcony, 5s. Tickets at Mr. Lindsay Sloper's, 70, Cambridge-terrace, Hyde-park; at Chappell and Co's., 50, New Bond-street; and at all musicsellers. (Morning Post, Tuesday, 3 June 1862)

MR. LINDSAY SLOPER'S LAST PERFORMANCE of PIANOFORTE MUSIC (interspersed with vocal music) on THURSDAY AFTERNOON next, June 5, at St James's Hall, to commence at three o'clock. Vocalists: Miss Banks, Mr. Tennant, and Mr. Santley. Pianoforte, Mr. Chas. Hallé, and Mr. Lindsay Sloper; violin, Herr Joachim; at the pianoforte, Mr. Harold Thomas and Mr. Arthur Sullivan. Sofa stalls, 10s. 6d each; balcony, 5s.; Tickets of Mr. Lindsay Sloper, 70, Cambridge-terrace, Hyde-park, W.; and of Chappell and Co., 50, New Bond-street; and all musicsellers. (The Times, Tuesday, 3 June 1862)

MR. LINDSAY SLOPER'S LAST PERFORMANCE of PIANOFORTE MUSIC (interspersed with vocal music) THIS AFTERNOON (THURSDAY), June 5, at St. James's Hall to commence at three o'clock. Vocalists-Miss Banks, Mr. Tennant, and Mr. Santley. Pianoforte - Mr. Chas. Hallé and Mr. Lindsay Sloper; violin, Herr Joachim; at the pianoforte, Mr. Harold Thomas and Mr. Sullivan. - Sofa stalls, 10s. 6d.; balcony, 5s. Tickets at Mr. Lindsay Sloper's, 70, Cambridge-terrace, Hyde-park; at Chappell and Co's., 50, New Bond-street; and at all musicsellers. (Morning Post, Thursday, 5 June 1862)

MR. LINDSAY SLOPER'S LAST PERFORMANCE of PIANOFORTE MUSIC (interspersed with vocal music) THIS AFTERNOON, June 5, at St James's Hall, to commence at three o'clock. Vocalists: Miss Banks, Mr. Tennant, and Mr. Santley. Pianoforte, Mr. Chas. Hallé, and Mr. Lindsay Sloper; violin, Herr Joachim; at the pianoforte, Mr. Harold Thomas and Mr. Arthur Sullivan. Sofa stalls, 10s. 6d each; balcony, 5s.; Tickets of Mr. Lindsay Sloper, 70, Cambridge-terrace, Hyde-park, W.; and of Chappell and Co., 50, New Bond-street; and all musicsellers. THIS DAY. - Herr JOACHIM will PLAY, with Mr. Lindsay Sloper, Schubert's Fantasia in C major, and a Sonata by Beethoven, at Mr. Sloper's Concert THIS DAY (Thursday), at St. James's-hall. Mr. Charles HaIle will play a duet for two pianofortes with Mr. Sloper. Sofa stalls, 10s. 6d.; balcony, 5s. Tickets and programmes at Chappell and Co.'s, 50, New Bond-street. THIS DAY. - Mr. CHAS. HALLE will PLAY a Duet for two Pianofortes, with Mr. Lindsay Sloper, at his Concert, THIS DAY (Thursday). Herr Joachim will also appear. Sofa stalls, 10s. 6d.; balcony, 5s. Tickets and programmes at Chappell and Co.'s, 50, New Bond-street. (The Times, Thursday, 5 June 1862)

CONCERTS. - It would not be easy to overrate the interest, as regards selection, of the Concerts given on Thursday week, by Mr. Lindsay Sloper in the morning, and by Mr. Cusins in the evening. The former began with Dussek's vigorous yet graceful Sonata in G major, Op. 35, No. 2. No. 3 of the same set, in c minor, is still finer. Then, how welcome was Schubert's Op. 159, Fantasia for Pianoforte and Violin, with its romantic, dreamy introduction, followed by three themes, each of which has that fresh originality which is not to be over-prized ! - the first Hungarian, the second a varied air strangely resembling 'Les Hirondelles' - a melody written long after by M. Felicien David - the third almost in the French style. Operas could be named, and successful operas, too, in which there is not one theme as real as any one of these three; yet the Fantasia as a whole, with all its wealth of idea, is overloaded and over-long. We had next a lulling Berceuse, by Herr Pauer, and M. Heller's effective, though overwrought, transcript of "Bluthenreicher Ebro," one of Schumann's songs. What a contrast betwixt this and Clementi's Sonata for two Pianofortes in B major ! - one of its composer's more mechanical works withal, showing the mechanism of a great artist's hand. With the modesty of a true artist, Mr. Sloper introduced only two of his own later compositions at his own Concert. Nothing, in brief, could be in better taste. The singers were Miss Banks, who improves month by month, and Mr. Santley, whom there is no need to praise as a voice, as a musician or as a singer. But his English vowels want setting in order ; and we mention this in time (not without having remarked the mistake as being in course of growth, rather than of amendment), before false pronunciation becomes a habit with him. To Italianize or to Frenchify our mother-tongue, is a gratuitous exercise of ingenuity. When the words are good, our language is adaptable to every pure pose and charm of the singer: witness the Bible words, and those of Milton, and those of Dryden, set by Handel. The speaking, clear and refined, of Mrs. Alfred Shaw is as memorable as her beautiful contralto voice. Mr. Santley is too real an artist, and has, we hope, too long a career before him, to be spared a single word of the counsel of which, by accident or inadvertence, he may stand in need. (The Athenaeum, Saturday, 14 June 1862)

Before noticing the second concert of Mr. Lindsay Sloper, we will just allude to the "Extra Concert" of Mr. Leslie's choir, at which, among many beautiful compositions, his new Cantata obtained its first hearing in London. On this occasion it was given with the accompaniment of two pianofortes, while Miss Robertine Henderson was the substitute for Madame Lemmens-Sherrington. Though the work, as we understand, was originally written with piano accompaniment, we cannot help thinking that it gains considerably by the addition of the orchestra, especially the Bridal March, which on the piano sounds somewhat tame and thin, and consequently produced but little effect. Miss Henderson sang her two recitatives and airs in a very pleasing manner, so finished and unaffected that the music lost nothing by being intrusted to her. The same clever young lady was the vocalist at Mr. Sloper's first performance of pianoforte music, in every respect a delightful entertainment. It was even superior, we thought, in the choice of music, to his second performance, Bach, Couperin, Weber, Bennett, Stephen Heller, Sloper, and Sullivan, presenting a more formidable array of names than Dussek, Schubert, and Clementi. The sonata for pianoforte solo by Dussek, and Clementi's sonata for two pianofortes, played by Messrs. Hallé and Sloper, were, no doubt, highly interesting; but they are, nevertheless, a little passé. The fantasia by Franz Schubert, for pianoforte and violin, on the other hand, was a very welcome novelty, though we doubt whether it will ever become a popular piece. It is, like all Schubert's compositions full of beautiful ideas, but too long and diffuse. Two elegant pieces of Mr. Sloper's composition, - "Spring-song " (MS.) and "Valse Brillante," were a great feature in the well-selected programme, and evidently afforded much delight to the numerous assemblage of the elegant fair, who listened with profound attention to the charming playing of the lucky composer. (The London review and weekly journal of politics, literature, art, and society, July 7, 1860-June 29, 1861, Saturday, 14 June 1862)

Mr. Lindsay Sloper's Pianoforte Performances have been among the most recherche entertainments of the season. The programme of each was enriched with classic gems, while so much of what is called the "romantic" school - not because it is "romantic," but to distinguish it from the "classic" - was amalgamated with it as to ensure n delightful variety. In the second and last performance, given on Thursday afternoon, the 5th instant, the great pieces were Dussek's pianoforte sonata in G major, Op. 35, No. 2; Clementi's Sonata in B flat, for two pianofortes; and Beethoven's Sonata in A major. Op. 30, No. 1, for violin and pianoforte. The meeting of Mr. Lindsay Sloper and Mr. Charles Hallé in Clementi's sonata created immense excitement, and the performance, we need hardly say, was incomparable; and not less incomparable, as may be guessed, was the play in Beethoven's sonata exhibited by Mr. Lindsay Sloper and Herr Joachim. Midway between the classic and romantic school, belonging to both yet neither - or, more properly, being one of the strongest examples of the really romantic school - is the fantasia in C major, Op. 159, for violin and pianoforte, of Franz Schubert, which, even by the side of Beethoven, Clementi, and Dussek, gave out a light which could only proceed from a work of genius. Mr. Sloper's lighter contributions to the programme comprised Stephen Heller's Improvisation "Bluthenreicher Ebro," song by Schumann, Op. 98; Herr Pauer's Berceuse in F major, op. 31; and his own "Spring Song," and valse brillante, "Eventide." The "Spring Song" and " Eventide" are most charming and graceful compositions, and it requires no prophet to foretell their popularity. Mr. Sloper's execution of these pieces was absolute perfection, and indeed could not fail to recommend strongly bagatelles with a tithe of their merit. The songs were by Miss Banks and Mr. Santley - the lady contributing Mr. Sullivan's "Where the bee sucks," and "In my wild mountain valley," from the Lily of Killarney; the gentleman, "The Colleen Bawn," from the same opera, and Blumenthal's "Le Sguardo." Mr. Benedict's two songs carried away the palm. The vocal music was accompanied by Mr. Harold Thomas and Mr. Arthur Sullivan. (The Musical world, Saturday, 14 June 1862)

PIANISTS - JAELL, HELLER, &c. The number of virtuosos, who entitle themselves remarkable, excellent, or simply men of genius, present at this moment in London, is so great, and the list of concerts which they give, or in which they play, is so considerable, that the mere mention of them would fill an entire number of the Gazette Musicale. Permit me then to limit myself to-day to mentioning Alfred Jaell. - At the Philharmonic Society, at the Musical Union, at Dublin as well as London, everywhere his extraordinary talent has obtained merited successes. He is engaged to play next Saturday at the Crystal Palace. After playing for the last time in the concert of Mr. Lindsay Sloper, one of the best pianists and professors here, a new Tarantella of his composition, Stephen Heller has quitted us this week. Yet the season is but just commencing, and Heller certainly has had no cause to complain of the reception he has met in England. His talent, so fine, so elegant, so exquisite, has been appreciated everywhere. He had only to open the piano to find sympathy and success. But here you see the character of the man; it is necessary to open the piano, and it is so fatiguing! And then to play before mere mortals ! Then again the coffee is so bad in London, and everything is so far off ! So Stephen Heller has returned to Paris. But to make up for it, an avalanche of new pianists have just arrived in London. Henri Heine, passing by Weimar, exclaims: "Sie klagten und jammerten Goethe sei todt Und Eckermann sei noch ann Leben." I take it for granted that no one of the new pianists understands German. (To be continued.) (Dwight's journal of music, Saturday, 9 August 1862) (Also: Dwight's journal of music, Saturday, 9 August 1862.)

Saturday, 7 June 1862 : Mr. Howard Glover's Grand Morning Concert at St. James's Hall, Piccadilly.

MR. HOWARD GLOVER respectfully announces that his GRAND MORNING CONCERT will take place at the St. James's Hall on SATURDAY, the 7th of June, when the following artists will appear: - Sopranos - Madlle. Titiens, Madame Lemmens-Sherrington, Madame Guerrabella, Madlle. Parepa, Miss Augusta Thomson, Madame Louisa Vinning, Miss Stabbach, Madame Florence Lancia, Madame Weiss, Miss Soldene (her first appearance in public), Miss E. Horder, Madlle. Georgi, and Madlle. Carlotta Marchisio. Contraltos - Madame Sainton-Dolby, Madame Laura Baxter, Miss Lucy Leffler, Miss Lascelles, and Madlle. Barbara Marchisio. Tenors - Mr. Sims Reeves, Herr Reichardt, Mr. Swift, Mr. G. Perren, and Signor Giuglini. Baritones - Signor Belletti and Signor Renato. Basses - Mr. W. H. Weiss, Mr. Lewis Thomas, and Herr Formes. Violins - Herr Joachim, M. Sainton, and Herr Molique. Pianoforte - Mr. Charles Hallé, Mr. Aguilar, and Miss Anna Molique. Clarionet, Mr. Lazarus; horn, Mr. C. Harper; flute, Mr. Pratten; oboe, M. Lavigne ; bassoon, M. Mausser. Conductors - Mr. Benedict, Mr. Land, Herr W. Ganz, Mr. G. Lake. Mr. Lindsay Sloper, Mr. F. Berger, and Mr. Howard Glover. Stalls, 10s. 6d.; balcony, 5s.- Tickets to be had of Mr. Howard Glover, 28, Alfred-place, Bedford-square ; Messrs. Chappell, 50, New Bond-street ; and Mr. Austin, at the ticket-office, St. James's Hall. (The Times, Thursday, 8 May 1862) (Also: The Times, Tuesday, 20 May 1862; The Times, Monday, 12 May 1862; Morning Post, Monday, 12 May 1862; The Times, Tuesday, 13 May 1862; Morning Post, Tuesday, 13 May 1862; Morning Post, Wednesday, 14 May 1862.)

Commence at 7… and Signor Giuglini, by permission of Mr. Mapleson. Baritones -Signor.- Belletti and Signor Renato. Basses. .-Mr. W. H. Wels>, Mr. Lewis Thomas, aid Her Formes. Violins -Herr Joachim, M. Sainton, and Herr Molique. Pianoforte - Mr. Charles Hallé, Mr. Aguilar, and Miss Ann Molique. Clarionet, Mr. Lazarus ; horn, Mr. C. Harper ; flute, Mr. Pratten ; oboe, M. Lavigne ; bassoon, .M. Hausser. Conductors Mr. Benedict, Mr. Land, Herr W. Ganz, M. u. Lake, Mr. Lindsay, Sloper, Mr. F. Berger, and Mr. Howard Glover. Stalls, 10s 6d. Balcony, 5s. Tickets to be had of Mr. Howard clover, 28, Aired Place, Bedford Square; Messrs Chappell, 50, New Bond Street; and Mr. Austin, at the Ticket Office, St James's Hall. (Commercial Daily List, Wednesday, 21 May 1862)

MR. HOWARD GLOVER respectfully announces that his GRAND MORNING CONCERT will take place at the St. James's Hall on SATURDAY, June 7. when the following artists will appear: - Sopranos - Madlle. Titiens (by permission of Mr. Mapleson), Madame Lemmens-Sherrington, Madame Guerrabella, Madlle. Parepa, Miss Augusta Thomson. Madame Louisa Vinning, Miss Stabbach, Madame Florence Lancia, Madame Weiss, Miss Soldene (her first appearance in public), Miss E. Horder, Madlle. Georgi, and Madlle. Carlotta Marchisio. Contraltos - Madame Sainton-Dolby, Madame Laura Baxter, Miss Lucy Leffler, Miss Lascelles, and Madlle. Barbara Marchisio. Tenors - Mr. Sims Reeves, Herr Reichardt, Mr. Swift, Mr. G. Perren, and Signor Giuglini by kind permission of Mr. Mapleson . Baritones - Signor Belletti and Signor Renato. Basses - Mr. W. H. Weiss, Mr. Lewis Thomas, and Herr Formes. Violins - Herr Joachim, M. Sainton, and Herr Molique. Pianoforte- Mr. Charles Hallé, Mr. Aguilar, and Miss Anna Molique. Clarinet, Mr. Lazarus ; horn, Mr. C. Harper; flute, Mr. Pratten ; oboe, M. Lavigne; bassoon, M. Hausser. Conductors- Mr. Benedict, Mr. Land, Herr W. Ganz, Mr. G. Lake. Mr. Lindsay Sloper, Mr. F. Berger, and Mr. Howard Glover. Stalls, 10s. 6d.; balcony, 5s.- Tickets to be had of Mr. Howard G lover, 23, Alfred-place, Bedford-square; Messrs. Chappell, 50, New Bond-street ; and Mr. Austin, at the ticket-office, St. James's Hall. (The Times, Monday, 26 May 1862) (Also: Morning Post, Tuesday, 27 May 1862.)

MR. LINDSAY SLOPER'S SECOND PERFORMANCE of PIANOFORTE MUSIC (interspersed with vocal music) on THURSDAY AFTERNOON, June 5, at St James's Hall, to commence at three o'clock. Vocalists: Miss Banks, Mr. Tennant, and Mr. Santley. Pianoforte, Mr. Chas. Hallé, and Mr. Lindsay Sloper; violin, Herr Joachim and M. Sainton; at the pianoforte, Mr. Harold Thomas and Mr. Arthur Sullivan. Sofa stalls, 10s. 6d each; balcony, 5s.; Tickets of Mr. Lindsay Sloper, 70, Cambridge-terrace, Hyde-park, W.; and of Chappell and Co., 50, New Bond-street; and all musicsellers. (The Times, Monday, 26 May 1862)

MR. HOWARD GLOVER'S GRAND MORNING CONCERT at the St. James's Hall, SATURDAY, June 7. Commencing at Two o'clock. Unprecedented attraction. when the following artists will appear: - Sopranos - Madlle. Titiens, Madame Lemmens-Sherrington, Madame Guerrabella, Madlle. Parepa, Miss Augusta Thomson. Madame Louisa Vinning, Miss Stabbach, Madame Florence Lancia, Madame Weiss, Miss Soldene (her first appearance in public), Miss E. Horder, Madlle. Georgi, and Madlle. Carlotta Marchisio. Contraltos - Madame Sainton-Dolby, Madame Laura Baxter, Miss Lucy Leffler, Miss Lascelles, and Madlle. Barbara Marchisio. Tenors - Mr. Sims Reeves, Herr Reichardt, Mr. Swift, Mr. G. Perren, and Signor Giuglini. Baritones - Signor Belletti and Signor Renato. Basses - Mr. W. H. Weiss, Mr. Lewis Thomas, and Herr Formes. Violins - Herr Joachim, M. Sainton, and Herr Molique. Pianoforte- Mr. Charles Hallé, Mr. Aguilar, and Miss Anna Molique. Clarinet, Mr. Lazarus; horn, Mr. C. Harper; flute, Mr. Pratten ; oboe, M. Lavigne; bassoon, M. Hausser. Conductors- Mr. Benedict, Mr. Land, Herr W. Ganz, Mr. G. Lake. Mr. Lindsay Sloper, Mr. F. Berger, and Mr. Howard Glover. Stalls, 10s. 6d.; balcony, 5s.- Tickets to be had of Mr. Howard Glover, 23, Alfred-place, Bedford-square; Messrs. Chappell, 50, New Bond-street; and Mr. Austin, at the ticket-office, St. James's Hall and of all Musicsellers and Librarians. (The Era, Sunday, 1 June 1862) (Also: Morning Post, Tuesday, 3 June 1862.)

ST. JAMES'S-HALL. -Mr. HOWARD GLOVER'S GRAND MORNING CONCERT, SATURDAY. June 7, 1862, commencing at one o'clock. Programme : Part I. Sestet for pianoforte, Flute, oboe, horn, clarionet, and bassoon, Messrs. E. Aguilar, S. Pratten, Barret, C. Harper, Lazarus, and Hausser- E. Aguilar; ballad, "The strain I heard in happier days,'" Miss Soldene (her first appearance in public) - Howard Glover; Grand Aria, "My heart with rage" Ruy Blas, Mr. Santley - Howard Glover; Selection from Howard Glover's "Once too Often ; Duet, "Oh! glorious days of chivalry," Miss Augusta Thomson and Madame Laura Baxter; Aria Buffa, "In my chateau of Pompernik," Herr Formes; Grand Aria, "The solemn words." Miss Augusta Thomson; Romance, "A young and artless maiden," Herr Reichardt ; Song. "The Monks were jolly boys." Mr. H. H. Weiss ; Romance, "Love is a gentle thing," Madame Laura Baxter; Grand Aria, "Non mi dir," Madlle. Titiens - Mozart; Romanza, "Spirto gentil" Signor Giuglini - Donizetti ; Trio, " Guai se ti sfugge un molto," Madlle. Titiens, Signor Gassier, and Signor Giuglini - Donizetti ; Duet, pianoforte and violin, Miss Anna Molique and Herr Molique - Molique ; New Song, "She may smile on many," Mr. Sims Reeves (composed expressly for him) - Howard Glover: Aria, "Sorgette," Signor Belletti - Rossini; Duet, "Andiam va avanti,'' Mr. Sims Reeves and Signor Belletti - Paer ; Aria, "Largo al factotum," Signor Gassier - Rossini; Aria, "No piu di fiori," Madame Weiss - Mozart; Clarionet Obbligato, Air. Lazarus : Song,, Madame Sainton-Dolby ; Grand Duet, "Ebben a te ferisci," the Sisters Barbara and Carlotta Marchisio - Rossini : Sonata Pathetique, Mr. Charles Hallé - Beethoven; Grand Aria, "If for all this loving care" "Ruy Blas,", Madlle. Parepa - Howard Glover: Solo, violin, "Romance," Herr Joachim - Beethoven; Aria, "Le Bijou," Madame Lemmens-Sherrington - Gounod; Fantasia on Scottish Airs, M. Sainton- Sainton ; Aria, "La danza d'amore," Madame Guerrabella - Biletta: Ballad. "Alice," Mr. G. Perren - Ascher. Part II. Grand Duet for Two Pianofortes, Miss Eleanor Ward and Mr. Francesco Berger - Kalkbrenner: Aria,, Mr. Swift ; Song. "The Night Bird," Miss Lascelles - F. Berger : Solo, Oboe, M. Lavigne- Lavigne ; Song, "The Evening Song," Mr. Tennant - Blumenthal ; Brindisi, " Il segreto per esser felici," Madlle. Trebelli - Donizetti ; New Song, "The Soldier's Dream," Mr. Lewis Thomas- W. H. Weiss; New Song, "Though all should forsake thee." Miss Leffler - F. Mori ; Aria, " Come per me sereno," Madame Florence Lancia - Bellini : Aria, " 0 mio Fernando," Madame Nita Norrie- Donizetti ; Solo, Pianoforte, " Valse brillante," Mr. John Wilson - Wilson ; New Song, "The Heart's Dream," Miss Stabbach- Henry Smart; Solo, Violoncello, upon Themes from "II Ballo in Maschera," M. Paque - Paque ; Aria, "Ah forse e lui," Madame Louisa Vinning- Verdi : Ballad, "I'm alone," Miss E. Horder- Benedict : Aria,, Madlle. Georgi- Fiorio ; Song,, Air. Henry Ashton ; Trio, "Ti Prego," Miss E. Horder, Madame Nita. Norrie, and Miss Leffler. Conductors - Messrs. Benedict, Lindsay Sloper, W. Ganz. G. Lake, Francesco Berger, Emile Berger, Randegger, and Howard Glover. (Morning Post, Wednesday, 4 June 1862) (Also: The Times, Thursday, 5 June 1862.)

ST. JAMES'S-HALL. ST. JAMES'S-HALL. -Mr. HOWARD GLOVER'S GRAND MORNING CONCERT, SATURDAY. June 7, 1862, commencing at one o'clock. Programme : Part I. Sestet for pianoforte, Flute, oboe, horn, clarionet, and bassoon, Messrs. E. Aguilar, S. Pratten, Barret, C. Harper, Lazarus, and Hausser- E. Aguilar; ballad, "The strain I heard in happier days,'" Miss Soldene (her first appearance in public) - Howard Glover; Grand Aria, "My heart with rage" Ruy Blas, Mr. Santley - Howard Glover; Selection from Howard Glover's "Once too Often ; Duet, "Oh! glorious days of chivalry," Miss Augusta Thomson and Madame Laura Baxter; Aria Buffa, "In my chateau of Pompernik," Herr Formes; Grand Aria, "The solemn words." Miss Augusta Thomson; Romance, "A young and artless maiden," Herr Reichardt ; Song. "The Monks were jolly boys." Mr. H. H. Weiss ; Romance, "Love is a gentle thing," Madame Laura Baxter; Grand Aria, "Non mi dir," Madlle. Titiens - Mozart; Romanza, "Spirto gentil" Signor Giuglini - Donizetti ; Trio, " Guai se ti sfugge un molto," Madlle. Titiens, Signor Gassier, and Signor Giuglini - Donizetti ; Duet, pianoforte and violin, Miss Anna Molique and Herr Molique - Molique ; New Song, "She may smile on many," Mr. Sims Reeves (composed expressly for him) - Howard Glover: Aria, "Sorgette," Signor Belletti - Rossini; Duet, "Andiam va avanti,'' Mr. Sims Reeves and Signor Belletti - Paer ; Aria, "Largo al factotum," Signor Gassier - Rossini; Aria, "No piu di fiori," Madame Weiss - Mozart; Clarionet Obbligato, Air. Lazarus : Song,, Madame Sainton-Dolby ; Grand Duet, "Ebben a te ferisci," the Sisters Barbara and Carlotta Marchisio - Rossini : Sonata Pathetique, Mr. Charles Hallé - Beethoven; Grand Aria, "If for all this loving care" "Ruy Blas,", Madlle. Parepa - Howard Glover: Solo, violin, "Romance," Herr Joachim - Beethoven; Aria, "Le Bijou," Madame Lemmens-Sherrington - Gounod; Fantasia on Scottish Airs, M. Sainton- Sainton ; Aria, "La danza d'amore," Madame Guerrabella - Biletta: Ballad. "Alice," Mr. G. Perren - Ascher. Part II. Grand Duet for Two Pianofortes, Miss Eleanor Ward and Mr. Francesco Berger - Kalkbrenner: Aria,, Mr. Swift ; Song. "The Night Bird," Miss Lascelles - F. Berger : Solo, Oboe, M. Lavigne- Lavigne ; Song, "The Evening Song," Mr. Tennant - Blumenthal ; Brindisi, " Il segreto per esser felici," Madlle. Trebelli - Donizetti ; New Song, "The Soldier's Dream," Mr. Lewis Thomas- W. H. Weiss; New Song, "Though all should forsake thee." Miss Leffler - F. Mori ; Aria, " Come per me sereno," Madame Florence Lancia - Bellini : Aria, " 0 mio Fernando," Madame Nita Norrie- Donizetti ; Solo, Pianoforte, " Valse brillante," Mr. John Wilson - Wilson ; New Song, "The Heart's Dream," Miss Stabbach- Henry Smart; Solo, Violoncello, upon Themes from "II Ballo in Maschera," M. Paque - Paque ; Aria, "Ah forse e lui," Madame Louisa Vinning- Verdi : Ballad, "I'm alone," Miss E. Horder- Benedict : Aria,, Madlle. Georgi- Fiorio ; Song,, Air. Henry Ashton ; Trio, "Ti Prego," Miss E. Horder, Madame Nita. Norrie, and Miss Leffler. Conductors - Messrs. Benedict, Lindsay Sloper, W. Ganz. G. Lake, Francesco Berger, Emile Berger, Randegger, and Howard Glover. (The Times, Wednesday, 4 June 1862)

MR. HOWARD GLOVER'S CONCERT. On Saturday afternoon Mr. Howard Glover's monster concert took place before a densely-crowded audience at the St. James's Hall. The programme included, the names of Mesdames Titiens, Barbara Marchisio, Carlotta Marchisio, Lemmens-Sherrington, Augusta Thomson, Weiss, Guerrabella, Stabbach, Florence Lancia, Sainton-Dolby, Laura Baxter, Lascelles, Leffler, Horder, Georgi, Louisa Vinning, Messrs. Sims Reeves, Giuglini, Belletti, Gassier, Weiss, Perren, Tennant, Lewis Thomas, Formes, Reichardt, and Santley as vocalists ; and Mesdames Anna Molique, Eleanor Ward, and Messrs. Joachim, Molique, Sainton, Aguilar, F. Berger, S. Pratten, Lazarus, Michalson, Lavigne, Hausser, T. Harper, Paque, and Charles Hallé as instrumentalists, all of whom duly appeared. Of course the enormous length of the programme precludes the possibility of our entering into details. We may, however, record the facts that encores were awarded to Mr. Sims Reeves' rendering of a new song, "She may smile on many," composed by the concert-giver expressly for him, to Madlle. Titien's "Last rose of summer," and Madame Guerrabella's " Danza d'amore." The only unknown performer in the programme was Miss Emily Soldene, a young lady possessing a very beautiful mezzo-soprano voice and much genuine musical feeling, as exemplified in her execution of Mr. Howard Glover's ballad, "The strain I heard in happier days," despite the extreme nervousness against which she was evidently struggling. Miss Soldene was unanimously applauded, as she well deserved to be, and is destined, we believe, to become an ornament to the concert room. The conductors were - Messrs. Benedict, G. Lake, W. Ganz, E. Berger, F. Berger, Howard Glover, and Lindsay Sloper. (Morning Post, Monday, 9 June 1862)

MR. HOWARD GLOVER's CONCERT. - On Saturday afternoon Mr. Howard Glover's monster concert took place before a densely-crowded audience at the St. James's Hall. The programme included the names of most of the chief English and foreign artists now in London, and was of an extraordinary length. Encores were awarded to Mr. Sims Reeves' rendering of a new song, "She may smile on many," composed by the concert-giver expressly for him, to Mdlle. Titiens' "Last rose of summer," and Madame Guerrabella's "Danza d'amore." The only unknown performer in the programme was Miss Emily Soldene, a young lady possessing a very beautiful mezzo-soprano voice and much genuine musical feeling, as exemplified in her execution of Mr. Howard Glover's ballad, "The strain I heard in happier days," despite the extreme nervousness against which she was evidently struggling. Miss Soldene was unanimously applauded, as she well deserved to be, and is destined, we believe, to become an ornament to the concert room. The conductors were - Messrs. Benedict, G. Lake, W. Ganz, E. Berger, F. Berger, Howard Glover, and Lindsay Sloper. (The Lady's Newspaper & Pictorial Times, Saturday, 14 June 1862)

Mr. Howard Glover's Concert on Saturday last offered attractions so numerous and so varied, that it was not surprising to find St. James's Hall almost inadequate to accommodate the enormous throng assembled. Anything like a detailed notice will be readily excused. One of the most noticeable features was the selection from Mr. Glover's charming operetta, Once too Often, entrusted to Miss Augusta Thomson, Mad. Laura Baxter, Herr Reichardt, Herr Formes, and Mr. Weiss. A new song, also from the same facile and graceful pen, composed expressly for Mr. Sims Reeves, and sung by that gentleman, won an unanimous encore - a compliment with which no one could feel disposed to quarrel, so elegant was the song, so faultless the singer. To Mad. Guerrabella fell a similar honour in an aria by Signor Biletta, " La Danza d'Amore." A debutante, Miss Soldene, displayed a mezzo-soprano voice of excellent quality in another of Mr. Glover's efforts, a ballad entitled "The strain I heard in happier days. Of artists like Mad. Louisa Vinning, Mlle. Titiens, Mesdames Weiss, Lemmens-Sherrington, Sainton-Dolby, the Sisters Marchisio, Miss Lascelles, Miss Leffler, Mad. Florence Lancia, Nita Norris, Misses Stabbach, Horder, Georgi, Mile. Parepa, Messrs. Santley, Gassier, Belletti, G. Perren, Tennant, Lewis Thomas - the mention of their names is sufficient guarantee of excellence; but, in addition to this formidable array of vocalists, the instrumentalists were equally strong, numbering Messrs. Aguilar, Pratten, Barret, C. Harper, Lazarus, and Hausser, Miss Anna Molique and Herr Molique, Mr. Charles Hallé, Herr Joachim, M. Sainton, Miss F. Ward, M. Francesco Berger, Mr. John Wilson, M. Paque, M. Lavigne, &c. The accompanyists - or conductors, to speak by the card - were the beneficiaire, Messrs. Lindsay Sloper, Ganz, Berger, and Randegger. (The Musical World, Saturday, 14 June 1862)

A LONDON PROGRAMME. A few days ago, Mr. Howard Glover, the eminent musical critic of the Morning Post, and who, like his confrère of the Debats, is at the same time a great composer, gave his annual concert - concert superb, of which the programme comprised, all told, five and forty numbers. I can affirm that it commenced at half past one precisely; I should be more embarrassed to tell you when it was over. Forty-five pieces! I am not yet up to that point of endurance, but, trust me, it will come. Luckily the pieces which interested me more particularly figured at the top of the programme; I mean some fragments of Mr. Glover's opera Ruy Blas and of his operetta: "Once too often," the latter of which has had and continues to have so great a run. This work, with "The Lily of Killarney" by Benedict, has been the greatest success of the last season of the English Opera, and it is now making the tour of all the provincial towns and all the amateur theatres, of which the number is much greater in England than in France. You think perhaps that in a concert composed of forty-five pieces there must have been a good deal of remplissage. Undeceive yourself; you shall judge of it, and I am going to cite to you only some of the names that figured on the programme: Mmes. Titjens, Trebelli, Lemmens-Sherrington, the sisters Marchisio, Messrs. Sims Reeves, Reichardt, Formes, Santley, Giuglini, Gassier, Belletti, Mr. and Mrs. Sainton-Dolby; Messrs. Pratten, flutist of the first merit; Lavigne, excellent oboist, and Lazarus, one of the greatest clarinetists; Messrs. Aguilar, Sloper, Benedict, Hallé, Joachim, &c. The name of Joachim comes under my pen, and I vainly regret that I cannot devote to him to-day more than a simple mention, for he is one of the greatest artists of our epoch; he played last evening divinely the violin Concerto of Beethoven, at the fourth séance of the "Musical Society of London." But the music gets ahead of us just now, and with the best will in the world one is forced to pass over in silence artists even of the highest merit. Here, for example, is M. Becker, violinist, whose reputation is great in Germany and will become as great in England; M. Davidoff, a Russian violoncellist, who makes himself applauded by the side of Piatti, which is a great deal; and M. Laub, a German violinist, who finds means to win applause by the side of Joachim, which is still more. (Dwight's journal of music, Saturday, 16 August 1862) (Also: Dwight's journal of music, Saturday, 16 August 1862.)

Friday, 20 June 1862 : Madame Sainton-Dolby's Grand Evening Concert at St. James's Hall, Piccadilly.

MADAME SAINTON-DOLBY begs to announce that she will give a GRAND CONCERT at St. James's Hall, on FRIDAY EVENING, June 20, to commence at eight o'clock. Vocalists- The Sisters Madlle. Carlotta Marchisio and Madlle Barbara Marchisio, Miss Marian Moss, and Madame Sainton-Dolby ; Mr. George Perren and Mr. Santley. Pianoforte- Mr Charles Hallé. Violin- M. Sainton. La Société Chorale Clemence Isaure ; conductor, M. Baudouin. The society consists of 50 members, who are expressly engaged for this Concert. Conductors- Mr. Lindsay Sloper, Mr. Deacon, and Herr Meyer Lutz - Sofa stalls, 10s. 6d. ; may be secured of Madame Sainton-Dolby at her residence, 5, Upper Wimpole-street, Cavendish-square; at Chappell and Co.'s, 50, New Bond-street ; and at all music-sellers. (Morning Post, Wednesday, 4 June 1862) (Also: Illustrated Times, Saturday, 14 June 1862; Daily News, Wednesday, 18 June 1862; Morning Post, Tuesday, 17 June 1862; Daily News, Tuesday, 17 June 1862; Morning Post, Monday, 16 June 1862; Morning Post, Friday, 6 June 1862; The Times, Thursday, 5 June 1862; Morning Post, Thursday, 5 June 1862; Morning Post, Wednesday, 18 June 1862; Morning Post, Saturday, 7 June 1862.)

MADAME SAINTON-DOLBY begs to announce that she will give a GRAND CONCERT at ST. JAMES's HALL. on FRIDAY EVENING, June 20, 1862, to commence at Eight o'clock. Vocalists: The Sisters Mdlle. Carlotta Marchisio and Mdlle. Barbara Marchisio, Miss Marian Moss, and Madame Sainton-Dolby, Mr. George Perren and Mr. Santley. Pianoforte. Mr. Charles Hall. Violin, Mr. Sainton. Le Société Chorale Clémence Isaure; Conductor, M. Baudouin. This society consists of 50 members who are expressly engaged for this Concert. Conductors, Mr. Lindsay. Sloper, Mr. Deacon and Herr Meyer Lutz. Sofa Stalls, 10s. 6d. may be secured of Madame Sainton-Dolby at her residence, 5 Upper Wimpole Street, Cavendish Square, W.; at Chappell & Co.'s, 50 New Bond Street; and at all Musicsellers. (Saturday review of politics, literature, science and art, Saturday, 7 June 1862) (Also: Saturday review of politics, literature, science and art, Saturday, 14 June 1862.)

MADAME SAINTON-DOLBY begs to announce that she will give a GRAND CONCERT at St. James's Hall, on FRIDAY EVENING, June 20, to commence at 8. Vocalists- The Sisters Madlle. Carlotta Marchisio and Madlle Barbara Marchisio, Miss Marian Moss, and Madame Sainton-Dolby ; Mr. George Perren and Mr. Santley. Pianoforte- Mr Charles Hallé. Violin- M. Sainton. La Societe Chorale Clemence Isaure ; conductor, M. Baudouin. The society consists of 50 members, who are expressly engaged for this Concert. Conductors- Mr. Lindsay Sloper, Mr. Deacon, and Herr Meyer Lutz - Sofa stalls, 10s. 6d. ; may be secured of Madame Sainton-Dolby at her residence, 5, Upper Wimpole-street, Cavendish-square; at Chappell and Co.'s, 50, New Bond-street ; and at all music-sellers. (The Times, Thursday, 12 June 1862) (Also: The Times, Friday, 13 June 1862; The London review and weekly journal of politics, literature, art, and society, July 7, 1860-June 29, 1861, Saturday, 14 June 1862; The Athenaeum, Saturday, 14 June 1862.)

MADAME SAINTON-DOLBY'S GRAND CONCERT, at St. James's-hall, To-morrow evening, June 20, to commence at 8 o'clock. Vocalists:-The Sisters Mlle. Carlotta Marchisio and Mlle. Barbara Marchisio, Miss Marian Moss, and Mme. Sainton-Dolby; Mr. George Perren and Mr. Santley. Pianoforte, Mr. Charles Hallé; violin, M. Sainton. La Société Chorale Clemence Isaure (de Toulouse), under the direction of M. Baudouin, chef d'orchestre du Theatre de Toulouse, will have the honour of appearing. This society, consisting of 50 member, has gained the gold medals in all the concours in France for choral singing; and in Paris has been rewarded at the Concours General with a prize hors ligne. Conductors - Mr. Lindsay Sloper, Mr, Deacon, and Herr Meyer Lutz. Part I. Choeur de Soldats (Faust), Gounod - la Société Clemence Isaure; duets Un tenero core, (Roberto Devereaux), Donizetti - Miss Marian Moss and Mr. George Perren; recit. ed aria, Pieta rispetto, amore (Macbeth), Verdi - Mr. Santley; air, Ah, rendimi, quell cor (Mitrane), Rossi - Mme. Sainton-Dolby; grand duo, Di qual soave lagrime (Saffo), Pacini - Mlles. Carlotta and Barbara Marchisio ; Pensées Fugitives(a. Agitato; b. Intermezzo, c. Lied), Stephen Heller and Ernst - M. Charles Hallé and Sainton; air; Love in her eyes (Acis and Galatea), Handel - Mr. George Perren; song, The skylark, Benedict - Miss Marian Moss; song, The Lady of the Lea, H. Smart - Mme. Sainton-Dolby; choeur, 'Lo combat naval A, de St. Julien - la Société Clemence Isaure. Part II. Choeur, La noce au village, Laurent do Rille - La Société Clemence Isaure; song, O, tuneful voice, Haydn - Mme. Sainton-Dolby; solo, violin, rondo Papageno, Ernst-M. Sainton - romance, Sombre foret (Guillaume Tell), Rossini - Mlle. Carlotta Marchisio; ballad, The magic of a flower, H, Smart - Mr. Santley; solos, pianoforte, nocturne in F, sharp (Chopin), nuit blanches in E (Heller), rondo in C, mouvement perpetuel (Weber) - M. Charles Hallé; duo, Le Zingare, Gabussi - Mlles. Carlotta and Barbara Marchisio; romance, Alice, where art thou? Archer - Mr. George Perren; ballad, The listening mother (V. Gabriel), At her window, ho ! (Claribel), Mme. Sainton-Dolby, choeur, Carillon Millanais, la Société Clemence Ilsaure, Sofa stalls, 10s. 6d.; reserved seats, 5s.; balcony, 3s.; admission, 1s. Tickets at Madame Sainton's, Bo. 5 Upper Wimpole-street; Chappell and Co.'s, 50, New Bond-street; Austin's, 28 Piccadilly; and all musicsellers'. (The Times, Thursday, 19 June 1862)

MADAME SAINTON-DOLBY begs to announce that she will give a GRAND CONCERT at St. James's Hall, THIS EVENING (FRIDAY), to commence at eight o'clock. Vocalists- The Sisters Madlle. Carlotta Marchisio and Madlle Barbara Marchisio, Miss Marian Moss, and Madame Sainton-Dolby ; Mr. George Perren and Mr. Santley. Pianoforte- Mr Charles Hallé. Violin- M. Sainton. La Société Chorale Clemence Isaure de Toulouse. The society consists of 50 members, who will arrive in London expressly for this Concert, under the direction of M. Baudouin (their only appearance in London). Conductors- Mr. Lindsay Sloper, Mr. Deacon, and Herr Meyer Lutz. For full particulars see programme - Sofa stalls, 10s. 6d. ; may be secured of Madame Sainton-Dolby at her residence, 5, Upper Wimpole-street, Cavendish-square; at Chappell and Co.'s, 50, New Bond-street ; and at all music-sellers. (Morning Post, Friday, 20 June 1862) (Also: Daily News, Friday, 20 June 1862.)

Monday, 30 June 1862 : Mr. Julius Benedict's Annual Grand Morning Concert at St. James's Hall, Piccadilly.

ST JAMES'S HALL.- Mr. BENEDICT has the honour to announce his ANNUAL GRAND MORNING CONCERT, on MONDAY, June 30. The following eminent artistes are already engaged : - Madlle. Titiens, Madlles. Carlotta and Barbara Marchisio, Miss Louisa Pyne and Madame Lemmens-Sherrington, Madame Guerrabella and Madlle. Parepa, Madlle. Gillies, Madlle. Georgi, Mr. Sims Reeves and Mr. Santley, Mr. W. Weiss and Signor Belletti, Herr Theodor Formes from the Theatre Royal, Berlin, Herr Wachtel from the Imperial Theatre, Vienna, and Herr Carl Formes. Pianoforte, Mons. J. Ascher (who will perform a new Concertante for two pianofortes, composed by him expressly for the occasion, with Mr. Benedict ; violin, Herr Joachim; violoncello, Signor Piatti. The Orchestra will be complete, and comprise the most eminent professors. The chorus by the Vocal Association. Conductors, Mr. Alfred Mellon and Mr. Benedict. At the pianoforte, Messrs. Lindsay Sloper, W. Ganz, H. Thomas, F. Berger, Randegger, and G. Lake. Arrangements are pending with other celebrated artistes.- Sofa and balcony stalls, one guinea, for which an immediate application is solicited ; at the principal musicsellers' and librarians' ; at Austin's office, St. James's Hall ; and of Mr. Benedict, 2, Manchester-square. (Morning Post, Thursday, 15 May 1862) (Also: Daily News, Saturday, 24 May 1862.)

ST. JAMES'S HALL.- MR. BENEDICT has the honour to announce his ANNUAL GRAND MORNING CONCERT on Monday next, June 30. To commence at Two, Vocalists: Mlle. Titiens, Mlle. Trebelli, the Sisters Marchisio, Miss Louisa Pyne, Mad. Sherrington. Mlle Parepa, Mad Lemaire, Mlle. Gillies, Mlle. Georgi, Fraulein Liebhart, Mr. Sims Reeves, Sig Bettini, Herr Reichardt, Mr. Santley, Sig. Giraldoni, M. Gassier, Sig. Belletti, Mr. Weiss, and Herr Formes. Instrumentalists: M. Vivien, Sig. Piatti, Mr. Benedict, M. Ascher, Mr. J. Thomas, Mr. Aftommas, and Herr Joachim. At the Pianoforte, MM. Lindsay Sloper, Wilhelm Ganz, Francesco Berger, Randegger, Harold Thomas, and George Lake. The whole of the music composed for the opening of the International Exhibition, including the Grand Overture de l'Exposition, en forme de Marche (Meyerbeer); Inauguration Ode (W. Sterndale Bennett); Grand March (Auber); and Cantata (Verdi), solos by Mlle. Titiens, will be performed by the Full Band and Chorus Vocal Association, numbering 200 Voices. Conductors: MM. Alfred Mellon and Benedict. Sofa and Balcony Stalls, One Guinea each; Reserved Area or Balcony, 10s. 6d.; Unreserved Area or Balcony, 5s.; Gallery, 3s. May be obtained at the principal Music Warehouses, and of Mr. Benedict, 2 Manchester Square. (The Musical World, Saturday, 28 June 1862)

MR. BENEDICT'S CONCERT. The annual concert of Mr. Benedict, the celebrated composer and pianist, took place yesterday afternoon at St. James Hall. The beneficiaire was honoured, as usual, by a very large attendance, including the highest rank and fashion of London, while a crowd of what is termed the "general public" occupied all the cheaper parts of the hall ; .and thus the estimation in which Mr. Benedict is held by our aristocracy and his popularity with other classes of the community were simultaneously exemplified. The concert began at two o'clock, and ended, we believe, between six and seven. To follow the programme, therefore, piece by piece, especially as it was thrown into disorder shortly after the commencement, were a task of considerable difficulty and tediousness, troublesome - nay, almost impossible to us, and certainly of doubtful interest to our readers. A few words will suffice to describe its distinctive characteristic - to tell that, differing from the generality of musical entertainments given during the season, at which certain eminent artists appear in conjunction with the concert-giver, who depends chiefly upon private connection for remuneration, Mr. Benedict's, like one or two other so-called "monster concerts" which astonish the metropolis during the summer months, includes everybody and everything of real artistic importance, and appeals by its magnitude and variety to every class of the musical public. Such programmes as Mr Benedict's may be wanting in what is termed classic unity of design, severe taste may be offended by a kind of barbaric profusion of excellence, wild mixture of styles, and periods and nationalities of art - a splendour that "dies in its own too much ;" but an entertainment which brings together such an extraordinary number of performers, the very best that the civilised world can boast, that assembles the choicest musical spirits of every clime, and enables the public to compare one manner and degree of merit with another in the easiest and readiest, possible way, must ever prove greatly interesting and attractive to all whose views of musical art are liberal and comprehensive. A finer concert of its kind than Mr. Benedict's of yesterday was, we are sure, never before given in this or any other country ; but it was necessarily of excessive length, and we therefore confine our remarks to the most striking features in the performance. The whole of the music composed by Messrs. Meyerbeer, Sterndale Bennett, Auber, and Verdi, for the opening of the great International Exhibition, was performed, and most admirably performed, on the occasion, the solo soprano part in Signor Verdi's cantica being magnificently sung by Madlle. Titiens, who was ably supported by the members of the Vocal Association, also employed in the execution of Professor Bennett's cantata, to which these well-trained amateurs did ample justice. Mr. Benedict's genius, both as a creative and executive artist, was abundantly displayed in a musicianly and beautiful sonata for piano and violin, and two fugitive pieces, "La Berceuse" and "La Monferina," for piano and violoncello, in which he was ably assisted respectively by Herr Joachim and Signor Piatti; two freshy and charming part-songs admirably rendered by the choir of the Vocal Association and highly interesting selections from the operas, "The Gipsy's Warning," " The Bride of Venice.'' "The Crusaders,'' and 'The Lily of Killarney." In these the execution of "Rage thou angry storm," by Mr. Weiss, and "By the sad sea waves," by Madlle. Georgi, of the rondo finale (to "The Crusaders") for two sopranos, by Miss Louisa Pyne and Madlle. Titiens, the aria "l am thine, only thine," by Madlle. Guerrabella, "I'm alone," " Lily Mavourneen," and "Colleen Bawn," respectively by Miss Louisa Pyne, Mr. Sims Reeves, and Mr. Santley, produced the greatest effect. In fact, most of these pieces were redemanded, though encores were judiciously declined throughout the concert. Mr. Benedict's powers were once more strikingly exhibited in a showy duet for two pianos, on themes from Rossini's "Guillaume Tell," composed for the occasion by M. Ascher, who took part in its performance with considerable force and dexterity. Among the successes we may mention the execution of the trio " Papataci," by Signori Belletti, Zucchini, and Bettini, "II segreto per essu felici," by Madlle. Trebelli, " M'appari tull' amor," by Signor Giuglini, " Giorno d' orrore" and a new duet of Rossini's, "Le Gitane," by the sisters Marchisio; Wallace's "My longhair is braided," by Miss Parepa ; and the air, "Spirto gentil," by M. Vivier, the famous horn player, who made quite a sensation by his original and charming performance upon one of the most ungrateful of instruments. M. Vivier's manner of gliding from note to note is new as it is ingenious and beautiful. Herr Formes did not appear according to promise, but Madlle. Titiens kindly consented to sing "The last rose of summer" as a compensation, and her exquisite delivery of the touching Irish ballad elicited unanimous and rapturous applause. Madlle. Liebhardt. from Vienna, a Lieder-sangerinn of the Jetty Treffz school, also delighted the audience very much in a humorous song, by Brock, which would have been still more relished had the quaint words been printed and translated for the benefit of the company. Several other artists of distinction, among others Herr Reichardt, Signor Gassier, Mr. J. Thomas, Mr, Lindsay Sloper, and Madlle. Ida Gillies, also appeared on this occasion, but we can do no more than pay a passing tribute to the various excellencies they exhibited. There was a first-rate orchestra, over which Mr. Alfred Mellon and Mr. Benedict alternately presided with masterly skill. (Morning Post, Tuesday, 1 July 1862)

Mr. Benedict's Concert. The morning concert par excellence of the season is usually that of Mr. Benedict; and no wonder, taking into consideration the many attractions it invariably presents. This year the programme was even richer than ordinary, and St. James's hall was crowded to the doors by the elite of the fashionable world. Anything like a detailed account of so enormous an entertainment is out of the question. The selection-while good in every respect, and so skilfully arranged with a view to contrast that each successive piece seemed rather to whet the appetite than pall upon it - must have appeared, to sober amateurs, almost "interminable." When we left-at nearly 6 o'clock p.m.-there were still three pieces to come - viz., a duet by Donizetti, for Mademoiselle Georgi and Mr. Santley; Mendelsohn's "O hills and vales" (partsong); and Mozart's overture to Figaro; and as the concert began precisely at 2, more than four hours of vocal and instrumental music must have been administered to the great majority of the audience - in other words, to between 1,500 and 1,600 amateurs. The first piece was the grand overture composed by Meyerbeer for the opening of the International Exhibition, to which immediately succeeded the Inauguration Ode of the Poet Laureate and the Cambridge Musical Professor "Uplift a thousand voices, full and sweet." Both these fine compositions were admirably given, under the direction of Mr. Alfred Mellon, for whom Mr. Benedict had provided a first-class hand and the excellent chorus of the Vocal Association - some 200 strong. M. Meyerbeer's overture laboured under the disadvantage of being played - while a vast number of the audience were in quest of their seats; but Professor Bennett's Ode was listened to with comparatively undisturbed attention. Each, however, was admired and applauded according to its deserts. About two hours later there was an equally effective performance of Signor Verdi's Cantata, written for the same memorable occasion, but, as all the world is aware (without precisely being able to explain the reason), not produced; and shortly after the Exhibition overture of M. Auber, the most brilliant and French of brilliant French musicians. In the Cantata Mademoiselle Titiens declaimed the solos - which, though originally intended for Signor Tamberlik, are so well suited to her magnificent voice - with the soul and energy that "electrified" the public at Her Majesty's Theatre, when Signor Verdi himself was present. Both this and M. Auber's overture (which concert-givers persist in denominating "Grand March"), like the other two, were conducted by Mr. Alfred Mellon. Thus we had the whole of the International Exhibition music - a concert in itself, as one might have thought, and enough to satisfy ever so ardent a "fanatico." But Mr. Benedict's patrons are worse than fanatics - they are downright cormorants. Not inferior in interest to the remarkable pieces we have named were several specimens of Mr. Benedict's own talent as a composer, the introduction of which afforded unanimous satisfaction. Some of these consisted of extracts from his operas The Gipsy's Warning, by which he was first made known to the British public, furnished two examples - "Scenes of my youth" (ballad), and "Rage thou angry storm" (scena), which last has kept possession of the concert-room for upwards of 20 years, and has every chance of keeping it for 20 more. This was intrusted to Mr. Weiss; and the ballad (as graceful as the scena is spirited) to Miss Parepa, the harp obbligato being in the charge of Mr. John Thomas. From The Crusaders (produced at Drury Lane Theatre, under Mr. Bunn's management, in 1846) were taken the sparkling final duo (with chorus) allotted to a pair of syrens no less accomplished than Mademoiselle Titiens and Miss Louisa Pyne; the ballad "Thine, only thine!" - once so popular and still attractive, which was lucky in being confided to the care of Mademoiselle Guerabella; and the musicianly quintet intrusted to Mademoiselle Titiens, MM. Bottini, Reichardt, Santley, and Weiss. The Brides of Venice (an opera preceding The Crusaders by some years in the order of production) supplied the duettino, "Like the storm now passed away" (Miss Parepa and Madame Lemaire); and "By the Sad Sea Waves" (Mademoiselle Georgi - harp obbligato Mr. Aptommas), a genuine and expressive ballad, bringing with it memories of one of the most gorgeous of contralto voices - that of Mrs. Alfred Shaw, last, not least (and earlier in the programme), The Lily of Killarney was taxed for a still more ample contribution. From this charming opera four "numbers" were gathered - the serenade-duet ("The moon has raised her lamp above"); the ballads "I'm alone" (Eily) and "Eily Mavourneen" (Hardress); and the recitatively slow movement, "The Colleen Bawn," from Danny's scena, in the scene of the Water-cave. How well these beautiful extracts fared may be understood when it is stated that Miss Louisa Pyne represented Eily, Mr. Santley Danny Man, and Mr. Sims Reeves Hardress. To the operatic selections (all performed under the direction of the composer) were added specimens from Mr. Benedict's partsongs, "Invocation to sleep," the tuneful character of which has anything but a soporific tendency; and "Old May-Day." The last, to words from Beaumont and Fletcher, was heard for the first time, but - if what is genial and pure deserves to live - assuredly not for the last. The singers were the choir of the Vocal Association, directed by the composer himself. Further, Mr. Benedict came forward not merely as composer, but as an executant of instrumental music, first in the andante and scherzo from a sonata in B minor, for pianoforte and viola - interesting enough to cause general regret that the first and doubtless most important movement should have been omitted; and secondly in two attractive little duos - Berceuse and Monferina - for piano and violoncello, so well balanced that they might have formed component portions of a single work. Mr. Benedict of course played the pianoforte part in each, his associate in the violin sonata being Herr Joachim, and in the violoncello duets Signor Piatti - undisputed kings of their respective instruments. To conclude the versatile concert, Sivar was associated with M. Ascher, in a showy fantasia for two pianos, on themes from Rossini's Guillame Tell, prepared by M. Ascher expressly for the occasion. Our readers, even the most musical, will perhaps involuntarily exclaim at this point, "Surely this is all" Not so, however. We have yet to take account (as briefly as possible) of many more performances too sterling to be passed in silence. For instance, there were a couple of trios for men's voices, both capital in their way - "Pensa e guarda," from Meyerbeer's Margherita d'Anjou, and the (at a long concert) inevitable "Pappatici," from Rossini's Italiana in Algeri - the first (for basses) undertaken by MM. Santley, Belletti, and Gassier, the last by MM. Bettini, Belletti, and Zucchini. Then there were three duets, all of the richest flavour - two by Mesdemoiselles Carlotta and Barbara Marchisio - viz, "Giorno d'orrore" (Semiramide), and "Le Gitane" (the Gipsies), written expressly for these clever sisters by Rossini himself; and one from the same composer's delicious Soirées Musicales, "Mira la bianca luna," set down for Mademoiselle Trebelli and Signor Bettini. Then a string of solos, to which Signor Giuglini contributed "M'appari tut' amor" (Martha); Mademoiselle Titien., "The last rose of Summer;" Miss Parepa, "My long hair is braided," from Mr. Wallace's Amber Witch; Mademoiselle Trebelli "Il segreto per esser felice," from Lucrezia Borgia (a much more vigorous antidote to the "spleen" than "Away with melancholy"); Fraulein Liebhart (from Vienna - of whose distinguished talent as a singer of "national airs" we spoke some time ago), the quaint serenade of Proch, called "Morgen-Fensterln"-which she gave in the genuine Austrian dialect; Madame Lemaire a romanza from one of Signor Verdi's operas; Herr Reichardt the graceful ballad, "Young and artless maiden," from Mr. Howard Glover's Once Too Often; Mademoiselle Gilliess - a young English (or Scottish) singer from the Paris Conservatoire and Theatre Lyrique, with a very agreeable voice and considerable promise - an air from Les Dragons de Villars; and lastly (at last!) the tenor song from La Favorite ("Ange si pur "), as expressively sung as anything that came before or after it, although the instrument ,this time was the horn instead of the voice - which will astonish none of our musical readers when it is added that the player was M. Vivier. Besides the orchestral conductors, Messrs. Benedict and Mellon, a regiment of pianoforte accompanists, including Messrs. Lindsay Sloper, W. Ganz, F. Berger, Randegger, Harold Thomas, E. and Lake, had tasks assigned to them in this lavish feast of harmony the most lavish, perhaps, ever provided even by Mr. Benedict, a prodigal among musical Amphitryons. (The Times, Wednesday, 2 July 1862)

MR. BENEDICTS CONCERT. The morning concert par excellence of the season is usually that of Mr. Benedict; and no wonder, taking into consideration the many attractions it invariably presents. This year the programme was even richer than ordinary, and St. James's Hall (on Monday) was crowded to the doors by the elite of the fashionable world. Anything like a detailed account of so enormous an entertainment is out of the question. The selection - while good in every respect, and so skilfully arranged with a view to contrast that each successive piece seemed rather to whet the appetite than pall upon it - must, to sober amateurs, have appeared almost "interminable. "When we left - at 6 o'clock p.m. - there were still three pieces to come - viz., a duet by Donizetti, for Mlle. Georgi and Mr. Santley; Mendelssohn's "O hills and vales "(part-song); and Mozart's overture to Figaro; and as the concert began precisely at 2, more than four hours of vocal and instrumental music must have been administered to the great majority of the audience - in other words, to between 1,500 and 1,600 amateurs. A "bird's-eye view "of the whole concert is therefore all that can be attempted. The first piece was the grand overture composed by Meyerbeer for the opening of the International Exhibition; to which succeeded the "Inauguration Ode "of our Poet Laureate and Cambridge Musical Professor - "Uplift a thousand voices, full and sweet." Both these fine compositions were admirably given, under the direction of Mr. Alfred Mellon - for whom Mr. Benedict had provided a first-class band, together with the excellent chorus of the Vocal Association - some 200 strong. M. Meyerbeer's overture laboured under the disadvantage of being played while a vast number of the audience were in quest of their seats; but Professor Sterndale Bennett's Ode was listened to with comparatively undisturbed attention, each, however, was admired and applauded according to its deserts. About two hours later there was an equally effective performance of Sig. Verdi's Cantata, written for the same memorable occasion, but, as all the world is aware (without precisely being able to explain the reason), not produced; and, shortly after, the Exhibition overture of M. Auber, the most brilliant and French of brilliant French musicians, was given in a no less satisfactory manner. In the Cantata Mlle. Titiens declaimed the solos - which, though originally intended for Sig. Tamberlik, are so well suited to her voice - with the soul and energy that "electrified "the public at Her Majesty's Theatre, when Sig. Verdi himself was present. This and M. Auber's overture (which concert-givers persist in denominating "Grand March") were also conducted by Mr. Alfred Mellon. Thus we had the whole of the International Exhibition music - a concert in itself, as one might have thought, and enough to satisfy ever so ardent a "fanatico." But Mr. Benedict's patrons are worse than fanatics - they are downright cormorants. Not inferior in interest to the pieces we have named were several specimens of Mr. Benedict's own talent as a composer, the introduction of which afforded unanimous satisfaction. Some of these were extracts from his operas. The Gipsy's Warning, by which he was first made known to the British public, furnished two examples - "Scenes of my youth "(ballad), and "Rage, thou angry storm " (scena), which last has kept possession of the concert-room for upwards of twenty years, and has every chance of keeping it for twenty more. This was intrusted to Mr. Weiss; and the ballad (as graceful as the scena is spirited) to Miss Parepa, the harp obbligato being in charge of Mr. John Thomas - the Welsh Orpheus. From The Crusaders (produced at Drury Lane Theatre, under Mr. Bunn's management, in 1846) were taken the sparkling final duo (with chorus) allotted to a pair of syrens no less seductive than Mlle. Titiens and Miss Louisa Pyne; the ballad, "Thine, only thine !"- once so popular and still attractive, which was lucky in being confided to the care of Mad. Guerrabella; and the musicianly quintet, intrusted to Mlle. Titiens, MM. Bettini, Reichardt, Santley, and Weiss. The Brides of Venice (an opera preceding The Crusaders by two or three years in the order of production) supplied the duettino, "Like the storm now passed away " (Miss Parepa and Mad. Lemaire), and "By the sad sea waves " (Mlle. Georgi - harp obbligato, Mr. Aptommas, the Welsh Apollo); a genuine and expressive ballad, bringing with it memories of one of the most gorgeous of contralto voices - that of Mrs. Alfred Shaw. Last, not least (and earlier in the programme), The Lily of Killarney was taxed for a still more ample contribution. From this charming opera four "numbers " were gathered - the serenade duet ("The moon has raised her lamp above"); the ballads "I'm alone" (Eily) and "Eily Mavourneen" (Hardress); and the recitative and slow movement, "The Colleen Bawn," from Danny's scena, in the scene of the water-cave. How well these beautiful extracts fared may be understood when it is stated that Miss Louisa Pyne represented Eily, Mr. Santley Danny Mann, and Mr. Sims Reeves Hardress. To the operatic selections (all performed under the direction of the composer) were added specimens from Mr. Benedict's part-songs, "Invocation to sleep," the tuneful character of which has anything but a soporific tendency; and "Old May-Day." The last, to words from Beaumont and Fletcher, was heard for the first time, but - if what is genial and pure deserves to live - assuredly not for the last. The singers were the choir of the Vocal Association, under the direction of the composer himself. Further, Mr. Benedict came forward not merely as composer, but as an executant of instrumental music, - first in the Andante and Scherzo from a sonata in E minor, for pianoforte and violin - interesting enough to cause general regret that the first and doubtless most important movement should have been omitted; and secondly in two attractive little duos - Berceuse and Monferina - for piano and violoncello, so well balanced that they might have formed component portions of a single work. Mr. Benedict of course played the pianoforte part in each, his associate in the violin sonata being Herr Joachim, and in the violoncello duets Sig. Piatti - undisputed kings of their respective instruments. To conclude the versatile concert-giver was associated with M. Ascher, in a showy fantasia for two pianos, on themes from Rossini's Guillaume Tell, prepared by M. Ascher expressly for the occasion, and brilliantly executed. Our readers, even the most musical, will involuntarily exclaim at this point, "Surely this is all." Not so; we have yet to take account (as briefly as possible) of many performances too sterling to be passed in silence. For instance, there were a couple of trios for men's voices, both capital in their way - "Pensa e guarda," from Meyerbeer's Margherita d'Anjou, and the (at a long concert) inevitable "Pappataci," from Rossini's Italiana in Algeri - the first (for basses) undertaken by MM Santley, Belletti, and Gassier, the last by MM. Bettini, Belletti, and Zucchini. Then there were three duets, all of the richest flavour - two by Mlles. Carlotta and Barbara Marchisio, viz., "Giorno d'orrore" (Semiramide), and "Le Gitane " (the Gipsies), written expressly for the clever sisters by Rossini; and one from the same composer's delicious Soirées Musicales, "Mira la bianca luna," set down for Mlle. Trebelli and Sig. Bettini. Then a string of solos, to which Sig. Giuglini contributed "M' appari tutt' amor " (Martha); Mlle. Titiens, "The last rose of summer;" Miss Parepa, "My long hair is braided," from Mr. Wallace's Amber Witch; Mlle. Trebelli, "II segreto per esser felice," from Lucrezia Borgia (a much more vigorous antidote to the "spleen" than "Away with melancholy"); Fraulein Liebhart (from Vienna - of whose distinguished talent as a singer of "national airs" we spoke some time ago), the quaint serenade of Proch, called "Morgen-Fensterln,"which she gave in the genuine Austrian dialect; Mad. Lemaire, a romanza from one of Sig. Verdi's operas; Herr Reichardt, the graceful ballad, "Young and artless maiden," from Mr. Howard Glover's Once too Often; Mlle. Gilliess - a young English (or Scottish) singer from the Paris Conservatoire and Theatre Lyrique, with a very agreeable voice and considerable promise - an air from Les Dragons de Villars; and lastly (at last !) the tenor song from La Favorite ("Ange si pur"), as expressively sung as anything that came before or after it, although the instrument this time was the horn instead of the voice - which will astonish none of our musical readers when it is added that the player was M. Vivier. Besides the orchestral conductors, Messrs. Benedict and Mellon, a regiment of pianoforte accompanyists, including Messrs. Lindsay Sloper, W. Ganz, F. Berger, Randegger, Harold Thomas, E. and Lake, had tasks assigned to them in this lavish feast of harmony - the most lavish, perhaps, ever provided even by Mr. Benedict, a prodigal among musical Amphitryons. (The Musical world, Saturday, 5 July 1862)

Mr. Benedict's Concert. High indeed, must have been the gratification of Mr. Benedict even before actually commencing his memorable Concert of last Monday afternoon. He could gaze on some fifteen hundred Amateurs assembled at his call, and all anxious to testify their esteem for him both as a Composer and a Musician. He had gathered together, in St. James's Hall, numbers of the most eminent vocalists and instrumentalists of the day, and he had selected a Programme such as few Concert-givers had ever produced or could ever produce. Amongst the artistes who rallied round Mr. Benedict were Mdlle Titiens, Miss Louisa Pyne, Miss Parepa, Mdlle. Georgi, Madame Lemaire, Mdlle. Carlotta and Mdlle. Barbara Marchisio, Mdlle. Guerrabella, Mdlle. Trebelli, and Miss Gilliess; Signor Giuglini, Mr. Sims Reeves, Mr. Weiss, Mr. Santley, Signori Bettini, Belletti, and Zucchini, and Herr Reichardt, not to pass over the highly efficient Chorus of the Vocal Association, about 200 strong. When we state that Mr. Benedict's "Morning" Concert commenced at two and did not terminate before half-past six, the variety of the selection will be readily imagined. In fact, the Programme comprised Meyerbeer's grand Overture for the opening ceremony of the Exhibition, the Inauguration Ode by the Poet-Laureate and Professor Bennett, Signor Verdi's Cantata (so uncourteously rejected by her Majesty's Commissioners and so enthusiastically received by the British public), and M. Auber's brilliant "Exhibition Overture," all four compositions being given under the direction of Mr. A. Mellon and Mdlle. Titiens taking the soprano solo in the Cantata, aided by the members of the Vocal Association, who did full justice to it as well as to the Ode. Need it be said with what brilliant effect Mdlle. Titiens accomplished her difficult task - difficult to all appearance but easy enough for her ? It would have been, of course, unpardonable modesty, on the part of the gifted Concert giver, had he not afforded his numerous friends the opportunity of hearing again some of his popular productions. Accordingly, the vast auditory were indulged with one of his beautiful Sonatas, as well as with two fugitive pieces, and with judicious selections from four of his Operas, including the delicious one, The Lily of Killarney, which we had the gratification of hearing the first night of its representation. In these "selections" figured no less prominent vocalists than Mdlle. Titiens, Miss L. Pyne (to whom Mr. Benedict, with all his high genius, is under many recent obligations as a Composer), Mdlle. Guerrabella, Mdlle Georgi, and Messrs. Sims Reeves, Santley, and Weiss - truly a Musical constellation, for we have all heard of the Music of the spheres, even if we have not yet heard it itself. Mr. Benedict's consummate skill on the piano was displayed in some three or four pieces, and we feel assured he will be the first to acknowledge that even that skill was enhanced by the masterly accompaniments of Herr Joachim, on the violin, and of Signor Piatti; on the violoncello. Mention may be also made here of a fantasia tor two pianos, executed by Messrs. Sivar and Ascher, and of a remarkable and exquisite horn performance, by M. Vivier. If, by chance, we have hitherto omitted the name of Fraulein Liebhardt, we shall here repay the involuntary injustice by stating that she sang admirably an Austrian serenade, composed by Proch. We wish that space would allow us to make special mention of the brilliant successes achieved by the distinguished vocalists, but we must rest satisfied by expressing, in general terms, the opinion that so attractive a Concert as Mr. Benedict's, of last Monday, could scarcely be given in any other part of Europe. In fact, we know not by whom could be better sung the last duo in Mr. Benedict's Crusaders, than by Mdlle. Titiens and Miss L. Pyne, or those compositions in which the Sisters Marchisio or Mdlle. Trebelli vocalised so brilliantly, or in others wherein Signori Belletti, Zucchini, Bettini, end Giuglini produced such marked effect. We were also happy to hear again Mr. J. Thomas, in his harp performances, which, we are enabled to state, were so warmly applauded in several parts of the Continent, particularly in Berlin. Good service was also rendered by such pianists as Messrs. Lindsay Sloper, Ganz, Berger, H. Thomas, and Lake, and the Orchestra was - what it only could be under such Conductors as Mr. Benedict and Mr. Mellon - perfect throughout. (The Era, Sunday, 6 July 1862)

Monday, 13 October 1862 : Mr. Arthur Chappell's Monday Popular Concert at St. James's Hall, Piccadilly.

MONDAY POPULAR CONCERTS. ST. JAMES'S HALL.- The FIRST CONCERT of the season will take place on MONDAY EVENING NEXT, Oct 13. Pianoforte, Mr. Chas. Hallé; Violin, Herr Joachim. Conductor, Mr. Lindsay Sloper.- Sofa stalls, 5s ; balcony, 3s. ; admission 1s. Tickets and programmes at Chappell and Co.'s, 60, New Bond-street. (The Standard, Monday, 6 October 1862) (Also: Morning Post, Thursday, 9 October 1862; Morning Advertiser, Monday, 6 October 1862; The Standard, Saturday, 11 October 1862; Morning Post, Saturday, 11 October 1862; Morning Post, Friday, 10 October 1862; The Standard, Friday, 10 October 1862; The Standard, Thursday, 9 October 1862; Daily News, Wednesday, 8 October 1862; Morning Post, Wednesday, 8 October 1862; The Standard, Tuesday, 7 October 1862; The Standard, Wednesday, 8 October 1862; Morning Post, Tuesday, 7 October 1862.)

MONDAY POPULAR CONCERTS, St. James's-hall. - On Monday evening next October 13, the FIRST CONCERT of the FIFTH SEASON. Programme: - Part I. Quartet in D minor for two violins, viola, and violoncello (first time at the Monday Popular Concerts), MM. Joachim, Ries Webb, and Piatti - Haydn; cradle song. Sleep then infant Angel," Miss Banks - Glinka; song, "Paga fu," Miss Lascelles - Winter; sonata in D major for pianoforte solo (No. 21 of Mr. Hallé's edition). Mr. Charles Hallé - Mozart. Part II. Grand ottet in E flat, Op. 20. for four violins. two violas, and two violoncellos, MM. Joachim, Ries, Carrodus, Watson, Webb. Hann, Paque and Piatti. Mendelssohn; songs, "Who is Sylvia?" "Hark, hark, the lark," Miss Banks - Schubert; song, "The Savoyard's Song," Miss Lascelles - Mendelssohn; duet, "Puro ciel," Miss Banks and Miss Lascelles - Paer; sonata in G, op 30, for pianoforte and violin, Mr. Charles Hallé and Herr Joachim - Beethoven. Conductor - Mr. LINDSAY SLOPER. To commence at 8 o'clock precisely. Sofa stalls, 5s.; balcony, 3s.; admission, 1s. Tickets at Chappell and Co.'s, No. 50, New Bond-street; Cramer's and Hammond's, Regent-street; Keith, Prowse, and Co.'s, 48, Cheapside; and at the Hall 28, Piccadilly. (The Times, Friday, 10 October 1862)

We announced last week that a new series of Monday Popular Concerts was about, to be commenced. The sufficient reason for beginning these entertainments a month earlier than usual is, as stated in the general programme issued by the directors, to afford the very many amateurs still attracted from the country and from abroad by the fame of the International Exhibition an opportunity of listening to performances which have not only enjoyed the constant patronage of the London public but elicited marked encomium no less from correspondents of distinguished foreign journals than from the musical representatives of the press of England. It was originally intended, in 1859, to give six performances, and to repeat the experiment, should it turn out successful, from year to year. So unanimous, however, was the response to the first appeal, that in the first season the proposed six concerts were increased to thirteen, in the second to thirty-eight (including several in the provinces), in the third to twenty-four, and in the fourth to twenty-six. As regards the present series, the presence of Herr Joachim in London has enabled the director to obtain that gentleman's invaluable co-operation as first violin, Herr Joachim having agreed to assist at each of the concerts to be held while the International Exhibition remains open and to lea quartets by Haydn, Beethoven and Mendelssohn. Signor Piatti has also accepted the post, on violoncello ; that of second violin being undertaken by Mr. Ries, and that of viola by Mr. Webb. The pianoforte will be represented in Mr. Charles Hallé and Mr. Lindsay Sloper, one of whom will play a solo sonata by one of the great masters at each concert. (London Express, Saturday, 11 October 1862) (Also: Illustrated Times, Saturday, 18 October 1862; The Lady's Newspaper & Pictorial Times, Saturday, 18 October 1862; London Express, Tuesday, 14 October 1862.)

Monday Popular Concerts, St. james'S hall. The FIRST CONCERT of the SEASON will take place on MONDAY Artistes: - Pianoforte, Charles Hallé; Violin, Herr Joachim; Violoncello, Signor Piatti; Vocalists, Miss Banks and Miss Lascelles. Conductor, Mr. Lindsay Sloper. Sofa stalls, [?[s.; balcony [?]s.; admission, 1s. For full particulars see Programmes, at Chappell and Co.'s, 50, New Bond-street. (Illustrated London News, Saturday, 11 October 1862)

MONDAY POPULAR CONCERTS. ST. JAMES'S HALL.- The FIRST CONCERT of the season will take place THIS EVENING (MONDAY), Oct. 13. Pianoforte, Mr. Chas. Hallé; Violin, Herr Joachim. Conductor, Mr. Lindsay Sloper.- Sofa stalls, 5s ; balcony, 3s. ; admission 1s. Tickets and programmes at Chappell and Co.'s, 50, New Bond-street. (Saturday review of politics, literature, science and art, Saturday, 11 October 1862) (Also: Morning Post, Monday, 13 October 1862.)

MONDAY POPULAR CONCERTS. ST. JAMES'S HALL.- The FIRST CONCERT of the season will take place on MONDAY EVENING NEXT, Oct 13. Pianoforte, Mr. Chas. Hallé; Violin, Herr Joachim; Violoncello, Signor Piatti; Vocalists, Miss Banks and Miss Lascelles. Conductor, Mr. Lindsay Sloper.- Sofa stalls, 5s ; balcony, 3s. ; admission 1s. Tickets and programmes at Chappell and Co.'s, 50, New Bond-street. (The Athenaeum, Saturday, 11 October 1862)

ST. JAMES'S HALL, REGENT STREET AND PICCADILLY. MONDAY POPULAR CONCERTS. ON MONDAY EVENING, OCTOBER 18, 1862. The First Concert of the Fifth Season, THE PROGRAMME, VOCAL AND INSTRUMENTAL, WILL BE SELECTED FROM THE WORKS OF VARIOUS COMPOSERS. PROGRAMME. PART I QUARTET, in D minor, for two Violins, Viola, and Violoncello - Haydn. (First time at the Monday Popular Concerts.) MM. Joachim, Ries Webb, and Piatti. CRADLE-SONG, " Sleep, thou Infant Angel" - Glinka. Miss Banks. SONG,"Paga fui" - Winter. Miss Lascelles. SONATA, In D major, for Pianoforte Solo (No. 21 of Mr. Hallé's edition) - Mozart. Mr. Charles Hallé. PART II. GRAND OTTET, In E flat, Op. 20, for four Violins, two Violas, and two Violoncellos - Mendelssohn. MM. Joachim, Ries, Carrodus, Watson, Webb, Hann, Paque, and Piatti. SONGS, "Who is Sylvia ?" " Hark, hark, the lark " - Schubert. Miss Banks. SONG, " The Savoyard's Song" - Mendelssohn. Miss Lascelles. DUET, "Puro ciel" - Paer. Miss Banks and Miss Lascelles. SONATA. in G, Op. 30, for Pianoforte and Violin - Beethoven. Mr. Charles Hallé and Herr Joachim. CONDUCTOR: - Mr. LINDSAY SLOPER. To commence at Eight o'Clock precisely. NOTICE. It is respectfully suggested that such persons as are not desirous of remaining till the end of the performance can leave either before the commencement of the last instrumental piece, or between any two of the movements, so that those who wish to hear it whole may do so without interruption. Between the last vocal piece and the Sonata for the Pianoforte and Violas an interval of Five Minutes will be allowed. The Concert will finish before half-past Ten o'clock. Sofa Stalls, 5s.; Balcony, 3s.; Admission, Is. Tickets to be had of Messrs. Chappell & Co., 50 New Bond Street. ST. JAMES'S HALL. Monday Popular Concerts THE ONE HUNDRED AND THIRD CONCERT. Director : Mr. S. ARTHUR CHAPPELL. The Fifth Season of the Monday Popular Concerts (established February 7, 1859) will commence at St. James's Hall, on the evening of October 13. The reason of beginning a month earlier than usual is to afford the very many amateurs still attracted, from the country and from abroad, by the fame of the International Exhibition, an opportunity of listening to performances which have not only enjoyed the constant patronage of the London public, but elicited marked encomium no less from correspondents of distinguished foreign journals than from the musical representatives of the universal press of England. The plan upon which the Monday Popular Concerts were instituted, and their form and character as musical entertainments, are now so well known, that it is unnecessary to add anything to explanations already published. It was originally intended, in 1859, to give six performances, and to repeat the experiment, should it turn out successful, from year to year. So unanimous, however, was the response to this first appeal - an appeal based no less upon a faith in the ability of the general public to appreciate, than in the power of genuine music to attract and charm - that in the first season the proposed six concerts were increased to thirteen, in the second to thirty eight (including eleven held at Liverpool, Newcastle, Edinburgh, Glasgow, &c.), in the third to twenty-four, and in the fourth to twenty-six. The; programmes of these one hundred and two concerts have included nearly all the trios, quartets, quintets, and double quartets of Mozart, Beethoven, Spohr, and Mendelssohn; many quartets, quintets, &c, by Haydn, Dussek, Cherubini, Schubert, Spohr, Macfarren, Loder, Mellon, &c.; the most celebrated sonatas and other compositions for pianoforte, solo or concerted, of Mozart, Beethoven, Woelfl, Stelhelt, Dussek, Clementi, Pinto, Hummel, Weber, Schubert, Mendelssohn, Sterndale Bennett, &c., and several of the harpsichord works of Handel, Scarlatti, and Sebastian Bach, together with a large number of songs, duets, and other vocal pieces from the ancient and modern schools of Italy, Germany, France, and England.* As executants, in every department the most eminent artists have been provided, engagements having been contracted with renowned performers abroad as well as at home. A constant attendant at St. James's Hall, throughout a series of Monday Popular Concerts, was, therefore - to use the words. of a previous address-" equivalent to a varied course of lectures on the chamber music of the great masters with practical illustrations by the first professors of the day." The presence of Herr Joachim In London has enabled the Director to obtain that gentleman's invaluable co-operation as first violin, Herr Joachim having agreed to assist at each of the concerts to be held while the International Exhibition remains open, and to lead quartets by Haydn, Mozart, Beethoven, and Mendelssohn. Signor Piatti has also accepted the post of violoncello; that of second violin being undertaken by Mr. Ries, and that of viola by Mr. Webb. The pianoforte will be represented by Mr. Charles Hallé and Mr. Lindsay Sloper, one of whom will play a solo sonata from the great masters at each concert. The instrumental pieces of the first concert (Monday, Oct. 13) comprise Haydn's quartet In D minor, Mozart's sonata In D major (No. 21 of Mr. Charles Hallé's edition of Mozart's sonatas for the pianoforte, Mendelssohn's celebrated otteta in E flat, for two first violins, two second violins, two viola, and two violoncellos, (led for the first time at the Monday Popular Concerts by Herr Joachim) and Beethoven's sonata in G, for pianoforte and violin. No. 3, Op. 30 (Mr. Charles Hallé and Herr Joachim.) The vocal music will be sustained by Miss Banks and Miss Lascelles. At every concert, until further notice, the programme will be changed, a new quartet, a new solo sonata, a new duet, and a new grand concerted piece (quintet, double quartet, or pianoforte trio) superseding the one at the previous concert; musical visitors to the International Exhibition may have a constant succession of variety. Further particulars about future projected arrangements for the Monday Popular Concerts will be found in the analytical programme of the evening. Meanwhile in announcing the commencement of the Fifth Séance, on Monday, October 13. The Director has again to tender his thanks for the liberal and unremitting support with which his undertaking has been honoured, and again respectfully to solicit its continuance. * A catalogue of the instrumental works which have been already Introduced at the Monday Popular Concerts, with the names of the performers and the dates of the various performances, will appear in an early programme. (The Musical world, Saturday, 11 October 1862)

MONDAY POPULAR CONCERTS, ST. JAMES'S HALL. - The FIRST CONCERT of the Season will take place on MONDAY EVENING NEXT, October 13. Pianoforte, Mr. Charles Hallé; Violin, Herr Joachim; Violoncello, Signor Piatti; Vocalists, Miss Banks and Miss Lascelles. Conductor, Mr. Lindsay Sloper. - Sofa Stalls, 5s.; Balcony, 3s.; Admission, 1s. For full particulars see Programmes, at Chappell & Co.'s, 50, New Bond-street. (London Review, Saturday, 11 October 1862)

ST. JAMES'S HALL. Monday Popular Concerts THE ONE HUNDRED AND THIRD CONCERT. Director : Mr. S. ARTHUR CHAPPELL. The Fifth Season of the Monday Popular Concerts (established February 7, 1859) will commence at St. James's Hall, on the evening of October 13. The reason of beginning a month earlier than usual is to afford the very many amateurs still attracted, from the country and from abroad, by the fame of the International Exhibition, an opportunity of listening to performances which have not only enjoyed the constant patronage of the London public, but elicited marked encomium no less from correspondents of distinguished foreign journals than from the musical representatives of the universal press of England. The plan upon which the Monday Popular Concerts were instituted, and their form and character as musical entertainments, are now so well known, that it is unnecessary to add anything to explanations already published. It was originally intended, in 1859, to give six performances, and to repeat the experiment, should it turn out successful, from year to year. So unanimous, however, was the response to this first appeal - an appeal based no less upon a faith in the ability of the general public to appreciate, than in the power of genuine music to attract and charm - that in the first season the proposed six concerts were increased to thirteen, in the second to thirty eight (including eleven held at Liverpool, Newcastle, Edinburgh, Glasgow, &c.), in the third to twenty-four, and in the fourth to twenty-six. The; programmes of these one hundred and two concerts have included nearly all the trios, quartets, quintets, and double quartets of Mozart, Beethoven, Spohr, and Mendelssohn; many quartets, quintets, &c, by Haydn, Dussek, Cherubini, Schubert, Spohr, Macfarren, Loder, Mellon, &c.; the most celebrated sonatas and other compositions for pianoforte, solo or concerted, of Mozart, Beethoven, Woelfl, Stelhelt, Dussek, Clementi, Pinto, Hummel, Weber, Schubert, Mendelssohn, Sterndale Bennett, &c., and several of the harpsichord works of Handel, Scarlatti, and Sebastian Bach, together with a large number of songs, duets, and other vocal pieces from the ancient and modern schools of Italy, Germany, France, and England.* As executants, in every department the most eminent artists have been provided, engagements having been contracted with renowned performers abroad as well as at home. A constant attendant at St. James's Hall, throughout a series of Monday Popular Concerts, was, therefore - to use the words. of a previous address-" equivalent to a varied course of lectures on the chamber music of the great masters with practical illustrations by the first professors of the day." The presence of Herr Joachim In London has enabled the Director to obtain that gentleman's invaluable co-operation as first violin, Herr Joachim having agreed to assist at each of the concerts to be held while the International Exhibition remains open, and to lead quartets by Haydn, Mozart, Beethoven, and Mendelssohn. Signor Piatti has also accepted the post of violoncello; that of second violin being undertaken by Mr. Ries, and that of viola by Mr. Webb. The pianoforte will be represented by Mr. Charles Hallé and Mr. Lindsay Sloper, one of whom will play a solo sonata from the great masters at each concert. The instrumental pieces of the first concert (Monday, Oct. 13) comprise Haydn's quartet In D minor, Mozart's sonata In D major (No. 21 of Mr. Charles Hallé's edition of Mozart's sonatas for the pianoforte, Mendelssohn's celebrated otteta in E flat, for two first violins, two second violins, two viola, and two violoncellos, (led for the first time at the Monday Popular Concerts by Herr Joachim) and Beethoven's sonata in G, for pianoforte and violin. No. 3, Op. 30 (Mr. Charles Hallé and Herr Joachim.) The vocal music will be sustained by Miss Banks and Miss Lascelles. At every concert, until further notice, the programme will be changed, a new quartet, a new solo sonata, a new duet, and a new grand concerted piece (quintet, double quartet, or pianoforte trio) superseding the one at the previous concert; musical visitors to the International Exhibition may have a constant succession of variety. Further particulars about future projected arrangements for the Monday Popular Concerts will be found in the analytical programme of the evening. Meanwhile in announcing the commencement of the Fifth Séance, on Monday, October 13. The Director has again to tender his thanks for the liberal and unremitting support with which his undertaking has been honoured, and again respectfully to solicit its continuance. * A catalogue of the instrumental works which have been already Introduced at the Monday Popular Concerts, with the names of the performers and the dates of the various performances, will appear in an early programme. (The Musical World, Saturday, 11 October 1862)

MONDAY POPULAR CONCERTS. ST. JAMES'S HALL.- The FIRST CONCERT of the season will take place THIS EVENING, October 13. Pianoforte, Mr. Chas. Hallé; Violin, Herr Joachim. Conductor, Mr. Lindsay Sloper.- Sofa stalls, 5s ; balcony, 3s. ; admission 1s. Tickets and programmes at Chappell and Co.'s, 60, New Bond-street. (Daily News, Monday, 13 October 1862)

MONDAY POPULAR CONCERTS. The fifth season of these highly popular entertainments was inaugurated last night at St. James's Hall, in presence of a crowded and - for this somewhat out of the way period of the year, when everybody with any pretence to fashion is supposed to be in the fields or by the sea side - brilliant audience. The reason for commencing a month earlier than usual is, as stated by the director, "to afford the very many amateurs still attracted from the provinces and from abroad by the fame of the International Exhibition an opportunity of listening to performances which have not only enjoyed the constant patronage of the London public, but elicited marked encomium, no less from correspondents of distinguished foreign journals, than from the musical representatives - of the universal press of England." The reason is good ; but having commenced a month sooner, why not two months . The directors of the Royal English Opera were wise, we think, in making their usual winter an autumn season, and that the director of the Monday Popular Concerts might have followed the same course advantageously we are convinced. The reputation gained for these most admirable entertainments given weekly in St. James's Hall has spread far and wide, and no stranger with any pretensions to musical taste or musical acquirement coming to London for the first time but would be desirous to hear one or more of them. However, we may take for granted that Mr. Arthur Chappell, the director, who is as shrewd and politic as he is liberal and enterprising, could show just cause why the Monday Popular Concerts were not commenced in September in place of October. The London public will thank him that they have begun so early, more especially when the same excellence and care which have distinguished their constitution in so eminent a degree in all former seasons are indicated in the opening programme, which we annex in full : - Part I. Quartet, in D minor, for two violins, viola, and violoncello - Haydn. MM. Joachim, Carrodus, Webb, and Piatti. Cradle Song, "Sleep, thou infant Angel" - Glinka. Miss Banks. Song, "Paga fui" - Winter. Miss Lascelles. Sonata, in D major, for pianoforte solo (No. 21 of Mr. Hallé's edition) - Mozart, Mr. Charles Hallé. Part II. Grand Ottet, in E flat, op. 20, for four violins, two violas, and two violoncellos - Mendelssohn. MM. Joachim, Carrodus, Watson, Wiener, Webb, Haub, Paque, and Piatti. Songs, "Who is Sylvia?" "Hark, hark, the lark" - Schubert. Miss Banks. Song, " The Savoyard's song" - Mendelssohn. Miss Lascelles. Duet, "Puro ciel" - Paer. Miss Banks and Miss Lascelles. Sonata, in G, op. 80, for pianoforte and violin - Beethoven, Mr. Charles Hallé and Herr Joachim, Conductor, Mr. Lindsay Sloper. The director has been most fortunate in being enabled to secure the services of Herr Joachim, the most accomplished and grandest of living violinists. Herr Joachim, we are informed, intends to make England his future residence. If so, so much the better for England in general and the Monday Popular Concerts in particular. In no other country than this could the incomparable talent of the great virtuoso be so thoroughly appreciated or so fitly rewarded. Paganini made more money in England than in all the countries he visited put together ; and why should not Herr Joachim look forward to a reward commensurate with his genius ? There is no doubt that his engagement will exercise a most beneficial influence on the already thriving fortunes of the Monday Popular Concerts, and Mr. Arthur Chappell has to congratulate himself on the best playing trump in the pack. The selection last night presented but one novelty - Haydn's masterly and beautiful quartet (from the set containing the popular variations on "God save the Emperor") - how executed by the four artists we need not say. We must just now allow the other items - all veritable masterpieces - to tell their own tale. Mendelssohn's grand and most exciting ottet perhaps created the greatest effect, doubtless in consequence of Herr Joachim leading for the first time at the Monday Popular Concerts. The performance was really incomparable, due alike, it must be allowed, to the magnificent play of the first fiddle, and to the perfect co-operation of the other instruments. Mr. Lindsay Sloper, it will be seen, has taken Mr. Benedict's place as conductor, but whether in trust or as successor we cannot say. The vocal music was interesting, but might have been more attractive. Last year we had only one fault to find with the management - namely, that the vocal department did not seem invariably to engage the same Attention as the instrumental; voice and instrument should go hand in hand in the Monday Popular Concerts. That is our opinion. Miss Banks was encored in " Hark, hark, the lark," of Schubert. (The Standard, Tuesday, 14 October 1862)

MONDAY POPULAR CONCERTS. There is a species of instrumental music which may be distinctively termed social, and this is so-called "chamber" music," by which is generally understood concerted pieces for two or more instruments ; and to this department of art the greatest masters have devoted all their genius and science. Appealing only to select classes of cultivated amateurs, there could be no necessity for resorting to the ad captandum style, indispensable to those who court extensive popularity, by writing for the theatre, &c. The happy composer, free from all external influences, could revel in sweet sounds to his heart's content, and thus the duet-sonatas, the trios, quartets, quintets, &c. of Haydn, Mozart, Beethoven, Mendelssohn, and Spohr belong to the most perfect achievements of creative art. In Germany, where there are more amateur instrumentalists than in any other country, "chamber music," more especially the "string-quartet" (as it is somewhat unintelligibly termed) forms one of the most admired of social amusements, and certainly we know of none more refined, more spiritual, or more innocent. How could dilettanti. performers on the violin, viola, violoncello, or piano pass their evening so delightfully as in playing together those unsurpassable compositions in which, no one instrument predominating, each executant enjoys a fair share of the work's beauty and the honours due to its performance ? What pleasure greater for true amateurs than that of listening to such wondrous music (symphonies in form and thematic development, though more delicate in structure and richer in detail) thus brought into their homes and hearts? But if it be pleasant to domesticate the charms of the most pure and etherial of arts, to tend the noble and beautiful spirit of Beethoven presiding over our household joys, or the heart's religion - the deathless love, the classic majesty of Mozart's inspirations, where now the slang ballad, or the tawdry Fantasia, hold their senseless sway- if this be a gratification, how great must not the enjoyment be that arises from the execution of those divine works by artists such as we hear at Mr. Arthur Chappell's quite incomparable "Monday Popular Concerts"- artists like Herr Joachim, Mr. Charles Hallé, Signor Piatti, M. Sainton, Herr Molique, Herr Laub, M. Paque, Herr Becker, Mr. Lindsay Sloper, M. Vieuxtemps, or Madame Arabella Goddard, who have dedicated their lives, the gifts that Providence has bestowed upon them, the moral vigour, the energy, indomitable volition, and enduring faith, which can alone render these ,gifts available and ensure the crowning triumph - artists who have devoted their genius, their most determined and methodical study, and sacrificed who knows how much besides to the comprehension and worship of the true musical deities ? It has been said, and truly, that "a constant attendance at the 'Monday Popular Concerts' is equivalent to hearing a varied course of lectures on the chamber-music of the great masters, with practical illustrations by the first professors of the day," for the executants there employed, and the eloquent, instructive critical analyses and commentaries that enrich the programme-book which treats of the works performed at each concert, interweave their irradiance so clearly, closely, and brightly that he must be blind indeed who, informed by such lights, fails to behold the inspirations of the mighty masters of music in all the plenitude of their glory. That the number of British amateurs must have increased enormously since the commencement of Mr. Arthur Chappell's now world-famous concerts some years ago, is evident from the gradually increasing attendance of the public up to this moment, when the "Monday Popular Concerts" belong unquestionably to the very best and most flourishing musical institutions of the day. It were impossible, then, to deny that the enterprising spirit and unflagging zeal Mr. Arthur Chappell has displayed as the founder and director of these intellectual concerts have contributed very largely to the improvement of musical taste in this country. The wholesome influence may not appear as yet upon the stage, but it is already felt in the concert-hall and drawing-room, and it will spread. The entertainment (103d) given last evening at the St.' James's Hall to inaugurate the fifth season was in no way inferior to its numerous predecessors, the general character and merits of which we have endeavoured to trace. The programme was as follows: - Part I. Quartet in D minor, for two violins, viola, and violoncello (first time at these concerts), MM. Joachim, Ries, Webb, and Piatti - Haydn. Cradle-song, " Sleep, thou infant Angel," Miss Banks - Glinka. Song, " Paga fui,'' Miss Lascelles - Winter. Sonata in D major, for pianoforte solo No. 21 of Mr. Hallé's edition", Mr. Charles Hallé - Mozart. Part II. Grand ottet in E flat, Op. 20, for four violins, two violas, and two violoncellos, MM. Joachim, Ries, Carrodus, Watson, Webb, Harm, Paque, and Piatti - Mendelssohn. Songs, "Who is Sylvia" and " Hark, hark, the lark," Miss Banks -Schubert. Song, "The Savoyard's: Song," Miss Lascelles - Mendelssohn., Duet, "Puro ciel," Miss Banks and Miss Lascelles - Paer. Sonata in G, Op. 30. for pianoforte and violin, Mr Charles Hallé and Herr Joachim - Beethoven. Conductor- Mr. Lindsay Sloper. All the old favourites - Herr Joachim, Signor Piatti, M. Paque, and Mr. Charles Hallé- were enthusiastically received on taking their places in the orchestra, and their superb executancy throughout the evening completely proved how worthy they are of public homage. The Haydn quartet, which for clear and resonant part-writing has never been, because it could not possibly be, surpassed, was played to absolute perfection, and received according to the deserts of composer and performers - that is, with every demonstration of delight. Mr. Charles Hallé's rendering of Mozart's fine sonata in D major was another triumph of executive art which met with due appreciation. All the unerring skill and sentiment that have rendered the great German pianist celebrated throughout Europe were again exhibited on this occasion in all their power and beauty. Mr. C. Hallé never played more finely; but the greatest attraction of the evening was the too-rarely heard ottet in E Flat of Mendelssohn. The wonderful executancy of Herr Joachim. who took of course the first violin, was no novelty to most of the musicians present, for he had already played the same piece frequently at our London concerts; but still, owing to the ottet not having been heard for some time, there was a freshness and interest about the whole that rendered it the great feature of the concert. Herr Joachim was most ably supported by his colleagues Messrs. Ries, Carrodus, Watson, Webb, Pique, and Piatti ; but as he, as leading violin, must necessarily have "given the tone" to the others - as it is to him we are indebted for the poetical and masterly '"reading" of Mendelssohn's work, a reading which none but a kindred spirit could have given- to Herr Joachim belongs the first and highest praise. The ottet was indeed superbly performed from first to last, and so enthusiastically applauded that an early repetition of it will doubtless be demanded by the patrons of the "Monday Popular Concerts." Beethoven's sonata, in G major, for piano and violin, afforded Messrs. Joachim and Hallé another opportunity for distinguishing themselves, and brought the concert to a brilliant close. The vocal music, necessarily of secondary importance in such entertainments as these, was intrusted to Miss Banks and Miss Lascelles. The former lady sang carefully, and with good taste, an interesting song by Glinka, a Russian composer, enjoying considerable celebrity in his own country; and the rich, superb voice of Miss Lascelles (one of the finest contraltos in existence) was heard to great advantage in the "Paga fui" of Winter. Mr. Lindsay Sloper accompanied the vocal music (of which there was decidedly too much) in his well-known, masterly way. For the next concert we are promised, among other first-class works, Spohr's fine double quartet in E minor, led by Herr Joachim. (Morning Post, Tuesday, 14 October 1862)

MONDAY POPULAR CONCERTS. The fifth season of these concerts, so justly and deservedly called popular, began last evening at St. James's Hall, their ordinary locality. They have begun so much earlier in the season than usual, in order, of course, to take advantage of the number of strangers now in town, drawn from the country and from abroad by the attraction of the International Exhibition. In this the director has judged well; for the hall was as full last right as it generally has been at the very height of the season. It is announced that Herr Joachim is engaged to assist at every concert to be held while the Exhibition remains open, and is to lead quartets of Haydn, Mozart, Beethoven, and Mendelssohn; that Signor Piatti has accepted the post of violoncello, the part of second violin being undertaken by Herr Ries, and that of viola by Mr. Webb; and, moreover, that the pianoforte will be represented by M. Charles Hallé and Mr. Lindsay Sloper, one of whom will play a solo sonata at each concert. That there will be no falling off in the spirit and taste which have hitherto governed the management of these concerts is sufficiently manifested by the admirable programme of the concert of last evening, which was the 103rd of the series. The instrumental pieces were Haydn's Quartet in D minor, from the set containing the famous variations on the Austrian hymn "God save the Emperor;" Mozart's Solo Sonata in D major (No. 21 of M. Charles Hallé's edition) - performed by M. Hallé; Mendelssohn's celebrated Ottetto (or double quartet) for two first violins, two second violins, two violas and two violoncellos, led, for the first time at these concerts, by Joachim; and Beethoven's Sonata in G, Op. 30, for the piano and violin, played by Hallé and Joachim The vocal portion of the concert, which was of more than usual interest, was sustained by Miss Banks and Miss Lascelles. It included a beautiful "cradle-song" by Glinka, the celebrated Russian composer, whose music ought to better known in this country, very sweetly warbled by the former lady; and the pathetic little air, " Paga fu," from the Proserpina of Winter, one of those beautiful works of a past age which have been unwisely allowed to fall into oblivion - which was well sung, though with rather too much ornament, by Miss Lascelles. Of the instrumental pieces it is sufficient to say that they were well-known masterpieces of their respective authors, that their execution displayed the most finished excellence, and that they were listened to with an attention, and applauded with a warmth, which showed a thorough appreciation of their beauties. The book of the concert - and these books are entitled to great praise for the taste and ability with which they are drawn up - gives a view of what has been accomplished by these concerts during the period of their existence, from which we have pleasure in quoting the following passage: "It was originally intended, in 1859, to give six performances, and to repeat the experiment, should it turn out successful, from year to year. So unanimous, however, was the response to this first appeal - an appeal based no less upon a faith in the ability of the general public to appreciate, than upon the power of genuine music to attract and charm - that in the first season the proposed six concerts were increased to thirteen, in the second to thirty-eight (including eleven held at Liverpool, Newcastle, Edinburgh, Glasgow, &c.), is the third to twenty-four, and in the fourth to twenty-six, The programmes of these one hundred and two concerts have included nearly all the quartets, quintets, and double quartets of Mozart, Beethoven, Spohr, and Mendelssohn; many quartets, quintets, &c. by Haydn, Dussek, Cherubini, Schubert, Spohr, Macfarren, Loder, Mellon, &c. ; the most celebrated sonatas and other compositions for pianoforte, solo or concerted, of Mozart, Beethoven, Woelfl, Steibelt, Dussek, Clementi, Pinto, Hummel, Weber, Schubert, Mendelssohn, Sterndale Bennett, &c., and several of the harpsichord works of Handel, Scarlatti, and Sebastian Bach, together with a large number of songs, duets, and other vocal pieces from the ancient and modern schools of Italy, Germany, France, and England. As executants, in every department, the most eminent artists have been provided, engagements having been contracted with renowned performers abroad as well as at home. A constant attendance at St. James's-Hall, throughout a series of Monday Popular Concerts, was, therefore-to use the words of a previous address - "equivalent to a varied course of lectures on the chamber music of the great masters, with practical illustrations by the first professors of the day." (Daily News, Tuesday, 14 October 1862)

Monday Popular Concerts. The Monday Popular Concerts have commenced this autumn a month earlier than usual, for reasons not difficult to guess. The director - Mr. S. Arthur Chappell - no doubt in an amiable spirit of philanthropy, wishes to afford our foreign and Country Visitors, still attracted by the inexhaustible riches of the International Exhibition, an idea of what kind of quartet and sonata playing may be heard in London. He could not have begun his fifth season under luckier auspices. Herr Joseph Joachim being still in England, Mr. Chappell has secured the assistance of the greatest artist of the day. Signor Piatti, too, the violoncellist without peer, was at hand; and with those excellent English players, Messrs. Carrodus and H. Webb, for second violin and viola, a quartet sans tache might be relied upon. Then, for the pianoforte sonata there was M. Charles Hallé, one of Beethoven's most eager and redoubted champions. Such a company of instrumental players has rarely (perhaps never) been brought together at this season of the year; but zeal, with good management, sets obstacles at naught, and our musical readers need not be told that more uniformly well-conducted entertainments than the Monday Popular Concerts were never devised for the gratification of London amateurs. The first concert (the 103d since the institution in 1859) took place in St. James's Hall, last night, in presence of an audience quite as attentive and able to appreciate as it was numerous. The programme, including masterpieces by Haydn, Mozart. Beethoven, and Mendelssohn, was one of the best on record - so judiciously made out, indeed, and in all respects so interesting, that we are induced to quote it:- PART 1 Quartet in D minor (first time at the Monday Popular Concerts).. Haydn. Cradle-song, "Sleep thou infant angel "- Glinka. Song. "Paga fui" - Winter. Sonata in D major, pianoforte solo - Mozart. PART II Grand Ottet in E flat, Op. 20, for four Violins, two Violas, and two Violoncellos - Mendelssohn. Songs, "Who Is Sylvia?' "Hark, hark, the lark" - Schubert. Song, "The Savoyard's Song" - Mendelssohn. Duet, "Puro ciel" - Paer. Sonata, in G. Op. 30, for Pianoforte and Violin - Beethoven. Conductor-Mr. Lindsay Sloper. Some German critic is reported to have said that when the name of Haydn ceased to be exhibited in the programmes of classical concerts he would take up his pen and write "The, Epitaph of Music." This enthusiastic gentleman need be under no apprehension, however, about the continued popularity of a man capable of writing such a quartet as the one introduced by Herr Joachim on the occasion under notice. In this work (belonging to the famous set which contains the quartet with variations on the "Austrian Hymn," and a slow movement), and in some others, while strongly influenced by the later music of Mozart, Haydn seems to have foreshadowed one peculiarity of the many-sided Beethoven -that playful fancy which in the composer of the Pastoral Symphony so frequently assumes the character of absolute caprice, without ever venturing upon the domain of eccentricity. This is visible in the trio of the minuet - the minuet itself (what musicians term a "canon"), like the first allegro, belonging essentially to the style of Mozart - and occasionally in the final rondo. The graceful andante (with variations) shows Haydn most unreservedly himself-a circumstance which by no means renders it the least agreeable and charming feature of the quartet. A. finer performance than that of M. Joachim, Carrodus, Webb, and Piatti would scarcely have been possible. Herr Joachim seemed to play Haydn with a gusto not less hearty and genuine than the profound sympathy that distinguishes his readings of the masters of his especial predilection - J. S. Bach and Beethoven. The quartet was heard throughout with intense satisfaction, every movement being loudly applauded, and the andante redemanded, though the compliment was prudently declined. In this instance the "first time of performance" is very unlikely to be the last. The quartet in D minor will unquestionably soon be heard of again. Mozart's sonata - clear and transparent, melodious and full of ingenious contrivance - can hardly be cited as an advance upon the quartet of Haydn, which, on the whole, must be acknowledged a work of a higher cast. Mr. Hallé's playing was artistic and: masterly, as usual. The sonata, however, has been twice heard already at the Monday Popular Concerts, and from the same expert hands; it is enough, therefore, to add that it was received with the accustomed favour. The fact of a piece of such chaste and obtrusive beauty depending for effect upon an unaided efforts of a single performer, and producing, in a large music hall a lively impression upon the audience of not far short of 2,000 persons, is one of those "signs of the times" unmistakably declaring the progress of taste among us. True, the music master - like the "schoolmaster' when Lord Brougham first addressed the multitude on the inestimable advantages of education - is now effectually "abroad." Mendelssohn's Ottetto, with all deference to the illustrious names of Haydn, Mozart, and Beethoven, was the conspicuous feature of the evening. It appears almost incredible that a work so large and masterly in design, so elaborately filled out, so ripe in scholarship, so crowded with ideas, as wholly new as they are beautiful, should have fallen from the necessarily unpractised pen of a youth of fifteen. This was, nevertheless, the case. The Ottetto preceded the overture to A Midsummer Night's .Dream by something like two years; and we have no hesitation in saying that its composition at so early an age was a feat to which the history of the musical art affords no parallel. Nearly 40 years have elapsed since it was first tried in Berlin, at the house where Mr Mendelssohn's family resided; and the universal esteem in which it is now held by musicians and cultivated amateurs is a proof that its merits are genuine - quite independent, in short, of the extraordinary incidents connected with its production. The final allegro exhibits the lofty aspiration and the powerful grasp of Beethoven himself; the slow movement the romantic feeling, and the scherzo the bright and sparkling fancy so peculiarly the attributes of Mendelssohn; the finale, the, skilful contrivance and contrapuntal freedom of Mozart. Nothing, indeed, but a certain diffuseness - the offspring chiefly of what a German critic might denominate "a genial striving upwards," and an inordinately rich invention-proclaims it the work of a young and comparatively inexperienced musician; and such charm which genius has thrown over every part, that even this very diffuseness exercises a potent spell, and no lover of Mendelssohn's music would willingly see a single bar of it curtailed. This was not the first time of the ottetto being heard at the Monday Popular Concerts; but it was the first time with Herr Joachim as leader; which invested the performance with a twofold attraction. Never did the great Hungarian violinist play with greater fire and enthusiasm, on the one hand, or, on the other, with. greater judgment, expression (witness the exquisite reading of the andante), and (the fairy-like scherzo, for example) delicacy. The quartet of performers already named were supported in the ottetto by MM. Wiener, Watson, Hann, and. Paque. The execution was - with a trifling exception or so, to signalize which would be hypercritical - the grandest we remember. Herr Joachim and Signor Piatti, on their respective instruments, constituted the "Alpha and Omega" of musical excellence. The pedestal was worthy of the statue. From first to last the performance was listened to with breathless interest, and movement after movement rapturously applauded. The success was, in a word, "colossal." It Is only in the non-Operatic season that the director of these entertainments is enabled to assemble together so many competent executants as are required for pieces demanding such exceptional means; and the announcement of several others of the same kind during the autumn series (including among the rest one of Spohr's double-quartets, the Septets of Beethoven and Hummel, &c.), shows that Mr. Chappell intends to let his patrons. profit by the advantages just now at his disposal. The last instrumental piece - the sonata in G (Op. 30), by Beethoven, for pianoforte and violin - a particular favourite at the Monday Popular Concerts - was given with wonderful "brio" by MM. Hallé and Joachim, and kept the interest of the great majority of the audience alive to the very end. The vocal music afforded a pleasing variety. The plaintive cradle-song of Glinka (extremely well sung by Miss Banks) was a welcome novelty - a step, too, in the right direction. The vocal music of "the Russian Mozart" is a mine well worth exploring. Miss Banks was no less successful in Schubert's beautiful settings of Shakspeare, the last of which ("Hark, hark, the lark") was encored, while the rich contralto voice of Miss Lascelles was favourably displayed in the canzonet of Winter (who, more than any other composer, knew how to imitate, while diluting, Mozart), and in the quaint "Savoyard's Song" of Mendelssohn. The graceful notturno of Paer - Rossini's predecessor, as manager of the Opera Italien, and Cherubini's as '"principal" of the Conservatoire, in Paris - united the voices and talents of the two young ladies with pleasing effect. Mr. Lindsay Sloper, who (in the absence of Mr. Benedict) occupied the seat of conductor, accompanied the vocal pieces to perfection. At the next Concert (October20), Spohr's magnificent double-quartet, in B minor, is to be one of the principal attractions. (The Times, Tuesday, 14 October 1862)

MONDAY POPULAR CONCERTS. The fifth season of these concerts, so deservedly called popular, began on Monday evening at St. James's Hall, their ordinary locality. They have begun so much earlier in the season than usual in order, of course, to take advantage of the number of strangers now in town, drawn from the country and from abroad by the attraction of the International Exhibition. In this the director has judged well; for the hall was as full on the first night as it generally has been at the very height of the season. It is announced that Herr Joachim is engaged to assist at every concert to be held while the Exhibition remains open, and is to lead quartets of Haydn, Mozart, Beethoven, and Mendelssohn; that Signor Piatti has accepted the-post of violoncello, the part of second violin being undertaken by Herr Ries, and that of viola by Mr. Webb; and, moreover, that the pianoforte will be represented by M. Charles Hallé and Mr. Lindsay Sloper, one of whom will play a solo sonata at each concert. That there will be no falling off in the spirit and taste which have hitherto governed the management, of, these concerts is sufficiently manifested by the admirable programme of the concert of Monday last, a which was the 103rd of the series. The instrumental pieces were, Haydn's. quartet in D minor, from the set containing the famous variations, on the Austrian hymn, "God Save the Emperor;" Mozart's Solo Sonata in D major (No. 21 of M. Charles Hallé's edition), performed by M. Hallé; Mendelssohn's celebrated Ottetto (or double quartet) for two first violins, two second violins, two violas. and two violoncellos, played for the first time at these concerts, by Joachim; and Beethoven's Sonata in G, Op. 30, for the piano and violin, played by Hallé and Joachim. The vocal portion of the concert, which was of more than usual interest, was sustained by Miss Banks and Miss Lascelles. It included a beautiful "cradle song" by Glinka, the celebrated Russian composer, whose music ought to be better known in this country, very sweetly warbled by the-former lady; and the pathetic little air,"Paga fui," from the Proserpina of Winter, one of those beautiful works of a past age which have been unwisely allowed to fall into oblivion - which was well sung, though with rather too much ornament, by Miss, Lascelles. Of the instrumental pieces; it is sufficient to say that they were well-known masterpieces of their respective authors, that their execution displayed the most finished excellence, and that they were listened to with an attention; and applauded with a warmth, which showed a thorough appreciation of their beauties. (The Lady's Newspaper & Pictorial Times, Saturday, 18 October 1862)

The success of these Popular Concerts has been very remarkable, and far exceeding the most sanguine anticipations of their projectors. It was originally intended to give only six concerts during the first season; but such was the influx of the public from the very outset, that the proposed six concerts were increased to thirteen in 1859; to thirty-one (including eleven at various provincial towns) in 1860; to twenty-four in 1861; and twenty-six in 1862, "The programmes of these concerts," quote the correct statement made by the management, "have included nearly all the trios, quartets, quintets, and double quartets of Mozart, Beethoven, Spohr, and Mendelssohn; many quartets, quintets, &c., by Haydn, Dussek, Cherubini, Schubert, Spohr, Macfarren, Loder, Mellon, &c.; the most celebrated and other compositions for the pianoforte, solo or concerted, of Mozart, Beethoven, Woelfl, Steibelt, Dussek, dementi, Pinto, Hummel, Weber, Schubert, Mendelssohn, Sterndale Bennett, &c., and several of the harpsichord works of Handel, Scarlatti, and Sebastian Bach; together with a large number of songs, duets, and other vocal pieces from the ancient and modern schools Italy, Germany, France, and England. As executants in every department the most eminent artists have been provided, engagements having been contracted with renowned performers abroad as well as at home… constant attendance St. James's Hall throughout a series of Monday Popular Concerts is, therefore, equivalent to a varied course lectures the chamber music the great masters, with practical illustrations by the first professors of the day." This is most true, and we may add that the influence of these concerts in refining and exalting the taste of the London musical public is strikingly manifested by the profound attention and discriminating applause with which crowded audiences now listen to compositions which a few years ago were deemed quite unfit for popular ears. In order to show that there is no appearance of any tailing off in the spirit with which these concerts have hitherto been conducted, it is sufficient to cite the programme the performance on Monday last: PART I. Quartet, minor, for two violins, viola, and violoncello, Haydn. (First time at the Monday Popular Concerts.) MM. Joachim, Ries, Webb, and Piatti. Cradle Song, Sleep thou infant Angel Glinka. Miss Banks. Song, Paga fni Winter. Miss Lascelles. Sonata, in D major, for pianoforte solo (No. I*l of Mr. Hallé's edition) .. Mozart. Mr. Charles Hallé. PART II. Grand Ottet, in flat, Op. 20, for four violins, two violas, and two violoncellos. Mendelssohn. MM. Joachim. Ries, Carrodus. Watson, Webb, Hann, Paque, and Piatti. Songs, "Who is Sylvia ? " "Hark, hark,the lark." Schubert. Miss Banks. Song, "The Savoyard's Song" Mendelssohn. Duet, Puro ciel Miss Lascelles. Banks and Miss Lascelles. Sonata G, Op. 150, for pianoforte and violin Mr. Charles Hallé and Herr Joachim. Conductor - Mr. Lindsay Sloper. Full chorus. In the collection gems the brightest certainly was the octet (or double quartet) of Mendelssohn, the most surprising effort even of his transcendant genius. Composed in his more boyhood-he had not reached the age fifteen-it holds its place, and will continue do so, among the greatest masterpieces of the age. Haydn's quartet in minor is one of his most genial and delightful inspirations; and Mozart's sonata is one of the most finished works ever written for the pianoforte. The vocal pieces were admirably sung Miss Banks and Miss Lascelles, who received their full share of the applause bestowed on this excellent concert. (Illustrated London News, Saturday, 18 October 1862)

MONDAY POPULAR CONCERTS. The first concert (the 103rd since the institution in 1859) took place in presence of an audience quite attentive and able to appreciate as it was numerous. The programme, including masterpieces by Haydn, Mozart, Beethoven, and Mendelssohn, was one of the best on record-so judiciously made out, indeed, and in all respects so interesting, that we are induced to quote it: PART I - Quartet in D minor (first time at the Monday Popular Concerts) M Haydn. Cradlesong, Sleep, thou infant angel Glinka. Song. fui Winter. Sonata in [?] major, pianoforte solo Mozart. PART II. Grand Ottet, in E flat. Op. 20. for four Violins, two Violas, and two Violoncellos Mendelssohn. Songs, "Who is Sylvia?" "Hark, hark, the lark"Schubert. Song, The Savoyard's Song" Mendelssohn. Duet, "Puro ciel," - Paer. Sonata, in G, Op. 30, for Piano and Violin - Beethoven. Conductor-Mr. Lindsay Sloper. A finer performance than that of MM. Joachim. Carrodus, Webb, and Piatti would scarcely have been possible. Herr Joachim seemed to play Haydn with a gusto not less hearty and genuine than the profound sympathy that distinguishes his readings of the masters of his especial predilection- J. S. Bach and Beethoven. The quartet was was heard throughout with intense satisfaction, every movement being loudly applauded, and the andante re-demanded, though the compliment was prudently declined. Mendelssohn's Ottetto, however, was the conspicuous feature of the evening, it appears almost incredible that a work so large and masterly in design, so elaborately filled out, so ripe in scholarship, so crowded with ideas, wholly now they are beautiful, should have fallen from the necessarily unpractised pen of a youth of fifteen. This was, nevertheless, the case. Nearly 40 years have elapsed since it was first tried in Berlin, at the house where Mendelssohn's family resided ; and the universal esteem in which it is now held by musicians and cultivated amateurs is a proof that its merits are genuine-quite independent, in short, of the extraordinary incidents connected with its production. The quartet of performers already named were supported in the ottetto by MM. Weiner, Watson, Hann, and Paque. From first to last the performance was listened to with breathless interest, and movement after movement rapturously applauded. The last instrumental piece-the sonata in G (Op. 30), by Beethoven, for pianoforte and violin-a particular favourite at the Monday Popular Concerts-was given with wonderful "brio" by MM. Hallé and Joachim, and kept the interest of the of the great majority of the audience alive to the very end. The vocal music afforded a pleasing variety. The plaintive cradle-song of Glinka (extremely well sung by Miss Banks) was welcome novelty-a step, too, in the right direction. The vocal music of the Russian Mozart" is mine well worth exploring. Miss Banks was no less successful in Schubert's beautiful settings of Shakspeare -the last of which ("Hark, hark, lark" ) was encored, while the rich contralto voice of Miss Lascelles was favourably displayed in the canzonet of Winter (who, more than any other composer, knew how to imitate, while diluting, Mozart), and in the quaint Savoyard's Song of Mendelssohn. The graceful notturno Paer -Rossini's predecessor, manager of the Opera Italien, and Cherubini's as principal of the Conservatoire, in Paris-united the voices and talents of the two young ladies with pleasing effect. Mr. Lindsay Sloper, who (in the absence of Mr. Benedict) occupied the the post of conductor, accompanied the vocal pieces to perfection. (Bell's Weekly Messenger, Saturday, 18 October 1862)

To the Editor of the MUSICAL WORLD. SIR. - I do not, by any means, take part in the astonishment at the success of the Monday Popular Concerts, which is the stock-in-trade of most reporters of musical matters. There can be no surer mode of attracting an audience than by announcing performances of the works of Bach, Handel, Haydn, Mozart, Beethoven, and Mendelssohn ; and no surer way of gratifying it than by committing their performance to Herr Joachim, Mr. Sainton, Mr. Webb, Signor Piatti, Mons. Paque, Mdlle. Arabella Goddard, Mr. Charles Hallé, Mr. Lindsay Sloper, and others of the highest class of executants, with which this generation is singularly blessed. The popularity of the art of Music, and of the Monday Popular Concerts, or of any institution conducted with equal zeal and conscientiousness, is part and parcel of our much boasted civilization, and needs no wonderment, but hearty appreciation and enjoyment. The pleasant geniality of Haydn's mind was well shown at the first concert of the present season, by the quartet in D minor, more especially in the andante and finale. The beauty and power of the first allegro rise beyond Haydn's ordinary level, and distinctly show the influence of his great contemporary, Mozart. The quartet, too, was magnificently given, the grandeur of Herr Joachim's playing, his wonderful grasp of the composer's intention, his command of tone, and his passionate expression, being exhibited in every bar. The Sonata in D major, in which Mr. Hallé has already been heard more than once, is one of the most admirable of all the pianoforte works, numerous as they are, of the composer. The brio and dash of the first movement, and the quiet beauty of the adagio, are entirely Mozartean; while the last movement shows his fertility and inimitable genius still more forcibly. After these two works, the Ottetto of Mendelssohn was doubly welcome, the expectation and enjoyment of the audience being by this time raised to the highest pitch. This incomparable work, without rival among string compositions, for ingenuity and variety of effect, has been three times previously given at these concerts, and never without creating wonder and delight. The superb allegro which commences the work is broad and vigorous in the extreme; while the inimitable scherzo could have emanated from no composer but him of the Midsummer Night's Dream. The sonata for pianoforte and violin (in G) of Beethoven, too, contains a world of beauty and original thought, which impress more and more at every hearing. Then the song of Glinka, plaintive in style, like all true Russian music; the two charming lieder of Schubert (perfectly sung by Miss Banks, who has already won a place among English singers, which the purity and freshness of her voice, united to unquestioned musicianship, will enable her to maintain) ; the melodious "Paga fui," by an undeservedly neglected master (Winter), with the quaint "Savoyard's song" of Mendelssohn (both set down for Miss Lascelles, who has a powerful voice) ; and last, not least, the very pleasing notturno of Paer (for two voices) - Mr. Lindsay Sloper accompanying the vocal pieces - made up the sum total of a programme with which, if an audience had remained unmoved it must have been an audience of blocks, and which, if it had not proved attractive, would have proved that there is no attraction in music. Let us wonder no more about the Monday Popular Concerts being a paying speculation. Mr. Arthur Chappell best knows why it is so. I am, Sir, yours, N. (The Musical world, Saturday, 18 October 1862)

MONDAY POPULAR CONCERTS. The Monday Popular Concerts have commenced this autumn a month earlier than usual, for reasons not difficult to guess. The director - Mr. S. Arthur Chappell - no doubt in an amiable spirit of philanthropy, wishes to afford our foreign and country visitors, still attracted by the inexhaustible riches of the International Exhibition, an idea of what kind of quartet and sonata playing may be heard in London. He could not have begun his fifth season under luckier auspices. Herr Joseph Joachim being still in England, Mr. Chappell has secured the assistance of the greatest artist of the day. Signor Piatti, too, the violoncellist without peer, was at hand; and with those excellent English players, Messrs. Carrodus and H. Webb, for second violin and viola, a quartet sans tache (unbefleckt) might be relied upon. Then, for the pianoforte sonata there was M. Charles Hallé, one of Beethoven's most eager and redoubted champions. Such a company of instrumental players has rarely (perhaps never) been brought together at this season of the year; but zeal, with good management, sets obstacles at naught ; and our musical readers need not be told that more uniformly well-conducted entertainments than the Monday Popular Concerts were never devised for the gratification of London amateurs. The first concert (the 103d since the institution, in 1859) took place in St. James's Hall, on Monday night, in presence of an audience quite as attentive and able to appreciate as it was crowded. The programme, including masterpieces by Haydn, Mozart, Beethoven, and Mendelssohn, was one of the best on record - so judiciously made out, indeed, and in all respects so interesting, that we are induced to quote it:- PART 1. quartet in D minor (first time at the Monday Popular Concerts) - Haydn. Cradle-song, Sleep thou infant angel" - Glinka. Song "Paga fui " - Winter. Sonata in D major, pianoforte solo - Mozart. PART 11. Grand Ottet, in E flat, Op. 20, for four Violins, two Violas, and two Violoncellos - Mendelssohn. Songs, "Who is Sylvia" "Hark, hark, the lark" - Schubert. Song, "The Savoyard's Song" - Mendelssohn. Duet, "Puro ciel" - Paer. Sonata, in G, Op. 30, for Pianoforte and Violin - Beethoven. Conductor - Mr. Lindsay Sloper. Some German critic is reported to have said that when the name of Haydn ceased to be exhibited in the programmes of classical concerts he would take up his pen and write "The Epitaph of Music." This enthusiastic gentleman need be under no apprehension, however, about the continued popularity of a man capable of writing such a quartet as the one introduced by Herr Joachim on the occasion under notice. In this work (belonging to the famous set which contains the quartet with variations on the "Austrian Hymn," ) and in some others, while strongly influenced by the later music of Mozart, Haydn seems to have foreshadowed one peculiarity of the many-sided Beethoven - that playful fancy which, in the composer of the Pastoral Symphony, so frequently assumes the character of absolute caprice, without venturing upon the domain of eccentricity. This is visible in the trio of the minuet - the minuet itself, a "canon on the octave," belonging, like the first allegro, more essentially to the style of Mozart - and here and there in the final rondo. The graceful andante (with variations) shows Haydn most unreservedly himself, which by no means renders it the least agreeable and charming feature of the quartet. A finer performance than that of MM. Joachim, Carrodus, Webb, and Piatti, would scarcely have been possible. Herr Joachim seems to play Haydn with a gusto not less hearty and genuine than the sympathy that distinguishes his readings of the masters of his especial predilection - J. S. Bach and Beethoven. The quartet was heard throughout with intense satisfaction, every movement being loudly applauded, and the andante redemanded, though the compliment was prudently declined. In this instance the "first time of performance has small chance of being the last." The Quartet in D minor will unquestionably soon be heard of again. Mozart's sonata - clear and transparent, melodious and full of ingenious contrivance - can hardly be cited an advance upon the quartet of Haydn, which, on the whole, must be acknowledged a work of a higher cast. Mr. Hallé's playing was artistic and masterly, as usual. The Sonata in D major, however, has been twice heard already at the Monday Popular Concerts, and from the same expert hands ; it is enough, therefore, to add that it was received with the accustomed favour. The fact of a piece of such chaste and unobtrusive beauty depending for effect upon the unaided efforts of a single performer, and producing, in a vast music hall, a lively impression upon an audience of not far short of 2,000 persons, is one of those "sirens of the times" unmistakably declaring the progress of taste among us. True, the Music-master - like the "schoolmaster," when Lord Brougham first addressed the multitude on the inestimable advantages of education - is now effectually "abroad." Mendelssohn's Ottetto (with all deference to the illustrious names of Haydn, Mozart, and Beethoven) was the conspicuous feature of the evening. It appears almost incredible that a work so large in design, so elaborately filled out, so ripe in scholarship, so crowded with ideas, as new as they are beautiful, should have fallen from the unpractised pen of a youth of fifteen. This was, nevertheless, the case The Ottetto preceded the overture to A Midsummer by something like two years; and we have no hesitation in saying that its composition at so early an age is a feat to which the history of the musical art affords no parallel. Nearly 40 years have elapsed since it first tried in Berlin, at the house where Mendelssohn's family resided; and the universal esteem in which it is now held by musicians and cultivated amateurs is a proof that its merits are genuine - independent, in short, of the extraordinary incidents connected with its production. The first allegro exhibits the lofty aspiration and powerful grasp of Beethoven himself; the slow movement, the romantic feeling, and the scherzo the bright and sparkling fancy so peculiarly the attributes of Mendelssohn ; the finale, the skilful contrivance and contrapuntal freedom of Mozart. Nothing, indeed, but a certain diffuseness - the offspring chiefly of what a German critic might denominate "a genial striving upwards," impelled, too, by an inordinately rich invention - proclaims it the work of a young and comparatively inexperienced musician ; and such is the charm which genius has thrown over every part, that even this very diffuseness exercises a potent spell, no lover of Mendelssohn's music being at all disposed to see a single bar curtailed. This was not the first time of the Ottetto being heard at the Monday Popular Concerts ; but it was the first time with Herr Joachim as leader; a circumstance which invested the performance with twofold attraction. Never did the Hungarian violinist play with greater fire and enthusiasm, never with greater judgment and expression (witness the exquisite reading of the andante), never (the fairy-like scherzo, for example) with greater delicacy. The quartet of performers already named were supported in the Ottetto by MM. Wiener, Watson, Hann, and Paque. The execution - with a trifling exception or so, to signalise which would be hypercritical - was the finest we remember. Herr Joachim and Signor Piatti, on their respective instruments, constituted the "Alpha and Omega" of musical excellence. The pedestal was worthy of the statue. From first to last the performance was listened to with breathless interest, and movement after movement rapturously applauded. The success was, in a word, "colossal." It is only in the non-operatic season that the director of these entertainments is enabled to assemble together so many competent executants as are required for pieces demanding such exceptional means ; and the announcement of others of the same kind during the autumn series (including one of Spohr's double-quartets, the Septets of Beethoven and Hummel, &c.), shows that Mr. Chappell intends to let his patrons profit by the advantages just now at his disposal. The last instrumental piece - the sonata in G (Op. 30), by Beethoven, for pianoforte and violin - a particular favorite at the Monday Popular Concerts - was given with wonderful "brio" by MM. Hallé and Joachim, and kept the interest of the great majority of the audience alive to the end. The vocal music afforded a pleasing variety. The plaintive cradle-song of Glinka (extremely well sung by Miss Banks) was a welcome novelty - a step, too, in the right direction. The vocal music of "the Russian Mozart" is a mine well worth exploring. Miss Banks was no less successful in Schubert's beautiful settings of Shakspeare - the last of which ("Hark, hark, the lark") was encored; while the rich contralto voice of Miss Lascelles was favourably displayed in the canzonet of Winter (who, more than any other composer, knew how to imitate, while diluting, Mozart), and in the quaint "Savoyard's Song" of Mendelssohn. The graceful notturno of Paer - Rossini's predecessor, as manager of the Opera Italien, and Cherubini's as "principal" of the Conservatoire, in Paris - united the voices and talents of the two young ladies with pleasing effect. Mr. Lindsay Sloper, who (in the absence of Mr. Benedict) occupied the post of conductor, accompanied the vocal pieces to perfection. At the next Concert (October 20), Spohr's magnificent double-quartet, in E minor, is to be one of the principal attractions, and Mr. Sloper will play one of the sonatas of Beethoven. (The Musical world, Saturday, 18 October 1862)

POPULAR CONCERTS.- The Popular Concerts, which are among the most noticeable phenomena of this inconsistent London of ours, were resumed on Monday last-a month earlier than usual, in deference to the continuance of the International Exhibition. They were resumed with unabated spirit and perfection. Herr Joachim is king of Quartett leaders, and has a group of excellent associates, numbering Signor Piatti among them. Mr. Hallé needs no epithet as classical pianist of the first class; and the names of Haydn, Mozart, Beethoven, Mendelssohn, are, after all, not bad names to conjure with. We cannot, however, cease from wishing that the repertory might be widened being satisfied that every opportunity of comparison judiciously afforded will be attended by only one and the same result- a deeper and more intelligent love of what is best and truest in Art. Without this, admiration runs a danger of degenerating into formalism. On Monday, the principal features of the evening were Mendelssohn's Ottett, led and ?nished with great spirit; a solo pianoforte Sonata in D major, by Mozart; and Beethoven's animated and melodious Duett for Pianoforte and Violin in G, Op. 80. The singers were Miss Banks (one of whose songs was a lulling but rather melancholy cradle-song by Glinka, the Russian composer) and Miss Lascelles. The accompanist was Mr. Lindsay Sloper:-One of the best accompanists at present to be found in any country - The room was crowded, and the audience attentive and enthusiastic. (The Athenaeum, Saturday, 18 October 1862)

Monday Popular Concerts.-Mr. Arthur Chappell commenced the fifth season of these excellent conceits on Monday evening last-a month earlier than usual, but with the object of giving the remanet of visitors to the International Exhibition, an opportunity of hearing some of the best performances of chamber music that the musical world has ever listened to. The success which has attended these concerts is well known. The first series consisted of only six evenings, but the series which closed not very long ago "mounted to twenty-six-continued with but few exceptions, and those unavoidable, on consecutive Monday nights ; making, in all, upwards of one hundred sittings, dedicated to elucidations of the masterpieces of the art, and by professors of the highest standing. The liking for this sort of music has evidently grown with the nourishment it has received, and that which a few years ago would have been avoided with one consent by the public, is now courted with the zeal that can only come of real, honest, appreciation. The economy of the tariff has been a material aid in the inculcation of this healthier state of things, but it is pleasurable to find, that the anticipations of the projectors as regarded the occult tastes of the many, and their enterprise in consulting the general means and convenience, have not been disappointed. Until the establishment of these concerts, the public, in the universal meaning of the word, had but few and uncertain opportunities of hearing good quartet playing, and hence could but faintly acquire the cultivation upon which the due enjoyment of classical music so essentially depends. This deficiency corrected, we see the useful result that has followed ; and that the Monday Popular Concerts are destined to become perennial there can be little doubt, especially if the management continues to be carried out upon the present judicious, and enlightened, principles. Mr. Chappell, in the printed address of Monday, intimate that Herr Joachim and Signor Piatti will occupy the principal violin and violoncello seats for some time to come, the second violin and viola being confided, as before, to the experienced hands of Mr. Ries and Mr. Webb. Such a " quartet" as this speaks for itself. It would be impossible to surpass either of these accomplished performers. As regards Herr Joachim, there cannot, indeed, be even rivalry, for the fame of this artist is no common fame, but the result of an executive and intellectual supremacy which all admit without reserve or qualification. The possession of this gentleman for a more than ordinary term, cannot fail to be of service to the concerti, and uphold their special reputation. The first scheme of the present season was m every way interesting. It opened with Haydn's fascinating quartet in D minor, which, played as it was to perfection, afforded the utmost delight, the lovely melody in which it abounds, came out in all its native beauty-the beauty of simplicity and symmetry. It is the quartet, it may be mentioned, which contains the well known variations on the Austrian hymn, "God save the Emperor." Mendelssohn's ottet in E flat was, perhaps, the most important event of the evening. This, interpreted by the four players we have mentioned above, conjointly with Mr. Carrodus, Mr. Watson, Mr. Hann, and M. Paque, challenged the warmest admiration. To Herr Joachim the chief praise was due, for the style and temper of the reading were mainly influenced by him. But the ottet was delivered magnificently throughout. It is owe of the best bequeathals of Mendelssohn in this peculiar class of writing-a model of ingenious contrivance, as it is of poetic and original thought Mr. Charles Hallé resumed his post at the pianoforte, which has always been nobly represented, and its best genius illustrated, at these concerts. The programmes invariably contain one of the masterpieces of the great writers, and a large repertory of the finest pianoforte works has, consequently, been opened from time to time. On Monday last Mr. Hallé selected Mozart's superb sonata in D major, and played it in his own faultless manner, the concert terminating with Beethoven's equally superb pianoforte and violin sonata in G (op. 30), in which the distinguished pianist was associated with Herr Joachim, The vocalists were Miss Banks and Miss Lascelles. "A Cradle Song," by Glinka, a Russian composer of merit, gongs by Winter and Schubert, and a duet by Paer, constituted the selection in this department Mr. Lindsay Sloper conducted. (London Observer, Sunday, 19 October 1862) (Also: London Observer, Monday, 20 October 1862.)

Monday, 20 October 1862 : Mr. Arthur Chappell's Monday Popular Concert at St. James's Hall, Piccadilly.

MR. LINDSAY SLOPER at the MONDAY POPULAR CONCERTS. St. James's-hall on Monday evening next, October 20, when he will PERFORM Beethoven's sonata in E minor, op. 90, for pianoforte solo, and with Herr Joachim and Signor Piatti, Hummell's trio in B flat, Op. 23, for pianoforte, violin, and violoncello. - Sofa stalls, 5s; balcony, 3s.; admission 1s. Tickets and Programmes at Chappell and Co.'s, 50. New Bond-street. MONDAY POPULAR CONCERTS. - St. JAMES'S-HALL. - The SECOND CONCERT will take place on Monday evening next, Oct 20th,on which occasion Herr Joachim will make his second appearance. Pianoforte, Mr. Lindsay Sloper, violin, Herr Joachim, violoncello, Signor Piatti; Vocalists: - Miss Banks and Mr. Henry Haigh. Conductor - Mr. Harold Thomas. For full particulars see programme. Sofa stalls, 5s; balcony, 3s.; admission 1s. Tickets and Programmes at Chappell and Co.'s, 50. New Bond-street. (The Times, Wednesday, 15 October 1862) (Also: The Times, Saturday, 18 October 1862.)

MONDAY POPULAR CONCERTS. St. James's Hall. The SECOND CONCERT will take place on MONDAY EVENING next, October 20, on which occasion, Herr Joachim will make his second appearance. Pianoforte, Mr. Lindsay Sloper; Violin, Herr Joachim: Violoncello, Signor Patti; Vocalists, Miss Banks and Mr. Henry Haigh. Conductor, Mr. Harold Thomas. For full particulars see programme. Sofa Stalls, 5s., Balcony, 3s., admission, 1s.-Tickets and Programmes at Chappell and Co.'s., 60, New Bond street; and at Austin's, 28, Piccadilly. (Evening Herald, Wednesday, 15 October 1862) (Also: Evening Herald, Friday, 17 October 1862; London Observer, Sunday, 19 October 1862; Examiner, Saturday, 18 October 1862; Daily News, Saturday, 18 October 1862; The Standard, Saturday, 18 October 1862; Morning Post, Saturday, 18 October 1862; Illustrated London News, Saturday, 18 October 1862; London Evening Standard, Saturday, 18 October 1862; Examiner, Saturday, 18 October 1862; The Standard, Friday, 17 October 1862; Morning Post, Friday, 17 October 1862; Morning Post, Thursday, 16 October 1862; Evening Herald, Thursday, 16 October 1862; The Standard, Thursday, 16 October 1862; Daily News, Thursday, 16 October 1862; Morning Post, Wednesday, 15 October 1862; Evening Herald, Saturday, 18 October 1862.)

MONDAY POPULAR CONCERTS. St. James's Hall. Herr Joachim will make his second appearance on MONDAY EVENING next, October 20, on which occasion,. Pianoforte, Mr. Lindsay Sloper; Violin, Herr Joachim: Violoncello, Signor Patti; Vocalists, Miss Banks and Mr. Henry Haigh. Conductor, Mr. Harold Thomas. Sofa Stalls, 5s., Balcony, 3s., admission, 1s.-Tickets and Programmes at Chappell and Co.'s., 60, New Bond street. (The Athenaeum, Saturday, 18 October 1862)

MONDAY POPULAR CONCERTS, ST. JAMES'S HALL. - On MONDAY EVENING NEXT, October 20, Herr Joachim will make his Second Appearance. Pianoforte, Mr. Lindsay Sloper; Violin, Herr Joachim; Violoncello, Signor Piatti; Vocalists, Miss Banks and Mr, Henry Haigh. Conductor, Mr. Harold Thomas. - Sofa Stalls, 5s.; Balcony, 3s.; Admission, 1s. For full particulars see Programmes, at Chappell & Co.'s, 50, New Bond-street. (The London review and weekly journal of politics, society, literature and art, Aug. 16-Dec. 27, 1862, Saturday, 18 October 1862)

ST. JAMES'S HALL, REGENT STREET AND PICCADILLY. MONDAY POPULAR CONCERTS. One Hundred and Fourth Concert. ON MONDAY EVENING, OCTOBER 20, 1862. SECOND APPEARANCE OF JOACHIM. PROGRAMME. PART I. QUARTET, in B flat (No. 3, op. 54), for two Violins, Viola, and Violoncello MM. Joachim, Ries Webb, and Piatti. Haydn - SONG, "Young Agnes, Beauteous flower." (Fra Diavolo) Mr. Henry Haigh. - Auger. CRADLE-SONG, "Sleep, thou infant Angel." (By desire) Miss Banks. - Glinka. SONATA, in E minor, op. 90 (No. 27 of Mr. Hallé's edition) for Pianoforte solo, Mr. Lindsay Sloper. - Beethoven. PART II. DOUBLE QUARTET, in E minor, op. 87, No. 3, for four Violins, two Violas, and two Violoncellos First Quartet Joachim, Watson, Webb, and Piatti. Second Quartet Ries, Wiener, Hann, and Paque. - Spohr. SONG, "Elly Mavourneen." (Lily of Killarney) Mr. Henry Haigh. - Benedict. PRELUDE AND FUGUE, in G minor, for Violin, solo Herr Joachim. - Bach. SONG, "O'er the bright " Miss Banks. - Schubert. TRIO, in E flat, Op. 93, for Pianoforte, Violin, and Violoncello Mr. Lindsay Sloper, Herr Joachim, and Signor Piatti. - Hummel. To commence at Eight o'clock precisely. NOTICE. It is respectfully suggested that such persons as are not desirous of remaining till the end of the performance can leave either before the commencement of the last instrumental piece, or between any two of the movements, so that those who wish to hear the whole may do so without interruption. Between the last vocal piece and the Trio for the Pianoforte, Violin, and Violincello, an interval of MINUTES will be allowed. The Concert will finish before halt-past Ten o'clock. Sofa Stalls, 5s. ; Balcony, 3s. ; Admission, 1s. Tickets to be had or Mr. Austin, at the Hall, 28 Piccadilly ; Messrs. CHAPPELL & Co., 50, New Bond Street; and the principal Musicsellers. (The Musical world, Saturday, 18 October 1862)

MONDAY POPULAR CONCERTS. St. James's Hall. The SECOND CONCERT will take place THIS EVENING (MONDAY), October 20, on which occasion, Herr Joachim will make his second appearance. Pianoforte, Mr. Lindsay Sloper; Violin, Herr Joachim: Violoncello, Signor Patti; Vocalists, Miss Banks and Mr. Henry Haigh. Conductor, Mr. Harold Thomas. For full particulars see programme. Sofa Stalls, 5s., Balcony, 3s., admission, 1s.-Tickets and Programmes at Chappell and Co.'s., 60, New Bond street; and at Austin's, 28, Piccadilly. MR. LINDSAY SLOPER at the MONDAY POPULAR CONCERTS, St. James's Hall, THIS EVENING (MONDAY), October 20, when he will perform Beethoven's Sonata in E minor, Op. 90, for pianoforte solo ; and, with Herr Joachim and Signer Piatti, Hummell's Trio in E flat, Op. 93, for pianoforte, violin, and violoncello, Sofa stalls, 5s.; balcony, 3s.; admission, 1s. Tickets and programmes at Chappell and Co.'s, 50, New Bond-street. (Morning Post, Monday, 20 October 1862) (Also: Daily News, Monday, 20 October 1862.)

MONDAY POPULAR CONCERTS., ST. JAMES'S HALL, THIS EVENING (MONDAY) Oct 20, 1862. Herr Joachim will make his second appearance. PROGRAMME. PART I. Quartet in B Flat (No. 5, op 64) for two violins, viola, and violoncello, MM. Joachim, Ries, Webb and Piatti - Haydn; song, Young Agnes, beauteous flower (Fra Diavolo), Mr Henry Haigh - Auber; song, Sleep, thou infant angel (by desire) Miss Banks - Glinka; sonata in E minor Op 90 (no 27 in Mr. Hallé's edition) for pianoforte solo, Mr. Lindsay Sloper - Beethoven. Part II. Double Quartet in E minor, Op. 87, No. 3 for four violins, two violas, and two violoncellos, 1st Quartet MM. Joachim, Watson, Webb, and Piatti, 2d quartet, MM. Ries, Wiener, Hann and Paque - Spohr; Song, Eily Mavourneen (Lily of Killarney), Mr. Henry Haigh - Benedict; prelude and fuge in G minor, for violin so, Herr Joachim - Bach; song, O'er the bright flood, Miss Banks - Schubert; trio in E flat, op. 93, for pianoforte, violin and violincello, Mr. Lindsay Sloper, Herr Joachim, and Signor Piatti - Hummel. To commence at 8 o'clock precisely. Sofa Stalls, 5s., Balcony, 3s., admission, 1s.-Tickets at Chappell and Co.'s., 60, New Bond street; Cramer and Co.'s and Hammond's, Regent-street; Keith Prowse, and Co's, 48, Cheapside; and at the Hall, 28, Piccadilly. (The Times, Monday, 20 October 1862) (Also: The Times, Tuesday, 21 October 1862.)

Monday Popular Concerts. The playing of Herr Joachim last night at the second (104th) concert will not be easily forgotten by those amateurs who were fortunate enough to hear him. The programme afforded an unusually wide field for the exhibition of his very remarkable talent. In Haydn's quartet, with which the concert began (No. 3, Op. 54), his performance of the adagio, not to speak of other movements, reached the ideal of poetic expression; such genuine singing, indeed, is too rarely heard from the human voice, much more rarely upon an instrument. His leading of Spohr's double-quartet in B minor, at the commencement of the second part, was one of those well-sustained and masterly displays in which the highest intellectual conception goes hand in hand with unerring mechanical address, and obtained from the crowd that filled St. James's-hall heartier and more unanimous recognition of its merits than, original, ingenious, and beautiful as it is, was probably ever elicited till now. The applause seemed even warmer (the attention could not have been more marked) than that bestowed on Mendelssohn's ottetto at the previous concert. The great length of the work became altogether forgotten under the spell of such faultless execution; and at the conclusion of the finale the general feeling appeared to be one of regret that no more was to come. The Prelude E fugue in G minor of John Sebastian Bach - one of Herr Joachim's two demigods, Beethoven being the other-was, perhaps, however, the most surprising exhibition of the evening. With what indomitable spirit and unerring skill the Hungarian violinist gives these truly marvellous solos - in difficulty unparalleled, as they are unrivalled for elaborate contrivance - our musical readers are aware; but on the present occasion he fairly outdid his previous achievements. The enthusiasm with which he threw himself into his task was quickly imparted to the audience, who, at the end of his performance, with one voice recalled him to the platform. There was no resisting the unanimously expressed desire to hear the Fugue again; and so, to the manifest delight of all present, Herr Joachim complied. We never remember him "in finer play." The other performers in Haydn's quartet were M. Pollitzer (Herr Joachim's associate as leader of the second part in Spohr's more trying composition), Mr. H. Webb and Signor Piatti; and to these, in the double-quartet, were added Messrs. Watson, Wiener, Hann and Paque - all excellent and practised players. The pianoforte sonata, in the absence of M. Charles Hallé, was entrusted to Mr. Lindsay Sloper, whose sterling qualities as a classical player have been more than once advantageously exhibited at these concerts, and than whom a more efficient substitute for the popular German pianist could hardly have been chosen. Mr. Sloper played the beautiful sonata, Op. 90, dedicated by Beethoven to his friend and patron Count Moritz Lichnowski, and Hummel's brilliant trio, Op. 93 (in E flat), in which his partners were Herr Joachim and Signor Piatti. The singers were Miss Banks, who was more thoroughly at home in the plaintive romance of Glinka (repeated "by desire," and encored), than in the well-known barcarole of Schubert ; and Mr. Henry Haigh, who gave songs from Fra Diavolo and The Lily of Killarney, the former encored, notwithstanding an opposition, the strenuous expression of which should, we think, have precluded its repetition. Mr. Harold Thomas (Mr. Benedict still being abroad} was the accompanist, and performed his duties in a thoroughly musician-like manner. At the next concert the principal feature is to be Hummel's celebrated septet, for pianoforte, wind, and string instruments - pianist, Mr Hallé. (The Times, Tuesday, 21 October 1862)

MONDAY POPULAR CONCERTS. The second concert of the season took place on the 20th, on which occasion Herr Joachim was put forward as a special attraction. The programme was a varied and agreeable one, and was of a more popular character perhaps than the first of the present series. The quartet in B flat was played with consummate skill, and was deservedly applauded. Mr. Henry Haigh was encored in his charming rendering of "Young Agnes, beauteous flower;" as was Miss Banks in "Sleep, thou infant angel." Beethoven's Sonata in E minor was played by Mr. Lindsay Sloper with his accustomed power and precision; and in Herr Joachim's violin solo the fugue was encored with enthusiasm. The concert was throughout highly successful, the hall being completely filled by a discriminating audience. (The Lady's Newspaper & Pictorial Times, Saturday, 25 October 1862)

The second Monday Popular Concert of the present series took place on the 20th instant. M. Joachim led the quartets in his usual admirable manner, and gained an enthusiastic encore by his masterly execution of Bach's prelude and fugue in Q minor. Besides Haydn's quartet in B flat and Spohr's double quartet in B minor, Hummel's trio in B flat was performed by Messrs. Lindsay Sloper, Joachim, and Piatti. Mr. Sloper also played Beethoven's sonata in B minor. The vocal music was intrusted to Miss Banks - whose pure, clear voice was heard to much advantage in Glinka's exquisite cradle-song, " Sleep, thou infant angel" (encored) - and to Mr. Haigh, who, after singing the serenade from "Fra Diavolo " and disfiguring the cadence, insisted on repeating the air in spite of the opposition of a large portion of the audience. (Illustrated Times, Saturday, 25 October 1862)

MUSIC. The Monday Concert of this week, the second of the season, was very similar the first, of which we gave some account last week. Like that concert, the instrumental portion of the programme comprised a stringed-instrument quartet, an or double quartet, a sonata, and trio for the pianoforte. The quartet was Haydn's in B flat, op. SP; the double quartet was Spohr's in minor, op. 87; the pianoforte sonata was Beethoven's in minor, op. 90; and the trio was Hummel's in E flat, op. 93 -every one of these pieces a chef-d'oeuvre of its composer. The quartet and double quartet were executed by the same performers as before; the violins were Joachim, Ries, Watson, and Wiener; the violas, Webb and Hann; the violoncellos, Piatti and Paque. The pianoforte sonata and trio were played Mr. Lindsay Sloper, a gentleman who is too seldom heard in public, for his talents as a pianist are the very highest order. In addition to these instrumental pieces, there was Bach's prelude and fugue in minor for the violin solo, performed by Joachim, a marvel of executive power not to be rivalled, we are convinced, by any other violinist now living. It was encored by a burst of acclamation from every part of the hall. The vocal music was well chosen, well performed, and well received. Miss Banks sang the cradle-song by the Russian composer Glinka, which pleased much at the previous concert, and a fine ballad of Schubert. Mr. Henry sang Auber's "Young Agnes," from "Fra Diavolo;" and Benedict's "Elly Mavourneen," from "The Lily of Killarney." The concert was conducted with great ability by Mr. Harold Thomas, who accompanied the vocal pieces with masterly skill and delicacy. It is almost needless add that the hall was crowded to the doors, for this is uniformly the case at these deservedly successful concerts. (Illustrated London News, Saturday, 25 October 1862)

PART I Quartette in B flat (No.38, Op. 54), for two violins, viola, and violoncello, MM. Joachim, Pollitzer, Webb, and Piatti - Haydn Song, " O'er the bright flood" Miss Banks - Schubert Song - "Young Agnes, beauteous flower" (Fra Diavolo), Mr Henry Haigh - Auber. Sonata in E minor. Op. 90 (No. 27 in Mr. Hallé's edition) for pianoforte solo, Mr. Lindsay Sloper - Beethoven. Part II. Double Quartette in E minor, op. 87, No. 3, for four violins, two violas, and two violoncellos, 1st Quartette-MM. .Joachim;, Watson, Webb, and Piatti. 2d Quartette-MM. Pollitzer, Wiener, Hann and Paque - Spohr. Song-'" Sleep thou, Infant angel" (by desire), Miss Banks - Glinka. Prelude and Fugue, in G minor, for violin solo, Herr Joachim - Bach Song-"Eily Mavourneen" (Lily of Killarney), Mr Henry Haigh - Benedict. Trio, in B flat, Op. 93, for pianoforte, violin, and violoncello, Mr. Lindsay Sloper, Herr Joachim, and Signor Piatti . The opening quartet was executed in a masterly manner by the artists to whose execution it was entrusted, and was, a consequence, enthusiastically applauded. The double quartet with which the second part opened-a form of chamber music which is entirely of Spohr's invention and ranks amongst the finest compositions of that eminent master, was listened to with breathless attention, and its conclusion was followed by the most enthusiastic plaudits. Herr Joachim played Bach's prelude and fugue with all the grace and finish, which are such marked features in his execution, while the command which has over the instrument enabled him to master with the greatest ease the ingenuity and difficulty of the composition. In accordance with the desire of the audience repeated the allegro passage of the piece. Mr. Lindsay Sloper's performance of the sonata mentioned in the programme, on the pianoforte, was in accordance with that gentleman's well-known capabilities as a pianist. The vocalisation of Miss Banks and Mr. Henry Haigh varied the concert agreeably. Miss Banks sang Glinka's Cradle Song,"-of which Mr. Oxenford has given a delightful English version-so charmingly that she had to repeat it. It was indeed exquisitely rendered. Mr. Haigh was also encored in "Young Agnes." (Bell's Weekly Messenger, Saturday, 25 October 1862)

Spohr's Double Quartett in E minor was played at the Second Popular Concert on Monday last, with Herr Joachim for leader, as at the ?rst. Mr. Lindsay Sloper was the pianist - Miss Banks and Mr. Haigh were the singers (the former encored in Glinka's cradle-song) - and Mr. Harold Thomas accompanied the vocal music - At the next, Hummel's 'Septett' will be performed, with M. Hallé at the pianoforte. (The Athenaeum, Saturday, 25 October 1862)

MONDAY POPULAR CONCERTS. The playing of Herr Joachim on Monday night at the second (104th) concert will not be easily forgotten by those amateurs who were fortunate enough to hear him. The programme afforded an unusually wide field for the exhibition of his very remarkable talent. In Haydn's quartet, with which the concert began (No. 3, Op. 54), his performance of the adagio, not to speak of other movements, reached the ideal of poetic expression; such genuine singing, indeed, is too rarely heard from the human voice, much more rarely upon an instrument. His leading of Spohr's double-quartet in E minor, at the commencement of the second part, was one of those well-sustained and masterly displays in which the highest intellectual conception goes hand in hand with unerring mechanical address, and obtained from the crowd that filled St. James's Hall a heartier and more unanimous recognition of Spohr's great merits than, original, ingenuous, and beautiful as this double-quartet is, was probably elicited till now. The applause seemed even warmer (the attention could not have been more marked) than that bestowed on Mendelssohn's Ottetto at the previous concert. The great length of the work became altogether forgotten under the spell of such faultless execution; and at the conclusion of the finale the general feeling appeared to be one of regret that no more was to come. The Prelude and fugue in G Minor of John Sebastian Bach - (one of Herr Joachim's two demigods, Beethoven being the other) - was, perhaps, however, the most surprising exhibition of the evening. With what indomitable spirit and unerring skill the Hungarian violinist gives these truly marvellous solos - in difficulty unparalleled, as they are unrivalled for elaborate contrivance - our musical readers are aware; but on the present occasion he fairly outdid his previous achievments [sic]. The enthusiasm with which he threw himself into his task was quickly imparted to the audience, who, at the end of his performance, with one voice recalled him to the platform. There was no resisting the unanimously expressed desire to hear the Fugue again; and so, to the manifest delight of all present, Herr Joachim complied. We never remember him "in finer play." The other performers in Haydn's quartet were M. Pollitzer (Herr Joachim's associate as leader of the second part in Spohr's more trying composition), Mr. H. Webb and Signor Piatti, "the incomparable;" and to these, in the double-quartet, were added Messrs. Watson, Wiener, Hann, and Paque - all practised adepts in "quartet." The pianoforte Sonata, in the absence of M. Charles Hallé, was entrusted to Mr. Lindsay Sloper, whose sterling qualities as a classical player have been more than once advantageously exhibited at these concerts, and than whom a more efficient substitute for the popular German pianist could hardly have been chosen. Mr. Sloper played the beautiful sonata, Op. 90, dedicated by Beethoven to his friend and patron, Count Moritz Lichnowski, and Hummel's brilliant trio, Op. 98 (in E flat), in which his partners were Herr Joachim and Signor Piatti. The singers were Miss Banks, who was more thoroughly at home in the plaintive romance of Glinka (repeated "by desire," and encored), than in the well-known barcarole of Schubert; and Mr. Henry Haigh, who gave songs from Fra Diavolo and The Lily of Killarney, the former encored, notwithstanding an opposition, the strenuous expression of which should, "we" think, have precluded its repetition. Mr. Harold Thomas (Mr. Benedict still being abroad) was the accompanist, and performed his duties in a thoroughly musician-like manner. At the next concert the principal feature is to be Hummel's celebrated septet, for pianoforte, wind, and stringed instruments-pianist, Mr. Hallé.- Times. (The Musical world, Saturday, 25 October 1862) (Also: Dwight's journal of music, Saturday, 29 November 1862.)

Monday Popular Concerts. The second concert of the present season which took place on Monday night, attracted quite as large and brilliant audience as were assembled at the first. In writing notices of these entertainments it is really hardly necessary to do more than to insert the programmes, for not only the pieces selected, but the performers of the same, are alike so eminent that any observations of ours, calling the attention of our readers to that fact, are almost superfluous. The programme on Monday was as follows: PART I Quartette in B flat (No.38, Op. 54), for two violins, viola, and violoncello, MM. Joachim, Pollitzer, Webb, and Piatti - Haydn Song, " O'er the bright flood" Miss Banks - Schubert Song - "Young Agnes, beauteous flower" (Fra Diavolo), Mr Henry Haigh - Auber. Sonata in E minor. Op. 90 (No. 27 in Mr. Hallé's edition) for pianoforte solo, Mr. Lindsay Sloper - Beethoven. Part II. Double Quartette in E minor, op. 87, No. 3, for four violins, two violas, and two violoncellos, 1st Quartette-MM. .Joachim;, Watson, Webb, and Piatti. 2d Quartette-MM. Pollitzer, Wiener, Hann and Paque - Spohr. Song-'" Sleep thou, Infant angel" (by desire), Miss Banks - Glinka. Prelude and Fugue, in G minor, for violin solo, Herr Joachim - Bach Song-"Eily Mavourneen" (Lily of Killarney), Mr Henry Haigh - Benedict. Trio, in B flat, Op. 93, for pianoforte, violin, and violoncello, Mr. Lindsay Sloper, Herr Joachim, and Signor Piatti - Hummell. All Haydn's quartettes - and indeed all the music written by that great master - are fine, but the Quartette in B flat, No. 3, op. 54, is perhaps the finest of all, and was given with an intelligence and spirit which called forth the loudest applause. The Double Quartette in E minor-one of the most remarkable compositions of Spohr, who may be said to be the inventor of chamber music - was performed with such skill and accuracy as to hold the wrapt attention of the audience, and to elicit at the end the most unmistakable approbation. Herr Joachim (who acted as leader) distinguished himself by his masterly performance of Bach's difficult Prelude and Fugue in G minor, and Mr. Lindsay Sloper rendered Beethoven's sonata in E minor in an admirable manner. The vocal music was ably undertaken by Miss Banks and Mr. Henry Haigh, the former of whom sang Glinka's "Cradle Song " so sweetly as to elicit an unanimous encore, and the latter (who possesses one of the most agreeable tenor voices we have ever heard, and whose name in the programme will always be welcome), rendered Auber's " Young Agnes, beauteous flower" with such effect as to cause an uproarious re-demand. The concert was in every sense perfectly successful. (The Era, Sunday, 26 October 1862)

It is indeed gratifying to observe the patronage and appreciation which this genuine high art meets with at the Monday Popular Concerts; to see hundreds of amateurs eagerly flocking to St. James's Hall to gain admittance ; to hear the enthusiastic applause elicited by some transcendent beauty of creative or executive art, or of both combined ; and to note the deep interest evidently felt by the audience in all the great works performed. The 104th concert on Monday week was no exception to the rule of success. The hall was again crowded to excess - the programme unexceptionable; while Herr Joachim and his colleagues exhibited their abilities to the best advantage. We are pleased to see the name of Haydn frequently in the programmes of the "Monday Popular Concerts." This truly great master has been too much neglected of late, and the performance of his immortal works furnishes the best reply to the silly sneers and frivolous objections of those who have dared to depreciate the man for whom Mozart, when already a consummate master himself, openly professed the greatest reverence and love. There are certain works of Haydn's, especially among his numerous violin quartets, that are quite unsurpassable, and the one selected for the opening of the 104th concert (No. 3. Op. 54) an excellent specimen of the master, played as it was with the utmost precision and expression, met with a reception which clearly proved that Haydn, the basis of the great Viennese triad, still holds his own, and is likely to do so wherever genuine music is appreciated. Mr. Lindsay Sloper, as we presume it is pretty well known by this time, is a thorough master of the instrument he professes. We know of no surer hand upon the pianoforte - no style more chaste or elegant - than his. An earnest student of the great masters, Mr. Lindsay Sloper, with a praiseworthy abnegation of self, seeks only to give their meaning, "unmixed with baser matter." And thus in his happiest achievements we recognise an unadulterated triumph for creative art, no less than executancy of extraordinary merit. Mr. Lindsay Sloper, we believe, never distinguished himself more honourably than on the occasion under notice, when he played Beethoven's fine sonata in E minor (Op. 27) and took part with Messrs. Joachim and Piatti in Hummel's trio in E flat (Op. 93). In the latter piece, indeed, to use a conventional phrase, he "surpassed himself." Spohr's double quartet in E minor (led by Herr Joachim), by reason of its magnitude no less than its intrinsic merits, was the great feature of the programme. It was superbly played from first to last, and listened to throughout with the closest attention and obvious tokens of delight, despite the unusual length of the composition. Since Spohr himself played this in every respect remarkable work we have not heard the principal violin part so grandly executed. In Sebastian Bach's prelude and fugue Herr Joachim again enchanted the audience, and this time to such an extent that nothing less than a repetition of his marvellous performance would satisfy them. Mr. Henry Haigh, who made his debut at the Monday Popular Concerts on this night, was highly successful in his renderings of the two songs set down for him, one of which, Auber's "Young Agnes," was redemanded; and Miss Banks was similarly complimented for her execution of Glinka's romance, given "by desire " in consequence of its success at the previous concert. Mr. H. Thomas conducted. The 105th concert, which took place last evening, was, like its predecessor, honoured by a very great attendance. We subjoin the programme : - Part I. Quartet in E flat (Op. 12), for two violins, viola, and violoncello- MM. Joachim, Ries, Webb, and Piatti - Mendelssohn. Song, "Goodnight, beloved"- Mr. H. Haigh - M. W. Balfe Song, "In questa tomba oscura " - Miss Lascelles - Beethoven. Sonata in F (Op. 54), for pianoforte solo - Mr. Charles Hallé - Beethoven. Part II. Grand septet, in D minor, for pianoforte, flute, oboe, French horn, viola, violoncello, and contrabass- MM. Charles Hallé, Pratten Barret, C. Harper, H. Webb, C. Severn, and Piatti - Hummel. Song. "The Nightingale"- Mr. Henry Haigh - Henry Smart. Prelude and fugue in C major, for violin solo (by desire)- Herr Joachim - Bach. Song, " Lily Lye " - Miss Lascelles G. A. Macfarren. Trio in G, for pianoforte, violin, and violoncello - Mr. C. Hallé, Herr Joachim, and Signor Piatti - Haydn. Conductor- Mr. Lindsay Sloper. The excellent practice of including one large concerted piece for several instruments in every programme, begun by Mr. Arthur Chappell this season, was adhered to on this occasion, and again with perfect success. Hummell, neither a great original thinker nor a poet in his art, was still so genial and accomplished a master that his works can never fail to interest musicians. He also aided materially in developing the powers of the modern pianoforte, and, with respect to this instrument, may truly be said to have taken part in the advancement of music. We know of no better means of forming the hand and taste of the student-pianist than the practice of Hummell's eminently graceful compositions, in which brilliant fluency is so felicitously combined with solid scholarship. Thus it follows that no music is more fitted to display the powers of a pianist, and it is scarcely necessary to add that, from a performer like Mr. Charles Hallé, Hummell's compositions must be heard to the greatest possible advantage. How this renowned German pianist takes the colour of his author's mind - whether that author belong to this or any other period of art - how faithfully he expresses in his masterly performances the spirit and character of whatever works he undertakes to perform in public (his study of all being so deep that he generally knows them by heart), is familiar to all concert-goers, and "none of our musical readers will be surprised to hear that Mr. Charles Hallé played Beethoven and Haydn last evening as he did Hummell- that is, to perfection. One of the greatest features in the concert was the execution of one of Bach's fugues by Herr Joachim. These fugues belong to the curiosities of violin music. The digital difficulties they present are enormous, but as there are no "showy passages," no "brilliant effects," nothing, as some would imagine, to repay the public performer for the labour required, Bach's fugues have been cautiously avoided by most of our celebrated violinists. Herr Joachim, however not only plays them frequently, but absolutely wins redemands just as Ernst did for his pathetic "elegy" or humorous "Carnival of Venice." Is it merely because the Hungarian violinist contrives to make all the complex parts of these ingenious polyphonic compositions distinctly heard-because he overcomes the almost insuperable difficulties which old Bach wrote but did not play, that the musical public is so charmed with Herr Joachim's performances ? No; it is that all this mechanical dexterity is informed and animated by a profound knowledge of the style of expression required, and an intimate, glowing sympathy with the honest, manly spirit of the " rare old man" of Leipsic- it is because Herr Joachim's readings of Bach are so intellectual and characteristic that they excite such enthusiastic admiration. Mendelssohn's fine quartet was done ample justice to by all concerned in its execution, and the vocal music intrusted to Miss Lascelles and Mr. Henry Haigh was for the most part creditably performed. Beethoven's noble song, "In questa tomba oscura," sung by Miss Lascelles, whose superb contralto voice it served to display to the utmost advantage, was quite in keeping with the very high character of the instrumental programme, and thus found an audience well prepared to appreciate its grand and simple beauties. (Morning Post, Tuesday, 28 October 1862)

Spohr's Double Quartett in E minor was played at the Second Popular Concert on Monday last, with Herr Joachim for leader, as at the first. Mr. Lindsay Sloper as the pianist-Miss Banks and Mr. Haigh were the singers (the former encored in Glinka's cradle-song)- and Mr. Harold Thomas accompanied the vocal music. At the next, Hummel's "Septett" will be performed, with M. Hallé at the pianoforte. (Sherborne Mercury, Tuesday, 28 October 1862)

MONDAY POPULAR CONCERTS. The second concert of the season, which by commencing this year at an earlier period than usual, has most agreeably filled up a rather long hiatus of really good musical entertainments, took place on Monday, 20th ult. After a performance of the first movement of the quartett of Haydn, somewhat unsatisfactory, considering the superlative excellence of the executants, the players went to work in earnest, and rendered the slow movement in a most fascinating manner. Such perfection of instrumental vocalisation, however, must necessarily render the listener more exacting towards the singers who follow, unless, (and on ordinary occasions we recommend him to do so) he allows himself a thorough rest, for the better appreciation of the pieces which are accorded the post of honour in the programme. Without being too hard upon the singers (especially when one of the melodies was full of intervals of a "retching" character) we will content ourselves with remarking that they were especially fortunate in their accompanyist, Mr. Harold Thomas, who it is to be hoped will on some future occasion occupy a more conspicuous, though probably not a less responsible one, at these Concerts. The greatest treat of the evening, both to those to whom the "Forty-eight" are "household words," as well as those who are merely in a position to know what a fugue is without having to ask their next door neighbour, was Herr Joachim's performance of the fugue of Bach in G. min., undoubtedly the finer and more spirited of the two we have had the pleasure of hearing rendered by this gentleman. Such music and such playing cannot fail to maintain the preeminence of the violin as a solo instrument. Spohr's magnificent quartett was given in a manner that left nothing to be desired, except perhaps the wish to hear it again before very long. Nor must we I forget to thank the director for the many opportunities of hearing works of this magnitude which require the co-operation of a large number of first-rate performers; but it is a wise step, for with all the excellencies of the quartetts, we cannot help sometimes longing for that volume of tone which is produced by the orchestra. En passant we may remark that we have recently had the pleasure of hearing in Paris an andante from a quartett of Haydn, executed by all the strings of a most magnificent band, conducted with the greatest care and ability by M. Pasdeloup, to which, on account of its great excellence, our thoughts could hardly help reverting. Notwithstanding M. C. Hallé never fails to satisfy so thoroughly every desire of the lover of classical music, so that even if he were to appear uninterruptedly at every concert we should never be tempted to cry "toujours perdrix," we by no means regret when an opportunity is given to a meritorious English Pianist of displaying his abilities at these concerts. Mr. Lindsay Sloper had not only carefully studied the two choice masterpieces, allotted him, but played them throughout so thoroughly con amore, that he deserves a special mark of commendation. We are not aware that the subject has been noticed before, but it would clearly much increase the comfort of those listeners at St. James' Hall, and especially of those who are possessed of sensitive olfactory as well as auditory nerves, if the proprietor of the restaurant, or rather his guests, would not afford such a disagreeable and continually recurring proof that good dinners are to be obtained without going very far away. (Musical standard, Saturday, 1 November 1862)

Monday, 27 October 1862 : Mr. Arthur Chappell's Monday Popular Concert at St. James's Hall, Piccadilly.

MONDAY POPULAR CONCERTS, St. James's Hall- On MONDAY EVENING next, Oct. 27. Pianoforte, Mr. Chas. Hallé; violin, Herr Joachim; violoncello, Signor Piatti; vocalists, Miss Lascelles and Mr. Henry Haigh. Conductor, Mr. Lindsay Sloper. The programme will include Hummell's celebrated Septet in D minor, performed by Messrs Chas. Hallé, Pratten, Barrett, C. Harper, H. Webb, C. Severn, and Piatti. For full particulars see programme.- Sofa stalls, 5s.; balcony, 3s.; admission, 1s. Tickets at Chappell and Co.'s, 50, New Bond-street ; and at Austin's, 28, Piccadilly. (Morning Post, Tuesday, 21 October 1862) (Also: Saturday review of politics, literature, science and art, Saturday, 25 October 1862; London Evening Standard, Monday, 27 October 1862; Examiner, Saturday, 25 October 1862; Illustrated Times, Saturday, 25 October 1862; Daily News, Monday, 27 October 1862; Illustrated London News, Saturday, 25 October 1862; The Standard, Thursday, 23 October 1862; Examiner, Saturday, 25 October 1862; Morning Advertiser, Friday, 24 October 1862; Daily News, Friday, 24 October 1862; Morning Post, Thursday, 23 October 1862; Daily News, Thursday, 23 October 1862; Morning Post, Saturday, 25 October 1862; Morning Post, Friday, 24 October 1862.)

MONDAY POPULAR CONCERTS. When the International Exhibition building was near its completion, it was said that the Royal Commissioners intended to reserve a certain portion for musical purposes, that is to say, for the holding of grand orchestral and choral concerts, under the direction, we believe, of Mr. Benedict. Nothing further, however, was heard of the plan. It was then asserted that a large music-hall was to be constructed in close proximity to the building, for a similar purpose, and with Mr. Alfred Mellon as conductor. This idea was also abandoned. We shall not now discuss why probably neither of these schemes was carried out, nor enter into the question whether they were likely to meet with success. One of the great drawbacks, no doubt, consisted in the fact that the concerts were to be held at four o'clock in the afternoon, - a most inconvenient hour, considering the object of the visitors to the Exhibition and the season of the year. It has, however, often excited our surprise that the idea of giving a series of international evening concerts on a large scale, and in a convenient locale, has not suggested itself to enterprising conductors or speculating managers. With the vast amount of talent at their disposal, and the numbers of strangers present in the metropolis, Such an undertaking could not fail to be successful, both in an artistic and pecuniary sense. If the late M. Jullien had been still among us, we feel certain he would not have allowed so splendid an opportunity to escape. He was the very man for the occasion. His name, his popularity, his tact, and his talent, would have drawn thousands of visitors to his " Concerts Promenade." What a rich field for operation would have offered itself! Besides the usual programmes of classical pieces, such as symphonies, overtures, concertos, and songs, he would have found in the leading topics of the day a source of constant variety, and a brilliant opportunity for the display of his peculiar talents. He might, for example, have composed an "Italian Quadrille," represented by Napoleon, Victor Emmanuel, Garibaldi, and Rattazzi. The late riots in Hyde-park would have been the theme for a famous "Row Polka," with accompaniment "obbligato" of stones and sticks; while, as a piece de resistance, the civil war in America would have inspired him with a grand fantastic musical tableau, entitled, "The Lincoln Proclamation, or the American Struggle," with solos for the trumpet, piccolo, and big drum, terminating with an elaborate fugue on "Yankee Doodle." However, it is as well perhaps that the public has been deprived of those musical demonstrations, since there is no knowing to what deplorable result they might have led. But to return. To the absence of the "right man in the right place," we must, no doubt, attribute the fact that nothing has been attempted in that line, and thus the great year of 1862 has passed in comparative tranquillity. Nevertheless, the musical public and our foreign visitors have not altogether been left unprovided for. Miss Louisa Pyne and Mr. W. Harrison have for the last two months upheld the dignity of the Royal English Opera. The National Choral Society, under the direction of Mr. Martin, continues its "Wednesday Oratorios" at Exeter Hall; and now Mr. Arthur Chappell, the enterprising director of the "Monday Popular Concerts," has resumed his delightful meetings at St. James's Hall. "The reason," Mr. Chappell says in his prospectus, "for beginning these concerts a month earlier (November being the usual time) is to afford the very many amateurs still attracted from the country and abroad by the fame of the International Exhibition, an opportunity of listening to performances which have not only enjoyed the constant patronage of the London public, but elicited marked encomium, no less from correspondents of distinguished foreign journals, than from the musical representatives of the universal press of England." There can be no doubt that the Monday Popular Concerts are the cheapest, the most interesting, and the most admirably conducted concerts in London, and fully deserving the encouragement and patronage bestowed on them. The origin of this great musical institution - for such it may now justly be called - is too well known to need any comment; nor is it necessary to trace the history of these concerts in all their phases. Suffice it to say, that continued success has attended them, and that they are carried on with the same liberality and ability which have hitherto so greatly distinguished them. We are convinced that no musical undertaking of any kind can ever succeed in London without its being conducted on the soundest principles, both with regard to management and artistic excellence It is true, Mr. Arthur Chappell has been singularly fortunate in being able to secure the services of artists like Herr Joachim, Signor Piatti, and Mr. Hallé, at a time of the year when musical celebrities are usually engaged on the Continent, or are " starring" it in the country. All three, with the addition of Mr. Lindsay Sloper, the accomplished pianist, have "agreed" to assist at each of the concerts to be held while the International Exhibition remains open. Attracted by such a formidable array of talent, it could not be otherwise but that the "very many amateurs" of classical music would flock to St. James's Hall to hear the great masterpieces interpreted by the above-named performers. The second concert of the series, which took place on Monday last, was in every respect equal, if not superior, to its predecessor. On both occasions the programme consisted of some of the finest works of the great masters, including quartets of Haydn, sonatas by Beethoven and Mozart, Mendelssohn's ottet, and a double quartet by Spohr, the one in E minor. The vocal music at the first concert was intrusted to Miss Lascelles and Miss Banks, a great favourite at the Monday Popular Concerts; while at the second concert Mr. Henry Haigh, late of the Royal English Opera, replaced Miss Lascelles. On the former occasion the pianoforte found its old champion in Mr. Charles Hallé, the pianist sans peur et sans reproche, as M. Berlioz calls him; and on the latter was succeeded by Mr. Lindsay Sloper, the " neat and elegant," as he might be called. The lion of both evenings, however, was Herr Joachim. The more we hoar this gifted artist, the more we are compelled to acknowledge his supremacy. As a " classical" virtuoso, he stands alone. We use the word classical because he disdains all tricks, and uses the instrument for the noblest purpose. There is music in every note he plays; the violin in his hands almost seems to breathe, and becomes the mouthpiece of the most lofty inspirations. Whether we hear him in Bach's fugues, in Beethoven's quartets, in Mozart's sweet strains, in Mendelssohn's impassioned music, or in Spohr's elegant discourse, Joachim is equally great in all. His cantabile phrases are perfectly transparent in their purity and lovely in their grace. He has the instrument so completely at his command that it enables him to impart a distinct character to each piece he performs. He soars with Beethoven, melts with Mozart, exults with Mendelssohn, and coquets with Spohr. No wonder the effect he creates is indescribable. Always original in conception and varied in expression, his playing never fatigues the ear, and his readings for ever bring fresh beauties to light. We have seldom heard Spohr's beautiful composition more perfectly executed than on this occasion, although we cannot but think that the double quartet in E Minor is somewhat too elaborate in design, too minute in detail, to be altogether effective and fully appreciated in so large a space as St. James's Hall. The effect is that of a miniature painting seen front a distance. Many of the finest traits, some of the nicest points, are lost to those, at least, who know the work intimately. But here again Herr Joachim's characteristic modesty as an executant was clearly manifested. Instead of giving undue prominence to the first violin (which is quasi solo throughout), he allows the other instruments to tell their tale, and rather assists than obscures their efforts. This is one of the great secrets of quartet playing which very few violinists have sought to acquire. Owing to this, Spohr's delicate touches and profuse modulations were more clearly brought out than on any other occasion we can remember. Great praise is due to Messrs. Watson, Webb, and Piatti, who joined Herr Joachim in the first, and to Messrs. Pollitzer, Wiener, Hann, and Paque, who formed the second quartet. They all seemed inspired by their leader, and played con amore. The performance was altogether of a very high order. As we have said, Mr. Lindsay Sloper was the pianist of the evening. He gave Beethoven's Sonata in E miner, Op. 90, consisting of two movements only (including the celebrated love-song), with much taste and feeling, and in Hummel's well-known Trio in E flat, with which the concert terminated, proved himself to be a player of the good old school. His finished execution and roundness of tone were particularly admired. A song by Glinka, "Sleep, thou Infant Angel," pleased so much at the first concert, that Miss Banks was desired to repeat it on this occasion. She also sang one of Schubert's lieder (the barcarole), "Mitten im Schlummer," with English words, but was more successful, we think, in the former than in the latter song. It is a pity that Miss Banks does not try to articulate her words more distinctly, at the same time avoiding a certain sameness of expression, which prevents her from rightly interpreting the meaning of the author. Her singing is, however, very chaste and modest. These latter attributes do not belong in so eminent a degree to Mr. Henry Haigh, who, although gifted with a lovely tenor voice, scarcely knows how to make the best use of it. "Young Agnes, beauteous flower," from " Fra Diavolo," was sung with more affectation than taste, and considerably damaged by ugly alterations. In the well-known song "Eily Mavourneen," from the "Lily of Killarney," Mr. Haigh was more successful. The composer of the "Lily " being still absent on the Continent, Mr. Harold Thomas officiated as conductor in his stead, and proved a worthy substitute to the best of accompanyists. (The London review and weekly journal of politics, society, literature and art, Aug. 16-Dec. 27, 1862, Saturday, 25 October 1862)

MONDAY POPULAR CONCERTS, ST. JAMES'S HALL. - On MONDAY EVENING NEXT, October 27. - Pianoforte, Mr. Charles Hallé; Violin, Herr Joachim; Violoncello, Signor Piatti. Vocalists - Miss Lascelles and Mr. Henry Haigh. Conductor, Mr. Lindsay Sloper. The Programme will include Hummell's celebrated Septet in D Minor, performed by Messrs. Charles Hallé, Pratten, Barrett, C. Harper, H. Webb, C. Severn, and Piatti. For full particulars see Programme. - Sofa Stalls, 5s.; Balcony, 3s.; Admission, 1s.-Tickets at Chappell & Co.'s, 50, New Bond-street; and at Austin's, 28, Piccadilly. (London Review, Saturday, 25 October 1862)

ST. JAMES'S HALL, REGENT STREET AND PICCADILLY. MONDAY POPULAR CONCERTS One Hundred and Fifth. Concert. ON MONDAY EVENING, OCTOBER 27, 1862. THIRD APPEARANCE OF HERR JOACHIM. PROGRAMME. PART I QUARTET, in F. flat (Op. 13), for two Violins, Viola, and Violoncello - Mendelssohn. MM. Joachim, Ries Webb, and Piatti SONG, " Good night, beloved." - M. W. Balfe. Mr. Henry Haigh. SONG, "In questa tomba oscura." - Beethoven. Miss Lascelles. SONATA in F, Op 54 for Pianoforte solo - Beethoven. Mr. Charles Hallé PART II GRAND SEPTET, in D minor, for Pianoforte, Flute, Oboe, French Horn, Viola, Violoncello, and Contrabass - Hummell. MM. Charles Hallé, Pratten, Barret, C. Harper, H. Webb, C. Severn, and Piatti. SONG, "The Nightingale" - Henry Smart. (By desire) Mr. Henry Haigh PRELUDE AND FUGUE in C major for Violin solo (by desire) - J. S. Bach. Herr Joachim. SONG, "Lily Lye," - Macfarren. Miss Lascelles. TRIO, In G, for Pianoforte, Violin, and Violoncello - Haydn. Mr. Charles Hallé, Herr Joachim, and Signor Piatti. To commence at Eight o'clock precisely. NOTICE. It is respectfully suggested that such persons as are not desirous of remaining till the end of the performance can leave either before the commencement of the last instrumental piece, or between any two of the movements, so that those who wish to hear the whole may do so without interruption. Between the last vocal piece and the Trio for the Pianoforte, Violin, and Violincello, an interval of five minutes will be allowed. The Concert will finish before half-past Ten o'Clock Sofa Stalls, 5s.; Balcony, 3s.; Admission, 1s. Tickets to be had of Mr. Austin, at the Hall, at Piccadilly; Messrs. Cramer and Co., Hammond, Addison, and Co., Schott and Co., Regent Street; Doff and Co., 20 Oxford Street; Prowse, Hanway Street; J. H. Jewell, 104 Great Russell Street; Keith, Prowse, and Co., 48 Cheapside; Cook and Co., 6 Finsbury Place, South; Hunfress, 4 Old Church Street, Paddington Green ; Mitchell, Cock, Hutchings, and Co., Ollivier, and Hopwood and Crewe, Bond Street; Mr. Barker, West End, Hammersmith, Sanderson and Ward, 34 Upper Street, Islington ; Foster and King, Hanover Street ; Fabian, Circus Road, St. John's Wood; and of Messrs. CHAPPELL & CO., 50 New Bond Street. (The Musical World, Saturday, 25 October 1862)

MONDAY POPULAR CONCERTS, St. James's Hall- THIS EVENING (MONDAY), Oct. 27. Pianoforte, Mr. Chas. Hallé; violin, Herr Joachim; violoncello, Signor Piatti; vocalists, Miss Lascelles and Mr. Henry Haigh. Conductor, Mr. Lindsay Sloper. The programme will include Hummell's celebrated Septet in D minor, performed by Messrs Chas. Hallé, Pratten, Barrett, C. Harper, H. Webb, C. Severn, and Piatti. For full particulars see programme.- Sofa stalls, 5s.; balcony, 3s.; admission, 1s. Tickets at Chappell and Co.'s, 50, New Bond-street ; and at Austin's, 28, Piccadilly. (Morning Post, Monday, 27 October 1862)

MONDAY POPULAR CONCERTS. The third concert of the fifth season of these truly "popular" concerts was given on the 27th, at St. James's Hall, and attracted a crowded and fashionable audience. With the exception of Beethoven's sonata in F major, Op. 54, for the pianoforte alone, all the other instrumental pieces have been previously performed at these concerts. Mr. C. Hallé introduced for the first time this very original sonata, which consists of two movements only. It has the stamp of the Beethoven vintage upon it, but only in a minor degree, and but for the masterly execution of I Mr. Hallé, and the educated ears of the habitués of St. James's Hall, would fail to give any fair impression of the real power of the master. The two combined to secure for it a flattering reception, but not sufficiently enthusiastic, we should imagine, to induce its frequent repetition. Mendelssohn's magnificent quartett, which opened the concert, was magnificently performed. Herr Joachim, the first violinist of the day, was most ably supported by his coadjutors. The piece de resistance, however, was Hummell's grand septett, in which Mr. Hallé admirably assisted, and brought out with wonderful power the beauties of one of the most striking compositions of its kind ever offered to a London audience. J. S. Bach's violin solo, by Herr Joachim, suggested the idea that nobody but "Bach" could have got up such formidable rails and hurdles for a musical steeplechase, and nobody but Joachim could have reached the end without "coming a to grief." The vocal pieces, as usual, formed a subsidiary portion of the performances, and were admirably given by Miss Lascelles and Mr. Haigh. Mr. Lindsay Sloper conducted. (The Lady's Newspaper & Pictorial Times, Saturday, 1 November 1862)

Popular CONCERTS.-The third of the present series of concerts took place, as usual, on Monday last, at St. James' s Hall. The programme was compiled upon the same intelligent principle that has hitherto guided the selections. It opened with Mendelssohn's quartet in E flat. op. 12, which, although no novelty to these especial audiences, is always welcome, for it illustrates with great distinctness the best chamber vein of the composer, as well as the best peculiarities of his early style. The playing was faultless, in-asmuch as the performers was Joachim, Ries, Webb, and Piatti. Mr. Chappell seems disposed to continue his performances of the larger chamber works. Upon this occasion he commenced the second part with Hummel s septet in D minor, too famous a composition to need further allusion, excepting to panegyrise the admirable style in which it was delivered. The music, essentially melodious and graceful, could not for these reasons fail to gratify a mixed auditory. Hummel, if seldom great, is always fascinating. The septet in question affords an excellent example of the fluent exuberance of his vein, and of the genial temper of his imageries, while it also discloses his ease and skill in writing for a group of instruments. It had, as we have hinted, the best possible representation. The parts were undertaken by Mr. Charles Hallé, Mr. Pratten, Mr. Barrett, Mr. Charles Harper, Mr. H. Webb, Mr. C. Severn, and Signor Piatti. The second movement was loudly encored. The pianoforte sonata chosen by Mr. Charles Hallé was Beethoven's in F, op. 54, not one of the most interesting of the gallery of sonatas bequeathed to us by the great master, but, in the first section particularly, replete with those capricious developments of simple phrases which tell so plainly to whose pen they owe their parentage. The second movement, a species of m(Ao is throughout an exercise of semiquavers, in which the hand finds no repose whatever. The execution by Mr. Charles Hallé was, of course, incomparable. It is well remarked in the analytical programme that, "easy as the movement may sound under the flexible fingers of a practised player, amateurs are aware that it is one of the most difficult of the entire series to execute with spirit and point" The concert terminated with Haydn's charming trio in G, played by Mr. Charles Hallé, Mr. Sainton, and Signor Piatti; but before this, Herr Joachim had astonished the audience by another of those wonderful readings of Bach's violin fugues in which admiration is kindled, no less for the precision with which he conquers physical complexities--written, one would think, to be looked at rather than to be played-than for the meaning he throws into them. The vocalities of the concerts are hardly so good as they ought to be. Miss Lascelles' version of Beethoven's deeply impassioned ^etta, "In questa tomba," was coarse and unprontable ; while Mr. Henry Haigh, in a song by Balfe, sang in his usual commonplace and hardly-disciplined manner. Mr. Lindsay Sloper conducted. (London Observer, Sunday, 2 November 1862)

MONDAY POPULAR CONCERTS. - St. James's Hall was on Monday night crowded to the very doors, on the occasion of the third Concert of this prematurely inaugurated season. Scarcely could a concert have been more impressively announced than by the few mysterious bars of adagio which usher in the first allegro of Mendelssohn's Quartet in E flat. This, the twelfth opus of the gifted successor of Beethoven, was written when its composer had scarcely counted as many happy summers; and to this effusion from a child's untried brain, greybeards are now glad to listen, intent to draw from its melodious accents intellectual profit as well as sensuous delight. Of all musicians, as it seems to us, Mendelssohn preeminently shares with his nobler compeer, Beethoven, that wondrous faculty which reaches, its highest development in Raphael's "San Sisto," of suggesting beneath external forms of absolute beauty the presence of thoughts and feelings that "lie too deep for words." That a mere boy, such as Mendelssohn, when he wrote this fascinating quartet, should be able to excite the mind and affect the heart, as well as gratify the ear, is a much more remarkable phenomenon than the purely musical aptitude which displayed itself at so early an age in Hummel and Mozart. In the ethereal second movement ("canzonet"), Mendelssohn seems to have vaguely imagined the first germs of the exquisite fairy music, afterwards wrought into perfect shape in his Midsummer Night's Dream ; even the quaint and fanciful drone of the violoncello in this movement reminds the hearer of a similar use of the ophicleide in the later and more elaborate effort. The whole work was played to perfection by Herr Joachim, Herr L. Ries, Mr. Webb, and Signor Piatti, the equality of tone, no less than the accuracy of the performers being alike remarkable in the staccato passages of the canzonet, and in the broad, richly harmonized melody of the andante. Mr. C. Hallé should be complimented for his choice of Beethoven's sonata in F. Op. 54, it being not only difficult, but, on account, perhaps, of the absence of a slow movement, comparatively ungrateful. It was given for the first time at these concerts, but Mr. Hallé has proved in each of his series of "Beethoven's recitals" how thoroughly he can enter into its spirit. The never-flagging animation and brilliancy of the allegretto is particularly well adapted to exhibit his delicate and unerring mechanism. From the melodious minuet-like opening of the sonata to its abrupt conclusion, indeed, Mr. Hallé was rewarded with the deepest and most appreciative attention. In Hummel's Septet the pianist was aided by Mr. Pratten, flute, Mr. Baret, oboe, and Mr. C. Harper, horn, together with Mr. Webb, Signor Piatti, and Mr. Severn, viola, violoncello, and double bass. More efficient executants could scarcely be found in Europe, nor could the performance have been better. In the trio of the scherzo the phrases of the melody for the horn were splendidly given by Mr. C. Harper, and to the effect he produced, no less than to the pleasing character of the movement, must the enthusiastic "encore" be attributed. About Herr Joachim's performance of John Sebastian Bach's Prelude and Fugue in C major we must hesitate to speak lest we be accused of a desire to exhaust our limited stock of encomiastic epithets. The Fugue with its bold and wonderful complications seems undestined for human fingers; to Herr Joachim, the Napoleon of the fiddle, however, the word "impossible" is unknown. It requires not only rare dexterity and rarer brain to execute and remember, but absolute genius thus to animate a contrapuntal study into a noble, exciting, and triumphant exhibition. The concert could not have closed more effectively than with Haydn's irresistible trio in G major (No. 5), played in a spirit of kindred geniality by MM. Hallé, Joachim, and Piatti. Of the vocalists we need not say much. Both Miss Lascelles and Mr. Haigh have superb voices. The lady sang "In questa tomba oscura" (Beethoven), and "Lily Lye" (Macfarren); the gentleman "Good night, beloved" (Balfe), and "The Nightingale" (Henry Smart). In the accompaniments Mr. Lindsay Sloper manifested his customary tact and skill. - Telegraph, Oct. 28. (Dwight's journal of music, Saturday, 6 December 1862) (Also: Dwight's journal of music, Saturday, 6 December 1862.)

Monday, 3 November 1862 : Mr. Arthur Chappell's Monday Popular Concert at St. James's Hall, Piccadilly.

MONDAY POPULAR CONCERTS. St. James's Hall.- MONDAY EVENING, Nov. 3. Piano forte, Mr. Chas. Hallé; violin, Heir Joachim (his last appearance but four) ; violoncello, Signor Piatti ; vocalists, Miss Martin and Miss Banks. Conductor, Mr. Lindsay Sloper. The programme will include Beethoven's celebrated Septet, performed by Messrs. Joachim, H. Webb, Lazarus, C. Harper, Hausser, C. Severn, and Piatti. - Sofa stalls, 5s.: balcony, 3s.; admission. 1s. Tickets at Chappell and Co.'s, 50, New Bond-street; and at Austin's, 28, Piccadilly. (Morning Post, Tuesday, 28 October 1862) (Also: The Standard, Friday, 31 October 1862; The Era, Sunday, 2 November 1862; Saturday review of politics, literature, science and art, Saturday, 1 November 1862; Morning Post, Saturday, 1 November 1862; Examiner, Saturday, 1 November 1862; Daily News, Saturday, 1 November 1862; Daily News, Friday, 31 October 1862; Morning Post, Wednesday, 29 October 1862; The Standard, Thursday, 30 October 1862; Daily News, Thursday, 30 October 1862; Morning Post, Thursday, 30 October 1862; Morning Advertiser, Thursday, 30 October 1862; Morning Post, Friday, 31 October 1862; Illustrated London News, Saturday, 1 November 1862.)

MONDAY POPULAR CONCERTS, St. James's-hall. - On Monday evening Nov. 3, last appearance but four of Herr Joachim. PROGRAMME: Part I. Grand septet, in E flat, (op. 20). for violin, viola. clarionet, horn, bassoon violoncello, and double bass, MM. Joachim, H. Webb, Lazarus, C. Harper, Hutchins, C. Severn. and Piatti - Beethoven; Song, "I never can forget, " Mr. Santley - Mellon; Song. L'Alouette," Miss Banks - Glinka; Sonata In B flat (No 8 of Mr Hallé's edition), for pianoforte solo, Mr. Charles Hallé - Mozart. Part II. Fragments from an unpublished quartet (posthumous), MM. Joachim. Ries, H. Webb, and Piatti - Mendelssohn; Song, "The Bellringer" (by desire), Mr. Santley - W. V. Wallace; chaconne, for violin alone, Herr Joachim - Bach; song, "Dawn, gentle flower," Miss Banks - Henry Smart; quartet, in B flat, for pianoforte, violin, viola, and violoncello, MM. Charles Hallé, Joachim, H. Webb, and Piatti - C. M. von Weber. Conductor, Mr. Lindsay Sloper. To commence at 8 o'clock precisely. Sofa stalls, 5s.; balcony, 3s.; admission 1s. Tickets at Chappell and Co.'s. 50. New Bond-street, Cramer and Co.'s., 201, Regent-street; Keith, Prowse and Co.'s, 48, Cheapside; and at Austin's, 28, Piccadilly. (The Times, Saturday, 1 November 1862)

ST. JAMES'S HALL, REGENT STREET AND PICCADILLY. MONDAY POPULAR CONCERTS. ON MONDAY EVENING, NOVEMBER 9, 1862. LAST APPEARANCE BUT FOUR of HERR JOACHIM. PROGRAMME. PART I. GRAND SEPTET, in E flat, op. 20, for Violin, Viola, Clarinet, Horn, Bassoon, Violoncello and Double Bass MM. Joachim, H. Webb, Lazarus, C. Harper, Hutchins, C. Severn, and Piatti. - Beethoven. SONG, "L'Alouette," Miss Banks - - Glinka. SONG, "I never can forget " Mr. Santley. - Mellon. SONATA, in B flat (No. 8 of Mr. Hallé's edition), for Pianoforte solo Mr. Charles Hallé. - Mozart. PART II. FRAGMENTS from an unfinished Quartet (Posthumous) MM. Joachim, L. Ries H. Webb, and Piatti. - Mendelssohn. SONG, "Dawn gentle flower " Miss Banks. - Henry Smart. CHACONNE, for Violin alone, Herr Joachim. - Bach. SONG, "The Bellringer." (By desire) Mr. Santley. - W. V. Wallace. QUARTET, in B flat, for Pianoforte, Violin, Viola, and Violoncello, Mr. Charles Hallé, Joachim, H. Webb and Piatti. C. M. von Weber. Conductor MR. LINDSAY SLOPER. To commence at Eight o'Clock precisely. NOTICE. It is respectfully suggested that such persons as are not desirous of remaining till the end of the performance can leave either before the commencement of the last instrumental piece, or between any two of the movements, so that those who wish to hear the whole may do so without interruption. Between the last vocal piece and the Quartet for Pianoforte, Violin, and Violoncello, an interval of FIVE MINUTES will be allowed. The Concert will finish before half-past Ten o'Clock. Sofa Stalls, 5s. ; Balcony, 3s. ; Admission, 1s. Tickets to be had of Mr. AUSTIN, at Hall, 28 Piccadilly; of Messrs. CHAPPELL & CO., 50, Bond Street. And of the principal Musicsellers. (The Musical world, Saturday, 1 November 1862)

MONDAY POPULAR CONCERTS, ST. JAMES'S HALL. - On MONDAY EVENING NEXT, November 3rd. - Pianoforte, Mr. Charles Hallé; Violin, Herr Joachim (his Last Appearance but Four); Violoncello, Signor Piatti. Vocalists: Miss Banks and Mr. Santley. Conductor, Mr. Lindsay Sloper. The Programme will include Beethoven's celebrated Septet, performed by MM. Joachim, H. Webb, Lazarus, C. Harper, Hausser, C. Severn, and Piatti. - Sofa Stalls, 5s.; Balcony, 3s.; Admission, 1s. - Tickets at Chappell & Co.'s, 50, New Bond-street; and at Austin's, 28, Piccadilly. (London Review, Saturday, 1 November 1862)

MONDAY POPULAR CONCERTS. St. James's Hall.- THIS EVENING (MONDAY), November 3. Piano forte, Mr. Chas. Hallé; violin, Heir Joachim (his last appearance but four) ; violoncello, Signor Piatti ; vocalists, Miss Martin and Miss Banks. Conductor, Mr. Lindsay Sloper. The programme will include Beethoven's celebrated Septet, performed by Messrs. Joachim, H. Webb, Lazarus, C. Harper, Hausser, C. Severn, and Piatti. - Sofa stalls, 5s.: balcony, 3s.; admission. 1s. Tickets at Chappell and Co.'s, 50, New Bond-street; and at Austin's, 28, Piccadilly. (Daily News, Monday, 3 November 1862)

MONDAY POPULAR CONCERTS. St. James's Hall.- THIS EVENING, (MONDAY). Piano forte, Mr. Chas. Hallé; violin, Heir Joachim (his last appearance but four) ; violoncello, Signor Piatti ; vocalists, Miss Martin and Miss Banks. Conductor, Mr. Lindsay Sloper. The programme will include Beethoven's celebrated Septet, performed by Messrs. Joachim, H. Webb, Lazarus, C. Harper, Hausser, C. Severn, and Piatti. - Sofa stalls, 5s.: balcony, 3s.; admission. 1s. Tickets at Chappell and Co.'s, 50, New Bond-street; and at Austin's, 28, Piccadilly. (Morning Post, Monday, 3 November 1862)

MONDAY POPULAR CONCERTS. St. James's Hall.- THIS EVENING, Nov. 3. Piano forte, Mr. Chas. Hallé; violin, Heir Joachim (his last appearance but four) ; violoncello, Signor Piatti ; vocalists, Miss Martin and Miss Banks. Conductor, Mr. Lindsay Sloper. The programme will include Beethoven's celebrated Septet, performed by Messrs. Joachim, H. Webb, Lazarus, C. Harper, Hausser, C. Severn, and Piatti. - Sofa stalls, 5s.: balcony, 3s.; admission. 1s. Tickets at Chappell and Co.'s, 50, New Bond-street; and at Austin's, 28, Piccadilly. (The Standard, Monday, 3 November 1862)

MONDAY POPULAR CONCERTS, St. James's-hall. - THIS EVENING, Nov. 3, last appearance but four of Herr Joachim. PROGRAMME: Part I. Grand septet, in E flat, (op. 20). for violin, viola. clarionet, horn, bassoon violoncello, and double bass, MM. Joachim, H. Webb, Lazarus, C. Harper, Hutchins, C. Severn. and Piatti - Beethoven; Song, "I never can forget, " Mr. Santley - Mellon; Song. L'Alouette," Miss Banks - Glinka; Sonata in B flat (No 8 of Mr Hallé's edition), for pianoforte solo, Mr. Charles Hallé - Mozart. Part II. Fragments from an unpublished quartet (posthumous), MM. Joachim. Ries, H. Webb, and Piatti - Mendelssohn; Song, "The Bellringer" (by desire), Mr. Santley - W. V. Wallace; chaconne, for violin alone, Herr Joachim - Bach; song, "Dawn, gentle flower," Miss Banks - Henry Smart; quartet, in B flat, for pianoforte, violin, viola, and violoncello, MM. Charles Hallé, Joachim, H. Webb, and Piatti - C. M. von Weber. Conductor, Mr. Lindsay Sloper. To commence at 8 o'clock precisely. Sofa stalls, 5s.; balcony, 3s.; admission 1s. Tickets at Chappell and Co.'s. 50. New Bond-street, Cramer and Co.'s., 201, Regent-street; Keith, Prowse and Co.'s, 48, Cheapside; and at Austin's, 28, Piccadilly. (The Times, Monday, 3 November 1862)

MONDAY POPULAR CONCERTS. Although the instrumental programme of last Monday (fourth concert) did not present any novelty, it was in no way inferior to any of its predecessors. The Ottet of Mendelssohn, Spohr's Double Quartet, and Hummel's Septet, each of which has in its turn formed a distinctive feature, could not possibly have been more worthily succeeded than by the Septet of Beethoven, in which the stringed instruments are so ingeniously blended with the wind. Such a performance of this masterpiece has rarely been given, and the earnest attention it commanded, the long continued applause which followed, to say nothing of the enthusiastic encore for the scherzo, spoke volumes for an audience whose taste the Monday Popular Concerts have done so much to cultivate. The performers were Messrs. Joachim, Webb, Lazarus, C. Harper, Hutchins (bassoon), C. Severn (double bass), and Piatti. The fragments of Mendelssohn's "posthumous " Quartet were admirably played, and created so great an effect that a strong disposition was manifested to obtain a repetition of the scherzo - one of those fairy visions so suggestive of the Midsummer Night's Dream, in which Mendelssohn has completely caught the spirit of the most poetical of Shakespere's plays. Mozart's pianoforte Sonata in B flat, in the hands of Mr. Charles Hallé, was all that could be wished ; while Herr Joachim, who seems determined that his name shall be associated with that of John Sebastian Bach, played the Chaconne in D minor in such a style as to electrify his hearers, and to elicit a unanimous recall. Mr. Santley, who has not been heard at these concerts for some time past, received that warm welcome which an English public so well knows how to accord to its special favorites. He was encored in Mr. Alfred Mellon's song from Victorine, "In vain though banished from thy heart," and his reading of Mr. Wallace's "Bell ringer" nearly led to the same result. Glinka's charming song, "The lark," and Mr. Henry Smart's new ballad, "Dawn, gentle flower," were exactly suited to the style of Miss Banks, who only requires a more distinct enunciation (too constantly neglected by singers) to make her one of the most satisfactory, as she is already one of the most popular, of our vocalists. Mr. Lindsay Sloper accompanied with his well known ability. Weber's quartet in B flat brought the concert to a successful close. Next Monday Mr. Sims Reeves makes his first appearance since the Gloucester Festival. (The Musical world, Saturday, 8 November 1862)

Monday Popular Concerts. Such an excellent programme was presented on Monday night last, and so admirably was every part of it carried. out, that could the audience have had their desire, the whole of it would have been repeated, We insert the programme entire:- PART I. Grand Septett in E flat, Op. 20, for violin, viola, clarionet, horn, bassoon, violoncello, and double bases - MM. Joachim, H. Webb, Lazarus, C. Harper. Hutchins, Piatti, and C. Severn - Beethoven. Song - "L'Alouette" Miss Banks - Glinka. Song "I never can forget" Mr Santley - Mellon. Sonata in B flat (No. 8 or Mr Hallé's edition), for pianoforte solo - Mr Charles Hallé- Mozart. PART II. Fragments from an unfinished Quartetto (Posthumous) -MM. Joachim, L. Ries, H. Webb, and Piatti - Mendelssohn. Song-" Dawn, gentle flower" Miss Banks - Henry Smart. Chaconne, for violin alone - Herr Joachim - Bach. Song " The Bell-ringer" (by desire) Mr. Santley - W. V. Wallace. Quartette in B flat, for pianoforte, violin, viola, and violoncello -MM Charles Hallé, Joachim, H. Webb, and Piatti - C. M von Weber. Conductor. Mr Lindsay Sloper. The Septett was so enthusiastically applauded that one movement was repeated. Herr Joachim's execution of Bach's Chaconne left nothing to be desired; and the Quartette in B flat was listened to with marked attention, as it well deserved to be, Mr. Santley was encored in Mellon's well-known song, "I never can forget," and Miss Banks's fine voice was heard to great advantage in Smart's "Dawn, gentle flower." The Hall was quite filled, and the majority of the audience stayed until the end of the concert. (The Era, Sunday, 9 November 1862)

Monday, 10 November 1862 : Mr. Arthur Chappell's Monday Popular Concert at St. James's Hall, Piccadilly.

MONDAY POPULAR CONCERTS, St. James's-hall. - On MONDAY EVENING next. Nov. 10, HERR JOACHIM'S LAST APPEARANCE but THREE - Executants - MM. Pauer, Joachim, Piatti, L. Reiss, H. Webb. Vocalists: Miss Martin and Mr. Sims Reeves. Conductor: Mr. Lindsay Sloper. For full particulars, see programme. Sofa stalls, 5s., balcony, 3s.: admission, 1s. Tickets at Chappell and Co.'s, 50, New Bond-street; and at Austin's, 28, Piccadilly. (Daily News, Friday, 7 November 1862) (Also: London Evening Standard, Friday, 7 November 1862; London Evening Standard, Friday, 7 November 1862; London Evening Standard, Saturday, 8 November 1862; Saturday review of politics, literature, science and art, Saturday, 8 November 1862; London Observer, Sunday, 9 November 1862.)

MR. SIMS REEVES at the Monday Popular Concerts. St. James's-hall, on Monday evening next, November 10th. when he will SING Handel's " Gentle Aire," with violoncello obbligato by Signor Piatti; and Beethoven's "Adelaida," accompanied by Mr. Lindsay Sloper. Sofa stalls. 5s.; balcony, 3s.; admission 1s. ST. JAMES'S HALL, Regent-street and Piccadilly. MONDAY POPULAR CONCERTS, St. James's-hall. - On MONDAY EVENING November 10, LAST APPEARANCE but THREE of HERR JOACHIM - Programme: Part 1 - Quartet in F, No. 1, op. 59 (dedicated to Count Rasoumowski), for two violins, viola, violoncello, MM. Joachim, Ries, Webb, Piatti - Beethoven; song Torrents, whose waves break into foam, Miss Martin - Schubert; song. Gentle airs (violoncello obbligato, Signor Piatti), Mr. Sims Reeves - Handel; sonata in B flat, No. 3, for pianoforte solo (first time at the Monday Popular concerts), Herr Pauer - Cherubini. Part II. Quartet in C major, op. 33, No. 3, for two violins, viola, violoncello, MM. Joachim, Ries, Webb, and Piatti - Haydn; song, Adelaida (by desire), Mr. Sims Reeves, accompanied by Mr. Lindsay Sloper - Beethoven; prelude, lourf, minuetts, and gavotte, in E major, for violin alone (first time at the Monday Popular Concerts), Herr Joachim - J. S. Bach; song, Zuleika, Miss Martin - Mendelssohn; trio in E major, op 83, for pianoforte, violin and violoncello, MM. Pauer, Joachim and Piatti - Hummel. Conductor: Mr. Lindsay Sloper. To commence at 8 o'clock precisely. Sofa stalls, 5s., balcony, 3s.: admission, 1s. Tickets at Chappell and Co.'s, 50, New Bond-street; Cramer and Co., 201, Regent-street; Keith, Prowse and Co.'s., 48, Cheapside; and at Austin's, 28, Piccadilly. (The Times, Friday, 7 November 1862) (Also: The Times, Saturday, 8 November 1862.)

LAST THREE NIGHTS. MONDAY POPULAR CONCERTS, ST. JAMES'S HALL. - On MONDAY EVENING NEXT, November 10. - Herr Joachim's Last Appearance but Three. - Executants: MM. Pauer, Joachim, Piatti, L. Heiss, H. Webb. Vocalists: Miss Martin and Mr. Sims Reeves. Conductor: Mr. Lindsay Sloper. For full particulars see Programme. - Sofa Stalls, 5s.; Balcony, 3s.; Admission, 1s. - Tickets at Chappell & Co.'s, 50, New Bond-street; and at Austin's, 28, Piccadilly. (Illustrated London News, Saturday, 8 November 1862) (Also: London Review, Saturday, 8 November 1862.)

MONDAY POPULAR CONCERTS, St. James's-hall. - On THIS EVENING (MONDAY), Nov. 10, HERR JOACHIM'S LAST APPEARANCE but THREE - Executants - MM. Pauer, Joachim, Piatti, L. Reiss, H. Webb. Vocalists: Miss Martin and Mr. Sims Reeves. Conductor: Mr. Lindsay Sloper. For full particulars, see programme. Sofa stalls, 5s., balcony, 3s.: admission, 1s. Tickets at Chappell and Co.'s, 50, New Bond-street; and at Austin's, 28, Piccadilly. (The Athenaeum, Saturday, 8 November 1862) (Also: Morning Post, Monday, 10 November 1862.)

ST. JAMES'S HALL, REGENT STREET AND PICCADILLY. MONDAY POPULAR CONCERTS. ON MONDAY EVENING, NOVEMBER 10, 1862. LAST APPEARANCE BUT THREE OF HERR JOACHIM. PROGRAMME. PART I QUARTET, In F, No. 1, Op. 59 (dedicated to Count Rasoumowski), for two Violins, Viola, and Violoncello - Beethoven. MM. Joachim, Ries, Webb, and Piatti. SONG, " Torrents, whose waves break into foam " - Schubert. Miss Martin. SONG, " Gentle airs" - Handel. (Violoncello obbligato, Signor Piatti.) Mr. Sims Reeves. SONATA, in B flat, No. 3, for Pianoforte Solo - Cherubini. (First time at the Monday Popular Concerts.) Herr Pauer. PART II. QUARTET, In C major, Op. 33, No. 3, for two Violins, Viola, and Violoncello - Haydn. MM. Joachim, Ries, Webb, and Piatti. SONG, "Adelaida." (By desire) - Beethoven. Mr. Sims Reeves. Accompanied by Mr. Lindsay Sloper. PRELUDE, LOURE, MINUETTS, and GAVOTTE in E major, for Violin alone - J. S. Bach. (First time at the Monday Popular Concerts.) Herr Joachim. SONG, "Zuleika" - Mendelssohn. Miss Martin. TRIO, In E major, Op. 83, for Pianoforte, Violin, and Violoncello - Hummel. MM. Pauer, Joachim, and Piatti. Conductor - MR. LINDSAY SLOPER. To commence at Eight o'clock precisely. Sofa Stalls, 5s.; Balcony, 3s.; Admission, 1s. Tickets to be had at CHAPPELL & CO'S., 50 New Bond Street. (The Musical world, Saturday, 8 November 1862)

MONDAY POPULAR CONCERTS, St. James's-hall. - THIS EVENING (MONDAY), Nov. 10, HERR JOACHIM'S LAST APPEARANCE but THREE - Executants - MM. Pauer, Joachim, Piatti, L. Reiss, H. Webb. Vocalists: Miss Martin and Mr. Sims Reeves. Conductor: Mr. Lindsay Sloper. For full particulars, see programme. Sofa stalls, 5s., balcony, 3s.: admission, 1s. Tickets at Chappell and Co.'s, 50, New Bond-street; and at Austin's, 28, Piccadilly. (Daily News, Monday, 10 November 1862)

Herr Pauer was the pianist at Monday's Popular Concert. A Sonata by Cherubini was announced in the programme, and Hummel's Pianoforte Trio in E major. Miss Martin and Mr. Sims Reeves were the singers, with that excellent accompanist Mr. L. Sloper at the pianoforte. After the two next concerts, Herr Joachim, we are informed, will leave England for a period of Court service in Hanover: we hope, to return to London early in the coming year. (The Athenaeum, Saturday, 15 November 1862)

MONDAY POPULAR CONCERTS. At the fifth (107th) concert, on Monday, St. James's Hall was crowded to the doors. The concert was one of the most attractive ever given. Besides the quartets - and there were two on this occasion - and besides the fiddle solo (J. S. Bach, of course) the vocal department assumed a new importance. Mr. Sims Reeves made his first appearance since the summer, and was welcomed with acclamations. Both his songs - "Gentle airs" and "Adelaida" - were rapturously encored, and, in great good humor (no wonder, at such a reception), the valiant champion of the "no encore " system complied in both instances. His voice was in first-rate condition (thanks, in a measure, to the air and early hours - if not to the water - of Ilkey Wells), and he sang his very best, Verbum sat. In the air from Handel's Athaliah, Sig. Piatti played the violoncello obbligato ; in "Adelaida" Mr. Lindsay Sloper was at the pianoforte ; in each the combination was irreproachable. The other vocalist was Miss Martin, for whom were set down Schubert's "Aufenthalt" (the English version - "Torrents whose waves," ) and Mendelssohn's "Zuleika" (No. 2 - in E major). Both are impassioned songs, and therefore unsuited to Miss Martin, who, though she sings well, sings without passion. The quartets were Beethoven's No. 7 ("Rasoumoffsky," in F), and Haydn in C major (No 3, Op. 33) Joachim (we can't say "Herr" Joachim) was superb in the "Rasoumoffsky," superb in the Haydn," and superb in the Bach (Prelude, Loure, two Minuets, Gavotte and Rondo - the Bourre being omitted) In every instance he excited the enthusiasm of the audience to "fever point." The pianoforte sonata was one by Cherubini, in B flat (from a set of SIX), the pianist Herr Pauer, who also played Hummel's brilliant trio in E, most brilliantly - with Herr Joachim and Sig. Piatti. Of Cherubini's sonatas we intend to speak on another occasion. The concert was altogether delightful. At the next, Herr Joachim (among other things) will lead Mozart's divine quintet in G minor ; and Mr. Sims Reeves will sing the not less heavenly LiederKreis of Beethoven. (The Musical world, Saturday, 15 November 1862)

London. MONDAY POPULAR CONCERTS. - At the fifth (107th) concert, on Monday, St. James's Hall was crowded to the doors. The concert was one of the most attractive ever given. Besides the quartets - and there were two on this occasion - and besides the fiddle solo (J. S. Bach, of course) the vocal department assumed a new importance. Mr. Sims Reeves made his first appearance since the summer, and was welcomed with acclamations. Both his songs - "Gentle airs" and "Adelaida" - were rapturously encored, and, in great good humor (no wonder, at such a reception), the valiant champion of the "no encore" system complied in both instances. His voice was in first-rate condition (thanks, in a measure, to the air and early hours, if not to the water, of Ilkey Wells), and he sang his very best. Verbum sat. In the air from Handel's Athaliah, Sig. Piatti '' the violoncello obbligato: in "Adelaida" Mr. Lindsay Sloper was at the pianoforte; in each the combination was irreproachable. The other vocalist was Miss Martin, for whom were set down Schubert's "Aufenthalt" (the English version, "Torrents whose waves," and Mendelssohn's "Zuleika" (No. 2, in B major. Both are impasssioned songs, and therefore unsuited to Miss Martin, who, though she sings well, sings without passion. The quartets were Beethoven's No. 7 ("Rasoumoffsky," in F), and Haydn in C major (No. 3, Op. 33). Joachim was superb in the "Rasoumoffsky," superb in the "Haydn," and superb in the Bach (Prelude, Loure, two Minuets, Gavotte and Rondo, the Bourre being omitted). In every instance he excited the enthusiasm of the audience to "fever point." The pianoforte sonata was one by Cherubini, in B flat (from a set of six); the pianist Herr Pauer, who also played Hummel's brilliant trio in E, most brilliantly, with Herr Joachim and Sig. Piatti. - Mus. World, Nov. 15. (Dwight's journal of music, Saturday, 13 December 1862) (Also: Dwight's journal of music, Saturday, 13 December 1862.)

Monday, 24 November 1862 : Mr. Arthur Chappell's Monday Popular Concert at St. James's Hall, Piccadilly.

MONDAY POPULAR CONCERTS. St. James's Hall.- Herr Joachim's Last Appearance but Two, on MONDAY EVENING next, Nov. 24, when Beethoven's celebrated Septet for wind and string instruments will be repeated. Executants: MM. Joachim, Lindsay Sloper, Piatti, Lazarus, C. Harper, L. Ries, H. Webb, Hutchins, and Severn. Vocalists, Miss Roden and Mr Santley. Conductor, Mr. Benedict. Sofa stalls, 5s. ; balcony, 3s. ; admission, 1s. (Morning Post, Tuesday, 18 November 1862) (Also: The Standard, Saturday, 22 November 1862; Morning Advertiser, Saturday, 22 November 1862; Daily News, Saturday, 22 November 1862; Daily News, Friday, 21 November 1862; Morning Post, Wednesday, 19 November 1862.)

MONDAY POPULAR CONCERTS, St. James's-hall. - Herr Joachim's last appearance but two on Monday evening, Nov. 24, when BEETHOVEN's celebrated septet for wind and stringed Instruments, will be performed. Executants--MM. Joachim, Lindsay Sloper, Piatti, Lazarus, C. Harper, L. Ries, H, Webb, Hutchins, Severn. Vocalists - Miss Roden and Mr. Santley. Conductor-Mr. Benedict. Sofa stalls, 5s; balcony, 3s. Admission, 1s. (The Times, Wednesday, 19 November 1862)

MR. LINDSAY SLOPER at the MONDAY POPULAR CONCERTS, St. James's Hall, on MONDAY EVENING next, Nov. 24, when he will perform Beethoven's Sonata in G, Op. 29, No. 1, for pianoforte alone; and, with Herr Joachim, Dussek's celebrated Sonata in B flat, for pianoforte and violin.- Programmes at Chappell and Co.'s, 50. New Bond-street. MONDAY POPULAR CONCERTS. St. James's Hall.- Herr Joachim's Last Appearance but Two, on MONDAY EVENING next, Nov. 24, when Beethoven's celebrated Septet for wind and string instruments will be repeated. Executants: MM. Joachim, Lindsay Sloper, Piatti, Lazarus, C. Harper, L. Ries, H. Webb, Hutchins, and Severn. Vocalists, Miss Roden and Mr Santley. Conductor, Mr. Benedict. Sofa stalls, 5s. ; balcony, 3s. ; admission, 1s. (Morning Post, Thursday, 20 November 1862) (Also: Morning Post, Saturday, 22 November 1862.)

MONDAY POPULAR CONCERTS, St. James's-hall. Herr Joachim's last appearance but two on Monday evening, Nov. 24, when BEETHOVEN's celebrated septet for wind and stringed Instruments, will be performed. Executants--MM. Joachim, Lindsay Sloper, Piatti, Lazarus, C. Harper, L. Ries, H, Webb, Hutchins, Severn. Vocalists - Miss Roden and Mr. Santley. Conductor-Mr. Benedict. Sofa stalls, 5s; balcony, 3s. Admission, 1s. MR. LINDSAY SLOPER at the MONDAY POPULAR CONCERTS, St. James's-hall, on Monday evening next, November 24, when he will perform Beethoven's Sonata in G. op. 29 for pianoforte alone and, with Herr Joachim, Dussek's celebrated Sonata in B flat for pianoforte and Violin. Programmes at Chappell and Co.'s. 50. New Bond-street. (The Times, Thursday, 20 November 1862) (Also: The Times, Friday, 21 November 1862.)

MONDAY POPULAR CONCERTS. St. James's Hall.- Herr Joachim's Last Appearance but two, on MONDAY EVENING next, Nov. 24, when Beethoven's celebrated Septet for wind and string instruments will be repeated. Executants : MM. Joachim, Lindsay Sloper ,Piatti, Lazarus, C. Harper, L. Ries, H. Webb, Hutchins, and Levern. Vocalists, Miss Roden and Mr. Santley. Conductor, Mr. Benedict. Sofa stalls, 5s.; balcony, 3s.; admission, 1s. (Morning Post, Friday, 21 November 1862)

MONDAY POPULAR CONCERTS, ST JAMES'S HALL. - HERR JOACHIM'S last appearance but two, on MONDAY EVENING, Nov. 24, when Beethoven's celebrated Septet for wind and stringed instruments will be performed.- Executants: MM. Joachim, Lindsay Sloper, Piatti, Lazarus, C. Harper, L. Reis, H. Webb, Hutchins, and Severn.- Vocalists: Miss Roden and Mr Santley. Conductor: Mr Benedict.- Sofa stalls, 5s.; balcony, 3s.; admission, 1s. (Examiner, Saturday, 22 November 1862) (Also: Examiner, Saturday, 22 November 1862; The Athenaeum, Saturday, 22 November 1862.)

MONDAY POPULAR CONCERTS, St. James's Hall. - Herr JOACHIM'S LAST APPEARANCE BUT TWO on MONDAY EVENING NEXT, Nov. 24, when Beethoven's celebrated Septett for Wind and Stringed Instruments will be repeated. Executants: MM. Joachim, Lindsay Sloper, Piatti, Lazarus, C. Harper, L. Reis, H. Webb, Hutchins, and Severn. Vocalists: Miss Roden and Mr. Santley. Conductor, Mr. Benedict. - Sofa Stalls, 5s.; Balcony, 3s.; Admission, 1s. (The Sporting Gazette, Saturday, 22 November 1862)

MONDAY POPULAR CONCERTS, St. James's-hall. - On Monday evening next, November 24 1862, last appearance but two of Herr Joachim. Programme :- Part I - Grand septet in E flat, op. 20.for violin viola, clarionet, horn, bassoon, violoncello, and double bass, MM Joachim, H. Webb, Lazarus, C. Harper, Hutchins, C. Severn. and Piatti (by desire) - Beethoven; song "Ave Maria" (clarionet obbligato, Mr. Lazarus). Miss Roden - Cherubini; new song, "The Farewell" (violoncello obbligato, Signor Piatti), Mr. Santley, -Piatti; Sonata, in G, op. 29, No.1. for pianoforte solo (No. 16.of Hallé's. edition), Mr. Lindsay Sloper - Beethoven. Part II. Sonata, in B flat, for pianoforte [sic] and violin, Mr. Lindsay Sloper and Herr Joachim - Dussek; song, "Cease your funning " (Beggars Opera). Miss Roden; prelude, loure, minuetts, and gavotte, in E major, for violin alone (repeated by desire), Herr Joachim - J. S. Bach; song, "Oh ! Moon of Night," Mr. Santley - A. Mann; quartet in E flat, op.71,No. 3, for two violins, viola, and violoncello, MM. Joachim, L. Ries, H. Webb, and Piatti. Haydn. Conductor - Mr. Benedict. To commence at 8 o'clock precisely. Sofa stalls, 5s; balcony, 3s. Admission, 1s. Tickets at Chappell and Co.'s, 50, New Bond-street, Cramer and Co.'s, 201, Regent-street, Keith, Prowse and Co.'s, 48, Cheapside; and at Austin's, No. 28, Piccadilly. MR. LINDSAY SLOPER at the MONDAY POPULAR CONCERTS, St. James's-hall, on Monday evening next, November 24, when he will perform Beethoven's Sonata in G. op. 29 for pianoforte alone and, with Herr Joachim, Dussek's celebrated Sonata in B flat for pianoforte and Violin. Programmes at Chappell and Co.'s. 50. New Bond-street. MR. SIMS REEVES, at Greenwich, Wednesday, Dec. 3, will sing Beethoven's Liederkreis, accompanied by Mr. Lindsay Sloper; also Sweet Flow'ret, Lutz, at Mr. Henry Killick Morley's Concert. (The Times, Saturday, 22 November 1862)

MONDAY POPULAR CONCERTS, ST. JAMES'S HALL. ON MONDAY EVENING, NOVEMBER 24, 1862. LAST APPEARANCE BUT TWO OF HERR JOACHIM. PROGRAMME. PART. I. GRAND SEPTET, In E flat. Op. 20, for Violin, Viola, Clarionet, Horn, Bassoon, Violoncello, and Double Bass (by desire) Beethoven. MM, Joachim, H. Webb, Lazarus, C. Harper, Hutchins, C. Severn, and Piatti. SONG, " Ave Maria." - Cherubini. (Clarionet obbligato, Mr. Lazarus.) Miss Rouen. NEW. SONG, with Violoncello obbligato, Signor Piatti - Piatti. Mr. Santley. SONATA, in G, Op. 29, No. 1, for Pianoforte solo (No. 16 of Hallé's edition) - Beethoven. Mr. Lindsay Sloper. PART II. SONATA, In B flat, for Pianoforte and Violin - Dussek. Mr. Lindsay Sloper and Herr Joachim. SONG, "Cease your funning." (Beggar's Opera.). Miss Roden PRELUDE, LOURE, MINUETTS, AND GAVOTTE, In E major, for Violin alone - J. S. Bach. (Repeated by desire.) Herr Joachim. SONG, "Oh ! moon of night." - A. Manns. Mr. Santley. QUARTET, in E flat, Op. 71, No. 3, for two Violins, Viola, and Violoncello - Haydn. MM. Joachim, L. Ries, H. Webb, and Piatti. Conductor - MR. BENEDICT. To commence at Eight o'clock precisely. Sofa Stalls, 5s.; Balcony, 3s.; Admission, 1s. Tickets to be had at Messrs. CHAPPELL & CO'S,, 50 New Bond Street. (The Musical world, Saturday, 22 November 1862)

MR. LINDSAY SLOPER at the MONDAY POPULAR CONCERTS, St. James's Hall, THIS EVENING (MONDAY), Nov. 24, when he will perform Beethoven's Sonata in G, Op. 29, No. 1, for pianoforte alone; and, with Herr Joachim, Dussek's celebrated Sonata in B flat, for pianoforte and violin.- Programmes at Chappell and Co.'s, 50. New Bond-street. MONDAY POPULAR CONCERTS. St. James's Hall.- Herr Joachim's Last Appearance but Two, THIS EVENING (MONDAY), Nov. 24, when Beethoven's celebrated Septet for wind and string instruments will be repeated. Executants: MM. Joachim, Lindsay Sloper, Piatti, Lazarus, C. Harper, L. Ries, H. Webb, Hutchins, and Severn. Vocalists, Miss Roden and Mr Santley. Conductor, Mr. Benedict. Sofa stalls, 5s. ; balcony, 3s. ; admission, 1s. (Morning Post, Monday, 24 November 1862)

MONDAY POPULAR CONCERTS. St. James's Hall.- Herr Joachim's Last Appearance but Two, THIS EVENING (MONDAY), Nov. 24, when Beethoven's celebrated Septet for wind and string instruments will be repeated. Executants: MM. Joachim, Lindsay Sloper, Piatti, Lazarus, C. Harper, L. Ries, H. Webb, Hutchins, and Severn. Vocalists, Miss Roden and Mr Santley. Conductor, Mr. Benedict. Sofa stalls, 5s. ; balcony, 3s. ; admission, 1s. (Daily News, Monday, 24 November 1862) (Also: London Evening Standard, Monday, 24 November 1862; Morning Advertiser, Monday, 24 November 1862.)

MR. LINDSAY SLOPER at the MONDAY POPULAR CONCERTS, St. James's-hall, on Monday evening next, November 24, when he will perform Beethoven's Sonata in G. op. 29 for pianoforte alone and, with Herr Joachim, Dussek's celebrated Sonata in B flat for pianoforte and Violin. Programmes at Chappell and Co.'s. 50. New Bond-street. MONDAY POPULAR CONCERTS, St. James's-hall. - On Monday evening next, November 24 1862, last appearance but two of Herr Joachim. Programme :- Part I - Grand septet in E flat, op. 20.for violin viola, clarionet, horn, bassoon, violoncello, and double bass, MM Joachim, H. Webb, Lazarus, C. Harper, Hutchins, C. Severn. and Piatti (by desire) - Beethoven; song "Ave Maria" (clarionet obbligato, Mr. Lazarus). Miss Roden - Cherubini; new song, "The Farewell" (violoncello obbligato, Signor Piatti), Mr. Santley, -Piatti; Sonata, in G, op. 29, No.1. for pianoforte solo (No. 16.of Hallé's. edition), Mr. Lindsay Sloper - Beethoven. Part II. Sonata, in B flat, for pianoforte [sic] and violin, Mr. Lindsay Sloper and Herr Joachim - Dussek; song, "Cease your funning " (Beggars Opera). Miss Roden; prelude, loure, minuetts, and gavotte, in E major, for violin alone (repeated by desire), Herr Joachim - J. S. Bach; song, "Oh ! Moon of Night," Mr. Santley - A. Mann; quartet in E flat, op.71,No. 3, for two violins, viola, and violoncello, MM. Joachim, L. Ries, H. Webb, and Piatti. Haydn. Conductor - Mr. Benedict. To commence at 8 o'clock precisely. Sofa stalls, 5s; balcony, 3s. Admission, 1s. Tickets at Chappell and Co.'s, 50, New Bond-street, Cramer and Co.'s, 201, Regent-street, Keith, Prowse and Co.'s, 48, Cheapside; and at Austin's, No. 28, Piccadilly. (The Times, Monday, 24 November 1862)

MONDAY POPULAR CONCERTS. If there was nothing absolutely novel in last night's programme, the pieces, each and all, at all events, were of exceeding interest. Again Herr Joachim was leading violinist, and again he preferred Sebastian Bach for his solo display. The vocalists were Miss Constance Roden and Mr. Santley, and Mr. Lindsay Sloper succeeded Mr. Charles Hallé as pianist, The full selection was as follows : - Part I. Grand Septet, in E flat, op. 20, for violin, viola, clarionet, horn, bassoon, violoncello, and double bass (by desire) - Beethoven. Song, "Ave Maria" - Cherubini. New Song, " The Farewell" - Piatti. Sonata, in G, op. 19, No. 1, for pianoforte solo (No. 16 of Hallé's edition) - Beethoven. Part ii. Sonata, in B flat, for pianoforte and violin - Dussek. Aria, "Io son Lindoro" (Barbiero di Siviglia) - Paesiello. Prelude, Loure, Minuets and Gavotte, in E major, for violin alone - J. S. Bach. Song, "Oh ! Moon of Night" - A. Manus. Quartet, in E flat, op. 71, No. 3, for two violins, viola, and violoncello - Haydn. Conductor Mr. Benedict. In Beethoven's noble and well-known septet Herr Joachim had for his coadjutors Messrs. H. Webb (viola), Lazarus (clarinet), C. Harper (horn), Hutchins (bassoon), Piatti (violoncello), and C. Severn (double bass) - all professors, more or less, of repute, and all skilled executants. The execution was a marvel of correctness, the first violin, to speak metaphorically, shining above all with an intensity of light that might be called "dazzling. " The scherzo was encored by the entire audience. The solo sonata by the same composer, by Mr. Lindsay Sloper, for perfect mechanism and neatness of style left nothing to be desired, and pleased immensely. The ladies in particular must have admired Mr. Sloper's playing. In Dussek's sonata for piano and violin, performed by Mr. Lindsay Sloper and Herr Joachim, the styles of the two artists contrasted well and made most delightful blending. This genial and fascinating composition is entitled to more frequent consideration from the director. Bach's piece (or series of pieces) was repeated by desire, having created so powerful a sensation at a recent concert, and again the great Hungarian violinist threw the audience into ecstasy by his incomparable play. The melodious quartet of Haydn - executed by Herr Joachim, Herr L. Ries, Mr. H. Webb, and Signor Piatti - brought the concert to a close with befitting dignity. The vocal music could not have been more agreeable. Cherubini's "Ave Maria," introduced by Miss Roden, was in every way unexceptionable - a real classic gem, sung with fine voice and fine feeling. The lovely aria from Paesiello's Barbiere - the tenor air of the opera - showed Miss Roden's charming voice and unaffected manner to still greater advantage than Cherubini's "Ave Maria." Miss Roden was most liberally applauded at the end of the aria. Mr. Santley's songs are both new and both good, but hardly in keeping with the elevation of the instrumental music. Mr. Manns' song we have already alluded to and praised, when Mr. Santley a few weeks since first sang it at the Crystal Palace, and can now corroborate all we then advanced in its behalf. Signor Piatti's air was given for the first time. It is graceful and well written, and was sung to perfection by Mr. Santley, and loudly encored. The hall was crowded as usual. (The Standard, Tuesday, 25 November 1862) (Also: Evening Herald, Tuesday, 25 November 1862.)

MONDAY POPULAR CONCERTS. That the concert of last night was even more than usually replete with interesting matter will be at once apparent to every musical reader from the following programme. Part I.-Grand Septet, in E flat, Op. 20, for violin, viola, clarinet, horn, bassoon, violoncello, and double bass (Beethoven) MM. Joachim, H. Webb, Lazarus, C. Harper, Hutchins, C. Severn, and Piatti; Song, "Ave Maria" (Cherubini) (clarinet obbligato, Mr. Lazarus), Miss Roden; New Song, "The Farewell' (Piatti) (violoncello obbligato, Signor Piatti), Mr. Santley; Sonata, in G, Op. 29, No. 1, for pianoforte solo (No. 16 of Hallé's edition) (Beethoven), Mr. Lindsay Sloper. Part II.- Sonata, in B flat, for pianoforte and violin (Dussek), Mr. Lindsay Sloper and Herr Joachim; Aria, "Io son Lindoro" (Barbiere di Siviglia) (Paesiello), Miss Roden; Prelude, Loure, Minuets, and Gavotte, in E major, for violin alone (J. S. Bach), Herr Joachim; Song, "Oh ! Moon of night" (A. Manus), Mr. Santley; Quartet, in E flat, Op. 71, No. 3, for two violins, viola, and violoncello (Haydn), MM. Joachim, L. Ries, H. Webb, and Piatti. Conductor, Mr. Benedict. That Beethoven's Septet in E flat is the most beautiful of all his chamber instrumental compositions will, we apprehend, be disputed by few persons of cultivated taste whose opinions are dictated by their feelings and their own judgment. What the illustrious author himself thought of it may be gathered from the fact that it seemed to him a labour of love to arrange it in a variety of forms - a thing which he did not do to any other of his works. Besides its original form of a Septet, he himself arranged it as a Quintet, a Trio, and a Duet for four hands on the pianoforte; and yet, we are told, in his latter days, when he was favoured with new views on the subject of his art, or more likely, we conceive, when he had become deaf and diseased in body and mind, he held it in especial dislike, and did not wish to hear it mentioned. Fortunately his own hallucinations do not govern the general judgment of the world as to this and Beethoven's earlier works. As they grow older they grow fresher and more delightful; and this will one day be even more the case than it is at present. Perhaps this delicious work never was better executed than it was last night, and certainly it never was more warmly received. There was one especial charm in its performance - almost every movement was taken in slower time than is generally done, and thus exquisitely beautiful melodies, and the rich combinations of the instruments, could be clearly followed and felt by the audience - an improvement for which we are indebted to the good taste and judgment of Joachim. This divine composition, which, though double the usual length of compositions of its class, is never felt to be a minute too long, was the great feature of the evening. The other instrumental pieces-Beethoven's pianoforte Sonata, in G, admirably played by Mr. Lindsay Sloper; Dussek's Sonata for the piano and violin, a chef d'oeuvre of its class; Bach's violin solo, played by Joachim as he only could play it; and Haydn's quartet, one of his most genial productions-were all listened to with the admiration and delight which they deserved. The vocal music was very interesting. The singers were Miss Roden and Mr. Santley. Miss Roden, it will be remembered, gained "golden opinions" by her appearances last season, and her performances last night were calculated to strengthen the favourable impression already made by her. She sang Cherubini's celebrated " Ave Maria " beautifully, with a pure, rich voice, clear execution, and much grace and expression. She was happy in her selection of the serenade "lo sono Lindoro," from the Barbiere di. Siviglia of Paesiello, an opera which, though now superseded and thrust aside by the more brilliant work of Rossini, contains beauties which Rossini has not surpassed, and this is one of them. Miss Roden was received with most cordial applause, which augurs well for her success during the season. Piatti's air, sung by Santley, is a pretty thing in itself, and, with the aid of Santley's singing and the exquisite beauty of Piatti's violoncello accompaniment, obtained immense applause and an unanimous encore. (Daily News, Tuesday, 25 November 1862) (Also: London Express, Tuesday, 25 November 1862.)

… Part I.-Grand Septet, in E flat, Op. 20, for violin, viola, clarinet, horn, bassoon, violoncello, and double bass (Beethoven) MM. Joachim, H. Webb, Lazarus, C. Harper, Hutchins, C. Severn, and Piatti; Song, "Ave Maria" (Cherubini) (clarinet obbligato, Mr. Lazarus), Miss Roden; New Song, "The Farewell' (Piatti) (violoncello obbligato, Signor Piatti), Mr. Santley; Sonata, in G, Op. 29, No. 1, for pianoforte solo (No. 16 of Hallé's edition) (Beethoven), Mr. Lindsay Sloper. Part II.- Sonata, in B flat, for pianoforte and violin (Dussek), Mr. Lindsay Sloper and Herr Joachim; Aria, "Io son Lindoro" (Barbiere di Siviglia) (Paesiello), Miss Roden; Prelude, Loure, Minuets, and Gavotte, in E major, for violin alone (J. S. Bach), Herr Joachim; Song, "Oh ! Moon of night" (A. Manus), Mr. Santley; Quartet, in E flat, Op. 71, No. 3, for two violins, viola, and violoncello (Haydn), MM. Joachim, L. Ries, H. Webb, and Piatti. Conductor, Mr. Benedict. … [Abridged] (Morning Advertiser, Tuesday, 25 November 1862) (Also: Bell's Weekly Messenger, Saturday, 29 November 1862.)

THE MUSICAL EXAMINER. MONDAY POPULAR CONCERTS. These concerts have been well attended, and the instrumental talent they have displayed has been very great, while the vocal talent has been of the first quality. Generally the fault of symphonies, fantasias, and most instrumental pieces, is that they are too long - How commonly you hear the expression, I wish that man "would sit down," or get up, as the case may be; he is "very clever, but interminable;" and after the first quarter of an hour the distraction on the part of the audience becomes evident, by the raising of glasses, and a staring-about propensity which attacks most of the persons assembled. We have our doubts, too, whether the various compositions written as chamber music are heard to the best advantage in so large a hall. There should be more body of sound to reach and tell at the extremity of the room. On Monday last the concert commenced with Beethoven's wonderful septet in E flat, for violins, viola, violincello, contra-basso, clarinetto, and corno. This piece takes forty minutes to perform; yet with an ear commonly attuned to music the listener is riveted, and thinks it all too short. The septet has been heard so often that it is useless to comment on its merits. One movement was encored, of course by no means the best. Where so strong a muster of talent took place in honour of old Beethoven, the ensemble was perfect, but Joachim and Lazarus had the lion's share of the luscious tit-bits which continually tempt the appetite of the musical gourmand. We would notice a sonata by Beethoven, and observe that we never remember to have heard it better played than by Mr Lindsay Sloper. The same may be said of the execution of a sonata by Dussek, played by Messrs Joachim and Lindsay Sloper. A solo on the violin, composed by J. S. Bach, played by M. Joachim, was more masterly than pleasing. The quartet by Haydn presented that chaste writer to great advantage; but we must repeat that a quartet of stringed instruments, the violincello being the bass, is too delicate for so large a room. It was, however, beautifully played. Miss Roden's admirable methode, in spite of a slight timidity on the first two bars, was noticeable in Cherubini's 'Ave Maria,' clarionet obligato by Mr Lazarus. The quality of Miss Roden's voice is so pure that it united in all the passages with the instrument, with scarcely a shade of difference between them; and the shake which is to be found constantly throughout this piece, the clarionet mostly in thirds with the voice, displayed to advantage an embellishment in which Miss Roden excels. The second song chosen by Miss Roden was the serenade from Paisiello's 'Il Barbiere.' When Bishop gave the English musical world an edition of Rossini's 'Il Barbiere,' he had the bad taste to convert the serenade of Almaviva from Paisiello's opera into a duet, making Rosina reply to the Count's amorous strains from the window of old Bartolo's house. In Paisiello's score the serenade was written with an obligato accompaniment for the mandolin. For this contemptible instrument, now almost obsolete, Bishop substituted the harp with good effect. No apology, however, can be made for the interpolation of Paisiello's melody in Rossini's opera. Musical readers are aware that no writer was ever more imbued with the spirit of melody than Paisiello. For fine broad melodies take his sul margine; 'Nel cor non piu;' that melody, the Italian words of which escape us, but so well known in our vernacular as, 'With love my heart is beating;' and this melody, 'lo son Lindoro.' There are four fine broad melodies, unrivalled by the most favourite compositions of the present day, each of which would be sufficient to raise a musical reputation. 'Io son Lindoro,' the least known of the four, was sung by Miss Roden on Monday night, the accompaniment arranged for the pianoforte, and all the capers of the mandolin, a bad sort of guitar, played with a cherry-stick, of course omitted. We should have preferred to hear this beautiful melody sung by a tenor, as intended by the author, but we were thankful to hear it given with unimpeachable fidelity, every word distinct, by Miss Roden. Of Mr Santley we have given our opinion, and he was very kind and obliging, as a man of his position ought to be, in consenting to accompany Mr Piatti in a song invented by that worthy gentleman to show off his particular forte as a violoncellist. Admirably sang Mr Santley, and admirably played Mr Piatti, but we confess we would rather hear a little less of Piatti and a little more of Santley in a baritone song, while we can hardly be too thankful to hear Piatti in a violincello concerto entirely sans Santley. Another proof of Mr Santley's good-nature, if not his judgment, was his singing another song, the music, and we think probably the words, by one Herr Manns, to this effect, "O Moon of Night, Serenely bright, - a striking and uncommon idea conjoined with a profound truth. Assuredly Mr Santley did all that a sound artist could with the "Moon of Night," and so did the clappers; and we have no doubt that we shall see the song published as sung by Mr Santley with the most unbounded applause. The public has a right to expect good music throughout at a good concert, especially where so good a singer is engaged as Mr Santley. (Examiner, Saturday, 29 November 1862) (Also: Examiner, Saturday, 29 November 1862.)

MUSIC. The last Monday Popular Concert was of even more than usual interest. The great performance of the evening was Beethoven's celebrated septet in E flat, op. 20, for violin, viola, clarinet, horn, bassoon, violoncello, and contrabasso, played by Messrs. Joachim, Webb, Lazarus, C. Harper, Hutchins, Severn, and Piatti. With such performers we need hardly say its execution was perfect. Perhaps this delicious work never was better played than on this occasion, and certainly it never was more warmly received. The instrumental pieces were Beethoven's sonata major, admirably played by one of our most accomplished pianists, Mr. Lindsay Sloper; Dussek's fine sonata in B flat, for the piano and violin; a violin solo of Bach's, marvellously executed by Joachim; and Haydn's quartet in [?] flat, op, 71, one of that great musician's most masterly productions. The singers were Miss Roden and Mr. Santley. Miss Roden, it will remembered sang several concerts last season with great success, and her appearance this occasion was more successful still. She sang Cherubim's beautiful "Ave Maria," accompanied on the clarinet by Lazarus, and the charming serenade "Io son Lindoro," from Paesiello's "Barbiere Siviglia." Mr. Santley sang an aria by Piatti, accompanied the violoncello the composer, and a very pretty song by Mr. Manns, the able director of the Crystal Palace orchestra. St. James's Hall, as usual at these concerts, was full to overflowing. (Illustrated London News, Saturday, 29 November 1862)

Monday popular concerts. From Beethoven to Blondin is a terrible long step, or rather no step at all, seeing you cannot jump, or modulate from one to the other. Hitherto St. James's Hall has maintained a character which should be jealously preserved. The new Philharmonic, the Vocal Association, and other concerts of high class music have been held here; while many of our leading artists have selected St. James's Hall as the locale for their benefit or special concerts. "A place for everything, and everything in its place," says an old proverb, and many will think St. James's Hall is no place for M. Blondin to exhibit in. We ourselves admire the "Hero of Niagara" as much as most people, but would prefer seeing him at the Alhambra. To speak of the Concert of last Monday. Beethoven's magnificent and much loved septet was given, for the second time at the Monday Popular Concert, and, as on the occasion of its first performance, evoked applause long and hearty from the entire audience. The tuneful scherzo, in which the violoncello - Signor Piatti's "violoncello - discourses so eloquently, was encored with enthusiasm, the whole work being played from beginning to end superlatively, not to be wondered at considering that Here Joachim, Messrs. Webb, Lazarus, C. Harper, Hutchins, Severn, and Signor Piatti were the interpreters. Mr. Lindsay Sloper gave the well known and always welcome Sonata of Beethoven in G Major (Op 31, No. l) in his most finished manner, and joined Herr Joachim in Dussek's Sonata in B flat, which, thanks to the Monday Popular Concerts, has become almost as familiar as the famous Kreutzer. "Repeated by desire," the Prelude, Loure, Minuet, and Gavotte, of Bach were played by Herr Joachim with as great effect as before, Those who remained for the final quartet of Haydn in E flat (Op 71, No. 3), enjoyed a treat, and we are greatly deceived if this, the first performance, will be the last. The vocal music must be briefly dismissed. Miss Roden's extreme nervousness prevented her doing the utmost justice to Cherubini's "Ave Maria " (in which Mr. Lazarus's clarinet obbligato was a remarkable feature); but in the tenor air, "Io son Lindoro," from Paesiello's Barbiere di Siviglia, she was far more happy, singing with charming voice and unaffected feeling.; A new song by Signor Piatti (violoncello obbligato by the composer), very finely sung by Mr. Santley, was warmly encored; and another novelty, "Oh ! moon of night," from the pen of Mr. A. Manns - the accomplished conductor of the Crystal Palace band - also magnificently given by Mr. Santley, completed the scheme. At the next Concert Mendelssohn's Ottet will be repeated for the last time this season, and Herr Joachim will make his last appearance but, one. (The Musical world, Saturday, 29 November 1862)

Monday Popular Concerts.-On Monday last Beethoven's septet in E flat, one of the prime favourites of these concerts, as it is everywhere else, was repeated. The performance was, as usual, inimitable. Herr Joachim was the principal violin, and it is superfluous to say that every excellence was achieved on his part. His colleagues were Mr. H.-Webb, Mr. Lazarus, Mr. C. Harper, Mr. Hutchins, Signor Piatti, and Mr. Charles Severn-a body of artists of the best ability, and in two instances, if not three, without rival. The scherzo did not fail to meet with its customary furore-a compliment, indeed, that would not have been unwillingly bestowed upon the entire septet, for it is one of the most essentially popular of Beethoven's works-a stream of pure, Mozartean-like, melody from beginning to the end, composed at a time when Beethoven's ideas, and his ways of treating them, were suggested by more natural instincts than was subsequently the case. To Herr Joachim we were indebted for certain improvements of the effect, resulting from taking the time of each movement at a slower pace than ordinary. The final quartet was Haydn's, in E flat The pianoforte sonata, Beethoven's, in G (op. 19, No. 1), was performed by Mr. Lindsay Sloper neatly and gracefully. The sonata in question is one of the best known of the Beethoven set, and one that Mr. Lindsay Sloper has been in the habit of playing in public with success. Dussek's sonata in B flat (op. Off),which opened the second part of the programme-first introduced to these concerts by Miss Arabella Goddard-was, as hitherto, an agreeable [?]mien of a genial melodist and most felicitous writer ; and Herr Joachim and Mr. Lindsay Sloper exhibited its tratit[?] to the best advantage. The remainder of the concert consisted of a repetition of the marvellous performance by Herr Joachim, of the series of live movements from [?] sixth sonata for violin alone ; and vocalisms by Miss Roden and Mr. Santley. The latter introduced a new song, and a very clever one, by Signor Piatti, entitled " The Farewell," which was encored. (London Observer, Sunday, 30 November 1862)

MUSIC. MONDAY POPULAR CONCERTS. The programme of last Monday's concert consisted of the following selection: PART I. Grand Septet, in E flat. Op. [?], for violin, viola, clarionet, horn, bassoon, violoncello, and double bass (by desire) -MM. Joachim, H. Webb, Lazarus, C. Harper, Hutchins, C. Severn, and Piatti Beethoven. Song. "Ave Maria," (clarionet obbligato, Mr. Lazarus), Miss Roden Cherubini New Song, "The Farewell," violoncello obbligato, (Signor Piatti), Mr. Santley, Piatti. Sonata, in G . Op. 29, No. 1, for pianoforte solo (No. 10 of Hallé's edition), Mr. Lindsay Sloper, Beethoven. PART II. Sonata, in B flat, for pianoforte and violin, Mr. Lindsay Sloper and Herr Joachim Dussek. Aria, "lo son Lindoro" (Barbiere di Siviglia), Miss Roden Paesiello. Prelude, Loure, Minuets, and Gavotte, in major, for violin alone (repeated by desire), Herr Joachim J. S. Bach. Song, Moon of night," Mr. Santley A. Manus. Quartet, in E flat. Op. 71, No. 3, for two violins, viola, and violoncello (first time at the Monday Popular Concerts), MM. Joachim, L. Ries, H. Webb, and Piatti Haydn. Conductor - Mr. Benedict. The gem of the evening was Beethoven's Septet, which could not by any possibility have been more perfectly rendered. Beethoven's pianoforte sonata was interpreted with the utmost nicety by Mr. Lindsay Sloper, but, although one of the most elaborate specimens of the great master, it failed to create any very remarkable impression, simply on account of its length, which induced the feeling of tediousness. Dussek's Sonata was entirely out of place; for however much the revival of this writer's music may be lauded, nothing can ever make it anything else than rococo. It was lamentable to find such talent employed upon such trivialities as every motivo exhibited. There is only one expression which can designate Herr Joachim's playing of Bach's Prelude-it is truly wonderful. The Haydn concerto pleasantly wound up a very interesting concert. Miss Roden's method is better than her intonation. In each song she was fearfully out of tune. Mr. Santley's manner was as excellent as usual; but neither of his songs possesses sufficient merit to deserve commendation. (Bell's Weekly Messenger, Monday, 1 December 1862)

The old Monday Popular Concerts, for they are as a series getting old now, have had chiefly as their attraction, and as their coup de bataille, the invincible Joachim, who seems, as time rolls on, to thoroughly vindicate his claim to be considered the very chief of living violinists. To him have been added, as premier attractions, Piatti, Lindsay Sloper, Hallé, Santley, and Sims Reeves - the ordinary result, being, as of old, the interpretation of the masterpieces of musical composition, by the master minds of the greatest musical executants, vocal and instrumental, of the present day. (Baily's magazine of sports and pastimes, Monday, 1 December 1862) (Also: Baily's Magazine of Sports & Pastimes, Monday, 1 December 1862.)

MONDAY POPULAR CONCERTS." - To speak of the Concert of last Monday. Beethoven's magnificent and much loved septet was given, for the second time at the Monday Popular Concert, and, as on the occasion of its first performance, evoked applause long and hearty from the entire audience. The tuneful scherzo, in which the violoncello - Signor Piatti's violoncello - discourses so eloquently, was encored with enthusiasm, the whole work being played from beginning to end superlatively, not to be wondered at considering that Herr Joachim, Messrs. Webb, Lazarus, C. Harper, Hutchins, Severn, and Signor Piatti were the interpreters. Mr. Lindsay Sloper gave the well known and always welcome Sonata of Beethoven in G Major (Op. 31, No. 1) in his most finished manner, and joined Herr Joachim in Dussek's Sonata in B flat, which, thanks to the Monday Popular Concerts, has become almost as familiar as the famous Kreutzer. "Repeated by desire," the Prelude, Loure, Minuet, and Gavotte, of Bach were played by Herr Joachim with as great effect as before. Those who remained for the final quartet of Haydn in E flat (Op. 71, No. 3.) enjoyed a treat, and we are greatly deceived if this, the first performance, will be the last. The vocal music must be briefly dismissed. Miss Roden's extreme nervousness prevented her doing the utmost justice to Cherubini's "Ave Maria " (in which Mr. Lazarus's clarinet obbligato was a remarkable feature); but in the tenor air, "Io son Lindoro," from Paesiello's Barbiere di Siviglia, she was far more happy, singing with charming voice and unaffected feeling. A new song by Signor Piatti (violoncello obbligato by the composer), very finely sung by Mr. Santley, was warmly encored; and another novelty, "Oh ! moon of night," from the pen of Mr. A. Manns - the accomplished conductor of the Crystal Palace band - also magnificently given by Mr. Santley, completed the scheme. At the next concert Mendelssohn's Ottet will be repeated for the last time this season, and Herr Joachim will make his last appearance but one. - Musical World, Nov. 29. (Dwight's journal of music, Saturday, 27 December 1862)

Thursday, 27 November 1862 : Miss Dempsy's Evening Concert in Aid of Lancashire Distress at Westbourne Hall, Bayswater.

LANCASHIRE DISTRESS. - Miss DEMPSY will give an EVENING CONCERT in aid of the above, at Westbourne-hall, Bayswater, Thursday next, Nov.27. Conductor - Mr. Lindsay Sloper. Tickets at the Hall, and Chappell and Co.'s, 50, New Bond-street, 5s., 2s. 6d., 1s. To commence at 8 o'clock. (The Times, Monday, 24 November 1862) (Also: The Times, Tuesday, 25 November 1862.)

LANCASHIRE DISTRESS. - Miss DEMPSY will give an EVENING CONCERT in aid of the above, at Westbourne-hall, Bayswater, Tomorrow evening, Nov.27.Conductor - Mr. Lindsay Sloper. Tickets at the Hall, at Robert Cocks and Co.'s, New Burlington-street; and Chappell and Co.'s, 50, New Bond-street, Stalls, 5s., reserved seats, 2s. 6d., area, 1s. To commence at 8 o'clock. (The Times, Wednesday, 26 November 1862)

Wednesday, 3 December 1862 : Mr. Henry Killick Morley's Annual Concert (Evening) at Greenwich.

GREENWICH. - MR. HENRY KILLICK MORLEY'S ANNUAL CONCERT will take place on Wednesday Evening, December 3. Vocalists: Madlle. Florence Lancia, Madame Laura Baxter, Miss Eleanor Armstrong, Mr. Lewis Thomas, and Mr. Sims Reeves. Instrumentalist: Herr Joachim, Signor Piatti, and Mr. Lindsay Sloper. Conductors: Messrs. Harold Thomas and Henry Killick Morley, Laurel Bank, High Road, Lee, S.E. (The Musical world, Saturday, 11 October 1862)

GREENWICH. - MR. HENRY KILLICK MORLEY'S ANNUAL CONCERT on Wednesday evening, December 3d, Vocalists - Mlle. Florence Lancia, Miss Eleanor Armstrong, Madame Laura Baxter, Mr. Lewis Thomas, and Mr. Sims Reeves. Instrumentalists - Herr Joachim, Signor Piatti, and Mr. Lindsay Sloper. Conductors - Mr. Harold Thomas and Mr. Henry K. Morley. Tickets may be obtained on and after 10 o'clock this morning at Mr. Morley, sen.'s music warehouse, Croom's-hill, Greenwich. Central stalls, 5s.; family tickets, to admit five to stalls, 21s; reserved seats, numbered, 3s; back of the hall, 2s. As so many disappointments usually occur by parties being unable to obtain tickets the earliest possible application after the time fixed for commencing the sale of tickets is quite necessary to ensure seats. HERR JOACHIM at GREENWICH, Wednesday, Dec. 3d. will perform Tartini's Sonata and Mendelssohn's Concerto; also take part with Signor Piatti and Mr. Lindsay Sloper, in Hummel's Trio in E flat, op 93. (The Times, Saturday, 22 November 1862)

MR. MORLEY'S CONCERT. The grand annual musical entertainment, of which such high expectations are always formed, and have invariably been realised, brought together, on Wednesday evening, an audience that is never seen within the walls of the Greenwich Lecture-hall on any other occasion. As every seal within it was occupied, most suppose that large number of persons had to sustain the mortification not being present this great musical jubilee, in consequence of the common infirmity of resolution of deferring until tomorrow what would be more wisely done to-day. The pressure upon the space of the Hall was so great that every step open the two avenues leading to the central and side tents were extemporised into sittings for those who had not made early provision for better accommodation. The announcement that Madame Laura Baxter and Mr. Sims Reeves were included in the programme of the performances was sure to produce this result. The name of Miss Eleanor Armstrong among the vocalists, young lady of marked ability was also an attraction which Mr. Morley must have carefully weighed in his mind in the admirable selection made of accomplished artiste sustain be celebrity of his annual concert. Mdlle. Florence Lancia and Mr. Lewis Thomas also brought to this charming musical entertainment names that were guarantee tor the successful accomplishment of the parts allotted them. In the instrumental department, Herr Joachim, the greatest of living violinists, and Signor Piatti, who has no rival on the violincello, were, each in himself, tower of strength. Mr. Lindsay Sloper, who twice presented him *'lf an accompanyist to Mr. Sims Reeves and Signor Piatti did all that was expected from his well known command of the instrument with which his name is popularly associated ; and Mr. Henry Killick Morley, whose modesty prevented his name appearing in the programme, presided at most of the pianoforte accompaniments in a manner that must have convinced all who witnessed his performances that he is an accomplished musician. Taken whole, however, the concert was not quite as brilliant might have been expected from such galaxy of talent. This mutt be attributed to the ponderosity of several of the concerted pieces, and to the excess of instrumentation and, if the truth must be told, it may, also, in some degree, he attributed to the comparative tameness of Mr. Sims Reeves. It is not sufficient to possess fine voice and to enjoy the rare privilege of claiming twenty-five guineas for the use of it in couple of songs and trio :-an audience such was assembled in the Lecture-hall on Wednesday evening requires to treated with respect; and a show of desire on the part of a singer display his best powers for their gratification. Mr. Reeves, however, on this occasion, exhibited lassitude which seemed imply, " I shall very glad when it is over." Knowing what Mr. Sims Reeves can do, if he pleases, and knowing that he had been handsomely paid for his services, the audience had right to expect a greater of his professional capabilities. It was" not sufficient, in the of nearly a thousand persons to go through the words tong an indifference to exertion more suited to stage rehearsal than a public platform, and throw in broad powerful note at the end, by way of shewing how much could do if thought tit to call his voice into action. The excess of instrumentation was a defect which Mr. will know how to remedy when his next concert is given. One or two quinces give a fine flavour to an apple pie ; but the confectionery becomes a failure when it attempted to make an apple pie with pretty nearly all quinces. In the second part of the concert there an opening trio in E flat (Hummel), for pianoforte, violin, and violincello: and all know what to expect, to the duration sweet sounds, when three such performers as Herr Joachim, Signor Piatti, and Mr. Lindsay Sloper sit down to play together. It is as difficult for them to know when to stop, as for partners in a country dance to determine when to leave off. It is all "down the middle, back again, change sides, and poussette. Two short ballads by Mdlle Lancia and Madame Laura Baxter and then Herr Joachim again. A slight interval of repose for the fiddle strings by cantata and duet, and Signor Piatti takes up the bow. There was. evidently, once more, too many quinces in the pie. The objection to much instrumentation was more elegantly expressed by gentleman sitting at our left, who observed that supposed the concert must be regarded " night with Mendelssohn. Another disadvantage, regards the general effect of the concert, was too-early introduction of the two principal vocalists; Madame Laura Baxter ; Madame Laura Baxter being set down for canzonetta immediately after short opening duet by Mdlle. Lancia and Mr. Lewis Thomas; and Mr. Sims Reeves, being assigned in the programme, in immediate succession to the first-named lady. Mr. Reeves defended himself not coming to the Hall until the first part of the performances was well advanced; but Madame Laura Baxter, in the phrase of the ring, came to lime, and the result was that her magnificent voice killed every thing that followed, just picture Michael Angelo, on the walls of gallery, kills every painting around it. There mid have been more gradual rise to the chaplet love songs,'' which this lady sang with exquisite grace and unrivalled power. The impression made it upon the audience was electric. disparagement the sweet voice of Miss Armstrong and to the vocalism of Mdlle. Florence Lancia* to sty that their efforts lost much of the effect they would have had if these ladies had preceded, instead of following, Madame Baxter; and thus have and thus have made independent impression upon the audience. With these exceptions, the entertainment was all that could be desired; and gave great delight to discriminating audience, composed of most the first families the neighbourhood. The programme was, perhaps, little too full; running the performance* nearly up eleven o'clock; and this race against time may possibly attributed the circumstance there being only two encores during the evening ; one in compliment Herr Joachim splendid execution of solo from Mendelssohn, and the other in admiration of the charming ballad of " the sad sea waves, sung Madame Laura Baxter with power which other contralto voice ever heard at all approaches Altogether, the concert was a great triumph for Mr. Morley and his own share in it was not the least part of its merits. The few hints have thrown out may be useful him ; and take the freedom to suggest that when makes his next arrangements it might be desirable not to place lady who occupies… (Kentish Mercury, Saturday, 6 December 1862)

Saturday, 6 December 1862 : Mr. Arthur Chappell's Monday Popular Concert - Extra Performance for Lancashire Relief Fund at St. James's Hall, Piccadilly.

MONDAY POPULAR CONCERTS. The extra performance on Saturday, (the 8th of the present series), for the Lancashire Relief Fund, was somewhat prejudiced by the weather, which was cruelly unpropitious. and kept a vast number of the "shilling" patrons away; nevertheless. the attendance in the stalls was good, and we understand that upwards of 120 guineas will be contributed. The programme was one of the best imaginable. Mozart's 6th quartet (in C major - from the Haydn set) formed the subject of a recent leading article in this journal. It is enough, therefore, to say that it was played to perfection by Herr Joachim and his able coadjutors, MM. L. Ries, H. Webb and Piatti. Herr Joachim has been called "Beethoven's High Priest " and "Bach's High Priest ; " but is he not equally Mozart's High Priest and Haydn's Priest'? "Assurément" - as M. Théophile Gautier said to M. Victor Hugo on the Boulevard Bonnes Nouvelles. The pianoforte Sonata was Beethoven's delicious Op. 26, in A flat Mr. Hallé was in fine play, and the Sonata - the Marcia funebre sutta morte d'un Eroe " especially pleased as it always does. Nevertheless, faultless as the manipulation, we should have preferred the finale a little slower. It is marked " allegro," not "presto," still less "prestissimo." Herr Joachim's solo (this time accompanied by Mr. Benedict on the fortepiano) was the adagio from Spohr's Ninth Concerto (D minor) Spohr introduces this and the Seventh Concerto of Rode (A minor) with a second violin part as substitute for the orchestral accompaniments, in his Great Violin School and remarks as to the style in which both should be played. He would like to have heard his own concerto played by Herr Joachim, who on the present occasion transported his audience with the adagio, and was called upon, viva voce, to repeat it. Mendelssohn's Andante with variations in B flat, for two performers on one pianoforte (MM. Hallé and Pauer) was admirably played and a genuine treat - just as it was in 1859, on one of the first "Mendelssohn Nights," when originally introduced at the Monday Popular Concerts by Messrs. Benedict and Lindsay Sloper. Touching this charming piece more will be found in another column. The trio which brought the concert to an end was Beethoven's gorgeous Op. 97, in B flat - the "Rodolphe Trio," as The Athenaeum styles it (executants, Hallé, Joachim and Piatti). This great work - the sixth and last of Beethoven's pianoforte trios - was dedicated by the composer to the Archduke Rodolphe, upon whom he conferred so many similar favours, and among others the sonata in G, for pianoforte and violin, Op. 96, the work which immediately preceded the Trio in B flat (as the Lieder-Kreis, Op. 98 - dedicated to Prince Lobkowitz, Duke of Raudnitz, to whom, so many years previously, the first six quartets, Op. 18, had been inscribed - immediately followed it) in the order of publication. It was produced shortly after the 7th and 8th symphonies (about 1814-15), preceded the 9th Symphony, the later sonatas, the Mass in D, and the last five quartets, and is one of the brightest and most splendid examples of Beethoven's so-called "Second Period," at its zenith. The singers were Miss Banks and Mr. Santley. The former gave Glinka's "Sleep, thou infant angel," in the first and in the second, "Who is Sylvia'? " and "Hark, hark, the lark," two Lieder rightly described as "two of Schubert's most genuine musical illustrations of the poetry of Shakspeare." Mr. Santley gave "The Colleen Bawn " (Lily of Killarney), and "The Bellringer " - Benedict and Wallace. Both lady and gentleman sang their best. (The Musical world, Saturday, 13 December 1862)

Tuesday, 9 December 1862 : Vocal and Instrumental Concert at Royal Artillery Riding School, Woolwich.

WOOLWICH. - A vocal and instrumental concert, under the patronage of Major-General Sir R. Dacres, commandant, and the military committee for relieving the distress in the cotton districts, took place yesterday evening at the Royal Artillery Riding School, in the presence of a numerous audience, a large proportion of whom were military and naval officers. The chorus consisted of 200 vocalists, with the orchestral band of the Royal Artillery, and amongst the artists were Signor Piatti, Mr. L. Sloper, Mesdames Lemmens-Sherrington, Smythe, Miss Wells, &c. A considerable amount was realised in aid of the fund. (Morning Post, Wednesday, 10 December 1862)

WOOLWICH. A concert took place on Tuesday evening, in the Riding house at the Royal Artillery-barracks, Woolwich, in aid of the Lancashire Relief Fund. Madame Lemmens-Sherrington, Madame Ernestine Smyth, Mr. Lindsay Sloper Signor Piatti, and other well known musicians gave their services gratuitously. The house was well filled, many of the ladies of the garrison participating with the resident ladies of the town in the Hallélujah and other choruses with exceedingly good effect. The performances were highly applauded, and were under the special patronage of the General commanding, Sir Richard Dacres. Notwithstanding a heavy outlay of upwards of 300l. in organizing and procuring the necessary furniture, scenery, decorations, &c., the sum of above 200l. has been thus added to the fund by this and a former entertainment, and the outlay partially cleared off. A succession of performances is to be given on a similar scale by the members of the Theatrical Club, the proceeds to be applied to the destitute poor of Woolwich. (The Times, Thursday, 11 December 1862)

A concert took place on Tuesday evening in the Riding-house at the Royal Artillery Barracks, Woolwich, in aid of the Lancashire Relief Fund. Madame Lemmens-Sherrington, Madame Ernestine Smyth, Mr. Lindsay Sloper, Signor Piatti, and other well-known musicians gave their services gratuitously. The house was well filled, many of the ladies of the garrison participating with the resident ladies of the town in the "Hallelujah''' and other choruses with exceedingly good effect. The performances were highly applauded, and were under the special patronage of the general commanding, Sir Richard Dacres. (London Express, Thursday, 11 December 1862)

WOOLWICH. - (From a Correspondent). - A concert given last week in aid of the Lancashire Relief Fund, at the Royal Artillery Riding School, produced nearly $200. There were about 2,000 persons present, and among them, most of the officers of the garrison and their families. The principal artists were Mad. Lemmens Sherrington, Mad. Ernestine Smyth, Miss E. Miss Wells, Mr. Henry Haigh, Signor Piatti, and Mr. Lindsay Sloper, who all sang and played gratuitously. The chorus consisted of upwards of 250 amateurs, and the orchestra was composed of the band of the Royal Artillery, under the conductorship of Mr. Smyth, to whom the credit of drilling the chorus was due. The execution of "The Heavens are telling " (Creation), and the "Hallélujah " ( Messiah) was thoroughly excellent. All the artists, indeed, exerted themselves to the utmost, the band of the Royal Artillery; under the direction of Mr. Smyth, doing especially good service. (The Musical world, Saturday, 20 December 1862)

GREENWICH (From a Correspondent) - Mr. Henry K. Morley, organist of Saint Alphege Church, gave his Annual Concert in the Lecture Hall, on Wednesday evening, the 6th inst. The names of Herr Joachim, Signor Piatti, and Mr Lindsay Sloper, in the instrumental department, combined with those of Mdlle. Lancia, Miss Eleanor Armstrong, Mdlle. Laura Baxter, Mr. Sims Reeves, and Mr. Lewis Thomas in the vocal, were sufficient to ensure a first-rate entertainment. The programme included Mendelssohn's Violin Concerto (Joachim), Bach's Sarabande and Gavotte for violoncello (Piatti),and Hummel's Trio in E flat (No. 5), by the three eminent artists above named. The "Liederkreis" of Beethoven, introduced by Mr. Sims Reeves (so often sung by him at the Monday Popular Concerts) ; and Mr. Lewis Thomas's song, "When time hath bereft thee," * may in different degrees be singled out as thorough successes. A scena by Donizetti, and one from Sonnambula by Mdlle. Lancia and Miss Eleanor Armstrong, (who is evidently progressing), and several ballads, duets, and trios, made up a programme of more than usual interest. Mr. Morley cannot be too highly praised for the energy he exhibits in endeavouring to render his concerts the best given in the neighbourhood of Greenwich and Blackheath. * A most unwarrantable interpolation, by the late Mr. T. Cooke, in the Opera of Gustave III. (Auber), in the shape of a ballad made out of the first subject of the overture. - ED. (The Musical world, Saturday, 20 December 1862)

Wednesday, 31 December 1862 : Mr. H. Leslie's Second Subscription Concert at Public Hall, Croydon.

CROYDON. - (From a Correspondent). - Two very successful Concerts were given last week at the Public Hall - Mr. George Russell's Annual Concert, which took place on Tuesday evening, and Mr. H. Leslie's second Subscription Concert, which came off on Wednesday. George Russell had a strong array of talent to assist him, including Mad. Lemmens Sherrington, Mdlle. Zeiss, and Mr. William Cummings, vocalists; and Mr. Blagrove and Mr. Paque, instrumentalists. Mr. Russell played with Mr. Blagrove and Mr. Paque, Beethoven's trio in G major, for pianoforte, violin and violoncello; a trio of his own composition for the same instruments ; Liszt's fantasia on Rigoletto, and several minor pieces from his own pen. Mr. Russell's performances were most liberally applauded and his success decided. The singing was good, especially that of Mad. Sherrington, who sang with unusual brilliancy. Mdlle. Zeiss, new to the Croydon public, also found favor and accepted an encore to one of her songs. Mr. Henry Leslie did not bring with him his celebrated Choir, reserving them for his last Concert. The Glees were therefore given by a quartet from it, comprising Miss Fosbroke, Mad. Clara West, Mr. Regaldi and Mr. Chaplin Henry. The solo artists were Miss Poole, vocalist, Mr. Lindsay Sloper, and Signor Piatti, instrumentalists. Mr. Sloper's performance of several pianoforte pieces was pronounced faultless, and Signor Piatti created an unparalleled sensation. Miss Poole's singing was as usual, pleasing and sensible. (The Musical world, Saturday, 3 January 1863)

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