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Life Musical Works Concert Diary  1863 | |
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Concert Advertisements and Reviews - 1863. Saturday, 3 January 1863 : Mr. Howard Glover's Grand Morning Concert at St. James's Hall, Piccadilly. HOWARD GLOVER respectfully announces that his Grand Morning Concert will take place at the St. James's Hall, on Saturday, January 3rd, commencing at half-past 1 o'clock. Mr. Sims Reeves, Mr. Mauley, Mr. W. H. Weiss, Mdme. Rudersdorff, Miss Louisa Vinning, Mme, Laura Baxter. Miss Banks,, Mme. Weiss, Miss Lascelles, Miss Louisa Van Noorden, Miss Leffler, Herr Molique,Mr. Benedict, Mr, Lindsay Sloper, Mdme Zeiss, Miss Elton, Miss Emily Soldene (her second appearance in public), Miss Stabbach, Miss E. Horder, Mlle. Georgie, Mr. Wilbye Cooper, Mr. Lewis Thomas, Mr. Henry Haigh, Herr Reichardt. and M. Ascher, will appear, in conjunction with other celebrated artists, whose names will, be duly announced, Stalls 7s, Reserved Seats 5s. Balcony 5s, and 3s. Body of the Hall 1s; to be had of Messrs. Chappell, 50, New Bond Street; Duocao, Davison and Co, 244, Regent Street; Cramer, Beale and Wood, 201, Regent Street; Mr. Austin, at Ticket Office, St. James's Hall; and of Mr. Howard Glover, 3, Keppel Street, Russell Square. (Commercial Daily List, Wednesday, 24 December 1862) MR. HOWARD GLOVER respectfully announces that his GRAND MORNING CONCERT will take place on SATURDAY, Jan. 3, 1863, at St. James's Hall, commencing at half-past one o'clock. Vocalists : Mr. Sims Reeves, Madlle. Parepa, Madame Rudersdorff, Miss Banks, Miss Lascelles, Miss Palmer, Madame Laura Baxter, Madlle. Zeiss, Madame Weiss, Madame Louisa Vinning, Miss Louisa Van Noorden, Miss Leffler, Miss Stabbach, Miss Julia Elton, Miss Emily Soldene, Miss E. Horder, Madlle. Georgi, Herr Reichardt, Mr. Wilbye Cooper, Mr. Henry Haigh, Mr. Weiss, Mr. Lewis Thomas, and Mr. Santley. Pianoforte : Mr. Lindsay Sloper, Miss Alice Mangold, M. Ascher, Miss Kilpack, Miss Lazarus, and Mr. Benedict ; violin, Herr Molique ; violoncello, M. Paque ; flute, Mr. R. S. Pratten ; clarionet, Mr. Lazarus. The Choir of the Vocal Association, conducted by Mr. Benedict; the Choir of the National Choral Society, conducted by Mr. G. W. Martin ; and the London Glee and Madrigal Union, conducted by Mr. E. Land. Stalls, 7s.; reserved seats, 5s.; balcony, 5s. and 3s.; body of the hall, 2s. Tickets to be had of Messrs. Chappell and Co., 50, New Bond-street ; Duncan Davison and Co., 241, Regent-street ; Cramer, Beale, and Wood, 201, Regent-street ; at Austin's Ticket-office, St. James's Hall, 28, Piccadilly ; and of Mr. Howard Glover, 3, Keppell-street, Russell-square. (The Times, Saturday, 27 December 1862) (Also: The Standard, Wednesday, 31 December 1862; Morning Post, Monday, 29 December 1862; Morning Post, Tuesday, 30 December 1862.) MR. HOWARD GLOVER'S GRAND MORNING CONCERT, at the St. James's Hall, on SATURDAY, Jan. 3, 1863, commencing at half-past one o'clock. PROGRAMME. Part I. Duet, "I would that my love," the Misses Pelham - Mendelssohn. Solo, pianoforte, Rondo in E flat, Miss Kilpack, B.A.M - Hummell Ballad, "Regret," Miss Emily Soldine (her second appearance in public) - G. Linley. Glee, "The winds whistle cold," by the Glee and Madrigal Union- Miss Eyles, Mr. Cumming, Mr. Lawler, and Mr. E. Land - Bishop. Sonata, pianoforte and clarionet, Miss Lazarus and Mr. Henry Lazarus - Weber. New Song, " When first the bells," Mr. George Perren - G. Perren. Romance, flute, Mr. R. Sydney Pratten - F. E. Bache. New Song, "The wind's a bard," Mr. Santley - H. Glover. Duet, "La dove prende," Mr. and Madame Weiss - Mozart. Aria, "The Shadow Song," Madlle. Parepa (her first appearance since her return from the provinces) - Meyerbeer. New Song, "Polly Stewart," Mr. Sims Reeves - H. Glover. Air, "Non piu di fiori," Madlle. Georgi; clarionet obbligato, Mr. Lazarus - Mozart. Song, "The Colleen Bawn," Mr. Santley - Benedict. Song, "The Village Blacksmith," Mr. W.H. Weiss - Weiss. Canzonet, "My mother bids me bind my hair," Madame Weiss - Haydn. The Laughing Song, from Auber's "Manon L'Escaut," Madlle. Parepa. Duet, "All's well," Mr. Sims Reeves and Mr. Santley - Valse "L'Ardito" Madame Rudersdorff - Arditi. Ballad, "My pretty Jane." Mr. Sims Reeves - Bishop. Two Melodies for the violin, composed and performed by Herr Molique. Song, "Oft in the stilly night," Mr Henry Haigh (Irish national air). Aria, "Le m'abbandoni," Madame Laura Baxter - Mercadante. New Song, " Love's Request," Herr Reichardt - Reichardt. Aria, "Batti batti," Madame Louisa Vinning, violoncello obbligato, M. Paque - Mozart Part Song, "Oh hills! Oh vales !" by the Vocal Association, conducted by Mr. Benedict - Mendelssohn. Old English Ballad, "Come lasses and lads," Madame Rudersdorff. Duet, "Sull campo della gloria," Mr. Wilbye Cooper and Mr. Lewis Thomas. Part II. Solo Pianoforte, "Sarabande e Gavotte, "from the "Suite Anglaise," in G minor, Miss Alice Mangold (her first appearance since her severe indisposition) - S. Bach. Song, "Thou art so far and yet so near," Herr Reichardt - Reichardt. Aria, " Name the glad day," Miss Banks - Glinka. Song, "The wild waves come and go," Mr. Wilbye Cooper - V. Gabriel. Old English Ballad, "The Wolf," Mr. Lewis Thomas - Shield. Aria, "Le Romeo." Miss Lascelles - Mercadante. Pianoforte Solo, "The Sprite," Miss Alice Mangold - Lubeck. Ballad, " Home, sweet home," Madame Laura Baxter - Sicilian air, arranged by Bishop. Choral March, "Forward !" and Part Song, "The Evening Star" - sung by 200 members of the National Choral Society, conducted by Mr. G. W. Martin - G. W. Martin. Fantasia, violoncello, M. Paque - Paque. Aria, "Il soave e bel contento," Miss Louisa van Noorden - Pacini. Aria, " Pensa alla patria," Madlle. Zeiss - Mercadante. Fantasia, pianoforte, M. Ascher - Ascher. Serenade, "Sleep, dearest, sleep," Miss Elton (pupil of Signor Randegger) - Randegger. Ballad, "I'm alone," Miss Stabbach - Benedict. Song, "Troubadour enchanting," Miss Leflier - Wallace. Duet, "Bell Imago," Mr. Lewis Thomas and Miss Emily Soldine - Rossini. Polacca, "Son vergine," Miss Eliza Holder - Bellini. "God save the Queen," by the 200 members of the National Choral Society, conducted by Mr. G. W. Martin. Conductors - Mr. Benedict, Mr. E. Land, Mr. George Lake. Herr Wilhelm Ganz, M. Francesco Berger, Signor Randegger, Mr. Howard Glover, and Mr. Lindsay Sloper. Stalls, 7s. ; reserved seats, 5s.; balcony, 5s. and 3s. ; body of the hall, 2s. Tickets to be had of Messrs. Chappell and Co., 50, New Bond-street ; Duncan Davison and Co., 244, Regent-street ; Cramer, Beale, and Wood, 201, Regent-street ; at Austin's Ticket-office, St. James's Hall, 28, Piccadilly ; and of Mr. Howard Glover, 3, Keppel-street, Russell-square. (Morning Post, Wednesday, 31 December 1862) Wednesday, 14 January 1863 : The Band Of The St. George's Rifle Volunteers's Grand Evening Concert at St. James's Hall, Piccadilly. ST. JAMES'S HALL.- The BAND of the ST. GEORGE'S RIFLE VOLUNTEERS will give a GRAND CONCERT at the above hall on Wednesday Evening, Jan. 14, to commence at Eight o'clock, by permission of Lieut Colonel the Hon. C. H. Lindsay, commanding. Vocalists. - Miss Banks, Mdlle. Florence Lancia, Miss Lascelles, Mr. Winn, Mr. Landsmere, and Mr. Sims Reeves; Instrumentalists.- Pianoforte- Mr. Lindsay Sloper and Mr. Martin Lazare ; flute, Mr. Wustemann ; cornet-a-piston, Lieut. Colonel the Hon. C. H. Lindsay (at the request of several members of the regiment). The Vocal Association, conducted by Mr Benedict The Band of the St. George's Rifles, conducted by Mr. Haydn Millars. Conductors.- Mr. Benedict, Mr, Frank Mori, Mr. Harold Thomas, ,und Herr Wilhelm Ganz. Sofa stalls, 5s, balcony, 3s, admission, 1s. Tickets to be had at Chappell and Co.'s, 50, New Bond-street; and at Austin's, 28, Piccadilly. Volunteers are requested to appear in uniform. HENRY MATTHEWS, hon. sec. (The Times, Friday, 9 January 1863) (Also: Illustrated London News, Saturday, 10 January 1863.) ST. JAMES'S HALL.- The BAND of the ST. GEORGE'S RIFLE VOLUNTEERS will give a CONCERT at the above hall To-morrow EVENING, Jan. 14, to commence at Eight o'clock, by permission of Lieut Colonel the Hon. C. H. Lindsay, commanding. Vocalists. - Miss Banks, Mdlle. Florence Lancia, Miss Lascelles, Mr. Winn, Mr. Landsmere, and Mr. Sims Reeves; Instrumentalists.- Pianoforte- Mr. Lindsay Sloper and Mr. Martin Lazare ; flute, Mr. Wustemann ; cornet-a-piston, Lieut. Colonel the Hon. C. H. Lindsay (at the request of several members of the regiment). The Vocal Association, conducted by Mr Benedict The Band of the St. George's Rifles, conducted by Mr. Haydn Millars. Conductors.- Mr. Benedict, Mr, Frank Mori, Mr. Harold Thomas, ,und Herr Wilhelm Ganz. Sofa stalls, 5s, balcony, 3s, admission, 1s. Tickets to be had at Chappell and Co.'s, 50, New Bond-street; and at Austin's, 28, Piccadilly. Volunteers are requested to appear in uniform. (The Standard, Tuesday, 13 January 1863) ST. JAMES'S HALL.- The BAND of the ST. GEORGE'S RIFLE VOLUNTEERS will give a GRAND CONCERT at the above hall To-morrow (Wednesday) Evening, to commence at Eight o'clock, by permission of Lieut Colonel the Hon. C. H. Lindsay, commanding. Vocalists. - Miss Banks, Mdlle. Florence Lancia, Miss Lascelles, Mr. Winn, Mr. Landsmere, and Mr. Sims Reeves; Instrumentalists.- Pianoforte- Mr. Lindsay Sloper and Mr. Martin Lazare ; flute, Mr. Wustemann ; cornet-a-piston, Lieut. Colonel the Hon. C. H. Lindsay (at the request of several members of the regiment). The Vocal Association, conducted by Mr Benedict The Band of the St. George's Rifles, conducted by Mr. Haydn Millars. Conductors.- Mr. Benedict, Mr, Frank Mori, Mr. Harold Thomas, ,und Herr Wilhelm Ganz. Sofa stalls, 5s, balcony, 3s, admission, 1s. Tickets to be had at Chappell and Co.'s, 50, New Bond-street; and at Austin's, 28, Piccadilly. Volunteers are requested to appear in uniform. HENRY MATTHEWS, hon. sec. (The Times, Tuesday, 13 January 1863) ST. JAMES'S HALL.- The BAND of the ST. GEORGE'S RIFLE VOLUNTEERS will give a GRAND CONCERT at the above hall, This (Wednesday) Evening, to commence at Eight o'clock, by permission of Lieut Colonel the Hon. C. H. Lindsay, commanding. Vocalists. - Miss Banks, Mdlle. Florence Lancia, Miss Lascelles, Mr. Winn, Mr. Landsmere, and Mr. Sims Reeves; Instrumentalists.- Pianoforte- Mr. Lindsay Sloper and Mr. Martin Lazare ; flute, Mr. Wustemann ; cornet-a-piston, Lieut. Colonel the Hon. C. H. Lindsay (at the request of several members of the regiment). The Vocal Association, conducted by Mr Benedict The Band of the St. George's Rifles, conducted by Mr. Haydn Millars. Conductors.- Mr. Benedict, Mr, Frank Mori, Mr. Harold Thomas, ,und Herr Wilhelm Ganz. Sofa stalls, 5s, balcony, 3s, admission, 1s. Tickets to be had at Chappell and Co.'s, 50, New Bond-street; and at Austin's, 28, Piccadilly. Volunteers are requested to appear in uniform. HENRY MATTHEWS, hon. sec. (The Times, Wednesday, 14 January 1863) ST. JAMES'S HALL. A grand concert - a veritable "monster" concert - was given here on Wednesday evening by the band of the St. George's Rifle Volunteers, which attracted a very numerous and elegant company. Indeed a more brilliant audience we do not remember to have seen on any occasion in St. James's Hall. Of course the friends of the rifle corps mustered strong; but this would hardly account for the concourse in stalls, balconies, area, and galleries. No doubt the name of Mr. Sims Reeves - who is now in greater request than ever - had its influence. Then, in addition to the great tenor, there were engaged as solo vocalists Mdlle. Florence Lancia, Miss Banks, Miss Lascelles, Mr. Winn, &c.; and as instrumentalist - M Lindsay Sloper and Mr. Martin Lazare (pianoforte), am Mr. Wustermann (flute). Moreover the Vocal Association, under the direction of Mr. Benedict, assisted; and Lieut. Colonel the Hon. C. H. Lindsay, commanding officer of the St. George's Rifle Volunteers, proved himself a volunteer to the back-bone by volunteering a solo on the cornet-a-piston. This last performance, indeed was the grand "sensation" of the concert. When Colonel Lindsay appeared he was greeted from every part of the hall with tumultuous cheers, which were redoubled when he concluded his solo. Colonel Lindsay is a remarkable player for an amateur. His tone is pure and true, and his feeling undeniable. He did not attempt any flourishes, but played in the simplest, most straightforward manner possible, and made ten times better effect than if he executed the most brilliant passages never so well. His first solo- he was encored, of course - was Jullien's "Adieu," composed for Koenig, for which he substituted in the encore, Bellini's aria, "Vaga Luna ; " one of the loveliest airs of the composer of La Sonnambula, and now all but forgotten. From the well-filled programme - containing some thirty pieces - we can only select a few as worthy of special mention. We must own we did not stay the concert out, and some performances we left behind might in reality have transcended all we heard. The band of the Rifle Corps executed several morceaux, among which were a quick step, the composition of their conductor, Mr. Haydn Millars; selection from the Trovatore, and a waltz composed by Lieut. Colonel Lindsay. Their performances, more remarkable for vigour and dash than delicacy and finish, were loudly applauded in every instance. Mr. Sims Reeves sang thrice- the scena from Oberon, "O 'tis a glorious sight," the ballad, "Summer is sweet," and a new song with chorus, called "God bless the Prince of Wales." The scene from Oberon was given with inexpressible grandeur and a variety of expression it has been given to few singers to realise. How Mr. Reeves warbles Mr. Lake's pretty ballad we need not say. As to the merits of the new song we have not made up our mind. That Mr. Brinley Richards, the composer, should have been inspired by the subject was a foregone conclusion. That, however, there is any inspiration in the words written by Mr. George Linley we are not so well assured, but shall allow the reader to judge for himself. (The Standard, Friday, 16 January 1863) ST. JAMES'S HALL. - A concert was given on Wednesday evening by the Band of the St. George's Rifle Volunteers, assisted by the Vocal Association, and several professionals, among whom we may name Madame Florence Lancia, Miss Banks, Miss Lascelles, Mr. Sims Reeves, Mr. Winn, as vocalists, and Messrs. Lindsay Sloper and Martin Lazare (pianoforte) instrumentalists. The "great sensation " of the evening, however, was achieved by an amateur, Lieut-Colonel Lindsay, who was overwhelmed with applause and encored in a cornet solo. Mr. Sims Reeves sang "O 'tis a glorious sight," and Mr. George Lake's popular ballad, "Summer is sweet," and a new loyal song, called "God Bless the Prince of Wales," music by Mr. Brinley Richards, words by Mr. George Linley, the last two were encored. We never heard Mr. Reeves give the scene from Oberon more finely, and to do justice to the volunteer audience they applauded him uproariously. We may dismiss the rest of the vocal performances with a word of strong praise for Mad. Lancia's "Bel reggio," which, we must say, surprised us, and for Miss Banks and Miss Lascelles in a duet by Paer. The Vocal Association, under Mr. Benedict's direction, recommended themselves in several part-songs. The conductors, besides Mr. Benedict, were Mr. Frank Mori, Mr. Harold Thomas, and Herr Wilhelm Ganz. (The Musical world, Saturday, 17 January 1863) Monday, 2 March 1863 : Mr. Arthur Chappell's Monday Popular Concert at St. James's Hall, Piccadilly. MONDAY POPULAR CONCERTS. St. James's-hall. - On Monday evening next, March 2, the programme will include Weber's sonata in E minor, for pianoforte solo, and Mendelssohn's Sonata in D, for pianoforte and violoncello. Pianoforte, Mme. Arabella Goddard, violoncello, Sig. Piatti; violin, M. Sainton. Vocalists, Mdlle. Corbari 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 Times, Tuesday, 24 February 1863) (Also: The Times, Wednesday, 25 February 1863; The Times, Thursday, 26 February 1863; Saturday review of politics, literature, science and art, Saturday, 28 February 1863; Illustrated Times, Saturday, 28 February 1863.) MONDAY POPULAR CONCERTS. St. James's-hall. ONE HUNDRED AND TWENTIETH CONCERT. MONDAY EVENING, March 2, 1863. Programme: Part I Quartet in F major, Op. 135 (No. 17), for two violins, viola, and violoncello, MM. Sainton, L, Ries, Webb, and Piatti --Beethoven; song, "Voi che sapete." Mlle. Corbari - Mozart; recitative and air. "Deeper and deeper still," "Waft her angels." M. Sims Reeves - Handel. sonata in E minor, Op.70, for pianoforte solo. Mme. Arabella Goddard - Weber. Part II. Sonata In D. for pianoforte and violoncello, Mme. Arabella Goddard and Signor Piatti - Mendelssohn; songs, "Stars of the summer night,'" " When the moon is brightly shining," Mr. Sims Reeves - Molique; barcarole, "Le Ciel est pur," Mile. Corbari - Schubert; quartet, in G minor No.74, for two violins, viola, and violoncello, MM Sainton, L. Ries, H. Webb, and Piatti - Haydn. Conductor. Mr. LINDSAY SLOPER. To commence at 8 o'clock precisely. The concert will finish at half-past 10 o'clock. 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 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 Pianoforte, Violin, and Violoncello, an interval of FIVE MINUTES will be allowed. Sofa Stalls, 5s. Balcony, 3s. ; Admission, 1s; Tickets to be had of Mr. AUSTIN, at the Hall, 28, Piccadilly ; and of Messrs. CHAPPELL and Co., 50 New Bond Street, (The Musical world, Saturday, 28 February 1863) MONDAY POPULAR CONCERTS. St. James's-hall. THIS EVENING, March 2, 1863. Programme: Part I Quartet in F major, Op. 135 (No. 17), for two violins, viola, and violoncello, MM. Sainton, L, Ries, Webb, and Piatti --Beethoven; song, "Voi che sapete." Mlle. Corbari - Mozart; recitative and air. "Deeper and deeper still," "Waft her angels." M. Sims Reeves - Handel. sonata in E minor, Op.70, for pianoforte solo. Mme. Arabella Goddard - Weber. Part II. Sonata In D. for pianoforte and violoncello, Mme. Arabella Goddard and Signor Piatti - Mendelssohn; songs, "Stars of the summer night,'" " When the moon is brightly shining," Mr. Sims Reeves - Molique; barcarole, "Le Ciel est pur," Mile. Corbari - Schubert; quartet, in G minor No.74, for two violins, viola, and violoncello, MM Sainton, L. Ries, H. Webb, and Piatti - Haydn. Conductor. Mr. LINDSAY SLOPER. To commence at 8 o'clock precisely. The concert will finish at half-past 10 o'clock. 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, 2 March 1863) MONDAY POPULAR CONCERTS. The 120th concert (on Monday) was one of the best with which Mr. Arthur Chappell has ever entertained his patrons. The first piece in the programme was Beethoven's 17th and last quartet, the third in the key of F major, and one of the two (the other being the A minor, Op. 130) that were published after his death. Already a favorite at these concerts, the quaint theme (led off by the viola) that announces the opening movement was at once recognised with evident satisfaction. The quartet was nobly played by M. Sainton and his partners (L. Ries, H. Webb and Piatti), and the superb slow movement, in D flat encored, though the compliment was not accepted. The somewhat rough and here and there grotesque finale, with its oft cited motto, Der schuer gefasste Entschluss * went off with amazing spirit, and the whole quartet was, as on the previous occasion, a success. The solo pianoforte sonata was by Weber (Op. 70), his fourth and last - pianist, Madame Arabella Goddard. The 1st, 2nd, and 3rd of these sonatas have been made familiar at the Monday Popular Concerts ; but the one in E minor was never heard there till now. The opening bars of the first movement (moderato) will, no doubt, at once recall the whole sonata to the memory of ecclectic pianists, who have not abandoned their souls exclusively to Beethoven They may not, however, have remarked a peculiarity in this very wild and occasionally incoherent, though always original and always interesting (because original, and Der-Freisehutzian) movement, viz.-that the principal feature of the second motivo is the first motivo itself transposed literally from E minor to the relative major con anima. Madame Arabella Goddard - who had already played the sonata (what sonata has she not played ? ) at one of her memorable soirées in Willis's Rooms - gave this extraordinary movement with congenial impetuosity and fire. In the second part - into which all the subjects of the first are thrown, as it were, pell mell, into a cauldron - she seemed heart and soul among the ghosts, and sprites, and devils of the Incantation while in the cantabile phrases she sang, not as a devil, but as an angel. so-called, unless it was intended for the minuet of The Wild Huntsman, found the young virtuosa in the same supernatural vein : while her manipulation of the well-contrasted trio - a bona fide German "people's waltz," and no mistake - exhibited among other graces and attractions, a sustained pianissimo of which she alone possesses the secret. Nothing could be more modest, and at the same time seductive than her reading of the charmingly melodious and Weberian allegretto (or andante, for it enjoys both titles) - nothing more sparkling, vigorous, exuberant (so to speak) and unrestrained than the Tarentella (prestissimo) which brings the sonata with such satisfying completeness to an end. The performance of this movement - a "movement " (as the author of the notes to the programme justly remarks) which has always imparted, and must always continue to impart, to the sonata in E minor its chief vitality and charm, a movement alike characteristic of the author and showing the versatile range of his powers of imitation and expression " - was a marvel of technical skill combined with perfect taste and genuine poetic feeling. As such, too, it was appreciated by the audience. The second part began with a no less splendid display, on account of even a more masterly if not more interesting work - the violoncello sonata No. 2 (in D) of Mendelssohn - its sweeping, organ-like adagio - and its irresistibly animated finale - a musical gush of animal spirits, an ocean of sound, with rich streams of melody perpetually falling into it. When we have named the performers as Mad. Arabella Goddard and Signor Piatti, we shall be credited in our assertion that the execution was as faultless as it was exciting. The applause at the end was enthusiastic, and the audience would willingly have heard the finale again. The last instrumental piece was Haydn's quartet in G minor (Op. 74, No. 3) - one of the least known. but on no account one of the least worthy to be known, of Haydn's eighty-three quartets (executants, M.M. Sainton, L. Ries, H. Webb, and Piatti). The majority of the audience remained for this quartet, the performance of which was as vigorous and well sustained as the composition itself, and proved a treat to all who heard it. The singers were Mdlle. Corbari - who gave "Voi che sapete " (Figaro) and Schubert's barcarole in A flat minor (again to French words - "Le ciel est pur," especially delighting the audience with the first; and Mr. Wilbye Cooper - who in "Deeper and deeper still" ("Waft her angels") obtained and deserved unanimous applause, and whose second song was a ballad by Miss Virginia Gabriel. Mr. Lindsay Sloper (Mr. Benedict having left, to superintend the production of Die Rose von Erin - or Lily of Killarney - at Stuttgardt) accompanied the vocal music. * The phrase, Der schwer gefasste Entschluss," signifies Resolution taken with difficulty ; Muss es sein ? Es muss sein ?" must be." Schindler, in his biography, has a story, that the housemaid of Beethoven used constantly to annoy him by asking for money, and that she was forced to prove to him, book and almanack in hand, that the week had passed away and the money also. During his last illness, Beethoven would torment the good woman, by muttering the words, "Muss es sein ? - Muss es sein ?"-to the theme of the quartet in question ; while she would answer, "Es muss sein! Es muss sein !" This pleasantry was perpetuated in the last movement - according to some the weakest, according to others the strongest, of the work. Another story goes to say that Beethoven indulged in this species of monologue because he had to satisfy an impatient publisher who would not wait. On the other hand, some of the French writers gather from this movement that at the time of writing it Beethoven was mad - "un fou sublime." These grave authorities even find (or try to find) a mystic sense in the text, "Muss es sein ? "-Analytical Programme. (The Musical world, Saturday, 7 March 1863) Tuesday, 3 March 1863 : Mr. Ransford's Grand Concert at St. James's Hall, Piccadilly. MR. RANSFORD'S GRAND CONCERT, at St. James's Hall, TUESDAY EVENING, March 3. Vocalists: Mesdames Parepa, Weiss, Poole, Marian Moss, Ransford, Palmer, and Sainton-Dolby; Messrs. Sims Reeves, Tennant, John Morgan, Wilbye Cooper, Winn, Allan Irving, and Ransford. The St. George's Choir will sing a selection of their most popular part-songs. Pianoforte, Madame Arabella Goddard and Mr. Sydney Smith; violin, M. Sainton; concertina, Mr. R. Blagrove. Conductors: Messrs. Lindsay Sloper, Francesco Berger, Wilhelm Ganz, Sidney Naylor, Meyer Lutz, and Brinley Richards. Admission, 1s.; body of the hall, 2s.; balcony, 3s.; sofa stalls, 5s. Stalls and tickets at the hall; and of Ransford and Son, 2, Princes-street, Oxford circus. (The Times, Thursday, 19 February 1863) (Also: Morning Post, Wednesday, 25 February 1863; The Standard, Monday, 23 February 1863; Daily News, Monday, 23 February 1863; Morning Post, Monday, 23 February 1863; Daily News, Wednesday, 25 February 1863; The Times, Wednesday, 25 February 1863; London Evening Standard, Thursday, 26 February 1863; The Musical world, Saturday, 28 February 1863; The Times, Tuesday, 24 February 1863.) MR. RANSFORD'S GRAND CONCERT, at St. James's Hall, TUESDAY EVENING, March 3. Vocalists: Mesdames Parepa. Weiss, Poole, Marian Moss, Ransford, Palmer, and Sainton-Dolby; Messrs. Sims Reeves, Tennant, John Morgan, Wilbye Cooper, Winn, Allan Irving, and Ransford. The St. George's Choir will sing a selection of their most popular part-songs. Pianoforte, Madame Arabella Goddard and Mr. Sydney Smith; violin, M. Sainton; concertina, Mr. R. Blagrove. Conductors: Messrs. Lindsay Sloper, Francesco Berger, Wilhelm Ganz, Sidney Naylor, Meyer Lutz, and Brinley Richards. Admission, 1s.; body of the hall, 2s.; balcony, 3s.; sofa stalls, 5s. Stalls and tickets at the hall; and of Ransford and Son, 2, Princes-street, Oxford circus. (Morning Post, Friday, 27 February 1863) (Also: Daily News, Saturday, 28 February 1863.) Mr. Ransford's Grand Concert. That very popular and much-esteemed vocalist, Mr. Ransford gives a grand concert on Tuesday evening at St. James's Hall, when the inducement to patronise this old favourite of a London public will be heightened by the attractions of a very strong programme which has been put forth for the occasion. Besides the names of Mr. and Miss Ransford, we find included those of Miss Poole, Madame Parepa, Madame Weiss, Madame Sainton-Dolby, Miss Palmer, and Miss Marian Moss; with Messrs. Sims Reeves, Tennent, John Morgan, Wilbye Cooper, Winn, Allan Irving, and the St. Georges Choir. Mdme. Arabella Goddard and Mr. Sydney Smith will preside at the piano, and Mr. Sainton and Mr. Blagrove will be the principal executants on the violin and concertina. The conductors will comprise Messrs. Lindsay Sloper, Francesco Berger, Wilhelm Ganz, Meyer Lutz, Sidney Naylor, and Brinley Richards. (The Era, Sunday, 1 March 1863) MR. RANSFORD'S GRAND CONCERT, at St. James's Hall, To-morrow EVENING, March 3. Vocalists: Mesdames Parepa, Weiss, Poole, Marian Moss, Ransford, Palmer, and Sainton-Dolby; Messrs. Sims Reeves, Tennant, John Morgan, Wilbye Cooper, Winn, Allan Irving, and Ransford. The St. George's Choir will sing a selection of their most popular part-songs. Pianoforte, Madame Arabella Goddard and Mr. Sydney Smith; violin, M. Sainton; concertina, Mr. R. Blagrove. Conductors: Messrs. Lindsay Sloper, Francesco Berger, Wilhelm Ganz, Sidney Naylor, Meyer Lutz, and Brinley Richards. Admission, 1s.; body of the hall, 2s.; balcony, 3s.; sofa stalls, 5s. Stalls and tickets at the hall; and of Ransford and Son, 2, Princes-street, Oxford circus. (Morning Post, Monday, 2 March 1863) (Also: The Times, Monday, 2 March 1863.) MR. RANSFORD'S GRAND CONCERT, at St. James's Hall, THIS EVENING, March 3. Vocalists: Mesdames Parepa, Weiss, Poole, Marian Moss, Ransford, Palmer, and Sainton-Dolby; Messrs. Sims Reeves, Tennant, John Morgan, Wilbye Cooper, Winn, Allan Irving, and Ransford. The St. George's Choir will sing a selection of their most popular part-songs. Pianoforte, Madame Arabella Goddard and Mr. Sydney Smith; violin, M. Sainton; concertina, Mr. R. Blagrove. Conductors: Messrs. Lindsay Sloper, Francesco Berger, Wilhelm Ganz, Sidney Naylor, Meyer Lutz, and Brinley Richards. Admission, 1s.; body of the hall, 2s.; balcony, 3s.; sofa stalls, 5s. Stalls and tickets at the hall; and of Ransford and Son, 2, Princes-street, Oxford circus. (Morning Post, Tuesday, 3 March 1863) (Also: The Times, Tuesday, 3 March 1863.) Saturday, 7 March 1863 : 37th Middlesex Rifles (G.G.R.)'s Annual Grand Evening Concert at St. James's Hall, Piccadilly. ST. JAMES's-HALL, Saturday, March 7th. - The ANNUAL GRAND EVENING CONCERT of the 37th Middlesex Rifles (G.G.R.) will take place as above at 8 o'clock. Vocalists - Mlle. Parepa, Mis Palmer, Mr. Sims Reeves and Mr. Lewis Thomas. Instrumentalists - Pianoforte, Madame Arabella Goddard; violin, Mr. Henry Blagrove; violoncello, M. Paque Conductor, Mr. Lindsay Sloper. Tickets - sofa stalls, 5s.; balcony, 3s.; unreserved, 1s., at Austin's ticket-Office 28, Piccadilly; Shaw and Co, 27 Southampton-row W.C.; Brampton and Lake, 21, Great Russell-street; and at the head-quarters of the regiment, Foundling, Guildford-street, between the hours of 9 and 1 daily. (The Times, Tuesday, 24 February 1863) (Also: The Times, Wednesday, 4 March 1863; The Times, Thursday, 5 March 1863.) ST. JAMES's-HALL, To-morrow, March 7th. - The ANNUAL GRAND EVENING CONCERT of the 37th Middlesex Rifles (G.G.R.) will take place as above at 8 o'clock. Vocalists - Mlle. Parepa, Mis Palmer, Mr. Sims Reeves and Mr. Lewis Thomas. Instrumentalists - Pianoforte, Madame Arabella Goddard; violin, Mr. Henry Blagrove; violoncello, M. Paque Conductor, Mr. Lindsay Sloper. Tickets - sofa stalls, 5s.; balcony, 3s.; unreserved, 1s., at Austin's ticket-Office 28, Piccadilly; Shaw and Co, 27 Southampton-row W.C.; Brampton and Lake, 21, Great Russell-street; and at the head-quarters of the regiment, Foundling, Guildford-street, between the hours of 9 and 1 daily. (The Times, Friday, 6 March 1863) Monday, 9 March 1863 : Mr. Arthur Chappell's Monday Popular Concert at St. James's Hall, Piccadilly. MONDAY POPULAR CONCERTS, St. James's-hall - BEETHOVEN NIGHT (by particular desire), on Monday evening next, March 9. The programme will include the Grand Septet for wind and stringed Instruments, the Kreutzer Sonata for pianoforte and violin; and the Moonlight Sonata for pianoforte alone. Pianoforte, M. Chas. Hallé; violin, M. Sainton; clarinet, M. Lazarus. Vocalists, Mlle Corbari and Mr. Wilbye Cooper. Conductor. Mr. Lindsay Sloper. Sofa stalls,5s. ; balcony, 3s.; admission, 1s. Tickets at Chappell and Co.'s, 50, New Bond-street ; and at Austin's, 28. Piccadilly. (The Times, Tuesday, 3 March 1863) (Also: The Times, Wednesday, 4 March 1863; The Times, Thursday, 5 March 1863.) Monday popular concerts.-St. James's hall. BEETHOVEN NIGHT particular desire), on MONDAY EVENING NEXT. MARCH 9. The Programme will include the Grand Septet for wind and stringed Instruments ; the Kreutzer Sonata for Pianoforte and Violin, MM. Chas. Hallé and Sainton ; and the Moonlight Sonata, M. Chas. Hallé, for pianoforte alone. Executants-MM. Chas. Hallé, Sainton, Paque. H. Webb, Lazarus, C. Harper, Hausser, and Severn. Vocalists-Mdlle. Corbari and Mr. Wilbye Cooper. Conductor-Mr. Lindsay Sloper. Sofa Stalls, 5s; Balcony, 3s.; Admission, 1s. Tickets at Chappell and Co.'s, 50, New Bond-street; and Austin's, Piccadilly.[Abridged] (Illustrated London News, Saturday, 7 March 1863) The Popular Concert of Monday last comprised among the instrumental selection - Weber's pianoforte solo Sonata in E minor, and Mendelssohn's Sonata for pianoforte and violoncello in D. Of Weber's four solo sonatas, those in E minor and A flat are most thoroughly representative of his peculiar genius and of the romantic school ; the first-named work bearing especial traces of the composer of "Der Freyschutz," in that combination of wild gloom, melancholy tenderness, and passionate vivacity which places his pianoforte works next after those of Beethoven as the music of characteristic expression. Mendelssohn's Sonata is one of those outpourings of vehement and triumphant joyousness in which, although a work of his middle period, is to be traced much of the influence of his early admiration of Weber's impulsive style, as also of that master's brilliant pianoforte passages. Both these works were, of course, admirably played, the pianists in each case being Madame Arabella Goddard ; the violoncellist, in the latter instance, Signor Piatti. Beethoven's last quartet (op. 135) - one of those marvellous musical reveries which are not yet accepted by those who adhere to the conventional forms of the art - and a quartet by Haydn, completed the instrumental selection. The vocalists were Mademoiselle Corbari, and Mr. Cooper, who replaced Mr. Sims Reeves, absent from indisposition. Mr. Lindsay Sloper, as conductor, was a worthy locum tenens for Mr. Benedict. (The London review of politics, society, literature, art, and science, Saturday, 7 March 1863) MONDAY POPULAR CONCERTS. ST. JAMES'S HALL. AND TWENTY-FIRST CONCERT. MONDAY EVENING, MARCH 9, 1863. Entire Programme (by particular desire) from the Works of BEETHOVEN. PART. 1. GRAND SEPTET. in E flat, op. 20, for Violin, Viola, Clarinet, Horn, Bassoon, Violoncello, and Double Bass. MM. Sainton, WEBB, LAZARUS, C. HARPER, HAUSSER, C. SEVERN, and PAQUE. - Beethoven SONG, "O beauteous daughter of the starry race." Wilbye COOPER. - Beethoven SONG, "A qual furor." (Leonore) Mdlle. CORBARI - Beethoven SONATA, in C sharp minor, Op. 47 (The Moonlight), for Pianoforte alone (No. 13 of Hallé's edition) CHARLES HALLE. - Beethoven PART II. TRIO, in B flat, op. 11, Pianoforte, Clarinet, and violoncello MM. CHARLES HALLE, LAZARUS, PAQUE - Beethoven. SONG, Mr. Wilbye COOPER. - Beethoven o SONG, "Know'st thou the land." Mdlle CORBARI - Beethoven. SONATA, in A, Op. 47 (dedicated to Kreutzer) for Pianoforte and Violin. Mr. CHARLES HALLE and M. SAINTON. - Beethoven. 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 Sonata for Pianoforte, Violin, and Violoncello, an interval of FIVE MINUTES will be allowed. Sofa Stalls, 5s. ; balcony, 3s. Admission, 1s; Tickets to be had of Mr. Austin, at the Hall, 28, Piccadilly ; and of Messrs. CHAPPELL and Co., 50 New Bond Street, (The Musical world, Saturday, 7 March 1863) MONDAY POPULAR CONCERTS, St. James's-hall - BEETHOVEN NIGHT, THIS EVENING, March 9th (by particular desire). Programme.-Part I - Grand septet, in E flat, Op. a0 for violin, viola, clarinet, horn, bassoon, violoncello, and double bass, M. Sainton, M. Webb, Lazarus, C. Harper, Hausser, C. Severn, and Paque - Beethoven; song, "O beauteous daughter of the starry race," Mr. Wilbye Cooper-Beethoven - song, "Sel ver mi dice il cor," Mlle. Corbari - Beethoven; sonata, in C sharp minor, Op. 47 (The Moonlight), for pianoforte alone (No. 13 of Hallé's edition), Mr. Charles Hallé - Beethoven. Part II. Trio, in B flat, Op. 11, for pianoforte, clarinet, and violoncello, MM. Charles Hallé, Lazarus, and Paque - Beethoven; song, Mr. Wilbye Cooper - Beethoven ; song, "Know'st thou the land," Mlle. Corbari - Beethoven; sonata, in A, Op. 47 (dedicated to Kreutzer), for pianoforte and violin, Mr. Charles Hallé and M. Sainton - 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, 50, New Bond-street; Cramer and Co.'s, 201, Regent-street; Keith, Prowse, and Co.'s, 48, Cheapside; and at Austin's, 23, Piccadilly. (The Times, Monday, 9 March 1863) MONDAY POPULAR CONCERTS. The programme of the one hundred and twenty-first concert, which was devoted exclusively to Beethoven, had only a single new feature, but this was of remarkable interest, being no other than the trio in B flat, op. 11, for piano, clarinet and violoncello. It consists of three movements, an allegro, an adagio and an allegretto with variations; the first and last in B flat, the second in E flat. The variations, nine in number - the fourth and seventh of which, in the minor key, are perhaps the most beautiful - are based upon the once popular air, "Pria ch'io l'impegno.'' The work was composed in 1799, and dedicated to the Princess of Thun. It was well received, and will no doubt be soon repeated. The executants were Mr. Charles Hallé, Mr. Lazarus and M. Paque, the last officiating (ably, as usual) for Signor Piatti, whom a professional engagement had called to Amsterdam and whom a professional engagement has re-called to London. The other instrumental pieces were the septet, the pianoforte sonata in C sharp minor ("Moonlight" - described, by the way, as op. 47 on the first page of the programme, op. 87 at the top of the sixth, and op. 27 half-a-dozen lines further down on the same page), and the sonata dedicated to Kreutzer for piano and violin, splendidly executed by MM. Sainton and Hallé, which last also sat at the keys in the "Moonlight." The septet, led by M. Sainton, his associates being Messrs. H. Webb, Lazarus, C. Harper, Haussen, C. Severn and Paque, and the "Kreutzer Sonata" created the old enthusiasm. The singers were Mdlle. Corbari - who gave the grand scena of Leonora (Fidelio) in Italian, and Mignon's song in English ("Know'st thou the Land") - the first with musical intelligence, the last with genuine expression; and Mr. Wilby Cooper, who sang, "Oh, beauteous daughter of the starry race," and "I dream of thee " ("Ich denke dein "), both in his best manner. The accompanist at the pianoforte was Mr. Lindsay Sloper, officiating (ably, as usual) for Mr. Benedict, whom a professional engagement had called to Stuttgard and whom a professional engagement has re-called to London. (The Musical world, Saturday, 14 March 1863) Monday Popular Concerts. The programme of last Monday's concert was composed of works selected from Beethoven, and was, of course, highly appreciated by the audience. The grand Septet in E flat, for clarionet, horn, bassoon, and strings, was most admirably played by MM. Sainton, Webb, Lazarus, C. Harper, Hausser, C. Severn, and Paque. M. Sainton, who led, shone conspicuously, his clear and thrilling tones being heard to great advantage in all the movements. W. Charles Hallé selected the Sonata in C sharp minor, or " Moonlight Sonata," and was encored therein. The Trio in B flat, by MM. Hallé, Lazarus, and Paque, was also unanimously encored, and one movement repeated, and the instrumental portion concluded with the famous "Kreutzer" Sonata (in A), for piano and violin, which was performed with admirable skill by MM. Hallé and Sainton. The vocal music, consisting also of selections from Beethoven's works, was undertaken by Mdlle. Corbari and Mr. Wilbye Cooper, who were extremely well received. Mr. Lindsay Sloper conducted. (The Era, Sunday, 15 March 1863) Saturday, 14 March 1863 : Mr. Howard Glover's Grand Morning Concert at Drury-Lane Theatre. MR. HOWARD GLOVER'S GRAND CONCERT, SATURDAY MORNING, March 14, at Drury-lane Theatre - Mr. Sims Reeves and Madlle. Arabella Goddard, Madlle. Florence Lancia, Miss Bessie Palmer, Miss Lascelles, Miss Rose Hersee, Madlle. Elvira Behrens. Miss Isabella Harrington, Madlle. Georgi, Miss Lucy Leffler, Miss Poole, and by kind permission of the Covent-garden management, Madlle. Parepa. Mr. Henry Phillips has also kindly consented to reappear on this occasion with his two daughters, Madlles. Florence and Alice. Violin, M. Sainton. Conductors, Mr. Howard Glover, Mr. W. Ganz. and Mr. Lindsay Sloper. A grand selection of original Danish Melodies will be given on the occasion, for the first time in England, "Dannemark, Dannemark, helige Lyd," " Fuglen tier Skoven," &c. Also, the Grand Nuptial Music, composed on the occasion of the marriage of the Princess Alexandra of Denmark and the Prince of Wales, by Salaman, State Composer to the King of Denmark. Part. I. Scherzo Allegro Brillant, introducing the National Song of Denmark, "King Christian," as written by Johannes Evald, in the Rahbek's Danske Viser in the middle ages. Part II. Allegro Moderato, introducing the famous Wedding Hymn of Scandinavia, always performed at the marriage ceremony of the Royal Family of Denmark for the last thousand years, supposed to be composed by one of the great northern sea kings at an early period. It is also used as a naval hymn by the sailors of the north, under the title of Tordenskjold Song, or Thunder Cloud. Finale, Grand Wedding March, performed by military bands. Commence at two o'clock. Private boxes, 10s. 6d., 21s., and two guineas stalls, 5s.; dress circle, 4s. ; first circle, 3s. ; upper circle, 2s. ; pit, 2s. ; lower gallery, 1s ; upper gallery, 6d.- Places may be secured at the box-office of the theatre. (Morning Post, Saturday, 7 March 1863) (Also: The Times, Monday, 9 March 1863; Morning Post, Tuesday, 10 March 1863; The Era, Sunday, 8 March 1863.) MR. HOWARD GLOVER'S GRAND MORNING CONCERT, at Drury-lane, SATURDAY, March 14, commencing at two o'clock precisely. PROGRAMME. Part I. Overture, "Der Frieschutz "-Band of the Royal Artillery, conducted by Mr. Smythe. - Weber. Aria, "Ah, Rendimi quel core"- Miss Isabel Harrington - Rossi Air, "Du tambour major " (le Caid) - M. Fontanier - A. Thomas. Duet, "Ah, Mathilde"- Madlle. Parepa and Miss Lascelles - Rossini. New-Song, "A wild wet night"- Miss Bessie Palmer, composed expressly for her by Ignace Gibsone. Scena, "The Return"- Mr. Wilbye Cooper - J. L. Hatton. Duet, "La done prende" - Mr. and Madame Weiss - Mozart. Aria, "In questo semplice "-Madlle. Georgi - Donizetti. Scena, "Com e bello" - Miss Rose Hersee - Donizetti. Fantasia, Pianoforte, " Home, sweet home" -Madame Arabella Goddard - Thalberg. New Ballad, "Expectation" - Mr. Sims Reeves, composed expressly for him by Howard Glover. Air, "Du Village Voisin" - Madlle. Parepa - Auber. Ballad (by desire), "When first those bells" - Mr. George Perren - G. Perren. Fantasia, violin, "Lucrezia Borgia" - M. Sainton - Sainton. Old English Song, "Tom Bowling" - Mr. Sims Reeves - Dibden. Scena, " Bel Raggio" - Mme. Florence Lancia - Rossini. Song - Miss Marian Moss - Bishop. Ballad - Madame Sainton-Dolby. Old English Song, "The Sea Fight" - Mr. Henry Phillips - G. Dryden. Air, " Fanciulle chiel core" - Miss Lascelles - Meyerbeer. Duet, "Te 'l Rammenti" - Madlles. Florence and Alice Campana Patriotic Song, with chorus, "God bless the Prince of Wales" - Mr. Sims Reeves - Brinley Richards. Aria, -'Deh bieni" - Madame Weiss - Mozart. Ballad, "The old house by the Lindens" - Miss Poole - Howard Glover. The Band of the Royal Artillery, conducted by Mr. Smythe, will by kind permission perform the grand Nuptial Music, composed on the occasion of the Marriage of the Princess Alexandra of Denmark and the Prince of Wales, by Saloman State Composer to the King of Denmark. Part I.- Scherzo Allegro .Brillante, introducing the National Song of Denmark, "Christian," as written by Johannes Evald, in the Rahbek's Danske Viser of the Middle Ages. Part ll.- Allegro Moderato, introducing the famous Wedding Hymn of Scandinavia, always performed at the marriage ceremony of the Royal Family of Denmark for the last thousand years, supposed to be composed by one of the great Northern Sea Kings PART II. Grand Duet, piano and violin- Madame Arabella Goddard and M. Sainton. Ballad, "They offer rank to me" - Madlle. Florence - Howard Glover. Song (by desire), "We were boys together" - Mr. W. Weiss - Weiss. Song, "Kathleen Mavourneen" - Miss Isabel Harrington. Double Quartet (National Danish), " Dannemarck, Dannemarck, Helige Lyd" (first time in England) - Madame Weiss, Madame Florence Lancia, Miss Lucy Leffler, Miss Lascelles, Mr. G. Perren, Mr. W. Cooper, Mr. T. Distin, and Mr. Weiss. Romance - Miss Emma Heywood - Randegger. Song. "Sweet spirit hear my prayer" - Madlle. Alice. Aria - Madlle. Elvira Behrens. Duet for two harps- Mr. Balsir Chatterton and Mr. John Thomas - Thomas. Song, 'Bonnie Dundee" - Miss Lucy Leffler - Scottish. "The Wedding March" - by the Band of the Royal Artillery Mendelssohn. Aria- Mr. T. Distin. Song - Miss de Courcy. National Danish songs first time in England - Madame Rudersdorff. Grand Selection, "Don Giovanni" - The Band of the Royal Artillery Mozart. Finale, "God Save the Queen." Conductors - Mr. Howard Glover, Mr. F. Mori, Mr. E. Berger, Mr. W. Ganz, and Mr. Lindsay Sloper. Private boxes, 10s. 6d. to £3 3s.; stalls, 5s. ; dress circle, 4s. ; first circle, 3s. ; upper circle, 2s. ; pit, 2s. ; lower gallery, 1s. ; upper gallery, 6d. (Morning Post, Thursday, 12 March 1863) HOWARD GLOVER'S GRAND CONCERT at DRURY-LANE THEATRE, SATURDAY MORNING, APRIL 18th.- Mr Sims Reeves, Mdme. Sainton-Dolby, Mr Santley, Madame Parepa, Madame Lemmens-Sherrington, Mr and Madame Weiss, Mr. Henry Phillips and his daughters, Misses Florence and Alice; Miss Palmer, Madame Ellinger (Prima Donna of the Imperial Opera, Vienna), Mr Henri Drayton, Madame Florence Lancia, Miss Poole, Madame Arabella Goddard, M. Sainton, M. Benedict, and Mr Lindsey Sloper will appear, in conjunction with other Artists of the highest celebrity, at Mr Howard Glover's Grand Morning Concert, Saturday, April 18th, commencing at Two o'clock. Stalls, 5s. To be had of Duncan, Davidson and Co., 240, Regent-street, and all the principal Libraries end Musicsellers. MR. HOWARD GLOVER'S GRAND CONCERT, at Drury-lane Theatre, on SATURDAY AFTERNOON, April 18, commencing at two o'clock precisely. Mr. Sims Reeves will sing a new ballad called "Expectation" (composed expressly for him by Mr. Howard Glover), Dibdin's celebrated old English song "Poor Tom Bowling," and Mr. Brinley Richards's "God bless the Prince of Wales." Mr. Santley will sing the Poet Laureate's "Welcome to Alexandra," set to music (By kind permission) expressly for Mr. Santley by Mr. Howard Glover. Mlle Parepa will sing a selection of Danish melodies, Bellini's "Ah non giunge," from "La Sonnambula," &c. Madame Sainton-Dolby will sing two of her most popular songs. Miss Poole will sing Longfellow's "The old house by the Lindens" (Howard Glover), and "Wapping Old Stairs," Mr. W. Weiss will sing his two most popular songs, "We were boys together," and "The Village Blacksmith" (W. Weis), and a duet with Madame Weiss, Miss Palmer will sing "A wild wet night" (first time), composed expressly for her by Ignace Gibsone. Henry Phillips will sing "The Arethusa" and his daughters, Misses Florence and Alice Phillips, Campana's duet."Te 'l Rammenti," &c. Mme. Arabella Goddard will perform a grand fantasia on the pianoforte, and take part in a concertante duet with M. Sainton, who will also play his celebrated fantasia on themes from Verdi's "Rigoletto." The following artists will likewise appear - Mme. Florence Lancia, Mr. Henri Drayton, Mr. David Miranda, Mme. Ellinger (prima donna from the Imperial Opera, Vienna), Mlle. Georgi, Miss Rose Hersee, Miss Marian Moss, Miss Emily Soldene, Miss Isabel Harrington, Miss Florence de Courcy and Mlle. Elvira Behrens, Conductors - Mr. Benedict, Mr. Howard Glover, Mr. E. Berger, Mr. F. Mori, and Mr. Lindsay Sloper, Further particulars will be duly announced. Private boxes, 10s. 6d. to £S3 3s.; stalls, 5s.; dress circle, 4s.; first circle, 3s.; upper circle, 2s.; pit, 2s.; lower gallery, 1s. ; upper gallery, 6d. Box-office open from 11 to 5 daily. (The Times, Wednesday, 8 April 1863) (Also: The Era, Sunday, 12 April 1863; The Times, Wednesday, 15 April 1863.) MR. HOWARD GLOVER'S GRAND CONCERT, at Drury-lane Theatre, on SATURDAY AFTERNOON, April 18, commencing at two o'clock precisely. Mr. Sims Reeves will sing a new ballad called "Expectation" (composed expressly for him by Mr. Howard Glover), Dibdin's celebrated old English song "Poor Tom Bowling," and Mr. Brinley Richards's "God bless the Prince of Wales." Mr. Santley will sing the Poet Laureate's "Welcome to Alexandra," set to music (By kind permission) expressly for Mr. Santley by Mr. Howard Glover. Mlle Parepa will sing a selection of Danish melodies, Bellini's "Ah non giunge," from "La Sonnambula," &c. Madame Sainton-Dolby will sing two of her most popular songs. Miss Poole will sing Longfellow's "The old house by the Lindens" (Howard Glover), and "Wapping Old Stairs," Mr. W. Weiss will sing his two most popular songs, "We were boys together," and "The Village Blacksmith" (W. Weis), and a duet with Madame Weiss, Miss Palmer will sing "A wild wet night" (first time), composed expressly for her by Ignace Gibsone. Henry Phillips will sing "The Arethusa" and his daughters, Misses Florence and Alice Phillips, Campana's duet."Te 'l Rammenti," &c. Mme. Arabella Goddard will perform a grand fantasia on the pianoforte, and take part in a concertante duet with M. Sainton, who will also play his celebrated fantasia on themes from Verdi's "Rigoletto." The following artists will likewise appear - Mme. Florence Lancia, Mr. Henri Drayton, Mr. David Miranda, Mme. Ellinger (prima donna from the Imperial Opera, Vienna), Mlle. Georgi, Miss Rose Hersee, Miss Marian Moss, Miss Emily Soldene, Miss Isabel Harrington, Miss Florence de Courcy and Mlle. Elvira Behrens, Conductors - Mr. Benedict, Mr. Howard Glover, Mr. E. Berger, Mr. F. Mori, and Mr. Lindsay Sloper, Further particulars will be duly announced. Private boxes, 10s. 6d. to £S3 3s.; stalls, 5s.; dress circle, 4s.; first circle, 3s.; upper circle, 2s.; pit, 2s.; lower gallery, 1s. ; upper gallery, 6d. Box-office open from 11 to 5 daily. (The Times, Saturday, 11 April 1863) MR. HOWARD GLOVER'S GRAND MORNING CONCERT, at Drury-lane Theatre, on SATURDAY next, April 18, commencing at two o'clock. PROGRAMME. Duet- Miss Emily Soldine and Miss Florence DeCourcy - Mendelssohn. Ballad, "Regret"- Miss Emily Soldine - Linley. Song - Mr. Henri Drayton - H. Russell. Aria- Madlle Elvira Behrens - Rossini. Grand Fantasi. (violin) "Rigoletto " - M. Sainton - Sainton. New Song, "The Mountaineer's Wife" - Madame Sainton-Dolby - G. Macfarren. Aria, "In questo semplice" - Madlle. Georgi - Donizetti. Duet, "La done prende" - Mr. and Madame Weiss - Mozart. Grand Aria, "Bel Raggio" - Mme. Florence Lancia - Rossini. New Song, "The Gallant Knight" - .Mr. W. Weiss (composed expressly for him) - J.L. Hatton. Grand Duo Concertante (piano and violin) -Madame Arabella Goddard and M. Sainton. Osborne and de Beriot. song, "Where the bee sucks"- Miss Banks - Arthur Sullivan. New Song, "Welcome Alexandra" (words by Mr. Alfred Tennyson) - Mr. Santley (composed expressly for him) - Howard Glover. Song - Miss Rose Herse - Meyerbeer. Rode's Air, with variations.- Madame Lemmens-Sherrington. Ballad, "Janet's Choice"- Madame Sainton-Dolby - Claribel. Duet, "Je'l Rammenti"- Madlles. Alice and Florence Phillips -Campana. New Ballad, "Expectation" - Mr. Sims Reeves (composed expressly for him) - Howard Glover. National Danish Melodies, Madlle. Parepa. Ballad, "The old house by the Lindens," Miss Poole - Howard Glover. Song, " Poor Tom Bowling," Mr. Sims Reeves - Dibdin. Aria, "Ah quell giorno," Madame Laura Baxter - Rossini. Song, "Love sounds the alarm," Mr. Daniel Miranda - Handel. Old Song, "The Arethusa," Mr. Henry Phillips - Dryden. Grand Aria, "O mon fils, " Madame Theresa Ellinger - Meyerbeer. New Song, "A wild, wet night," Miss Palmer (composed expressly for her) - Ignace Gibsone. Ballad (by desire) "We were boys together," Mr. W. Weiss - W. Weiss. Grand Aria, "Ah non giunge" Madlle. Parepa - Bellini. Song, "God bless the Prince of Wales," Mr. Sims Reeves - Brinley Richards. Grand Fantasia (pianoforte), Mdme. Arabella Goddard - Thalberg. Ballad, "There's one who reared me," Madame Weiss - Balfe. Song, "They offer rank," Madame Florence Phillips - Howard Glover. Old Ballad, "Wapping old stairs," Miss Poole - Rossini. Grand Air, Madame Theresa Ellinger. Romanza, Miss Alice Phillips - Verdi. Song, "Lo, hear the gentle lark," Miss Marian Moss - Bishop. Song, Miss Isabel Harrington. Aria, "Deserto salla terra," Mr. Daniel Miranda - Verdi. Air, Miss Florence de Courcy Song, Miss Isabel Harrington - Verdi. Finale. Conductors - Mr. Benedict, Mr. Howard Glover, Mr E. Berger, Mr. W. Ganz, Mr. J. L. Hatton, Mr. F. Mori, and Mr. Lindsay Sloper. Private boxes, 10s. 6d. to £3 3s.: stalls, 5s.; dress circle, 4s. ; first circle, 3s. ; upper boxes, 2s; pit, 2s., lower gallery, 1s. ; upper gallery, 6d. Tickets to be had at the box-office of the theatre, from ten to five daily, and at the principal musicsellers and librarians. (Morning Post, Thursday, 16 April 1863) MR. HOWARD GLOVER'S GRAND MORNING CONCERT, at Drury-lane Theatre, TO-MORROW (SATURDAY), commencing at two o'clock. PROGRAMME. Duet- Miss Emily Soldine and Miss Florence DeCourcy - Mendelssohn. Ballad, "Regret"- Miss Emily Soldine - Linley. Song - Mr. Henri Drayton - H. Russell. Aria- Madlle Elvira Behrens - Rossini. Grand Fantasi. (violin) "Rigoletto " - M. Sainton - Sainton. New Song, "The Mountaineer's Wife" - Madame Sainton-Dolby - G. Macfarren. Aria, "In questo semplice" - Madlle. Georgi - Donizetti. Duet, "La done prende" - Mr. and Madame Weiss - Mozart. Grand Aria, "Bel Raggio" - Mme. Florence Lancia - Rossini. New Song, "The Gallant Knight" - .Mr. W. Weiss (composed expressly for him) - J.L. Hatton. Grand Duo Concertante (piano and violin) -Madame Arabella Goddard and M. Sainton. Osborne and de Beriot. song, "Where the bee sucks"- Miss Banks - Arthur Sullivan. New Song, "Welcome Alexandra" (words by Mr. Alfred Tennyson) - Mr. Santley (composed expressly for him) - Howard Glover. Song - Miss Rose Herse - Meyerbeer. Rode's Air, with variations.- Madame Lemmens-Sherrington. Ballad, "Janet's Choice"- Madame Sainton-Dolby - Claribel. Duet, "Je'l Rammenti"- Madlles. Alice and Florence Phillips -Campana. New Ballad, "Expectation" - Mr. Sims Reeves (composed expressly for him) - Howard Glover. National Danish Melodies, Madlle. Parepa. Ballad, "The old house by the Lindens," Miss Poole - Howard Glover. Song, " Poor Tom Bowling," Mr. Sims Reeves - Dibdin. Aria, "Ah quell giorno," Madame Laura Baxter - Rossini. Song, "Love sounds the alarm," Mr. Daniel Miranda - Handel. Old Song, "The Arethusa," Mr. Henry Phillips - Dryden. Grand Aria, "O mon fils, " Madame Theresa Ellinger - Meyerbeer. New Song, "A wild, wet night," Miss Palmer (composed expressly for her) - Ignace Gibsone. Ballad (by desire) "We were boys together," Mr. W. Weiss - W. Weiss. Grand Aria, "Ah non giunge" Madlle. Parepa - Bellini. Song, "God bless the Prince of Wales," Mr. Sims Reeves - Brinley Richards. Grand Fantasia (pianoforte), Mdme. Arabella Goddard - Thalberg. Ballad, "There's one who reared me," Madame Weiss - Balfe. Song, "They offer rank," Madame Florence Phillips - Howard Glover. Old Ballad, "Wapping old stairs," Miss Poole - Rossini. Grand Air, Madame Theresa Ellinger. Romanza, Miss Alice Phillips - Verdi. Song, "Lo, hear the gentle lark," Miss Marian Moss - Bishop. Song, Miss Isabel Harrington. Aria, "Deserto salla terra," Mr. Daniel Miranda - Verdi. Air, Miss Florence de Courcy Song, Miss Isabel Harrington - Verdi. Finale. Conductors - Mr. Benedict, Mr. Howard Glover, Mr E. Berger, Mr. W. Ganz, Mr. J. L. Hatton, Mr. F. Mori, and Mr. Lindsay Sloper. Private boxes, 10s. 6d. to £3 3s.: stalls, 5s.; dress circle, 4s. ; first circle, 3s. ; upper boxes, 2s; pit, 2s., lower gallery, 1s. ; upper gallery, 6d. Tickets to be had at the box-office of the theatre, from ten to five daily, and at the principal musicsellers and librarians. (Morning Post, Friday, 17 April 1863) MR. HOWARD GLOVER'S GRAND MORNING CONCERT, at Drury-lane Theatre, THIS SATURDAY, commencing at two o'clock. PROGRAMME. Duet- Miss Emily Soldine and Miss Florence DeCourcy - Mendelssohn. Ballad, "Regret"- Miss Emily Soldine - Linley. Song - Mr. Henri Drayton - H. Russell. Aria- Madlle Elvira Behrens - Rossini. Grand Fantasi. (violin) "Rigoletto " - M. Sainton - Sainton. New Song, "The Mountaineer's Wife" - Madame Sainton-Dolby - G. Macfarren. Aria, "In questo semplice" - Madlle. Georgi - Donizetti. Duet, "La done prende" - Mr. and Madame Weiss - Mozart. Grand Aria, "Bel Raggio" - Mme. Florence Lancia - Rossini. New Song, "The Gallant Knight" - .Mr. W. Weiss (composed expressly for him) - J.L. Hatton. Grand Duo Concertante (piano and violin) -Madame Arabella Goddard and M. Sainton. Osborne and de Beriot. song, "Where the bee sucks"- Miss Banks - Arthur Sullivan. New Song, "Welcome Alexandra" (words by Mr. Alfred Tennyson) - Mr. Santley (composed expressly for him) - Howard Glover. Song - Miss Rose Herse - Meyerbeer. Rode's Air, with variations.- Madame Lemmens-Sherrington. Ballad, "Janet's Choice"- Madame Sainton-Dolby - Claribel. Duet, "Je'l Rammenti"- Madlles. Alice and Florence Phillips -Campana. New Ballad, "Expectation" - Mr. Sims Reeves (composed expressly for him) - Howard Glover. National Danish Melodies, Madlle. Parepa. Ballad, "The old house by the Lindens," Miss Poole - Howard Glover. Song, " Poor Tom Bowling," Mr. Sims Reeves - Dibdin. Aria, "Ah quell giorno," Madame Laura Baxter - Rossini. Song, "Love sounds the alarm," Mr. Daniel Miranda - Handel. Old Song, "The Arethusa," Mr. Henry Phillips - Dryden. Grand Aria, "O mon fils, " Madame Theresa Ellinger - Meyerbeer. New Song, "A wild, wet night," Miss Palmer (composed expressly for her) - Ignace Gibsone. Ballad (by desire) "We were boys together," Mr. W. Weiss - W. Weiss. Grand Aria, "Ah non giunge" Madlle. Parepa - Bellini. Song, "God bless the Prince of Wales," Mr. Sims Reeves - Brinley Richards. Grand Fantasia (pianoforte), Mdme. Arabella Goddard - Thalberg. Ballad, "There's one who reared me," Madame Weiss - Balfe. Song, "They offer rank," Madame Florence Phillips - Howard Glover. Old Ballad, "Wapping old stairs," Miss Poole - Rossini. Grand Air, Madame Theresa Ellinger. Romanza, Miss Alice Phillips - Verdi. Song, "Lo, hear the gentle lark," Miss Marian Moss - Bishop. Song, Miss Isabel Harrington. Aria, "Deserto salla terra," Mr. Daniel Miranda - Verdi. Air, Miss Florence de Courcy Song, Miss Isabel Harrington - Verdi. Finale. Conductors - Mr. Benedict, Mr. Howard Glover, Mr E. Berger, Mr. W. Ganz, Mr. J. L. Hatton, Mr. F. Mori, and Mr. Lindsay Sloper. Private boxes, 10s. 6d. to £3 3s.: stalls, 5s.; dress circle, 4s. ; first circle, 3s. ; upper boxes, 2s; pit, 2s., lower gallery, 1s. ; upper gallery, 6d. Tickets to be had at the box-office of the theatre, from ten to five daily, and at the principal musicsellers and librarians. (Morning Post, Saturday, 18 April 1863) Mr. Howard Glover gave a monster morning concert at Drury-lane Theatre, on Saturday last. The list of artistes whose names figured in the programme is a curiosity. Amongst the instrumentalists were Mdme. Isabella Goddard, and Mr. Sainton, Mr. Benedict, Mr. Howard Glover, Mr. E. Berger, Mr. W. Ganz, Mr. J. T. Hutton, Mr. F. Mori, and Mr. Lindsay Sloper. The vocalists were Mlle. Theresa Ellinger, Mlle. Parepa, Mlle. Laura Baxter, Miss Emily Soldene, Miss Florence de Courcy, Mme. Florence Lancia, Miss Isabel Harrington, Mme. Sainton-Dolby, Mlle. Elvina Behrens, Mlle. Georgi, Mrs. Weiss, Mme. Lemmens-Sherrington, Miss Rose Hersee, Misses Alice and Florence Phillips, Miss Banks, Miss Palmer, Miss Marion Moss, Mr. Sims Reeves, Mr. D. Miranda, Mr. Weiss, Mr. Henry Drayton, Mr. Henry Phillips, and Mr. Santley. There is a special suburban public for these entertainments who bravely sit out the scheme of four hours' duration. (The Lady's Newspaper & Pictorial Times, Saturday, 25 April 1863) Friday, 1 May 1863 : Concert for the Royal Hospital for Incurables at St. James's Hall, Piccadilly. MADAME LIND-GOLDSCHMIDT. THIS EVENING. St. James's Hall, Piccadilly, GRAND PERFORMANCE, in AID of the HOSPITAL for INCURABLES, Putney, of Handel's Cantata, L'ALLEGRO and IL PENSIEROSO (Poetry by Milton), commencing at eight o'clock precisely. Vocalists : Madame Goldschmidt, Madame Lemmens-Sherrington, Miss Lascelles, Mr. Montem Smith, and Mr. W. H. Weiss. Band and Chorus of 250 performers. Conductor, Mr. Otto Goldschmidt. At the piano, Mr. Lindsay Sloper ; organ, Mr. Hopkins.- Tickets, 7s., and 10s. 6d.; reserved and numbered, one guinea ; may be obtained at Mitchell's Royal Library, 33, Old Bond-street Addison and Lucas, 210, Regent-street : Keith and Prowse, Cheapside ; Austin's ticket-office, St. James's Hall ; and at the offices of the Hospital, 10, Poultry. (Morning Post, Friday, 1 May 1863) (Also: The Times, Friday, 1 May 1863.) ST. JAMES'S HALL. Last evening performance of Handel's cantata, "L" Allegro ed il Penseroso," preceded by the same master's orchestral concerto for stringed instruments, No. 12, was given at the St. James's Hall, in aid of the Hospital for Incurables at Putney. Mr. and Madame Goldschmidt kindly gave their services on the occasion, and were assisted by Madame Lemmens-Sherrington, Miss Lascelles, Mr. Montem Smith, and Mr. W. H. Weiss, as vocalists ; with Mr. Lindsay Sloper, Mr. E Hopkins, Mr. S. Pratten, Mr. C. Harper, and Mr. Pettit as principals in the instrumental department. There is no overture to this cantata, which, when first produced at the Lincoln's-inn Theatre in 1740, was preceded by one of the twelve concertos (composed by Handel in 1739) to which the one performed last night belongs. Mr. Otto Goldschmidt was evidently desirous to approach as nearly as possible to the manner in which "L' Allegro ed il Penseroso" was originally presented to the public ; but we thank him nevertheless for omitting the "II Moderato" which Mr. Charles Jennens had the audacity to add to Milton's poems, and Handel, with all his greatness, was weak enough to set, because the author was his friend. The minds of Milton and Handel, combined should, one would naturally think have produced something surpassingly fine, and yet they have not done so, most certainly, in this instance. The laughing chorus, "Haste ye nymph," is doubtless a genuine inspiration from end to end, and there are other things of remarkable merit in the cantata, but as a whole it is dull and heavy - one of Handel's weakest works. It was very finely performed on this occasion. Mme. Goldschmidt-Lind sang superbly throughout. Her voice was in much better condition than when we heard it last year, and her execution, grand in style and full of truthful expression, was such as we had a right to look for from a vocalist who, in music of this description, has always been pre-eminently great. It were difficult to select any one of Madame Lind's efforts for special praise, but we may record that her delivery of the trying song, "Sweet bird" (the flute obbligato to which was played to perfection by Mr. S. Pratten), produced the greatest effect upon the audience, who demanded a repetition of it, heedless of the difficulty, we might perhaps say the impossibility, of going through so long and exhausting a piece twice in succession. Madame Lemmens-Sherrington exerted herself to the utmost, and in more than one instance fairly shared the honours of the evening with her formidable rival. Madame Sherrington's charming execution of "Come and trip it as you go" elicited rapturous applause. The fine voice of Miss Lascelles was heard to the best advantage in " There held in holy passion," and "Hence ! vain deluding joys ;" and the small but important part assigned to the bass was done ample justice to by Mr. Weiss. Mr. Montem Smith sang the tenor music carefully and correctly as he sings everything, but with very little expression. The glorious air "Haste ye nymph" came but weakly from his lips, and made little effect. A numerous and admirable band and chorus under the able direction of Mr. Otto Goldschmidt executed all the concerted music irreproachably. In a pecuniary sense the concert must have been a great success, for the hall was densely crowded at very high prices. (Morning Post, Saturday, 2 May 1863) ST. JAMES'S HALL. A performance of Handel's cantata, L'Allegro and Il Penseroso in aid of the funds of the Royal Hospital for Incurables, at Putney, was given last night at the above hall. M. and Madame Goldschmidt (Jenny Lind) most generously tendering their services. A band and chorus of two hundred and fifty performers was engaged, Madams Lemmens-Sherrington, Miss Lascelles Montem Smith and Weiss assisting as solo vocalists. The cantata was preceded by Handel's orchestral concerto for string instruments, in B, No. 12. M. Otto Goldschmidt conducted the whole performance. Handel's cantata, or ode, L'Allegro, Il Penseroso and Il Moderato, was first performed in February, 1740, the year in which Saul, Israel in Egypt, and .St. Cecilia's Day were produced. The third part of the cantata, Il Moderato, was added to Milton's poem by Charles Jennens, who also compiled the poems of the Messiah and Belshazzar, and was an intimate friend of Handel's. As originally planned and composed the first two parts of the cantata, consisted of a discussion between Allegro (tenor) and Penseroso (soprano), each accompanied by a chorus which supports their argument diversely for mirth or sadness ; and the third part advised the adoption of the happy medium. Subsequently, out of respect for Milton, we should suppose, the Moderate part was dissociated from the Allegro and the Penseroso and Handel's music to a certain extent sacrificed. We should certainly prefer submitting to the infliction of Jennens's verses -- which, however, if we are to believe Handel, expressed in a letter to the poet, were vastly admired by the people of Dublin - to losing Handel's music, which, considering that the cantata was conceived and developed in three parts, must, it may naturally be inferred, lose by any one of the parts being taken away. Reverence for a 'real ' poet is a natural and commendable feeling ; but nothing can excuse the mutilation of an important work by a great composer. One reason why the Moderato has been universally rejected may be that the two movements of the Cantata are found sufficiently long. L'Allegro and Il Penseroso has not enjoyed the popularity of Ada and Galatea, the ode on St Cecilia's Day, or Alexander's Feast and has rarely been performed. The last time it appeared in public was years since, under Mr. Hullah's direction, and then the first part only was given. As the performance last evening occupied nearly three hours the omission of the third part was not objected to and, in fact the audience felt at the end that they had had quite enough of vocal music for one evening. As the concert was given for charitable purposes we are not called upon to enter upon any minute criticism. It is impossible, however, to avoid directing attention to the feeling - the one noble feeling which ruled her artistic life - which actuated Madame Lind-Goldschmidt to quit the privacy of her domestic hearth and lift up her voice in the holy cause of charity; and just as impossible to leave unexpressed our admiration of her singing, which last night, even with the unmistakeable evidence of a failing organ, still showed the supreme artist, the immeasurably great mistress of vocalisation. In this distribution of parts, if we may so speak, Madame Lind-Goldschmidt sang the Penseroso music, the finest and most difficult of the work. The air with flute obligato, ''Sweet bird, that shunn'd the noise of folly, " indeed, is a bravura, more taxing and more arduous than Rejoice greatly" or "Let the bright Seraphim;" and we cannot recall any one performance of Jenny Lind that so powerfully exhibits those great qualities which have given her a name in history. The air, "Come rather, goddess, sage and holy,'' depends more upon expression and gradations of tone than voice facility, but Madame Goldschmidt's success was no less triumphant in the expressive than in the florid and grand declamatory style. The company was large and fashionable; and as the terms of admission were unusually high something handsome will be realised towards the fund. A word must suffice to record the services rendered to the performance by the solo artists named above ; also to commend the band and chorus, who exerted themselves with the utmost zeal and energy; and, finally, to tender a compliment to Mr. Otto Goldschmidt, for his excellent conducting, and to Mr. Lindsay Sloper, for his no less excellent pianoforte playing, small but important in the score of L'Allegro and Il Penseroso. (The Standard, Saturday, 2 May 1863) Madame Jenny Lind Goldschmidt's Concert. Last night a grand concert was given in St. James's-hall at which the whole of the music composed by Handel to Milton's L'Allegro and Il Penseroso, was performed by a thoroughly efficient band and chorus, under the direction of Herr Otto Goldschmidt. The concert was in aid of the Royal Hospital for Incurables at Putney; and with that generosity for which they have long been honourably distinguished Madame Goldschmidt and her husband contributed their gratuitous services. The other principal singers were Madame Lemmens Sherrington, Miss Lascelles, Mr. Montem Smith, and Mr. Weiss; Mr. Edward Hopkins presided at the organ, and Mr. Lindsay Sloper at the piano. The hall was crowded in every part by a brilliant and fashionable company. Enough at present that the performance was in almost every respect admirable, and that madame Goldschmidt was received with the accustomed enthusiasm. (The Times, Saturday, 2 May 1863) ST. JAMES'S HALL.-MADAME LIND-GOLDSCHMIDT. Last evening Madame Lind-Goldschmidt and her husband gave their services at a concert in aid of the funds of the hospital for Incurables at Putney. The performance was the music of Handel's cantata, L'Allegro ed II Fenseroso, wedded to Milton's immortal verse. The vocalists, beside Madame Goldschmidt, were Madame Lemmens-Sherrington, Miss Lascelles, Mr. Montem Smith, and Mr. Weiss; Mr. Lindsay Sloper and Mr. E. Hopkins accompanied on the pianoforte and organ ; and Mr. Otto Goldschmidt conducted the band and chorus of 200 voices. Madame Goldschmidt was in full brilliancy. Several times the delighted auditory would fain have had a repetition of an air. This was especially the case with "Sweet bird that shunn'st the noise of folly," and again in the air (II Penseroso), "Oft on a plat of rising ground." Madame Lemmens-Sherrington, too, earned "golden opinions" by her bright and laughing interpretation of (Allegro) Come, and trip it you go," " Mirth, admit me of thy crew," and the latter half of Miss Lascelles' air, "Sometime let gorgeous tragedy," beginning at the words "But, sad virgin," with its sweet and tender close. Mr. Weiss, with his sound and broad style, in "Mirth, admit me of thy crew" and "Orpheus himself may heave his head," gave effective aid. The helpless sufferers relieved by the excellent charity to which Madame Goldschmidt devoted this labour of love will, doubtless, bless the syren voice of her once known as The Swedish Nightingale. (Bell's Weekly Messenger, Saturday, 2 May 1863) ST. JAMES'S HALL.-MADAME LIND-GOLDSCMIDT. Last evening Madame Lind-Goldschmidt and her husband gave their services at a concert in aid of the funds of the hospital for Incurables at Putney. The performance was the music of Handel's cantata, L'Allegro ed II Fenseroso, wedded to Milton's immortal verse. The vocalists, beside Madame Goldschmidt, were Madame Lemmens-Sherrington, Miss Lascelles, Mr. Montem Smith, and Mr. Weiss; Mr. Lindsay Sloper and Mr. E. Hopkins accompanied on the pianoforte and organ ; and Mr. Otto Goldschmidt conducted the band and chorus of 200 voices. Madame Goldschmidt was in full brilliancy. Several times the delighted auditory would fain have had a repetition of an air. This was especially the case with "Sweet bird that shunn'st the noise of folly," and again in the air (II Penseroso), "Oft on a plat of rising ground." Madame Lemmens-Sherrington, too, earned "golden opinions" by her bright and laughing interpretation of (Allegro) Come, and trip it you go," " Mirth, admit me of thy crew," and the latter half of Miss Lascelles' air, "Sometime let gorgeous tragedy," beginning at the words "But, sad virgin," with its sweet and tender close. Mr. Weiss, with his sound and broad style, in "Mirth, admit me of thy crew" and "Orpheus himself may heave his head," gave effective aid. The helpless sufferers relieved by the excellent charity to which Madame Goldschmidt devoted this labour of love will, doubtless, bless the syren voice of her once known as The Swedish Nightingale. (Morning Advertiser, Saturday, 2 May 1863) (Also: Bell's Weekly Messenger, Monday, 4 May 1863.) CONCERT FOR THE ROYAL HOSPITAL FOR INCURABLES. Madame Lind Goldschmidt made an addition to the many acts of beneficence which have distinguished her career by singing at the above concert on Friday evening at St. James's-hall; the concert having been set on foot and arranged by her exertions and those of Mr. Goldschmidt, by whom it was conducted. The performance was of a most interesting character, consisting of Handel's Cantata, L'Allegro ed il Pensiero; a work which, notwithstanding its celebrity, is very little known to the public, having never, we believe, been performed entire within the memory of the present generation. On this occasion it was not only performed entire, but most carefully prepared for performance by Mr. Goldschmidt. The solo singers were Madame Lind Goldschmidt, Madame Lemmens Sherrington, Miss Lascelles, Mr. Montem Smith, and Mr. Weiss. The band and chorus were 200 strong; Mr. Lindsay Sloper was at the piano, and Mr. Hopkins was the organist. The performance was in every respect admirable. Madame Goldschmidt sang superbly. Her voice was as brilliant and powerful as ever, and she showed that artistic purity of style and earnestness of feeling for which she has always been so greatly distinguished. The audience were evidently delighted with music full of the composer's characteristic beauties, and to modern ears possessing all the freshness and charm of novelty. The hall was crowded in every part, and the benevolent objects of the givers of the concert must have been amply realised. (Daily News, Monday, 4 May 1863) Jenny Lind's Re-Appearance.-St. James's Hall, London, was crowded on Friday night to hear Madame Lind Goldschmidt in Handel's seldom performed " L'Allegro ed il Penseroso." She was assisted by Madame Lemmens-Sherrington, and also by Miss Lascelles, Mr. Montem Smith, and Mr. Weiss. Mr. Otto Goldschmidt conducted ; Mr. Hopkins presided at the organ, and on Mr. Lindsay Sloper devolved the task of playing the rare piano-forte accompaniments. The. concert was given in aid of the Putney Hospital for Incurables. Madame Goldschmidt's singing of the air with flute obligato, "Sweet bird that shunn'st the noise of folly," excited bursts of enthusiastic applause. (Carlisle Journal, Tuesday, 5 May 1863) (Also: Carlisle Journal, Friday, 8 May 1863.) St James's Hall, London, was crowded on Friday night to hear Madame Lind-Goldschmidt in Handel's seldom-performed " L'Allegro ed il Penseroso." She was assisted by Madame Lemmens-Sherrington, and also by Miss Lascelles, Mr. Montem Smith, and Mr. Weiss. Mr. Otto Goldschmidt conducted; Mr. Hopkins presided at the organ, and on Mr. Lindsay Sloper devolved the task of playing the rare piano-forte accompaniments. The concert was given in aid of the Putney Hospital for Incurables. Madame Goldschmidt's singing of the air, with flute obligato," Sweet bird that shunn'st the noise of folly," excited bursts of enthusiastic applause. (Leicester Journal, Friday, 8 May 1863) Madame Jenny Lind-Goldschmidt's Concert.- On Friday night a grand concert was given in St James's-hall, London, at which the whole of the music composed by Handel to Milton's L'Allegro and Il Penseroso was performed by a thoroughly efficient band and chorus under the direction of Herr Otto Goldschmidt. The concert was in aid of the Royal Hospital for Incurables at Putney ; and with that generosity for which they have long been honourably distinguished, Madame Goldschmidt and her husband contributed their gratuitous services. The other principal singers were Madame Lemmens Sherrington, Miss Lascelles, Mr. Montem Smith, and Mr. Weiss ; Mr. Edward Hopkins presided at the organ, and Mr. Lindsay Sloper at the piano. The hall was crowded in every part by a brilliant and fashionable company. The performance was in almost every respect admirable, and Madame Goldschmidt was received with the accustomed enthusiasm. (Nottinghamshire Guardian, Friday, 8 May 1863) Jenny Lind's at St. James's Hall.-St. James's Hall, London, was crowded on Friday night to hear Madame Lind Goldschmidt in Handel's seldom performed " L'Allegro ed il Penseroso." She was assisted by Madame Lemmens-Sherrington, and also by Miss Lascelles, Mr. Montem Smith, and Mr. Weiss. Mr. Otto Goldschmidt conducted ; Mr. Hopkins presided at the organ, and on Mr. Lindsay Sloper devolved the task of playing the rare pianoforte accompaniments. The. concert was given in aid of the Putney Hospital for Incurables. Madame Goldschmidt's singing of the air with flute obligato, "Sweet bird that shunn'st the noise of folly," excited bursts of enthusiastic applause. (Cheshire Observer, Saturday, 9 May 1863) (Also: Paisley Herald and Renfrewshire Advertiser, Saturday, 9 May 1863; Leeds Intelligencer, Saturday, 9 May 1863.) The concert, in aid of the funds of a most excellent institution, the Putney Royal Hospital for Incurables, on Friday last, at St. James's-hall, was rendered remarkable by a fine performance of Handel's Cantata, "L'Allegro" and "Il Penseroso," conducted by Herr Otto Goldschmidt. The cantata itself, in its complete form, is not likely to be heard. It belongs to a past age; it is a musical curiosity, which it is as hopeless to render popular as it would be to revive the Italian operas of Handel. It is hard to write this simple truth, because idol worship is so overwhelming in its influence that to mention Handel's name with any hint that he was dull or heavy and a confirmed plagiarist, is resented as sacrilegious writing. As Homer nodded, however, Handel was at times equally somniferous, and a greater antidote to mirth, despite the repeated demand of the singers to be admitted of the "crew," is scarcely to be conceived than the "Allegro." Its ponderosity is only relieved by the laughing chorus, "Haste ye nymphs," most lugubriously sung by Mr. Montem Smith, and the bravura duet with the flute, "Sweet bird." The latter was warbled by Mlle. Lind-Goldschmidt, who was still enabled to display the perfection of her shake and the excellence of her style, but the voice, alas ! it is a wreck - Rome in ruins - grand in decay, belonging to the past by association, but melancholy not the less. By the side of the once-famed Swedish nightingale was the sympathetic organ of a young Yorkshire vocalist, Mde. Lemmens-Sherrington, whose cheerful style and smiling visage gave some vitality to the air and chorus "Come and trip it as you go." Mr. Weiss was the basso, singing like a true artist. Mr. Lindsay Sloper was at the piano, vice the harpsichord; and Mr. E. Hopkins, of the Temple, was the organist. To have carried out the Handelian illusion, everybody ought to have appeared in powdered wigs and the old court suits, and after the Cantata, excited by its hilarity, there ought to have been a ball, for the stately visitors to revive the minuet. (The Lady's Newspaper & Pictorial Times, Saturday, 9 May 1863) "L'Allegro." aid "II Penseroso" were chosen for performance, but, in spite of many beauties, the works were evidently found rococo by the majority of the audience. Though, it be treason to whisper it, we must confess to a lurking fancy that in his setting of Milton's Jyrios by Handel sometimes nodded. However, Jenny Lind is entitled to our thanks for reviving a work of great interest, and so the audience seemed to think, for she was applauded a I ouirance. She frequently astonished her hearers by her intense earnestness, and by her poetical and imaginative readings, no less than by the wonderfully-perfect shakes which she profusely introduced; but she sadly marred her performance by the unceasing and painful exaggeration evident in every phrase. She, however, produced a furore in the Nightingale Song with flute obligato; and, obnoxious as her style now is in many respects, Mdme. Goldchmidt occasionally extorted a murmur of involuntary approbation from the most violent of her opponents. Mdme. Sherrington shared the honours with Mdme. Goldschmidt, Miss Lascelles, Messrs. M. Smith, and Weiss also assisting. Mr. Hopkins presided at the organ, Mr. Lindsay Sloper at the piano, and M. Goldschmidt at the conductor's desk… (Illustrated Times, Saturday, 9 May 1863) MADAME JENNY GOLDSCHMIDT LIND. The appearance of Madame Lind-Goldschmidt once again in the concert-room attracted an immense audience to St. James's Hall on Friday evening - an extraordinary attendance, indeed, when it is remembered that more than thirteen thousand lovers of music were present at the performance of Mendelssohn's music to Athalie, at the Crystal Palace, in the forenoon. As may be supposed, the name of the "Swedish Nightingale" (still a "Nightingale" in truth) was associated with a benevolent object. Madame Lind-Goldschmidt, in fact, gave her services, and those of Herr Otto Goldschmidt, her husband, in the cause of a deserving charity, and, we are happy to add, with the results. The concert was for the benefit of the Royal Hospital of Incurables at Putney, and the programme consisted of Handel's L'Allegro and Il Penseroso, preceded by one of the same composer's concertos for string instruments. Madame Goldschmidt was assisted by Madame Lemmens-Sherrington, Miss Lascelles, Mr. Montem Smith, and Mr. and Mr. Goldschmidt presided over the band and chorus, which consisted of some 250 performers ; Mr. Lindsay Sloper was at the pianoforte, and Mr. E. Hopkins at the organ. It is not our habit to criticise performances got up for charitable purposes. We may say, nevertheless, that Handel's Cantata was, to a large part of the audience, a novelty, it having been rarely heard as a whole since Handel's time. L'Allegro ed Il Penseroso was last performed in 1813 under the direction of Sir George Smart. Some few years ago Mr. Hullah brought out the first part, but was not induced to repeat it. Even last week at St. James's Hall the cantata was not given precisely as Handel wrote it. The cantata was originally entitled L'Allegro, Il Penseroso ed Il Moderato ; Charles Jennens, author of the books of the Messiah and Belshazzar having added a third part to Milton's poem, which so pleased Handel that he set the three parts together. Il Moderato, after a few performances, was "shelved," and has never (happily) been revived. The chief points of the performance were, we need hardly say, the airs allotted to Madame Lind, of which, "Come rather, goddess," "Sweet bird, that shunn'st the noise of folly" (flute obbligato, Mr. Pratten), "Hide me from day's garish eye" - all allotted to Penseroso - most thrillingly exemplified her powers, and (especially the Bird-song) were rapturously applauded. That the great singer had lost nothing of her art was apparent in all her efforts, and though, as far as regarded her physical means, Madame Lind is no longer the Jenny Lind of 1817, she still retains her supremacy as a vocalist. Madame Lemmens Sherrington sang the music of Allegro very charmingly. Miss Lascelles gave due effect to the contralto songs; and Mr. Montem Smith and Mr. Weiss did ample justice to the tenor and bass music. The band and chorus under the able direction of Herr Otto Goldschmidt were in all respects excellent. (The Musical world, Saturday, 9 May 1863) MADAME JENNY LIND GOLDSCHMIDT.-The concert was for the benefit of the Royal Hospital of Incurables at Putney, and the programme consisted of Handel's L'Allegro and Il Penseroso, preceded by one of the same composer's concertos for string instruments. Madame Goldschmidt was assisted by Madame Lemmens-Sherrington, Miss Lascelles, Mr. Montem Smith, and Mr. Weiss; and Mr. Goldschmidt presided over the band and chorus, which consisted of some 250 performers; Mr. Lindsay Sloper was at the pianoforte, and Mr. E. J. Hopkins at the organ. It is not our habit to criticize performances got up for charitable purposes. We may say, nevertheless, that Handel's Cantata was, to a large part of the audience, a novelty, it having been rarely heard as a whole since Handel's time. L'Allegro ed II Penseroso was last performed in 1813 under the direction of Sir George Smart. Some few years ago Mr. Hullah brought out the first part, but was not induced to repeat it. Even last week at St. James's Hall the cantata was not given precisely as Handel wrote it. The cantata was originally entitled L'Allegro, Il Penseroso ed Il Moderato; Charles Jennens, author of the books of the Messiah and Belshazzer, having added a third part to Milton's poem, which so pleased Handel that he set the three parts together. Il Moderato, after a few performances, was "shelved," and has never (happily) been revived. The chief points of the performance were, we need hardly say, the airs allotted to Madame Lind, of which, "Come rather, goddess," " Sweet bird, that shunn'st the noise of folly (flute obbligati, Mr. Pratten), "Hide me from day's garish eye " - all allotted to Penseroso - most thrillingly exemplified her powers, and (especially the Bird song) were rapturously applauded. That the great singer had lost nothing of her art was apparent in all her efforts, and though, as far as regarded her physical means, Madame Lind is no longer the Jenny Lind of 1847, she still retains her supremacy as a vocalist. Madame Lemmens Sherrington sang the music of Allegro very charmingly. Miss Lascelles gave due effect to the contralto songs; and Mr. Montem Smith and Mr. Weiss did ample justice to the tenor and bass music. The hand and chorus under the able direction of Herr Otto Goldschmidt were in all respects excellent. - Ibid. [Musical World] (Dwight's Journal of Music, Saturday, 13 June 1863) Monday, 11 May 1863 : Mr. Arthur Chappell's Monday Popular Concert at St. James's Hall, Piccadilly. It was the last appearance this season of M. Vieuxtemps and for that reason probably the renowned Belgian violinist played with provoking excellence. The quaint minuet and trio in Mozart's quartet were encored, so admirably were they given by M. Vieuxtemps and his companions (MM. Wiener, Schreurs, and Piatti; and the last movement - one of the most original and beautiful airs with variations ever imagined by the gifted composer of Don Giovanni - might have also been repeated had the desire of the audience been complied with. That Madame Arabella Goddard was heartily welcomed on her "benefit" night may be readily believed. The solo sonata selected for the occasion was one of the most recondite of the later works of Beethoven. The "Op. 110 " is equal in poetical depth and romantic interest to any of its fellows, and in some respects is perhaps the most difficult of all - not merely for the performer to grasp and express as a whole, but for an audience, nine tenths of whom at least would possibly be unacquainted with it, to understand and appreciate. It has often devolved upon Madame Goddard to be the first to introduce these great and profound inspirations to a large crowd ; and that it has usually been her good fortune to render them acceptable may be attributable chiefly to the fact that in attempting to "interpret" them she has thought only of the composer under the shadow of whose genius she was content to sit - an humble though devoted proselyte. The "Op.110,"now ventured for the first time at the Monday Popular Concerts, was so successful that doubtless it will henceforth become a "stock piece" in the repertory. Nothing could be more genuine than the acceptance it obtained. The sonata (for piano and violin) of Mozart, one of his most vigorous and brilliant, and the magnificent "First Trio" of Mendelssohn - in which the splendid playing of M. Vieuxtemps and Signor Piatti showed they were not displeased at being associated with an English pianist, and which, although coming at the end of a long performance, was received with the utmost enthusiasm - have long been known to and admired by the patrons of the Monday Popular Concerts. The singers were Miss Clari Fraser - who gave with unaffected taste and feeling the "Mermaid's Song," from Oberon, and Sterndale Bennett's sparkling canzonet, "The May Dew ;" and Mr. Sims Reeves, who was encored both in Mr. Macfarren's "Ah! non lasciami, no," and Beethoven's "Adelaida." The latter (in which Mr. Reeves was accompanied by Madame Goddard) created a furore - and with reason, for to have sung it with more artistic refinement, or to have thrown into it more tender and heartfelt expression, was impossible. Mr. Reeves - more accommodating than usual in this respect - accepted both encores, much to the satisfaction of his hearers. Mr. Lindsay Sloper - in the unavoidable absence of Mr. Benedict - presided as accompanist at the pianoforte, with what ability it is unnecessary to add. For the 128th concert (May 25) a new violinist, Herr Japha, is announced, and the whole of their instrumental pieces are to be selected from the works of Mendelssohn. It is long since the frequenters of these concerts have been treated to a veritable Mendelssohn Night." (The Times, Tuesday, 12 May 1863) MONDAY POPULAR CONCERTS. The last of these admirable entertainments was given by Mr. Arthur Chappell for the benefit of Madame Arabella Goddard, whose inimitable talent and never failing attraction have powerfully helped to establish the Monday Popular Concerts in public favour. Nobody will be surprised to hear that the St. James's Hall, large as it is, was crowded to excess on such an occasion, or that the accomplished heroine of the evening, playing her very best, completely enchanted the audience. Madame Goddard's fine classic style was strikingly displayed in Mozart's sonata in A for piano and violin ; Mendelssohn's trio in D minor for piano, violin, and violoncello, and the quasi obbligato accompaniment to Beethoven's "Adelaide;" but her greatest achievement was the perfect execution of Beethoven's wondrous musical poem the solo sonata in A flat (Op. 110), a work difficult to understand as it is to play, and which few pianists indeed have ever attempted in public. The enthusiastic applause bestowed on Madame Goddard would have sufficed to prove, had we not known it already, that the audience of the "Monday Popular Concerts," long educated to the appreciation of musical excellence, is now one of the most critical of the day. The violin and violincello parts of the various pieces were most admirably played by M. Vieuxtemps, Wiener, Schreur, and Piatti, who were particularly successful in their rendering of Mozart's quartet in D minor, the minuet and trio of which were redemanded. Miss Clara Fraser's vocal ability was creditably exhibited in "The Mermaid's Song," by Weber, and Professor Sterndale Bennett's "The May Dew," while the genius of Mr. Sims Reeves found ample scope in Beethoven's " Adelaide," and an Italian cavatina, "Ah non lasciarmi," by Mr. George Macfarren. Mr. Lindsay Sloper officiated as conductor, with masterly skill. (Morning Post, Wednesday, 13 May 1863) MONDAY POPULAR CONCERTS. The concert on Monday evening was for the benefit of Madame Arabella Goddard, who made a selection that was all but incomparable, as no amateur could fail to acknowledge : - Part I. Quartet in 1. minor Mozart. Song, " The Mermaid's Song" - Weber, Cavatina, "Ah, non lasciami" - G. A. Macfarren. Sonata, in A flat (Op. 110) for pianoforte solus - Beethoven. Part II. Sonata, in A major, pianoforte and violin - Mozart. Song "Adelaida" - Beethoven. Song, "The May dew" - Sterndale Bennett. Trio, in D minor, pianoforte, violin, and violoncello - Mendelssohn. Conductor, Mr. Lindsay Sloper. The introduction of Beethoven's sonata at the Monday Popular Concerts was an experiment, but proved so eminently successful that no doubt it will be heard again, and interpreted by the same fair and fairy fingers. The sonata in A flat has not the gigantic proportions of the great sonatas in B flat, op. 106, in E, op. 109, and in C minor, op. 111; but it constitutes, notwithstanding, one of those infinitely grand and profound legacies which Beethoven bequeathed to the pianoforte in his latter days, and which were so much in advance of his age that they remained unappreciated and almost unknown down to the present time. Thanks to Madame Arabella Goddard, however, they are now becoming familiar to every amateur of the keyboard, and would become more familiar if pianists could only be found to play them. As early as 1853 when, we need hardly observe, Miss Goddard was only entering her teens, she played, at one of the concerts of the Quartet Association, the B flat sonata, op. 105- perhaps the longest, most profound, and most difficult pieces of music ever written for the pianoforte- and thus paved the way for the introduction into the concert room of those prodigious compositions which leave all works dedicated to the instrument far behind them. The sonata in A flat, if not so long, is as profound and poetical as any of Beethoven's later sonatas, and, if possible, more difficult for the executant. Its performance on Monday constituted the event of the evening, and created a profound sensation, amateur and connoisseur alike being impressed by the grandeur and originality of the work and its superlative execution. No composer is so emphatically a poet as Beethoven, and to interpret him in the spirit, especially in his latest works, requires the deepest sensibility and an instinctive sense of the sublime and beautiful. That Madame Goddard possesses this quality in an eminent degree can only be doubted by those who accept outward demonstration and lavish display as true manifestations of feeling and sentiment. Madame Goddard has the least show in her play of any pianist we ever knew - Rachel had the least show in her acting. Accustomed as the fair pianist is to successes the most triumphant, that which she achieved on Monday night must have surprised her. It was enthusiastic in the extreme. In the sonata for pianoforte and violin Madame Goddard enjoyed the powerful co-operation of M. Vieuxtemps-who, by the way, made his final appearance this season; and in Mendelssohn's trio that of M. Vieuxtemps and Signor Piatti. Both performances were inimitable, and both were received with unbounded applause. Nor did the quartet of Mozart, with which the concert opened, create less effect. The minuet and trio were demanded a second time and repeated, and a strong attempt was made to encore the lovely aria with variations which constitutes the last movement. The executants were M. Vieuxtemps, Herr Wiener Herr Schreurs and Signor Piatti. Miss Clari Fraser and Mr. Sims Reeves shared the vocal music. Miss Fraser gave "The Mermaid's Song," from Oberon, and Professor Bennett's song, with infinite feeling and taste, and pleased universally. Mr. Reeves was encored in both his songs, being accompanied on the piano-forte in "Adelaida" by Madame Goddard. More perfect singing cannot possibly be heard than that of our great tenor in Beethoven's ineffably tender and beautiful love-wail, and which he never sang more tenderly and beautifully- nor with more overpowering effect- than on Monday evening. Mr. Lindsay Sloper officiated as conductor, in the unavoidable absence of Mr. Benedict. A more crowded and brilliant audience never honoured St. James's Hall with their presence. (The Standard, Thursday, 14 May 1863) MONDAY POPULAR CONCERTS. The concert on Monday evening was announced as for the benefit of Mdme. J. W. Davison (A. Goddard), and the selection was as satisfactory as the performance was perfect. It consisted of : in D minor .. Mozart. Song, "The Savoyard's Song .. Cavatina, "Ah, non liasciami" Sonata, in A flat (Op. 110) Beethoven. PART II. Sonata, in A major, pianoforte and violin - Mozart, … The May-dew … Beethoven. Trio, in minor, pianoforte, violin, cello - Mendelssohn. Conductor, Mr. Lindsay Sloper. Mdme. J. W. Davison making immense progress in her profession, and is certainly taking her revenge at last against the accusation that and several other critics have been constrained continually to make, that she lacked sensibility and feeling, without which most finished execution is worthless. If she manifest such newly-improvised specimens of power, to which she is new giving increased energy, she will surpass every pianist of her times. (Bell's Weekly Messenger, Saturday, 16 May 1863) MONDAY POPULAR CONCERTS. The performances last night were for the benefit of Madame Arabella Goddard, whose connection with the Monday Popular Concerts dates from the beginning, and whose own "Soirées of Classical Chamber Music" - at Willis's Rooms and else where - had, no doubt, some considerable influence in paying the way for the ultimate establishment of an institution which the energetic and skilful management of Mr. Arthur Chappell has now, to all appearances, made permanent. The concert was the 127th since February, 1859; and probably a more densely crowded audience was never attracted to St. James's Hall by a musical entertainment of any kind. The numbers unable to obtain admission might have almost half-filled the hall again. Those who from the first maintained that a public existed in London and its environs numerous and musical enough to support an annual series of performances dedicated exclusively to the quartets, quintets, sonatas, &c, of the great masters, may point with satisfaction to the very extraordinary success of the Monday Popular Concerts, which, to the credit of the direction have never once departed from the original plan - which was to provide the best performances of the best chamber music for the "great public" at a reasonable charge of admission. That the entertainments have been so uniformly attractive as to win the patronage of the fashionable world in the bargain is a proof that what is intrinsically good must possess a bona fide interest for all classes. The Monday Popular Concerts have enlisted the sympathy of impartial criticism from the beginning - first, because art is essentially an important manifestation; and next, because, on that account alone, the purer the form in which it is offered for consideration the more good it is likely to effect. Such a programme as that presented last night by Madame Arabella Goddard would, not many years ago, at the most have drawn together some 200 or 300 amateurs, who, proud of their exclusive connoisseurship, might have smiled compassionately at the mere idea of its ever being held forth as a temptation to the uninitiated multitude. But on the occasion under notice it was listened to with religious attention by an audience of over 2,000 persons, who, it is not too much to say, enjoyed, and keenly enjoyed, every note of it. What kind of programme it was let our musical readers judge :- Part I. Quartet, In D minor - Mozart. Song, "The Mermaid's Song" - Weber. Cavatina, "Ah, non lasciarmi, no " - Macfarren. Sonata, in A flat. Op. 110, for pianoforte alone - - Beethoven. PART II Sonata, in A major, pianoforte and violin (by desire) - Mozart. Song, "Adelaida" - Beethoven. Song, "The May Dew " - Sterndale Bennett. Trio, in D minor, pianoforte, violin, and violoncello - Mendelssohn. Conductor - Mr. Lindsay Sloper. It was the last appearance this season of M. Vieuxtemps; and for that reason, probably, the renowned Belgian violinist played with provoking excellence. The quaint minuet and trio in Mozart's quartet were encored, so admirably were they given by M. Vieuxtemps and his companions (MM. Wiener, Schreurs and Piatti); and the last movement-one of the most original and beautiful airs with variations ever imagined by the gifted composer of Don Giovanni - might also have been repeated had the desire of the audience been complied with. That Madame Arabella Goddard was heartily welcomed on her "benefit" night may be readily believed. The solo sonata selected for the occasion was one of the most recondite of the later works of Beethoven. The "Op. 110" is equal in poetical depth and romantic interest to any of its fellows, and in some respects is perhaps the most difficult of all - not merely for the performer to grasp and express as a whole, but for an audience, nine-tenths of whom at least would possibly be unacquainted with it, to understand and appreciate. It has often devolved upon Madame Goddard to be the first to introduce these great and profound inspirations to a large crowd; and that it has usually been her good fortune to render them acceptable may be attributed chiefly to the fact that in attempting to "interpret" them she has thought only of the composer, under the shadow of whose genius she was content to sit - an humble though devoted proselyte; The "Op. 110," now ventured for the first time at the Monday Popular Concerts, was so successful that doubtless it will henceforth become a "stock-piece" in the repertory. Nothing could be more genuine than the acceptance it obtained. The sonata (for piano and violin) of Mozart, one of his most vigorous and brilliant, and the magnificent "First Trio " of Mendelssohn - in which the splendid playing of M. Vieuxtemps and Signor Piatti showed they were not displeased at being associated with an English pianist, and which, although coming at the end of a long performance was received with the utmost enthusiasm - have long been known to and admired by the patrons of the Monday Popular Concerts. The singers were Miss Clari Fraser - who gave with unaffected taste and feeling the "Mermaid's Song," from Oberon, and Sterndale Bennett's sparkling canzonet, "The May Dew;" and Mr. Sims Reeves, who was encored both in Mr. Macfarren's "Ah! non lasciarmi, no," and Beethoven's "Adelaida." The latter (in which Mr. Reeves was accompanied by Madame Goddard) created a furore - and with reason, for to sing it with more artistic refinement, or to throw into it more tender and heartfelt expression, was simply impossible. Mr. Reeves - more accommodating than usual in this respect accepted both encores, much to the satisfaction of his hearers. Mr. Lindsay Sloper - in the unavoidable absence of Mr. Benedict - presided as accompanist at the pianoforte, with what ability it is unnecessary to add. For the 128th concert (May 25) a new violinist, Herr Japha, is announced, and the whole of the instrumental pieces are to be selected from the works of Mendelssohn. It is long since the frequenters of these concerts have been treated to a veritable "Mendelssohn Night."- Times, May 12. (The Musical world, Saturday, 16 May 1863) Wednesday, 27 May 1863 : Society for the Encouragement of the Fine Arts's Fifth Grand Conversazione at Egyptian Hall, Mansion-House. GRAND CONVERSAZIONE AT THE MANSION HOUSE. The fifth grand conversazione for the season of the Society for the Encouragement of the Fine Arts was held last evening at the Egyptian Hall, Mansion-house, when from 1,200 to 1,400 visitors were present, among whom were a great number well known in connection with literature and the arts and sciences. In the absence of the Lord Mayor - whose sudden indisposition prevented him from presiding, in accordance with the original intention - Alderman Sir R. W. Carden occupied the chair. The fine hall was brilliantly lighted, and profusely decorated with exotics and other flowering plants- a dais being erected at one end for the vocalists and others who took part in the proceedings. The walls of the ante-room were covered with pictures by eminent artists, lent for the occasion by members of the society. Considerable interest was excited by the presence of a large body of New Zealand chieftains and their wives, who are visiting England under the care of Mr. W. Jenkins, interpreter to the New Zealand Government. The party intend travelling through the kingdom and on the continent of Europe, and hope to have every facility afforded them for visiting the principal dockyards, arsenals, public institutions, manufactories, and other places of interest in their route, in order to obtain such general information respecting the greatness and power of England as may prove a lasting benefit to themselves and to their several tribes on their return to New Zealand. The men wore their native costume, their faces being painted, and their hair stuck full of feathers, and carried their peculiar weapons. Sir R. Carden in opening the proceedings regretted the absence of the Lord Mayor, to whose kindness they owed the privilege if assembling in that hall. They were all aware that they had met that evening to promote the love of the fine arts, and to bring together amateurs and professionals of every branch of art. (Hear, hear.) Their society, whose object it was to encourage the fine arts, was established in 1858, and he had much pleasure in stating that its condition was satisfactory and encouraging, the number of members being now considerably more than 300. They had before them that evening not only specimens of art, but also some great curiosities of nature, in the persons of some New Zealand chieftains, persons of great importance in their own land, who had come over to witness the wonders of our country. He was happy to state that these strange people were all Christians, and although ignorant of our language were most of them teachers in Church of England schools in New Zealand. (Hear, hear.) One of them, a lad of only 16 years of age, was six feet four inches in height, and therefore stood a good chance of being a fine man in the course of time. (Hear, bear, and laughter.) The society had taken a bold course in awarding medals for the successful works in painting, sculpture, architecture, poetry, &c.; but having been awarded with great discrimination, they were already held in high estimation. The society did not pretend to award their medals to the best works in each exhibition, as that was often difficult to select, but gave them only to those artists whose works showed that they were deserving of encouragement in the course they had adopted. (Hear, hear.) The award of medals for this session were as follows, but the formal presentation of them that was to have taken place on that occasion was deferred in consequence of the absence of the Lord Mayor : - THE PRIZE MEDALS. In Historical Painting- To Mr. E. Crowe, for his picture of "De Foe in the Pillory," No. 457 in the Royal Academy Exhibition. In Genre- To Miss E. Osborne, for " Tough and Tender," No. 487 in the Exhibition of the Society of British Artists. In Landscape- To Mr. F. Danby, for "Evening," No. 530 in the Royal Academy Exhibition. In Water-Colour Painting- To Mr. F. W. Burton, for "The Wife of Hassan Aga," No. 280 in the Exhibition of the Water-Colour Society; and to Mr. J. H. Mole, for "A Leisure Hour," No. 50 in the Exhibition of the New Water-Colour Society. In Architecture- To Mr. E. W. Godwin, for his design for '"Northampton Town Hall," now being erected, No. 8 in the Architectural Exhibition. The principal New Zealand chieftain would now address a few words to the assembly. Kameriara Te Hautakiri Wharepapa (the son of one of Kiongi's celebrated generals) then made the following speech in a full sonorous voice, which was translated by Mr. Jenkins, the interpreter :- Ladies and gentlemen of England,- l salute you all. L am much pleased at this opportunity of appearing before so large an assembly in the house of your chief magistrate. Some time ago when the English first came to my land, some of my people were being eaten by the others. But the book of the good Lord of England was brought to New Zealand, and when the Gospel came the evil practices of our forefathers ceased, and we were allowed to live as you live. (Loud cheers.) One of my forefathers visited England in the reign of King George IV. He brought back nothing good. He brought back fire-arms, with which to destroy a great number of bis own people. But we are come for a different purpose. We have not come to purchase fire-arms to destroy our own countrymen - we have come to seek for knowledge, which we wish to take back with us. Ladies and gentlemen of England, my heart is very glad, and now for the first time I live. I have seen the first gentlemen of England, and I shall not rest until I have seen the Queen of England. (Cheers.) We have come to England to see how the English people will behave to us, and we shall write back home once a month to our friends and tell them of what we do and see. We have no desire except to live in peace and harmony with Europeans. We have none but good feelings towards Europeans who come to live in our land. Ladies and gentlemen of England, this is all I have to say. (Cheers.) The following is the programme of the musical entertainment, the performers, all of whom are members of the society, having given their services gratuitously :- Solo, Pianoforte, Herr Paul Semler - Semler. Ara, "Traviata" Madlle. Biondini (her fist appearance) - Verdi Song. "The Bell Ringer," Mr. Wallworth. - Wallace. Aria, "Il Segretto," Madame Lemaire - Donizetti. Song, "Stay with Me," Mr. Donald King - Abt. Aria, "Deh vieni," Madame Gilbert -Mozart. Solo, Pianoforte, Mr. Lindsay Sloper. Cavatina, "Nozze de Figaro," Madlle. Ellinger - Mozart. Song, "The Song of May" Mrs. Harriette Lee - Wallace. Drinking Song "Martha" Signor Vialetti Flotow. Italian Song Madlle Artôt, Sing "In questa tomba oscura Madame Andrea - Beethoven. Solo Pianoforte. Mr Ascher - Beethoven. New Song "The bird in the streamlet" Miss Banks - Langton Williams. Aria "Sonnambula" Miss Van Noorden - Bellini. Italian Song Madame Artôt. Swedish Song, Madlle. Biondini. Song, "I'm a Roamer " Mr Wallworth - Mendelssohn. Spanish Song, Madame Lemaire. Aria "Don Giovanni" Signor Vialetti - Mozart. Song "Goodnight" Madame Ellinger Abt. At the pianoforte: Mr. Lindsay Sloper, Mr. Alfred Gilbert, Herr Blumner, and Herr Ganz. The company separated at a late hour. (Morning Post, Thursday, 28 May 1863) MANSION-HOUSE.- Last evening the Society for the Encouragement of the Fine Arts held a conversazione in the Egyptian-hall of the Mansion-house, which the Lord Mayor had kindly placed at their disposal for the occasion. The society was founded in December, 1858, with the view to promote a taste for the fine arts among all classes of the community, by lectures, discussions upon questions of art, and more especially contemporary art, conversaziones with exhibitions of works of art and performances of vocal and instrumental music, and an annual distribution of medals. It has now upwards of 300 members. Of late the attendance at the Society's lectures is said to have much increased, and discussions have followed on each occasion proving the interest taken by members and their friends in the proceedings. During the last three Sessions the Council have awarded medals for works in painting, sculpture, architecture, and poetry, and with the view of increasing the practical usefulness of the Society they are about to establish a library of reference on subjects of art with a reading room attached, for the use of members. The conversazione of Last night was very numerously attended. The Lord Mayor had intended to distribute the prize medals of the Society for the past year, but was prevented from being present by illness; and Alderman Sir Robert Carden officiated, at the ceremony in his absence. The prizes awarded were as follows - In historical Painting. - To Mr. E. Crow, for his picture of "De Foe in the Pillory," No. 45 in the Royal Academy Exhibition. In Geure. - To Miss E. Osborne, for "Tough and Tender," No. 487 in the Exhibition of the Society of British Artists. In Landscape. - To Mr. F. Danby, for "Evening," No. 530 in the Royal Academy Exhibition. In Water-colour Painting - To Mr. Mr. F. W. Burton, for "The Wife of Hassan Aga," No. 280 in the Exhibition of the Water-Colour Society; and to Mr. J. H. Mole, for "A Leisure Hou," No. 59 in the Exhibition of the New Water-Colour Society. In Architecture. - To Mr. E. W. Godwin, for his design for "Northampton Town-hall," now being erected, No. 8 in the Architectural Exhibition. There was a small, but very interesting exhibition of paintings, chiefly in water-colours, arranged in the saloon, and a concert in the Egyptian-hall, at which Signor Vialetti, Mademoiselle Artôt, Madame Lemaire, Mademoiselle Biondini, Mademoiselle Ellinger, Mr. Lindsay Sloper, Mr. Donald King, and other musical celebrities lent their assistance. Some New Zealanders, 13 in number, three of whom are women, and most of them chiefs, now on a visit to this country, were present, accompanied by an interpreter, and excited some interest. The principal man among them is a youth of 17, upwards of 6ft in height. They are clothed in skins of various colours, and some of them are tattooed. (The Times, Thursday, 28 May 1863) There was small, but very interesting exhibition of paintings, chiefly in water-colours, arranged in the saloon, and concert in the Egyptian-hall, at which Signor Vialetti, Mademoiselle Artôt, Madame Lemaire, Mademoiselle Biondini, Mademoiselle Ellinger, Mr. Lindsay Sloper, Mr. Donald King, and other musical celebrities lent their assistance. The New Zealanders. The most novel feature of the evening's proceedings was the presentation the natives of New Zealand, whose appearance at the Metropolitan Tabernacle, near the Elephant and Castle, was described The Globe of yesterday. Sir R. Carden, in referring to them in his opening address, said that they were all Christians, and teachers in Church of England schools in New Zealand. In the concert of the evening the principal chieftain, Karaeriara Te Haptakin Wharepapa (the son of one of Kiongi's celebrated generals), delivered an address in a full sonorous voice, which, interpreted, referred to the rooting out of cannibalism and other practices among the New Zealand natives by the introduction of the Gospel, and English laws. One of his forefathers, he also said, had visited England in the time of George IV., but brought back good-only firearms, which had been the means of destroying a great number people. Their visit, however, was for the sake knowledge. Ladies and gentlemen of England, he added, my heart is very glad, and now for the first time Hive. I have seen the first gentlemen of England, and I shall not rest until I have seen the Queen of England. I have come to England to see how the English people will behave to us, and we shall write back home once a month to our friends and tell them of what we hear and see. I have no desire except to live in peace and harmony with Europeans. I have none but good feelings towards Europeans who come to live in our land. Ladies and gentlemen of England, this is all I have to say (cheers). (Globe, Thursday, 28 May 1863) At the conversazione of the Society for the Encouragement of the Fine Arts, held under the presidency of the Lord Mayor, at the Mansion House, on Wednesday night, there was a concert, conducted by Lindsay Sloper, Mr. A. Gilbert, and Herr Ganz. Amongst the other artistes were Mlle. Artôt, Mlle. Ellinger, Mme. Lemaire, Mrs. Gilbert, Mme. Andrea, Mrs. Lee, Mlle. Biondini, Miss Van Noorden, Miss Banks, Mr. Donald King, Mr. Wallworth, &c. (The Lady's Newspaper & Pictorial Times, Saturday, 30 May 1863) SOCIETY FOR THE ENCOURAGEMENT OF THE FINE ARTS. - The fifth conversazione of the season in connection with the above society was held on Wednesday evening in the Egyptian Hall of the Mansion House. The Lord Mayor was announced to preside, but. in his absence, Sir Robert Carden performed the duties of chairman. This occasion was made available for the presentation of the medals which had been awarded for the year 1862, and which were allotted in the department of historical painting to Mr. E. Crowe, for his picture of "De Foe in the Pillory;" in genre, to Miss E. Osborne, for "Tough and Tender ; in landscape to Mr F. Danby, for " Evening;" in water-color painting to Mr. F. W. Burton, for the " Wife of Hassan Aga; and to Mr. J. H. Mole, for " A Leisure Hour ;" and in architecture to Mr. E. Godwin, for Northampton Town Hall." The Egyptian Hall was crowded upon the occasion. and among the visitors were several New Zealanders, the Chief of whom made a short speech in the language of his country, the sentiments of which were intelligible to those assembled by means of an interpreter. This was followed by a performance of music, at which the following and other artistes gave their services Lemaire, Gilbert and Andrea, Mrs. Harriette Lee, Mdlles. Diondini, Ellinger, Artôt, Misses Banks and Van Noorden; Herr Schuler, Messrs. Wallworth, Donald King, Lindsay Sloper, Ascher, Gilbert, Herr Blumner, Herr Ganz and Signor Vialetti. With a view of increasing the practical usefulness of the society the council design to establish a library of reference on subjects relating to art, with a reading room attached for the use of members, and they invite active aid from those who view the project with approval. (The Musical world, Saturday, 6 June 1863) Saturday, 30 May 1863 : Mr. Harold Thomas's Matinée Musicale at Willis's Rooms, King-Street, St. James's. MR. HAROLD THOMAS'S MATINEE MUSICALE, Willis's Rooms, May 30, at three o'clock. Artistes : Parepa, Lascelles, Jules Lefort, Sainton, Piatti, Balsir Chatterton, John Thomas, Benedict, Blumenthal, Cusins, Engel, Lindsay Sloper, and Harold Thomas. MR. HAROLD THOMAS Will perform a New Composition (M.S.) for Piano, composed expressly for him by Professor STERNDALE BENNET; Mendelssohn's Fantasia in F sharp minor; Auber's Trio (with SAINTON and PIATTI); Thalberg's Barcarole; and, by desire, his own Chasse ("Across-Country"). - Single tickets, half-a-guinea ; to admit three, one guinea ; at the principal music shops ; and of Mr. Harold Thomas, 37, Maddox-street. (The Musical world, Saturday, 23 May 1863) MR. HAROLD THOMAS'S MATINEE MUSICALE, Willis's Rooms, May 30, at three o'clock. Artistes : Parepa, Lascelles, Jules Lefort, Sainton, Piatti, Balsir Chatterton, John Thomas, Benedict, Blumenthal, Cusins, Engel, Lindsay Sloper, and Harold Thomas. - Single tickets, half-a-guinea ; to admit three, one guinea ; at the principal music shops ; and of Mr. Harold Thomas, 37, Maddox-street. (The Athenaeum, Saturday, 23 May 1863) (Also: Morning Post, Monday, 25 May 1863.) THIS DAY.- Willis's Rooms, three o'clock. MR. HAROLD THOMAS'S MATINEE MUSICALE, Artistes : Parepa, Lascelles, Jules Lefort, Sainton, Piatti, Balsir Chatterton, John Thomas, Benedict, Blumenthal, Cusins, Engel, Lindsay Sloper, and Harold Thomas. - Single tickets, half-a-guinea ; to admit three, one guinea ; at the principal music shops ; and of Mr. Harold Thomas, 37, Maddox-street. (Morning Post, Saturday, 30 May 1863) Saturday, 6 June 1863 : Mr. Howard Glover's Grand Morning Concert at St. James's Hall, Piccadilly. MR. HOWARD GLOVER'S GRAND MORNING CONCERT, at St. James's Hall, To-morrow SATURDAY, June 6, at one o'clock. Programme. Part I. Song, "We have wandered through the gardens," Miss E. Spiller, Miss Wilkinson, Miss E. Armstrong, Miss Soldene, &c. (Ruy Blas) - Howard Glover. Laughing Song, Madlle. Carlotta Patti (Manon Lescaut) - Auber. Grand Fantasia upon Welsh Airs, Madame Arabella Goddard - Benedict. Air, "Des Bijoux, Madame Lemmens-Sherrington (Faust) - Gounod. Song, "La Visione," Madlle. Trebelli; with piano and harmonium accompaniment - Louis Engel. Aria, "O dolcezze perdute," Signor Delle Sedie - Donizetti. Aria, "La Donna e Mobile," Signor Giuglini - Verdi. Grand Aria, "Forse a lui," Madlle. Artôt - Verdi. Grand Duo, "Parigi O cara," Signor Giuglini and Madlle. Artôt - Verdi. Scene Comique, M. Levassor (Robert le Diable) - Meyerbeer. Grand Duo, "Sul campo della gloria," Signori Bettini and Vialetta - Donizetti. Norwegian Echo Song, Madlle. Louise Michael. Ballatta, "La Bella mea," Madlle. Trebelli (accompanied by the composer) - Schira. Serenade, "I arise from dreams of thee," Mr. Sims Reeves - Howard Glover. Aria, "Se la vita," Signor Gassier - Mercadante. Ballad, "Sing, birdie, sing," Madlle. Parepa - W. Ganz. German Lied, "Morgen-Fensterln," Fraulein Liebhardt - H. Proch. Trio, " Too true were my forebodings," Mr. and Madame Weiss and Herr Reichardt (Ruy Blas) - Howard Glover. Grand Aria, " Non piu mesta," Madame Alboni. - Rossini. Solo, Pianoforte, Mr. Charles Hallé - "Lied ohne worte" - Mendelssohn. "Moto Continuo " - Weber. New Song, "Some feelings are to mortals given," Mr. W. Weiss - Howard Glover. Aria, "Quando miro," Madame Weiss - Mozart. German Lied, "Liebes-bitte," Herr Reichardt - Reichardt. Brindisi "Il segreto," Madame Alboni - Donizetti. Song, "In sheltered vale," Herr Formes - Formes. The Page's Song, Madame Laura Baxter (Ruy Blas) - Howard Glover. Ballad, " Si tu savais," Mr. Swift - Balfe. Rode's Air with Variations, Madame Alboni. Aria, " Caro nome," Miss Rose Hersee - Verdi. National Song, "March of the Men of Harlech," Mr. Lewis Thomas. Aria, :Ah, s'estinto," Miss Lascelles - Mercadante. Cavatina, "In questo semplice," Madlle. Georgi. Donizetti. Aria, " Mi par che," Miss E. Wilkinson - Coppola. Song, "Twilight," Mr. Tennant - Blumenthal. Fantasia, Violin, Herr Japha. Duetto, "Bell' imago," Miss E. Soldene and Mr. Lewis Thomas - Rossini. Aria, "Cujus animam," Mr. D. Miranda - Rossini. Ballad, "Auld Robin Gray," Miss E. Spiller. Cavatina, "Voi che sapete," Madame Theresa Ellinger - Mozart. Aria, Miss Armstrong - Rossini. Duetto, "De con te," Miss Armstrong and Miss E. Spiller - Bellini. Ballad, "By the sad sea waves," Miss E. Soldene - Benedict. Vocal Finale. Conductors : Mr. Benedict, Herr W. Ganz, Mr Lindsay Sloper, and Mr. Howard Glover. Stalls, 10s. 6d.; reserved seats, 7s. ; front balcony, 5s. ; back balcony, 3s. Tickets to be had of Messrs. Chappell, 50, New Bond-street ; Mr. Austin, at the ticket-office, St. James's Hall ; and all the principal musicsellers and librarians. (Morning Post, Friday, 5 June 1863) THIS DAY - MR. HOWARD GLOVER'S GRAND MORNING CONCERT, at St. James's Hall, at one o'clock. Programme. Part I. Song, "We have wandered through the gardens," Miss E. Spiller, Miss Wilkinson, Miss E. Armstrong, Miss Soldene, &c. (Ruy Blas) - Howard Glover. Laughing Song, Madlle. Carlotta Patti (Manon Lescaut) - Auber. Grand Fantasia upon Welsh Airs, Madame Arabella Goddard - Benedict. Air, "Des Bijoux, Madame Lemmens-Sherrington (Faust) - Gounod. Song, "La Visione," Madlle. Trebelli; with piano and harmonium accompaniment - Louis Engel. Aria, "O dolcezze perdute," Signor Delle Sedie - Donizetti. Aria, "La Donna e Mobile," Signor Giuglini - Verdi. Grand Aria, "Forse a lui," Madlle. Artôt - Verdi. Grand Duo, "Parigi O cara," Signor Giuglini and Madlle. Artôt - Verdi. Scene Comique, M. Levassor (Robert le Diable) - Meyerbeer. Grand Duo, "Sul campo della gloria," Signori Bettini and Vialetta - Donizetti. Norwegian Echo Song, Madlle. Louise Michael. Ballatta, "La Bella mea," Madlle. Trebelli (accompanied by the composer) - Schira. Serenade, "I arise from dreams of thee," Mr. Sims Reeves - Howard Glover. Aria, "Se la vita," Signor Gassier - Mercadante. Ballad, "Sing, birdie, sing," Madlle. Parepa - W. Ganz. German Lied, "Morgen-Fensterln," Fraulein Liebhardt - H. Proch. Trio, " Too true were my forebodings," Mr. and Madame Weiss and Herr Reichardt (Ruy Blas) - Howard Glover. Grand Aria, " Non piu mesta," Madame Alboni. - Rossini. Solo, Pianoforte, Mr. Charles Hallé - "Lied ohne worte" - Mendelssohn. "Moto Continuo " - Weber. New Song, "Some feelings are to mortals given," Mr. W. Weiss - Howard Glover. Aria, "Quando miro," Madame Weiss - Mozart. German Lied, "Liebes-bitte," Herr Reichardt - Reichardt. Brindisi "Il segreto," Madame Alboni - Donizetti. Song, "In sheltered vale," Herr Formes - Formes. The Page's Song, Madame Laura Baxter (Ruy Blas) - Howard Glover. Ballad, " Si tu savais," Mr. Swift - Balfe. Rode's Air with Variations, Madame Alboni. Aria, " Caro nome," Miss Rose Hersee - Verdi. National Song, "March of the Men of Harlech," Mr. Lewis Thomas. Aria, :Ah, s'estinto," Miss Lascelles - Mercadante. Cavatina, "In questo semplice," Madlle. Georgi. Donizetti. Aria, " Mi par che," Miss E. Wilkinson - Coppola. Song, "Twilight," Mr. Tennant - Blumenthal. Fantasia, Violin, Herr Japha. Duetto, "Bell' imago," Miss E. Soldene and Mr. Lewis Thomas - Rossini. Aria, "Cujus animam," Mr. D. Miranda - Rossini. Ballad, "Auld Robin Gray," Miss E. Spiller. Cavatina, "Voi che sapete," Madame Theresa Ellinger - Mozart. Aria, Miss Armstrong - Rossini. Duetto, "De con te," Miss Armstrong and Miss E. Spiller - Bellini. Ballad, "By the sad sea waves," Miss E. Soldene - Benedict. Vocal Finale. Conductors : Mr. Benedict, Herr W. Ganz, Mr Lindsay Sloper, and Mr. Howard Glover. Stalls, 10s. 6d.; reserved seats, 7s. ; front balcony, 5s. ; back balcony, 3s. Tickets to be had of Messrs. Chappell, 50, New Bond-street ; Mr. Austin, at the ticket-office, St. James's Hall ; and all the principal musicsellers and librarians. (Morning Post, Saturday, 6 June 1863) Mr. Howard Glover's monster morning concert in St. James's Hall, on Saturday, secured a brilliant auditory. Titiens and Sims Reeves were absentees, the latter from indisposition; but there was a most brilliant muster of other celebrities. Carlotta Patti, Mme. Lemmens-Sherrington, and Mme. Arabella Goddard, appeared early in the programme, as they had to go to Sydenham. Mlle. Artôt, Mme. Trebelli-Bettini, Mlle. L. Michal, Fraulein Liebhart, Mme. Alboni (Countess Pepoli), Mme. Theresa Ellinger; Signori Delle Sedie, Giuglini, Bettini, Vialetti, Herr Reichardt, Herr Formes, M. Gassier, represented the foreign division, with Herr Japha, violinist, and Herr Hallé as pianist. The native talent included Mlle. Parepa, Mlle. Georgi, Mme. Laura Baxter, Mime. Weiss, Miss Lascelles, Miss Rose Hersee, Miss E. Spiller, Miss Wilkinson, Miss E. Armstrong, Miss Soldene; Mr. Swift, Mr. Weiss, Mr. Lewis Thomas, Mr. Tennant, and Mr. Miranda. There were nearly forty pieces in the scheme, the accompanyists being Benedict, W. Ganz, Lindsay Sloper, and Mr. Howard Glover. The last-mentioned, as beneficiare, was entitled to introduce more of his works than he did; but he confined himself chiefly to gleanings from his opera "Ruy Blas." Levassor gave his comic reading of Meyerbeer's "Robert le Diable," so that, both on the score of quality as well as quantity, there was enough to satisfy the most inordinate cravings, and no one ought to be present at Mr. Howard Glover's concerts without a most voracious musical appetite. (The Lady's Newspaper & Pictorial Times, Saturday, 13 June 1863) Monday, 22 June 1863 : Mr. Julius Benedict's Grand Annual Morning Concert at St. James's Hall, Piccadilly. JUNE 22, Mr. BENEDICT'S CONCERT. Artistes already engaged: - Mesdames Carlotta Patti and Madame Alboni. An engagement will be offered to Mlle. Artôt on her arrival. Mesdames Lemmens-Sherrington, Weis, Parepa, Lemaire and Liebhardt. M. Giuglini, Gardoni, and Mr. Sims Reeves; MM. Santley and Weiss. The Vocal Association, 200 voices. Instrumental Performers:- Pianoforte, Madame Arabella Goddard, Mr. Lindsay Sloper (another celebrate pianiste), and Mr. Benedict. An engagement will be offered to Herr Wieniawski (violin), on his arrival. Violoncello, Signor Piatti. Harmonium, Herr Louis Engel. The orchestra will be complete, comprising the Elite of the profession. Conductors, MM. Arditi, Benedict, and Alfred Mellon. Among the novelties will be three Manuscript Compositions by the late Carl Maria von Weber, and a new quartet for four performers on two pianofortes by Lindsay Sloper. Full programme on Monday, June 1 A few sofa and balcony stalls, 1 guinea each, reserved seats, 10s. 6d., unreserved seats in area or balcony, 5s., gallery, 3s. Immediate application for the few remaining stalls is respectfully solicited at the principal musicsellers; Mr. Austin's ticket office, 28, Piccadilly; and of Mr. Benedict, 2, Manchester-square. (The Times, Wednesday, 13 May 1863) (Also: The Times, Saturday, 16 May 1863.) JUNE 22d.-Madame ARABELLA GODDARD, Mr. Lindsay Sloper, Mr. Benedict, and Mr. G. Osborne will PERFORM a quartett for four performers on two pianofortes on Themes from Rossini's Soirées Musicales, at Mr. Benedict's Morning Concert, on Monday next, to commence at 2 o'clock precisely. (The Times, Saturday, 20 June 1863) MR. BENEDICT'S CONCERT. The annual concert of Mr. Benedict took place yesterday morning at the St. James's Hall, which was crowded to excess on the occasion, chiefly by company of the most fashionable description. Nearly all the greatest vocal and instrumental performers in London took part in this "monster" entertainment, and there was a full band, conducted alternately by MM. Benedict, Alfred Mellon, and Arditi, beside a chorus of 200 voices belonging to the Vocal Association. The novelties in the programme were principally from the pen of Mr. Benedict himself, who came forward with the greatest possible success in the twofold capacity of composer and pianist as the executant of a most original, musicianly, and charming "Andante" for the pianoforte with orchestral accompaniment ; a piece which quite delighted the audience, and cannot fail to increase materially the reputation Mr. Benedict has long enjoyed as one of the very best writers for the pianoforte which the present day can boast. The orchestration betokens the hand of a master, and was done fair justice to under the able direction of Mr. Alfred Mellon, upon whom we may state, once for all, that the heaviest duties devolved, so far as the band was concerned, throughout the morning. Mr. Benedict's powers as a composer were again strikingly exhibited in a part song, "Come to the forest" (sung by the Vocal Association), and an aria, "Anche in braccio," given with most brilliant fluency and captivating expression, by Madame Lemmens-Sherrington. The last movement, a cabaletta, "Alla palacca," is particularly bright and elegant. The concert-giver's creative ability was still further displayed in the admirable scenas, "Which shall I sing" and " By him betrayed," given with the happiest effect respectively by Madlle. Parepa and Mr. Santley. As an executant Mr. Benedict also distinguished himself by his efforts in a duet with Madame Arabella Goddard on Welsh airs, cleverly arranged for two pianos by Mr. G. Osborne ; and a piece for four players on two pianos skilfully constructed by Mr. Lindsay Sloper, who took one of the parts - the other executants being Madame Arabella Goddard and Mr. G. Osborne. Such an immense programme cannot, of course, be followed through all its endless details. Madame Weiss, by a most expressive and delightful rendering of a very pretty song, by Edward Loder, " Not for the sunlit strand," elicited a unanimous and hearty applause ; and her husband (our best English basso) achieved no less success by the noble and musicianly expression he gave to Handel's grand song, "Lascia amor," from the opera of "Rinaldo." Signor Giuglini won the only redemand in the concert by his exquisitely beautiful execution of Signor Arditi's "Colle nativi." Madlle. Trebelli still further increased the fame she has so rapidly acquired in this country by singing Herr Engell's pretty romanza, "La visione," with unsurpassable beauty of voice and expression ; Madame Alboni, though evidently suffering from cold, gave the familiar airs "In questo simplice" and "Di tanti palpite" Like a consummate artist, and Mr. Sims Reeves pleased the public as usual by his execution of Herr Blumenthal's "Message," and Weber's "Oh, I can bear my fate no longer." Other great features in the concert were Madlle. Carlotta Patti's wonderful execution of " Gli angui d' inferno," and the touching expression of "O Dolcezze perdute," by Signor Delle Sedie. To Madlle. Artôt and the other performers who appeared we can only pay a general compliment. The concert was, on the whole, one of the greatest ever given in this country. (Morning Post, Tuesday, 23 June 1863) (Also: Norfolk News, Saturday, 27 June 1863.) MR. BENEDICTS CONCERT. A more fashionable and crowded audience never bled within the walls of St. James's Hall than that which was brought together yesterday by the all-powerful attractions of Mr. Benedict's grand morning concert. Mr. Benedict's annual entertainment has for a number of years constituted one of the special, features of the season. Were it not that his name stands high among real musicians, and that as a professor of the pianoforte he takes the very first rank in this country - thereby exercising great influence among sundry classes of the musical community - we should say there would be no difficulty in bringing together such a concourse as that of yesterday. The means used by Mr. Benedict are extraordinarily simple. It consists in doing nothing more than engaging all the available talents in London and turning them to the best advantage. This is the process employed by Mr. Benedict in making out his bill of fare, and it is not to be wondered at that his annual concert should invariably prove so eminently attractive. The programme yesterday contained upwards of forty pieces, instrumental and vocal, and fortunately the company was mostly composed of the fair sex, else no doubt, instead of having one encore, we should have had ten or a dozen. The solitary encore was awarded to Signor Giuglini in Arditi's charming and expressive romanza, "Colla nativi," which the great Italian tenor gave with exquisite taste and feeling, and which, indeed, from his lips, never fails to elicit a call for its repetition. Signor Giuglini also joined Mdlle. Parepa, Mdlle. Trebelli, Mr. Santley, and Signor Gassier, in the quintet, "E scherz 'od e follia," from the Balle in Maschera, a very admirable and much applauded performance, and a special favourite of the concert-room. Mr. Sims Reeves was magnificent in the grand scena from Der Freischütz, " Thro' the forest, thro' the meadow," which no one ever sang with grander voice or profounder insight into its manifold and changing beauties, and threw all the wealth of his vocal genius into Blumenthal's "Message," winding the usual enchantment round the audience, entirely through the medium of his singing, for we can only allow the smallest possible amount of merit to the song itself. Mesdames Lemmens Sherrington and Alboni, Mdlles. Trebelli, Artôt, and Carlotta Patti, were the queens of the fete. Madame Sherrington introduced a new scena by Mr. Benedict, "Ancho in braccio," a masterly composition, which she sang with great brilliancy, and with so much effect that it is sure to be heard again, and frequently. Madame Alboni sang the grand air of Tancredi, "O patria dolce," and the Tyrolienne from Betly, "In questo semplice," with inimitable vocal charm and fluency ; Mdlle. Trebelli gave the valse " E strano pater," from Faust, with infinite beauty of voice and a facility not to be surpassed ; Mdlle. Artôt, among other things, sang Arditi's popular and brilliant valse "Bacio" with remarkable effect ; and Mdlle. Carlotta Patti created the customary furor in her new version of the polacca from I Puritani. We might name, too, as most worthy of mention, songs by Mdlle. Parepa, Fraulein Liebhart, Mdlle. Georgia, Madame Louisa Vinning, Madame Lemaire, and Madame Weiss, among the lady performances, but that time and space sternly forbid. We must not, however, omit naming the splendid singing of Mr. Santley in the recitative and scena "By him betrayed," from Mr. Benedict's unknown opera Diego di Lara ; nor the profoundly expressive singing of Signor Delle Sedie in the aria "Eri tu che," from the Balle in Maschera ; nor the admirable and spirited singing of Mr. Santley and Signor Gassier in Ricci's duet "Che l'antipatica ;" nor Signor Bettini's artistic and most pleasing singing of the cavatina, "Al per sempre,"' from Fra Diavolo. The instrumental attractions were of a character with the vocal. Most admired of these were Mr. Benedict's Prince of Wales's fantasia on Welsh airs, arranged for two pianofortes, and played by Madame Arabella Goddard and the composer with the most brilliant effect ; and a new quartet for four performers on two pianofortes, on themes from Rossini's soirées musicales, composed by Mr. Lindsay Sloper, and executed by Madame Arabella Goddard, with Messrs. Benedict, G. A. Osborne, and the composer. This is a very charming and well-written piece, and is certain to become popular. There were also various performances by a full orchestra and performances by the Vocal Association, into the particulars of which we cannot enter. We have already, indeed, exceeded the length of our tether, and need only say in conclusion that the concert was in every way an eminent success. (The Standard, Tuesday, 23 June 1863) MR. BENEDICT'S CONCERT. One of the events which mark the progress of the musical season is the annual concert of the talented and respected composer and artist whoso name heads this brief notice. St. James's Hall was fully patronised yesterday by a critical, a fashionable, and a friendly audience. The programme, as is usual in these cases, though the custom would more honoured in the breach than the observance, was of an impracticable length, strength, and variety. There were three conductors, Arditi, Benedict, and Alfred Mellon ; the Vocal Association for choruses and part songs; Mdlle. Carlotta Patti. Mdlle, Trebelli, Mdlle. Artot, Madame Alboni, Mdlle, Parepa, Madame Lemaire, Madame Lemmens-Sherrington, Mdlle. Moro-Cinti, and Fraulein Liebhart; Signori Giuglini, Baragli, Ferranti, and Monari Rocca, Mr. Sims Reeves, Signor Bettini, Mr. Santley, Mr. Weiss, M. Gassier, Signor Delle Sedie, and Mr. W. Harrison. The list is truly formidable, and need no more than say that all these eminent singers did their best. Then, in instrumental soloists, the concert was equally rich. Benedict and Miss Arabella Goddard, Mr. Lindsey Sloper, and Mr. G. Osborne, at the piano; Piatti, with a violoncello fantasia ; Louis Engel, with the harmonium; Mr. John Thomas and Balsir Chatterton at the harps; with full orchestra, and the band of the Scots Fusilier Guards. It is this fact which compels us to pass much without notice. Benedict's andante, performed for the first time by its composer, was a work worthy of its author's reputation, and strongly applauded. Carlotta Patti's aria from Zauberflote, "Gl 'augui d'inferno," was wonderfully sung, and raised the enthusiasm of the audience, the lady producing a similar outburst by her singing of the polacca, ''Son vergin vezzosa." Mdlle. Parepa, too, in a recitative and scena, by Benedict, "What shall I sing ?" with little pieces in the Swiss, Italian, and French styles, acquitted herself brilliantly. A Romanza by L. Engel, "La Visione," was sung with taste and feeling by that charming artist, Mdlle. Trebelli. Mr. Sims Reeves, too, enchanted the listeners with Blumenthal's song "The Message ;" and the clear and and fluent style of Alboni was charmingly exhibited in the Tyrolienne from Betly, "In questa semplice." Signor Delle Sedie's special song from Buffo in sei tu macchiavel" was most impressive and finished in the highest degree. The overture Demophoon" (Vogel), opened the concert, and a concerted piece by the Vocal Association closed it, at a late hour. The whole of the performances were worthy of the reputation of the Beneficiaire. (Morning Advertiser, Tuesday, 23 June 1863) (Also: Reynolds's Newspaper, Sunday, 28 June 1863.) Mr. Benedict's Concert. For nearly 20 years past the annual concert of Mr. Benedict has been the most brilliant musical entertainment of the season, every artist of eminence, vocal and instrumental, whose services are available being usually assigned a share in it, and the programme thus offering a variety of attractions not to be surpassed. Judged from such a point of view, the concert of 1863 lost nothing by comparison with its precursors. The selection was one of the rarest, and the audience which crowded St. James's hall in every part resplendent with "rank and fashion." The most interesting features of the performance were naturally on such an occasion those which brought forward the accomplished concert-giver himself, either as composer or as pianist, in both which capacities, it is needless to say, he holds a distinguished position. First, there was a highly expressive part-song, set to the beautiful lyric of Beaumont and Fletcher:- "Come you whose loves are dead, "And whiles I sing " Weep and wring "Every hand Ev'ry head "Bind with cypress and with yew, "Ribands black and candles blue, "For him that was of men most true," &c. This Dirge for the Faithful Lover, one of Mr. Benedict's most deeply felt and poetical choral pieces, was extremely well sung by the members of the Vocal Association, to which institution he has been attached as conductor since the beginning of its career. It was followed by another part-song ("Sylvan Pleasures"), to Thomas Heywood's verses:- 'Come to the forest let us go "And trip it like the barren doe," &c. - a composition in strong contrast with its somewhat trist companion, though well assorted, nevertheless. A more sprightly bride was never mated with a sombre, thoughtful, bridegroom. "Sylvan pleasures" was heard for the first time in public, but, it may safely be surmised, not for the last. The next piece with the name of Mr. Benedict attached to it was the familiar largo and cabaletta, "Prendi per me"(M. De Beriot's share in which has always been a mystery). This piece, so often introduced by the representatives of Adina, in Donizetti's sparkling opera, L'Elisir d'amore, was allotted to the careful Madame Lemaire. It was immediately followed by a new instrumental andante, for pianoforte with orchestral accompaniments, composed and performed by Mr. Benedict. That so interesting a movement will not, sooner or later, be connected with an allegro and finale, and so become a concerto, complete in all its parts, is difficult to believe. The acknowledged great masters excepted, Professor Sterndale Bennett has alone enriched the repertory of the piano with genuine works of this important class. Mr. Benedict, however, Weber's favourite pupil (as Weber's own letters show), owes it to the art in which he is so thorough a proficient to help the Cambridge Professor in his honourable labour and thus to save Herr Pauer the necessity, one of these days, of reviving the concertos of Sterkel, and Madame Arabella Goddard of raking out from the embers of the past any of those by Dussek less worthy than his "Nos. 6," "12," &c. The Andante is a perfectly charming "middle movement," only awaiting a "first" and "last," of which it would be cruel to let it long stand destitute. The recitative and scena, "What shall I sing your heart anew to win?" - containing an andantino "in the Swiss style," an agitato "in the Italian style," and an allegro "in the French style," - is a pasticcio of the liveliest fancy, and alone, if proof were wanting, would establish the fact of Mr. Benedict's happy genius for dramatic music. It could not have been intrusted to a more spirited and competent executant than Mademoiselle Parepa. The fantasia entitled " The Prince of Wales" - or " Cambria" - founded on popular Welsh airs, is a successful pendent to "Erin," "Caledonia," and "Albion," three of the best pieces for the pianoforte based upon national melodies which modern ingenuity has furnished. "Cambria" has obtained considerable celebrity as a solo through Madame Arabella Goddard, for whom, like its three predecessors, Mr. Benedict expressly wrote it. On the present occasion, however, it was given as a duet (most skilfully and affectively arranged by Mr. George Osborne, the associate of M. de Beriot in so many renowned compositions for piano and violin) - Madame Arabella Goddard and Mr. Benedict himself being the performers. In its new shape the fantasia pleased no less than in its old. A scena and aria ("Anche in braccia in mio cor di fausta sorte") - probably from some MS. Italian opera, Mr. Benedict having, we believe, produced more than one such work - came next. At all events it is essentially dramatic, and was admirably suited to the voice and style of the lady who had' undertaken to sing it - our excellent English prima donna, Madame Lemmens Sherrington. Another recitative and scena - sung in English by Mr. Santley, and professedly taken from an opera called Diego di Zara - is of the same stamp, as regards dramatic expression. Besides the foregoing, the programme included the dashing bravura, called "The Sky Lark," originally composed for Madame Jenny Goldschmidt Lind, and frequently interpolated, by Miss Louisa Pyne, in Auber's Crown Diamonds (Madame Louise Vinning being now the singer); a pompous and splendid march, composed for and performed at the wedding of the Prince of Wales with the Princess Alexandra of Denmark (arranged for a military orchestra by Mr. C. Godfrey, jun., and performed by the band of the Scots Fusileers); and last, not least, the melodious part-song entitled "May," for women's voices, set down for 12 lady members of the Vocal Association. Mr. Benedict also took part as pianist - with Madame Arabella Goddard, Messrs. Lindsay Sloper and George Osborne in a quartet for four performers on two pianofortes, built upon themes from Rossini's Soirées Musicales(including among others, the famous tarantella, "La Danza"), the composition of Mr. Lindsay Sloper - one of the most ingenious, stirring, and brilliant pieces of the kind we can remember, and executed to such perfection that the audience were thoroughly enchanted. Here was enough, without anything more, for a concert, and a good one. There being a full orchestra, however, an overture, at the very least, was expected; and so we had one no less interesting, because so seldom played, than Vogel's once universally admired Demophoon, the fame of which, however, Cherubini's overture to an opera of the same name speedily eclipsed. Then the incomparable Signor Piatti being at hand, he could hardly do less than delight Mr. Benedict's patrons with a fantasia on the violoncello, Herr Engel conferring a similar favour in the shape of a couple of solos for the harmonium. As for the miscellaneous vocal pieces, their number alone places anything like a detailed description of them out of the question. Enough that they were with few exceptions, of the rarest quality - Madame Alboni, Mademoiselle Carlotta Patti, Mademoiselle Trebelli, Mademoiselle Artôt, Mademoiselle Louise Liebhart, Mademoiselle Enequist, Madame Weiss, Mademoiselle Georgi (who - to cite a quasi novelty - gave the quaint romance, "La bella Mea," from Signor Schira's Nicolo di Lapi); Sinors Giuglini, Bettini, Marchesi, Severini, Monaro Rocca, Dell Sedie and Ferranti; M. Gassier, Mr. Weiss, and Mr. Sims Reeves, each contributing a quota - some of the more eminent names (which need hardly be signalized) appearing twice in the programme. The concert was to terminate with a performance of two Welsh melodies, arranged by Mr. John Thomas, sung by the members of the Vocal Association, and accompanied, on harps, by the arranger ("Pencerrd Gwalia"), and Mr. Balsir Chatterton; but, as that exciting incident could not well have occurred before the hour of 7 p.m., we were unable to witness its effect upon such among the audience as remained till the very last. Mr. Benedict might give his patrons shorter entertainments, but of the kind he could scarcely provide them with better. (The Times, Wednesday, 24 June 1863) The composer and pianist, conductor, and highly respected professor, Benedict, gave his annual morning concert last Monday, in St. James's Hall, which was, as usual, fully and fashionably attended. There was a band, conducted by Benedict, Arditi and Alfred Mellon in turn. The pianists (accompanyists) were Lindsay Sloper, W. Ganz, F. Berger, Randegger, Archer, Harold Thomas, Hargett, and G. Lake, besides Piatti, Engel, G. Osborne, and Mme. Arabella Goddard. The programme was remarkable for the number of novelties, instead of being crowded with hackneyed pieces. The list of vocalists was most extraordinary, including Alboni, Artôt, Lemmens-Sherrington, Trebelli, Carlotta Patti, Fraulein Liebhardt, Mlle. Moro-Cinti, a new singer from Italy, Mme. Weiss, Mme. Lemaire, Mlle. Parepa; Signori Giuglini, Baragli, Bettini, Delle Sedie, Mr. Sims Reeves, Mr. Santley, Mr. Weiss, M. Gassier, Mr. W. Harrison, Signor Monari Rocca, a new basso, and the Vocal Association (200 voices), and the Scots Fusilier Guards' Band (C. Godfrey, jun.) It may be concluded that the gifted composer of the "Gipsy's Warning," the "Brides of Venice," the "Crusaders," and "Colleen Bawn," introduced various works of his own, vocal as well as instrumental, and that these productions were worthy of his reputation. The selections were from Vogel, Mozart, De Beriot, Handel, Weber (Benedict's teacher) Balfe, Piatti, Adam, Rossini, Mercadante, Engel, Offenbach, Bellini, Verdi, Abt, Donizetti, Lindsay Sloper, Blumenthal, Flotow, Braga, Auber, Edward Loder, Ricci, Manzocchi - evidence enough of the liberality of Benedict's views in matters of art, too often approached in a narrow and bigotted spirit, and the domain of which is unbounded. (The Lady's Newspaper & Pictorial Times, Saturday, 27 June 1863) MR. BENEDICT'S CONCERT. For nearly twenty years past the annual concert of Mr. Benedict has been the most brilliant musical entertainment of the season, every artist of eminence, vocal and instrumental, whose services are available being usually assigned a share in it, and the programme thus offering a variety of attractions not to be surpassed. Judged from such a point of view, the concert of 1863 lost nothing by comparison with its precursors. The selection was one of the rarest, and the audience which crowded St. James's-hall in every part resplendent with "rank and fashion." The most interesting features of the performance were - naturally on such an occasion - those which brought forward the accomplished concert-giver himself, either as composer or as pianist, in both which capacities, it is needless to say, he holds a distinguished position. First, there was a highly expressive part-song, set to the beautiful lyric of Beaumont and Fletcher :- "Come you whose loves are dead, "And whiles I sing, "Weep and wring "Ev'ry hand. Ev'ry head "Bind with cypress and with yew, "Ribands black and candles blue, "For him that was of men most true," &c This Dirge for the Faithful Lover, one of Mr. Benedict's most deeply felt and poetical choral pieces, was extremely well sung by the members of the Vocal Association, to which institution he has been attached as conductor since the beginning of its career. It was followed by another part-song ("Sylvan Pleasures"), to Thomas Heywood's verses :- "Come to the forest let us go "And trip it like the barren doe," &c. -a composition in strong contrast with its somewhat trist companion, though well assorted, nevertheless. A more sprightly bride was never mated with a sombre, thoughtful, bridegroom. "Sylvan pleasures" was heard for the first time in public, but, it may safely be surmised, not for the last. The next piece with the name of Mr. Benedict attached to it was the familiar largo and cabaletta, "Prendi per me" (M. De Beriot's share in which has always been a mystery). This piece, so often introduced by the representatives of Adina, in Donizetti's sparkling opera, L' Elisir d'amore, was allotted to the careful Madame Lemaire. It was immediately followed by a new instrumental andante, for pianoforte with orchestral accompaniments, composed and performed by Sir. Benedict. That so interesting a movement will not, sooner or later, be connected with an allegro and finale, and so become a concerto, complete in all its parts, is difficult to believe. The acknowledged great masters excepted, Professor Sterndale Bennett has alone enriched the repertory of the piano with genuine works of this important class. Mr. Benedict, however, Weber's favorite pupil (as Weber's own letters how), owes it to the art in which he is so thorough a proficient to help the Cambridge Professor in his honorable labor, and thus to save Herr Pauer the necessity, one of these days, of reviving the concertos of Sterkel, and Madame Arabella Goddard of raking out from the embers of the past any of those by Dussek less worthy than his "Nos. 6," " 12," &c. The Andante is a perfectly charming "middle movement," only awaiting a "first" and "last," of which it would be cruel to let it long stand destitute. The recitative and scena, "What shall I sing your heart anew to win - containing an andantino "in the Swiss Style," an agitato "in the Italian style," and an allegro "in the French style," - is a pasticcio of the liveliest fancy, and alone, if proof were wanting, would establish the fact of Mr. Benedict's happy genius for dramatic music. It could not have been intrusted to a more spirited and competent executant than Mademoiselle Parepa. The fantasia entitled "The Prince of Wales" - or "Cambria " - founded on popular Welsh airs, is a successful pendent to "Erin," "Caledonia," and "Albion," three of the best pieces for the pianoforte based upon national melodies which modem ingenuity has furnished. "Cambria " has obtained considerable celebrity as a solo through Madame Arabella Goddard, for whom, like its three predecessors, Mr. Benedict expressly wrote it. On the present occasion, however, it was given as a duet (most skilfully and effectively arranged by Mr. George Osborne, the associate of M. de Beriot in so many renowned compositions for piano and violin) - Madame Arabella Goddard and Mr. Benedict himself being the performers. In its new shape the fantasia pleased no less than in its old. A scena and aria ("Anche in braccia in mio cor di fausta sorte ") - probably from some MS. Italian opera, Mr. Benedict having, we believe, produced more than one such work - came next. At all events it is essentially dramatic, and was admirably suited to the voice and style of the lady who had undertaken to sing it - our excellent English prima donna, Madame Lemmens Sherrington. Another recitative and scena - sung in English by Mr. Santley, and professedly taken from an opera called Diego di Lara - is of the same stamp, as regards dramatic expression. Besides the foregoing, the programme included the dashing bravura, called "The Sky Lark," originally composed for Madame Jenny Goldschmidt Lind, and frequently interpolated, by Miss Louisa Pyne, in Auber's Crown Diamonds (Madame Louisa Vinning being now the singer); a pompous and splendid march, composed for and performed at the wedding of the Prince of Wales with the Princess Alexandra of Denmark (arranged for military orchestra by Mr. C. Godfrey, jun., and performed by the band of the Scots Fusileers); and last, not least, the melodious part-song, entitled "May," for women's voices, set down for twelve lady members of the Vocal Association. Mr. Benedict also took part as pianist - with Madame Arabella Goddard, Messrs. Lindsay Sloper and George Osborne - in a quartet for four performers on two pianofortes, built upon themes from Rossini's Soirées Musicales (including, among others, the famous Tarentella, "La Danza "), the composition of Mr. Lindsay Sloper - one of the most ingenious, stirring, and brilliant pieces of the kind we can remember, and executed to such perfection that the audience were thoroughly enchanted. Here was enough, without anything more, for a concert, and a good one. There being a full orchestra, however, an overture, at the very least, was expected; and so we had one no less interesting, because so seldom played, than Vogel's once universally admired Demophoon, the fame of which, however, Cherubini's overture to an opera of the same name speedily eclipsed. Then, the incomparable Signor Piatti being at hand, he could hardly do less than delight Mr. Benedict's patrons with a fantasia on the violoncello, Herr Engel conferring a similar favor in the shape of a couple of solos for the harmonium. As for the miscellaneous vocal pieces, their number alone places anything like a detailed description of them out of the question. Enough that they were, with few exceptions, of the rarest quality-Madame Alboni, Mademoiselle Carlotta Patti, Mademoiselle Trebelli, Mademoiselle Artôt, Mademoiselle Louise Liebhart, Mademoiselle Enequist, Madame Weiss, Mademoiselle Georgi (who - to cite a quasi novelty - gave the quaint romance, "La bella Mea," from Signor Schira's Niccolo de' Lappi); Signors Giuglini, Bettini, Marchesi, Severini, Monari Rocca, Delle Sedie, and Ferranti; M. Gassier, Mr. Weiss, and Mr. Sims Reeves each contributing a quota - some of the more eminent names (which need hardly be signalised) appearing twice in the programme. The concert was to terminate with a performance of two Welsh melodies, arranged by Mr. John Thomas, sung by the members of the Vocal Association, and accompanied, on harps, by the arranger ("Pencerrd Gwalia "), and Mr. Balsir Chatterton; but, as that exciting incident could not well have occurred before the hour of 7 p.m., we were unable to witness its effect upon such among the audience as remained till the very last. Mr. Benedict might give his patrons shorter entertainments, but of the kind he could scarcely provide them with better.- Times. (The Musical world, Saturday, 27 June 1863) Mr. Benedict's Morning Concert. The Annual Concert of this distinguished composer and musician, whose style in both capacities is alike characterized by elegant taste, scholarly ability, and refined judgment, is one which may he regarded as an "event" in the professional and amateur world - so celebrated the artistes engaged, so varied and skilfully selected the highly attractive programme, end so great the interest manifested by the public in general. That the interest is a sustained one was evident last Monday, when St. James's Hall was filled in every part, and with as brilliant an audience as ever assembled within its walls. To do aught like justice to Monday's performance it would be necessary to devote a column or two to its analysis, and to the record of the remarkable ability with which the various pieces, vocal and instrumental, were executed. The mere nomenclature of the compositions, comprising selections from Mozart, Handel, Bellini, Rossini, Weber, Verdi, Donizetti, Auber, Benedict, Gounod, Vogel, Flotow, Balfe, Loder, De Beriot, Piatti, Engel, Arditi, Blumenthal, Sloper, Abt, Braga, Schira, J. Thomas, and others, would be, per se, sufficient evidence of variety, and also, as Mr. Benedict himself drew up the programme, of excellence of choice. Again, many of the artistes are reckoned amongst the most eminent of Europe, the two Italian Opera Houses and the late English Opera Company contributing, respectively, a fair and friendly quota. Several of M. Benedict's own compositions were gracefully introduced into the programme; for example, the "Dirge for the Faithful Lover" (the words by Beaumont and Fletcher); two other part-songs, "Sylvan Pleasures" (words by Thomas Heywood), and " May;" a trio, " Blessings on that reverend head" (Lily of Killarney), a recitative and scene, "By him betrayed" (Diego di Zara), and another recitative and scena, " What shall I sing ?" a pertinent question which Mdlle. Parepa personally answered by favouring the audience with two recitatives, an andantino in the Swiss style, an agitato in the Italian one, and an allegro of the French school. Moreover, there were some of Mr. Benedict's songs and trios, and all - one and all - gave unequivocal satisfaction. We may at once state that Mdlle. Parepa was most cordially applauded in the recitative and scena just mentioned, and so was Mr. Santley, in the scena "By Him Betrayed." Mr. Benedict himself played an andante on the pianoforte, with orchestral accompaniments; and, together with Madame Arabella Goddard, a fantasia on favourite Welsh airs, including "Poor Mary Ann" and " The Men of Harlech." Need it be said that those two distinguished musicians delighted all auditors? A recitative and scena from Rossini's Tancredi, including the world-famous " Di tanti palpiti," were rendered by Madame Alboni with the most exquisite skill, and with all the graceful facility which characterises that eminent and truly pleasing vocalist. Signor Giuglini was encored in a favourite romance, and nearly escaped an encore in a cavatina from Faust, sharing with Mdlle. Parepa, Mdlle. Trebelli, Mr. Santley, and M. Gassier the immense success of the admirable quintette "E scherzo od e follia," from Verdi's Ballo in Maschera. Mr. Sims Reeves was, as usual, greatly admired in Blumenthal's " Message," which, words and music together, is as pretty a song as need be sung in any drawing-room, and entered thoroughly into the spirit of Weber's aria "Thro' the forests, thro' the meadows " (Der Freischütz), imparting to it, or deriving from it, the most melodious tones - pure, full, and expressive. Another incontestable "success" was Mdlle. Carlotta Patti's " Son vergin vezzosa," one of the gems of Bellini's Puritani to which may be added, and on the like footing, Mdlle, Trebelli's "E strano poter" (Faust), Mdlle. Artôt's "Salle labbra," and, to a great extent, Madame Lemmens-Sherrington's scena and aria, "Anche in braccio" (Benedict), in which brilliancy of ornament might have been advantageously replaced, here and there, by simplicity of expression. The graceful singer was loudly applauded. Between the vocal portions of the concert Signor Piatti played on the violoncello a pleasing fantasia of his own composition; and Madame Goddard, Messrs. Lindsay Sloper, Benedict, and G. Osborne, a quartett (composed by Mr. Sloper) on themes from Rossini's Soirées Musicales. This composition, whilst gracefully embodying the spirit of the original themes, is replete with delightful variations, most artistically blended. We may congratulate Fraulein Liebhardt on her characteristic rendering of Abt's German song, "Cuckoo," which will, no doubt, be frequently heard henceforth, even when the bird itself is silent. The other vocalists were Madame Weiss, Mademoiselle Giorgi, Mademoiselle Moro-Cinti, (her first appearance in England), and Signori Bettini, Marchesi, Delle Sedie, and Monari-Rocca, and Mr. Weiss, each of whom well deserves special mention, and would undoubtedly obtain it if space allowed. Fortunately the majority are established favourites, and the others are in a fair way of becoming so. The Vocal Association co-operated in the concert, and greatly contributed to its success. The concert lasted nearly five hours, and the greater portion of the audience remained till the end, when Mr. Benedict was again greeted with cordial acclamation. He had certainly provided an excellent intellectual banquet, and though abundant, not to say profuse, it was recherche. (The Era, Sunday, 28 June 1863) MR. BENEDICT'S GRAND CONCERT. One of the events which mark the progress of the musical season is the annual concert of the talented and respected composer and artist whose name heads this brief notice. St. James's Hall was fully patronised on Monday by a critical, a fashionable, and a friendly audience. The programme, as is usual in these cases, though the custom would be "more honoured in the breach than the observance," was of an impracticable length, strength, and variety. There were three conductors, Arditi, Benedict, and Alfred Mellon; the "Vocal Association" for choruses and part songs; Mdlle. Carlotta Patti, Mdlle. Trebelli, Mdlle. Artôt, Madame Alboni, Mdlle. Parepa, Madame Lemaire, Madame Lemmens-Sherrington, Mdlle. Moro-Cinti, and Fraulein Liebhart; Signori Giuglini, Baregli, Ferranti, and Monari Rocca, Mr. Sims Reeves, Signor Bettini, Mr. Santley, Mr. Weiss, M. Gassier, and Signor Delle Sedie. The list is truly formidable. and we need no more than say that all these eminent singers did their best Then, In instrumental soloists, the concert was equally rich. Benedict and Miss Arabella Goddard, Mr Lindsey Sloper, and Mr. G. Osborne, at the piano; Piatti, with a violoncello fantasia; Louis Engel, with the harmonium; Mr. John Thomas and Balsir Chatterton at the harps; with a full orchestra, and the band of the Scots Fusilier Guards. Benedict's andante, performed for the first time by its composer, was a work worthy of its author's reputation, and strongly applauded. Carlotta Patti's aria from "Zauberflote" was wonderfully sung, and raised the enthusiasm of the audience. Mdlle Parepa, too, in a recitative and scena, by Benedict, "What shall I sing ?" with little pieces in the Swiss, Italian, and French styles, acquitted herself brilliantly. A romanza, by L. Engel, was sung with taste and feeling by that charming artist, Mdlle. Trebelli. Mr. Sims Reeves, too enchanted the listeners with Blumenthal's song "The Message;" and the clear and fluent style of Alboni was charmingly exhibited in the Tyrolienne from "Betley." Signor Delle Sedie's special song from "Un Ballo In Maschera" was most impressive and finished in the highest degree. The whole of the performance were worthy of the reputation of the beneficiaire. (Reynolds's Newspaper, Sunday, 28 June 1863) Sherrington, Mr. Sims Reeves, Signor Severini, Signor Marchesi, Madame Louisa Vinning, Mdlle. Georgi, Mr. and Madame Weiss, and other vocalists were also engaged, and sang several of their choicest morceaux. The instrumental department was equally strong. A fantasia on "Poor Mary Ann," and other Welsh airs, arranged as a duet for the pianoforte, was played by Madame Arabella Goddard and Mr. Benedict, and also a quartet for four performers on two pianofortes, in which the above artists were joined by Mr. G. Osborne and Mr. Lindsay Sloper, the last-mentioned gentleman being the arranger of the quartet, which was based on themes from Rossini's " Soirées Musicales." The playing, however; was better than the music. Signor Piatti, Herr Louis Engel, Mr. John Thomas, Mr. John Balsir Chatterton, and the Scots Fusilier Guards band were likewise in commission, and we believe all appeared. The concert, in a word, passed off with the usual éclát. The provision was most abundant, but the appetite of thé visitors was insatiable. There was little disposition to leave until the whole was over. (London Observer, Sunday, 28 June 1863) (Also: London Observer, Sunday, 28 June 1863.) First in the list of all the innumerable annual benefit concerts that are crowded into the short London season is that of Mr. Benedict, and this took place on Monday week, in the presence of one of the most brilliant audiences that we have ever witnessed within the walls of a public room. The entertainment lasted nearly five hours, but it was so wonderfully well supported that the attention of the audience showed no signs of flagging until the very conclusion of that long afternoon. Mr. Benedict's own compositions, several of which were entire novelties, of course chiefly engaged the listeners' attention. These included two scene; the first entitled "What shall I Sing?" and comprising three movements in the Swiss, Italian, and French styles respectively, given by Mdlle. Parepa with her usual vigour; the second beginning, "Anche in braccio," probably from some MS. opera which has never yet seen the light, charmingly rendered by Mdme. Lemmens-Sherrington, both displaying all the graceful fancy that chiefly distinguishes the indefatigable composer. Mr. Benedict also played an andante of his own composition, and joined Mdme. Arabella Goddard in a duet arrangement of his fantasia on Welsh popular airs. These two celebrated players received the further assistance of Mr. Lindsay Sloper and Mr. G. Osborne in a quartet for four performers on two pianos, arranged by Mr. Sloper on themes from Rossini's Soirées Musicales. It is a very cleverly and effectively-arranged piece, and will be most acceptable at some of those monster entertainments where four first-rate pianists happen to be engaged. The most interesting items in this long programme consisted of three unpublished compositions of Weber, of whom, it will be remembered, Mr Benedict was the most gifted pupil. The most important of the three, a choral war-song for male voices in unison, is a most poetical, vigorous, and appropriate musical setting of a noble "Kriegslied," written by the German poet Collin for the purpose of being sung by the bands of volunteers which the French invasion, under the first Napoleon, called into being. It was tolerably well rendered by the Vocal Association, and if it had been given earlier in the afternoon would doubtless have produced a deep impression. Quite as much distinguished for grace as is the war song for vigour, are the duet, "Blooming flowers," from the lost opera, "Die drei Pinto's," and the arietta, "Bau auf meine Treue nur," the two other compositions of Weber with which Mr. Benedict's concert has enriched our vocal repertory. (Illustrated Times, Saturday, 4 July 1863) Monday, 29 June 1863 : Signor And Madame F. Lablache's Matinée Musicale at Hanover-Square Rooms. MADAME LIND-GOLDSCHMIDT has most kindly consented to SING at Signor and Madame F. LABLACHE'S MATINEE MUSICALE, at the Hanover-square Rooms, on MONDAY, June 29. Madlle. Parepa, Herr Reichardt, Signor Piatti, and Signor and Madame F. Lablache, and other artistes of the greatest celebrity will also appear. Conductors: Mr. Lindsay Sloper and Signer Le Calsi.- Stalls, one guinea : unreserved seats, 10s. 6d. To be had at the principal libraries and musicsellers', of Signor F. Lablache, 149, Albany-street, N.W., and of Mr. Fish, at the Hanover-square Rooms, where the plan of the seats can be seen. (Morning Post, Friday, 12 June 1863) MADAME LIND-GOLDSCHMIDT has most kindly consented to SING at Signor and Madame F. LABLACHE'S MATINEE MUSICALE, at the Hanover-square Rooms, on MONDAY, June 29. Madlle. Parepa, Herr Reichardt, Signor Piatti, and Signor and Madame F. Lablache, S. Thalberg has kindly consented to defer his departure from London ! and perform some of his mo.-t admired pieces.. Conductors: Mr. Lindsay Sloper and Signer Le Calsi.- Stalls, one guinea : unreserved seats, 10s. 6d. To be had at the principal libraries and musicsellers', of Signor F. Lablache, 149, Albany-street, N.W., and of Mr. Fish, at the Hanover-square Rooms, where the plan of the seats can be seen. (Morning Post, Thursday, 18 June 1863) (Also: London Observer, Sunday, 21 June 1863; Illustrated London News, Saturday, 20 June 1863; Morning Post, Saturday, 20 June 1863.) MADAME LIND-GOLDSCHMIDT and S THALBERG (his last appearance in London) will appear at Signor and Madame F. LABLACHE'S MATINEE MUSICALE at the Hanover-square Rooms, on MONDAY, June 29. Madlle Parepa, Heir Reichardt, Signor Piatti, and Signor and Madam F. Lablache. S Thalberg has kindly consented to defer his departure from London and perform some of his admired pieces Conductors : Mr. Lindsay Sloper and Signor Le Calsi.- A few seats on orchestra near pianoforte, 21s.; stalls, 21s.: unreserved seats, 10s. 6d. To be had at the principal libraries and music sellers', of Signor F. Lablache, 149, Albany-street, N.W., and of Mr. Fish, at the Hanover-square Rooms, where the plan of the seats can be seen. (Morning Post, Tuesday, 23 June 1863) (Also: Morning Post, Friday, 26 June 1863; Morning Post, Saturday, 27 June 1863; Morning Post, Wednesday, 24 June 1863; Morning Post, Thursday, 25 June 1863.) THEATRE ROYAL, DRURY-LANE. GRAND CONCERT, on SATURDAY MORNING, June 27, commencing at two o'clock. PROGRAMME. Part I. Duet, Harp and Pianoforte, on Themes from " Norma," Herr Oberthur' and Mr. W. Aguilar. Ballad, "In sheltered vale," Heir Formes - Formes. Lied, " Morgen Fensterln" Fr Sulein Liebhardt -Prodi. Aria, "Una Furtiva Lagrima" (Elisir d'amore) Signor Bettini - Donizetti. Rondo Finale (Italiana in Algeri), Madlle. Trebelli - Rossini. Cavatina, "Largo al Factotum (Barbiere), Signor Gassier - Rossini. Air, "O Luce di que-rt' anima" Linda di Chamouni, Madlle. Volpini - Donizetti. Air, " Salve dimora" (Faust), by special desire, Signor Giuglini - Gounod. Solo Pianoforte, "Harmonious Blacksmith,'' Madame Arabella Goddard - Handel. Arietta, "A day dream," Madame Lemmens-Sherrington - Blumenthal. Song, "Thoughts of thee," Madame Sainton-Dolby - Blumenthal. Duet. "All's well," Mr. Sims Reeves and Mr. Santley. Valse, "Il Bacio," Madlle. Artôt - Arditi. Song, "The Bell Ringer," Mr. Santley - Wallace. Solo, Violin, "Rigoletto." M. Sainton - Sainton. Cavatina, " Di Pacer," Madlle. Florence Lancia - Rossini. Duet, "Si la Stanchezza" (Trovatore), Madlle. Georgi and Signor Giuglini - Verdi. Duo, "Mini la Bianca luna,'' Madlle. Trebelli and Signor Bettini - Rossini. Quartet for Four Performers on Two Pianofortes, on Themes from Rossini's Soirées Musicales, Madame Arabella Goddard, Mr. John Prime's Barnett, Mr. William Carter, and Mr. Lindsay Sloper - Lindsay Sloper. PART II. Air with variations, Madlle. Artôt - Rode. Song. "Twilight is darkening," Mr. Sims Reeves - Kücken. Duet for Two Harps. "Cambria," Mr. J. Balsir Chatterton Harpist to the Queen and Mr. John Thomas Pencerd Gwalla - Thomas. New Song, "The lark now leaves his nest," Madame Weiss - J. L. Hatton. Song. "Poor Jack Brown," Mr. Weiss - H. Smart. Recitative and Air, "Hence, loathed melancholy," Mr. Redfern - Handel. Song, " Tell me my heart," Miss Susanna Cede.- Bishop. Ballad. "Good night, sweet dreams be thine," Mr, Wilbye Cooper - G. B. Allen. Solo, Pianoforte, Mr. J. Barnett. Song. Miss Florence de Courcy Song. Mr. Allan Irving. Part Song, 'O Who will o'er the downs," The London Choral Union - Pearsall. Solo Violin, Mr. Russell. Herr Japha - David. song. " Until in the corn," Miss Clari Fraser - F. Mori. Song, Mr. Leonard Walker. Brindisi "Lucrezia Borgia". Madlle, Georgi Donizetti. Duet, "As it fell upon a day," Miss Florence de Courcy and Miss Marian Wheatley - Bishop. Chorus Finale, "The blue bells of Scotland," The London Choral Union - Neithardt. Pianoforte: Madame Arabella Goddard, Mr. John Francis Barnett, and Mr. Lindsay Sloper. Conductors: Mr. Benedict, Signor Arditi, Mr. Frank Mori. Heir W. Ganz, Mr. Wm. Carter, Mr. C. J. Hargett, Mr. Aguilar, and Mr. W. Vincent Wallace. orchestra stalls, 6s.; dress circle, 4s.; first circle, 3s. ; upper boxes and pit. 2s. ; gallery, 1s.: upper gallery, 6d.; private-boxes, from 10s. 6d. to £3 3s. (Morning Post, Thursday, 25 June 1863) MDME. LIND-GOLDSCHMIDT and S. THALBERG (his last appearance in APPRAE at SIGNOR and MDME. F. LABLACHE'S MATINEE MUSICALE, MONDAY, JUNE 29, at the HANOVER-SQUARE ROOMS. Mdme. Lind-Goldschmidt has most kindly consented to sing. Mdlle. Parepa, Herr Reichardt, Signor Piatti, Signor and Mdme. F. Lablache; and S. Thalberg will perform some of admired pieces (his last appearance in London). Conductors -Mr. Lindsay Sloper and Signor Li Calsi. A limited number of seats near pianoforte or orchestra, reserved and numbered, one guinea; Stalls 21s.; Unreserved Seats, 10s. 6d.; to be had at the principal librarians and Musicsellers ; of Signor Lablache, 149, Albany-street, N.W.: and of Mr. Fish, at the Hanover-square Rooms, where the plan of the seats may be seen. (Illustrated London News, Saturday, 27 June 1863) Wednesday, 8 July 1863 : Concert in Aid of the Hospital for Incurables at St. James's Hall, Piccadilly. Mr. and Madame Goldschmidt's second performance of Handel's L'Allegro and Il Penseroso, which took place at St. James's Hall on Wednesday evening, was, if possible, more successful than the first, and the crowded audience who filled the hall applauded the performance with enthusiasm, notwithstanding their physical suffering from the heat. The vocal performers, in addition to Madame Lind-Goldschmidt, were Madame Lemmens Sherrington, Miss Lascelles, Mr. Montem Smith, and Mr. Weiss. The instrumental orchestra and chorus were 250 strong. Mr. Lindsay Sloper was at the piano, Mr. Hopkins at the organ, and the performance was conducted by Mr. Otto Goldschmidt. The principal soprano recitatives and airs were sung by Madame Lind-Goldschmidt. She was in full possession of her vocal powers; and her grandeur of style and brilliancy of execution were as conspicuous as ever. The other singers exerted themselves with great effect. The manner in which this beautiful work, which had almost passed away from the memory of the present generation, has been revived by Mr. and Madame Goldschmidt does them the highest honour. Till this year it had not been performed entire in London for half a century. During the days of the Ancient Concerts, the value of which was not appreciated by the public till after we had lost them, detached pieces from this cantata were frequently sung by the greatest vocalists of the day; but since the Ancient Concerts were suffered to perish by neglect, we cannot remember that a single note of this charming music has ever been heard in public. Now that Jenny Lind and her accomplished husband have, by these performances, shown how beautiful it is - how worthy of the genius of the greatest musician the world ever saw - we can scarcely suppose that the English public, who profess so great a veneration for the name of Handel, will suffer one of his finest works to fall again into oblivion. (London Express, Thursday, 9 July 1863) (Also: John Bull, Saturday, 11 July 1863; Press, Saturday, 11 July 1863; John Bull, Saturday, 11 July 1863; Globe, Thursday, 9 July 1863.) MADAME JENNY LIND GOLDSMICHT'S CONCERT. The repetition of Handel's Allegro e Penseroso at St. James's Hal! on Wednesday evening, under the direction of Herr Otto Goldsmicht, with Madame Lind-Goldsmicht as the leading soprano, assisted by Mdme. Lemmens-Sherrington, Miss Lascelles, Mr. M. Smith, and Mr. Weiss, was so remarkable event, that it deserves to be recorded one of the most successful the present season. A second hearing has done great things towards rendering this almost forgotten Cantata popular ; and, if we mistake not, its revival will place its gigantic composer as high a position writer of secular, he has ever been of religious music. His work, as a whole, is somewhat unequal, but it contains some of the most perfect gems that Handel ever produced. Mdme. Lind-Goldsmicht threw her whole soul into her interpretation of the Penseroso music ; and, although her voice is longer as fresh when she first burst upon the English public, a star of the most brilliant magnitude, the breadth of her method, and the exactness of her rendering the most difficult phrases yet command a degree of attention and consideration, which can scarcely fail to be afforded whenever she emerges from her retirement, either to resuscitate a forgotten work, or to advance the cause of charity. Every one of Mdme. Lind-Goldsmicht's vocal assistants fulfilled their allotted task with their usual ability, and M. Otto Goldsmicht's direction was steady, judicious, and musicianlike. The chorus and band wero well selected, and revelled in Handel's quaint, but strains. Mr. Hopkins, of the Temple Church, was at the organ, and Mr. Lindsay Sloper filled the harmonies for the recitatives and songs by means of the pianoforte, as Handel was accustomed to do at the harpsichord before [?] instrumentation had been developed by modern inventors and contrivance. (Bell's Weekly Messenger, Saturday, 11 July 1863) Madame Lind Goldschmidt. The second performance of Handel's setting of Milton's glorious poems L'Allegro and Il Penseroso took place last Wednesday evening at St. James's Hall, which was filled by a brilliant auditory, anxious to hear once again the notes of the lady so aptly named upon her first coming to these shores "the Swedish Nightingale." The loveliest gems of the evening, where every song was all but perfection, were "Sweet bird, that shunn'st the noise of folly," with the flute obligato of Mr. C. F. Pratten. It afforded a contrast of the most mellifluous instrument with the loveliest of human voices, in which the vox humanae carried it by expression and intelligibility, added to a transcendent sweetness and modulation. "Hide me from day's garish eye" (Il Penseroso) went deliciously, and was warmly redemanded, but Madame Goldschmidt curtseyed her acknowledgments and retired. Madame Goldschmidt was warmly greeted throughout, and was ably assisted by Madame Lemmens-Sherrington, Miss Lascelles, Mr. Montem Smith, Mr. Harper, and Mr. W. L. Weiss, whilst Mr. Otto Goldschmidt conducted with much care. Mr. Lindsay Sloper presided at the pianoforte, and Mr. E. Hopkins at the organ, and a praiseworthy band and chorus gave completeness to a performance that was in every way satisfactory. The Cantata was preceded by Handel's Orchestral Concerto for stringed instruments, in B, No. 12. (The Era, Sunday, 12 July 1863) Madame Lind Goldschmidt's Concert. Some time since Madame Lind Goldschmidt and Herr Otto Goldschmidt gave a performance of Handel's cantata, entitled L'Allegro ed il Penseroso, in aid of the hospital for Incurables. St. James's-hall was crammed, the receipts were large, and a considerable sum was handed over to that excellent charity. The interest excited by the revival was so great that it was found expedient to announce a second performance of the work, and, as the advertisement and programmes made no allusion to hospitals or other charities, it may be presumed that this second performance was simply for the benefit of the concert-givers. It is but fair that those whose eminent talent and position enable them to be the means of doing so much good to others should occasionally be allowed to do some sort of good for themselves; and though Madame Goldschmidt did take formal leave of the public in 18--, few believed but that with her ardent love of rt, and her not absolute distaste for applause, she would at some future period revoke her decision, and enchant her countless admirers once - if not many times - more, with the song of the "Nightingale." That she has enchanted her admirers - not once, but many times - since that universally hoped for "revocation" took effect our musical readers are aware.: Tant mieux. No one is injured, while thousands are likely to be benefited, and thousands, moreover, to be charmed, through the welcome fickleness of the illustrious Swede. Why, indeed, should Madame Goldschmidt withdraw altogether into private life while in her peculiar sphere she is still incomparable ? We feel no inclination to enter on a long disquisition about the merit of Handel's famous cantata, which the world has accepted as a masterpiece, and which is fully equal to his Alexander's Feast, and, indeed, to any of his secular compositions, with the single exception of that rare pastoral, Acis and Galatea. What is good in L'Allegro - and how much of good it contains need hardly be insisted on - is imperishable; while what is weak is only weak because, fashions having changed, the ornamental style of to-day is not the ornamental style of Handel's period. Even John Sebastian Bach - the contemporary whom Handel was either unable or unwilling to meet - now and then fell into the ephemeralities of the hour; although he did it with so ill a grace that one can easily see it was against the grain. These conventional shortcomings of men deservedly renowned should not be looked at with an irreverential eye. Handel produced so much that, were all that in his works to modern ears seems trifling ignored or cast aside, enough of grave, sublime, and beautiful would remain to permit him still to stride like a Colossus over the world of pigmies beneath him. Beethoven, the most perpetually earnest of Composers, and Mendelssohn, the most perpetually fastidious, alone among musicians can be said even in their trifles never to have trifled. Nor is it requisite to argue with Madame and Herr Goldschmidt about the particular voices to which in L'Allegro ed il Penseroso particular airs should be assigned - a point about which Handel himself appeared to entertain no very decided opinions, and which may be found discussed at length by his biographers-M. Schoelcher, Herr Chryander, &c; We are sufficiently gratified by the performance as it is now framed by these distinguished artists to be indifferent about details of such comparatively small significance. Enough that L'Allegro, Il Penseroso, ed Il Moderato - the words of the first and second parts by Miton, of the last (the Moderato) by Charles Jennens, who also compiled the books of the Messiah and Belshazzar - were written in 1740, and first performed at the Royal Theatre, in Lincoln's-inn-fields, together with two new concertos for various instruments, and one new concerto for the organ; that the common-place addition of Jennens - so antagonistic to the poetical idea of Milton-is judiciously abandoned by Herr Goldschmidt (judiciously, notwithstanding that some of Handel's music is perforce abandoned with it); that, in place of three concertos, we have now but one; and that where the accompaniments to the airs are thinly scored by Handel they are filled up by the organ or pianoforte, in accordance with Handel's custom and in strict obedience to the indications of his "figured bass" except in the instance of two or three airs, for which Herr Otto Goldschmidt has done the same service (with a discreet and able hand) through the instrumentality of additional wind parts. The performance even now is long, and, owing to the superabundance of recitatives and isolated songs, occasionally prolix. What must it have been with the third part retained, and two additional concertos ? Talk of long concerts indeed - our great grandfathers and great grandmothers beat us hollow on that point. That on any occasion, however, they could ever have found the quasi dullness of a musical entertainment enlivened by such magnificent singing as that of Madame Goldschmidt in the principal airs of "Il Penseroso" is very doubtful. In appropriating to herself the most important passage belonging to the joy repelling personage of Milton's ideal contest, Madame Goldschmidt shows her taste, inasmuch as, in the music at least, "IL Penseroso"* has considerably the best of the argument. The only piece belonging to "L'Allegro" on which the accomplished songstress lays violent hands is that occurring near the end of Part 1 - recitative, siciliana and air. Here, by some strange freak, Handel has made the siciliana ("Let me wander not unseen" as plaintive as anything allotted to "ll Penseroso" and this part Madame Goldschmidt sings to perfection. But the air ("Or let the merry bells ring round"), illustrated by the great musician in the true spirit of "L'Allegro - is exaggerated by her in such an odd manner as to border very closely on the extravagant. For the rest wo have nothing but praise - praise as unqualified as it is legitimately earned. Even the long-drawn out cadences of "Sweet bird that shuns the noise of folly," (where Mr. Pratten's flute obbligato is a worthy echo of the mellifluous warblings of the "Nightingale ") may be excused - nay, are likely to charm the majority - inasmuch as they proceed from a pardonable over-anxiety to represent with intense vividness the ideal of the picture imagined both by poet and composer. The recitative and air, "Hide me from day's garish eye," &c., as a piece of vocal declamation, poetically conceived and intellectually wrought out, has never in our remembrance been equalled. That Madame Goldschmidt's voice is not what it was some years ago it would be folly to deny - no less so that, at intervals, she elaborates her expression to a degree transgressing the limits of pure taste; but that in certain passages (and those by no means unfrequent), as well as by her general conception and execution of great music ("pictorial" music, so to say, especially) she so far transcends all competitors as to make them appear almost nullities beside her is undeniable. In many respects - and those in connexion with art in Its loftiest demonstrations Madame Goldschmidt is still beyond comparison, the very greatest of singers. This must excuse us from saying more than that her coadjutors on the occasion under notice - Madame Lemmens-Sherrington, Miss Lascelles, Messrs Montem Smith and Weiss - all artists of well-merited reputation, sang their very best. There was an excellent orchestra, and a competent chorus about 250 strong ; Mr. Lindsay Sloper presided at the pianoforte, and Mr. E. J. Hopkins at the organ. The conductor. was Herr Otto Goldschmidt. The audience though not so numerous as at the first performance of L'Allegro ed il Penseroso, was, if possible, even more enthusiastic. Rarely have we listened to applause more genuine and unanimous than that bestowed upon Madame Goldschmidt in the airs, "Sweet bird," and " Hide me from day's garish eye" - both of which, had she been favourably inclined, would have been listened to again with rapture. Let us then, hear no more (at least for the present) of " Farewell concerts," &c. (The Times, Monday, 13 July 1863) (Also: The Musical world, Saturday, 18 July 1863.) Handel's cantata, " L'Allegro" and "Il Penseroso," was repeated at St. James's Hall on Wednesday, sustained by Madame Lind Goldschmidt, Madame Lemmens-Sherrington, Miss Lascelles, Mr. M. Smith, and Mr. Weiss, with Hr. Otto Goldschmidt as conductor, and Mr. L. Sloper, as pianist. (Freeman's Journal, Tuesday, 14 July 1863) (Also: Newcastle Journal, Wednesday, 15 July 1863.) Wednesday, 7 October 1863 : Mr. J. W. Marshall's Grand Evening Concert at Central Hall, Darlington. GRAND EVENING CONCERT. Yesternight, the musical public of Darlington, and many of the elite of the neighbourhood, were indebted to the enterprise of Mr. J. W. Marshall for a treat of no ordinary character. A grand evening concert was given in the Central Hall, at a which Miss Edith Wynne, Miss D'Alton, Mr. Santley, Mr. Edward Lloyd, and Senor Caravoglia sang; and, if that summary of harmony be not enough, let it be added that a Mr. Lindsay Sloper presided at the pianoforte, and that M. Sainton elicited marvels of music by miraculous manipulation on the violin. The programme was a most attractive one, and we regret that the space at our disposal forbids even the merest catalogue of the entertainment. Suffice it to say that the audience, one of the most brilliant ever assembled at a concert in the Central Hall, were treated to some of the best songs of these eminent artists. Miss D'Alton's ballads were charming, and that lady laid her audience under a great obligation by her repeat on an urgent encore of the beautiful composition by Madame Sainton Dolby, "He thinks I do not love him," which will not be soon forgotten. Miss Julia Wigan was not quite so successful in her parts as Miss D'Alton; but her "On the banks of Allan water " was rendered with a sweetness and pathos full of promise for an artiste of whom great expectations have been formed. Mr. Edward Lloyd, when last he visited Darlington, left an impression of his powers that was sure to make his return most welcome, and the favour in which he was then established was exhibited again last night with peculiar point and emphasis. He sang last night a merry tripping composition, by Mr. Charles Santley, also F. Clay's "The shades of evening close around," and, on an enthusiastic encore, "Come into the garden, Maud," with delightful clearness and spirit. Of Miss Edith Wynne and Mr. Santley there will be no word spoken to-day but in praise. Longfellow's "Wreck of the Hesperus" (set by Hatton), and "Defence not defiance," a kind response to the claimant, the almost beseeching plaudits of his hearers, after "A life that lives for you," are memorable things as Mr. Santley rings them out.; and such are also "The Bells of Aberdovey," and "O bocca bocca bella," as they linger in our ears, associated with the mellifluous cadences with which they were last night rendered. Though the concert was of the best type of ballad concert, not the least attractive feature was the selections, including several from our great Italian composers. In one of these. a terzetto from Cimarosa, Signor Caravoglia rendered the ludicrous passage si trovo with so much dramatic force as to convulse hundreds who knew not a word of the part; but this success was even more manifest when the same quality came out in the "barbiere di qualita," rendered as only an Italian humorist as well as singer, actor as well as musician, could have rendered it. So numerous were the applications for tickets, that a supplementary gallery, accommodating two hundred reserved seat ticket-holders, was found to be necessary ; and financially, as well as otherwise, we should expect to hear that the concert has been a success. The moral of such a result would be that, even in dull Darlington, high art will not want for appreciative patrons, when really high art is provided. (Northern Echo, Wednesday, 8 October 1873) Saturday, 21 November 1863 : Concert at Crystal Palace. CRYSTAL PALACE CONCERTS - Schumann's symphony in D Minor (his fourth-numbered) which was performed at the Crystal Palace on Saturday last, has many of the characteristics which enrapture his admirers, and perhaps a larger proportion than usual of that freshness in idea which generally (as we read music), is wanting to his ambitious compositions. When he wrote for children he could be sweet and natural; when he addressed himself to more mature and thoughtful hearers he seems too often, "with malice prepense" to have disdained sweetness and nature as so much trite empty puerility - to have indulged in that worship of the ugly which was recommended as the one saving faith by M. Victor Hugo many years ago, and which has made such wild work with Young Germany. In this Symphony, a slow movement of no peculiar interest leads into an allegro in tempo, busy rather than cheerful, which is based on a phrase not worth the trouble of treating. Our author, however, with his usual pertinacity, strangely consistent with poverty of idea, worries the group of eight semiquavers to death, using it again in later movements of the symphony - a device of modern times, which, with too many, passes for "purpose." The second subject is more pleasing. For slow movement we have a short romance on an elegant theme - one of Schumann's best and most distinct melodies. In place of working this out, he rambles back, for no assignable reason, to the dry prologue, then indulges in a graceful episode, which is forthwith cut short, and so the romance is brought to an abrupt end. There is a graceful ?gure in the trio to the scherzo: this is joined by an intermezzo, based on the eight semiquavers of the ?rst allegro, to an animated ?nale in D major, in every respect the best piece of orchestral music by Schumann with which we are acquainted. It appears to have been written in one of the least warped and tangled moods of its writer's mind. The entire symphony, moreover, is singularly clear of that crudity of modulation proclaimed by his idolaters as discovery, which spoils our pleasure in much of his music; and, to conclude, brings him, in our estimation, nearer to the high point on which those who have disparaged Mendelssohn for his sake would place him, than any other of his important works. In all there is, we are satis?ed, much or little, disease; but in this less than the average. We must not leave this concert without a word concerning Mozart's vocal pianoforte scena 'Non temer,' dextrously sung by Madame Rudersdorff, and the obbligato accompaniment, exceedingly well played by Mr. Franklin Taylor. We already knew that this young professor is skilful in arrangement and condensation from score. On Saturday he showed more than usual power and delicacy as an accompanist; in this form of musical duty, where the failures far outnumber the successes, he may stand next among English players, to Mr. Lindsay Sloper. (The Athenaeum, Saturday, 28 November 1863) |
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