Concert Advertisements and Reviews - 1877.

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Friday, 9 February 1877 : Messrs. J. B. Cramer and Co.'s Grand Benefit Ballad Concert at Dome, Brighton.

Mr. Watts has, indeed, been most enterprising and painstaking in his musical undertakings; and, as the Brighton public is not now apathetic in musical matters, there is some ground for believing that they will respond to this special "appeal " for a mere recognition of public services. The concert will be of the ballad character, and amongst the artists who have offered their services are Mme. Osgood, Miss Julia Elton, Mme. Antoinette Sterling, Mr Vernon Rigby, Mr J. H. Pearson, L. Wadmore, Signor Foli (thus far the vocalists), Mr Carrados (violin), Mr Charles Oberthür (harp), and Mr F. Kingsbury and Mr Lindsay Sloper (conductors). The Brighton Philharmonic Choir members will sing several capital part songs and madrigals. The programme is well arranged, the several solo artists naming some of their choicest selections. (Brighton Guardian, Wednesday, 31 January 1877)

DOME, BRIGHTON. FRIDAY EVENING, FEBRUARY 9TH, AT EIGHT, HIS WORSHIP THE MAYOR OF BRIGHTON Has pleasure in announcing that arrangements have been made to give Messrs. J. B. Cramer & Co.'s Musical Director, MR GEORGE WATTS, A GRAND BENEFIT BALLAD CONCERT, UNDER MOST DISTINGUISHED PATRONAGE. ARTISTS : Mdme. OSGOOD, Miss JULIA ELTON, Mdme. ANTOINETTE STERLING Mr. VERNON RIGBY, Mr. J. H. PEARSON Mr. J. H. WADMORE, Signor FOLI. SOLO VIOLIN - Mr. CARRODUS. SOLO HARP - Mr. CHAS. OBERTHUR. THE BRIGHTON PHILHARMONIC CHOIR OF 200 MEMBERS Will Sing a Choice Selection of Madrigals and Part-Songs. CONDUCTORS - MR. F. KINGSBURY STERLING, MR. LINDSAY SLOPER Musical Director Mr. GEORGE WATTS. STALLS, 10s. 6d.; RESERVED SEATS, 7s. 6d.; BALCONY STALLS, 5s. and 3s.; UNRESERVED SEATS, 2s.; OUTER CIRCLE, 1s. (The orchestra, Oct. 1863-Mar. 1881, Thursday, 1 February 1877)

MUSIC AT BRIGHTON. There has been no lack of musical entertainment at Brighton during the past month. We can only notice the two chief events, the first being the testimonial concert to Mr. Watts in recognition of his services to music at Brighton, and especially in regard to certain performances organized for local charities. This came off on Feb. 9, when the Dome was filled with a fashionable and appreciative audience. The list of artists comprised Mdme. Osgood, Miss Julia Elton, Mdme. Antoinette Sterling ; Mr. Vernon Rigby, Mr. J. H. Pearson, and Mr. J. L. Wadmore, and Sig. Foli. Other artists were Mr. Carrodus, our famous English violinist, Mr. Charles Oberthür, the harpist, Mr. F. Kingsbury, and Mr. Lindsay Sloper. We need say no more than that the artists acquitted themselves well in the judiciously varied selections which tested their powers, and the result was equally satisfactory to Mr. Watts, and to the gentlemen who felt called upon to offer him such public recognition. (The orchestra, Oct. 1863-Mar. 1881, Thursday, 1 March 1877)

Saturday, 21 April 1877 : Sixth Matinée Musicale, Vocal & Instrumental at Portland Hall, Southsea.

PORTLAND HALL, SOUTHSEA. THE SIXTH MATINEE MUSICALE, VOCAL & INSTRUMENTAL, WILL TAKE PLACE ON SATURDAY APRIL the 21st, 1877, AT THREE O'CLOCK, THE COMBINED STRING BANDS OF THE ROYAL MARINE ARTILLERY (By the kind permission of Col. D. Adair, Com. R.M.A.), and the ROYAL MARINE LIGHT INFANTRY, (By the kind permission of Colonel C. W. Adair, CB, A.D.C.) PROGRAMME: Overture "Mirella," Gounod. Sonata, No. 20 (by desire), Beethoven. Selection "Tannhauser," Wagner. Part Song "A Vintage Song," Mendelssohn. Funeral March of a Marionette Gounod; Overture "Midsummer's Night's Dream," Mendelssohn; Part Song, "Comrades in Arms," Adam, Haydn's Toy Symphony (First time in Portsmouth), Haydn; Fantasia, "A Summer's Day in Norway," Willenu; Valse, "Ella," L. Sloper. Conductors - Messrs. C. KREYER & J. WINTERBOTTOM. Admission by Payment, 1s. Doors open at 2.10. Concert at 3. (Hampshire/Portsmouth Telegraph, Saturday, 21 April 1877)

Thursday, 7 June 1877 : Mr. Lindsay Sloper's First Matinée Musicale at Willis's Rooms, King-Street, St. James's.

MR. LINDSAY SLOPER'S MATINEES MUSICALES. Mr. Lindsay Sloper is an important authority on chamber, and more especially pianoforte music, and he is now doing good service to English musical art by introducing at his matinées musicales d'invitation some of Stephen Heller's recent and less known compositions, and a selection also from other contemporary native composers, including some of his own compositions. An artist's repertoire consists as a rule almost exclusively of foreign works - not because there are no English ones worthy of notice, but rather as a result of custom or prejudice. Mr. Sloper's undertaking is really an effort in the right direction, and we hope he may meet much encouragement in his exploration of more untrodden paths. At his first matinée, given at Willis's Rooms on the 7th inst, he was assisted by Herr Schiever (violinist), and Mdme. Mathilde Zimeri and Miss Mary Cummings (vocalists), Mr. Hamilton Clarke accompanying the vocal music. The programme consisted of several short selections, without the usual "piece de resistance" from one of the old masters, and admitted therefore of a more varied choice. The first number was three Pensées Fugitives, for piano and violin, by Heller and Ernst. The arrangement for each instrument and their combination are excellent, and the duo was effectively rendered by Mr. Lindsay Sloper and Herr Schiever. Our pianist then performed the following solos by Stephen Heller :- From the well known "Dans les Bois" No. 1 ; "Entrée" Op. 128; and No. 5, "Annette and Agathe," Op. 136 ; the less commonly heard, Nos. 5 and 6, from the "Lieder ohne Worte," Op. 120 ; the bright and tasteful Polonaise, Op. 132, No. 2 ; and the short but attractive No. 3 from "Dream Pictures," Op. 79. Miss Mary Cummings, who has a deep and strong contralto voice, but fails somewhat in modulation and finish, having sung Arthur Sullivan's "The last chord," Mr. Sloper played a selection from his own compositions : "Berceuse," Op. 70, a tasteful and finished little morceau, and two MS. pieces, "Marche d'Adieu " and "Marche du Retour," the former plaintive and pretty, and the other in a more joyful strain. We did not admire Mdme. Zimmerit's rendering of "Angels ever bright and fair;" she has considerable power and command of voice, but appears to overstrain it, and her light operatic style is not adapted to even the less weighty of Handel's compositions. Mme. Zimeri was more in her element in Gumbert's Romance, "O bitt' euch liebe Vögelein," and in an operatic excerpt, which she kindly gave in place of Miss Cummings, who was prevented from singing twice. From that pianoforte composer par excellence, Franz Chopin, Mr. Sloper selected Prelude in D flat, Op. 28 ; Mazurka in C sharp minor ; and the Ballade in A flat, Op. 47, all of which he rendered in his wonted conscientious and musicianly manner. He played also Edward Sharp's "Lied Ohne Worte," No. 1, in F, followed by a short but well worked Fugue on the subject of the song, by Arthur Sullivan, a delicate Andante in G flat, and "Allegretto à la Hongroise," both from the pleasing series called "Day-dreams." Mr. Sloper concluded his agreeable programme with a further selection from Stephen Heller, "Reverie" and "Elfes," No. 3 from the Album, Op. 138 ; Etude, No. 3, Op. 90 ; Prelude, No. 11, Op. 81 ; and Venitienne,. Op. 52. The second matinée is fixed for the 19th inst. (Musical standard, Saturday, 16 June 1877)

PRINCIPAL CONTENTS OF THIS NUMBER. … MUSICAL INTELLIGENCE Festival - Alexandra Palace - The Philharmonic Concert - Handel's s' Hercules," by Mr. Henry Leslie's Choir - Mr. Lindsay's Sloper's Matinées Musicales-Musical Union Matinées - Mr. Barth's Ballad Concert - New Philharmonic Concert - London Church Choir Association, etc. (Musical standard, Saturday, 16 June 1877)

Amongst the miscellaneous concerts have been … the pianoforte Matinée of Mr. Lindsay Sloper, on the 7th, in Willis's Rooms ; … (The Athenaeum, Saturday, 16 June 1877)

Monday, 18 June 1877 : Mademoiselle Victoria de Bunsen's Annual Grand Morning Concert at 137, Harley Street, Cavendish Square, W. (By Permission Of Capt. And Mrs Coster).

MDLLE VICTORIA BUNSEN has the honour to announce that her ANNUAL GRAND MORNING CONCERT will take place at 137, Harley Street, Cavendish Square, W. (by kind permission of Capt. And Mrs Coster), on Monday, 18th June, to commence at Three o'clock. Vocalists - Mdme Rose-Perkins, Mrs Harley Hughes (amateur), Mdlle Victoria Bunsen, Mdlle Trentanove, Signora Louise Gage; Signor Bettini, Mr Drummond. Mr Trelawny Cobham, Signor Vergara, and Signor Monari Rocca. Instrumentalists: Pianoforte - Mr Kuhe and Mdlle Felicia Bunsen; Violin - Mdlle Castellan; Harp - Herr Oberthür. Between the parts Miss Cowen will give a short Recitation. Conductors - Mr Lindsay Sloper, Le Marquis D'Havet Zuccardi, Signor Mazzoni, Mr Ganz. and Mr Cowen. Tickets. One Guinea each; Family Tickets (to admit three). Two Guineas. To be obtained of Mdlle Victoria Bunsen. 4, Mortimer Street, Cavendish Square. W. (The Musical world, Saturday, 16 June 1877)

The annual concert of Mdlle Victoria Bunsen, the admired Swedish contralto, on Monday, June the 18th, at the residence of Captain and Mrs Coster, Harley Street, attracted a brilliant and aristocratic audience, including the German Ambassador Count Munster and his daughter, the Ladies Gordon and Hampson, Sir Charles and Lady Rowley, the Count and Countess Stenbock, &c, &c. Mdlle Bunsen, who was in excellent voice, was heard to advantage in "Di tanti palpiti," from Rossini's Tancredi, a romance by Mr Oberthür, "Je voudrais etre" (harp obbligato, Mr Oberthür), and a French romance by M. Depret, "L'amour trahi," together with some national Swedish melodies, given, we need hardly say, con amore and to perfection. Mdlle Felicia Bunsen played, with the composer, Mr Oberthür's brilliant duet for harp and piano on motives from Weber's Oberon. Several well-known vocalists assisted, including Mdme Marie Roze, who sang the "Chansonne Indienne, " from Auber's Premier Jour de Bonheur, Mr Drummond, who gave Blumenthal's "The Message," Mr Trelawny Cobham, who sang with taste and expression, "Where'er you walk," from Handel's Semele, and Mdme Luisa Gage, who gave with effect a romance by Millotti, "Una stella." Mr Oberthür's performance of Parish Alvars' harp "Serenade," and Mdlle Castellan's violin fantasia on Rigoletto (Alard) were both received with favour. Messrs Lindsay Sloper, Ganz, Cowen, le Marquis D'Havet Zuccardi, and Signor Mazzoni were the accompanists. (The Musical world, Saturday, 30 June 1877)

Tuesday, 19 June 1877 : Mr. Lindsay Sloper's Second Matinée Musicale at Willis's Rooms, King-Street, St. James's.

MR LINDSAY SLOPER'S SECOND MATINEE, at Willis's Rooms, 19th June. The programme will include, among other works, a selection of the later pieces of Stephen Heller, and some recent compositions of Mr Lindsay Sloper. (The Musical World, Saturday, 16 June 1877)

MR. LINDSAY SLOPER'S MATINEES MUSICALES. A large number of friends assembled at Willis's Rooms, on Tuesday last, for Mr. Lindsay Sloper's second matinée musicale d'invitation. The programme, as at the previous concert, consisted of a selection of some of the best drawing-room music, of native composers, and more especially of the less-known works of that very valuable writer, Stephen Heller. In our many efforts after the highest form of art, we are perhaps apt to neglect its lighter side, and to forget the legitimate claims of what is known as drawing-room music, under which term should be included those lighter forms, which in many cases are the only ones admissible in the social circle. It is surely very important that this, the commonest of society's luxuries, should be the best of its kind ; nor is it on this account necessary to have recourse exclusively to foreign composers, when we have in our midst writers like Arthur Sullivan, Professor Macfarren, Stephens, and Lindsay Sloper. The first number on the programme was, however, not a native production, it being Chopin's polonaise for piano and violoncello, entrusted to the safe handling of Mr. Sloper and Herr Daubert. But the first pianoforte solos were Stephen Heller's, these being Nocturne in A flat, Op. 131, No. 1; Chant du Chasseur, Op. 73, No. 1 ; Andantino in flat, No. 5 of the Dream Pictures ; and Laendler, Op. 107, Nos. 2 and 3. Mr. Sloper's clear touch and pure style are excellently adapted for the rendering of Heller's artistic morceaux. The pianist's own compositions included "Les Jeunes Amazones," his transcription of Gounod's serenade, consisting of a short introduction, the whole of the air, and two excellent variations, a piece altogether to be highly recommended to the admirers of Mons. Gounod ; by desire, Mr. Sloper repeated on this occasion his "Marche d'Adieu," and "Marche de Retour," Op. 72, Nos. 1 and 2. Mendelssohn's Prelude in D minor, No. 2, of five characteristic pieces, by F. E. Bache, "Beloved," and Sir Sterndale Bennett's pretty Rondo "Piacevole," formed a pleasing trio of pianoforte pieces, as did also Edward Sharp's short, though good, "Romance sous Paroles," No. 4, G minor, W. Macfarren's "Courante," and a ballade and valse by Hamilton Clarke. Miss Florence Hemming's performance of Campagnoli's romance for violoncello was very commendable. This young lady, who is a pupil of Herr Daubert, has already attained a good tone, considerable smoothness and expression, and should receive encouragement to continuous study. Miss Nessie Goode sang well in Gounod's "The Veiled Picture," and also in Mr. Sloper's pretty trio, "Love is like a golden chain," in which she was joined by Mr. Pearson and Mr. Wadmore. The latter gentleman's rendering of the same composer's canzone, "Al mio destrier," was capital. Mr. Pearson's powers are hardly adequate to a public performance of Beethoven's "Adelaide," but about his style and manner we find no fault. This agreeable matinée concluded with a selection from Heller's studies, and his Tarantelle in E minor, Op. 53, dedicated to Mr. Lindsay Sloper. The vocal music was accompanied by Mr. Hamilton Clarke. (Musical standard, Saturday, 23 June 1877)

Mr. Lindsay Sloper's Second Pianoforte Matinée was given in Willis's Rooms on the 19th inst. (The Athenaeum, Saturday, 23 June 1877)

Saturday, 25 August 1877 : Afternoon and Evening Concerts at Aquarium, Brighton.

The Brighton Aquarium. - Miss Jesse Bond, Mr. Wadmore, Mr. A. Collard, and Mr. Lindsay Sloper appeared at the Aquarium concert at Brighton on Saturday. Both the afternoon and evening performances were very well attended, there being quite a crush in the evening. (Morning Post, Tuesday, 28 August 1877)

Brighton Aquarium.-Miss Jessie Bond, Mr. Wadmore, Mr. A. Collard, and Mr. Lindsay Sloper appeared at the Aquarium concerts on Saturday. Both the afternoon and evening performances were very well attended. (Chelmsford Chronicle, Friday, 31 August 1877)

Wednesday, 29 August 1877 : Concert.

For Saturday next, two grand concerts are advertised at [?] and 7.30 - the artists being Miss Jose Sherrington, Wadmore, Mr A. Collard (solo flute), and Mr Lindsay Sloper at the pianoforte. Plan at Cramer and Co.'s, ([?], West street and 88, Western road. (Brighton Guardian, Wednesday, 22 August 1877)

There followed on Saturday two grand concerts-the one taking place before a fashionable company in the afternoon, the other being reserved for the evening. Miss Jose Sherrington and Mr Wadmore had been engaged as vocalists ; Mr A. Collard, solo flautist; and Mr Lindsay Sloper, as pianist. Unfortunately, Miss Sherrington was detained in Belgium, owing to severe indisposition, and she was consequently unable to keep her engagement. In her enforced absence, however, the General Manager was fortunate in securing competent substitute in Miss Jesse Bond. Both concerts were well attended, and the programme each included several interesting numbers, selected from the best illustrations of the classical and modern schools of composition. What the aristocratic and fashionable audience had in the afternoon, on payment of the higher rate of admission -(even that is very low) -the people had in the evening on payment of the popular sixpence. Truly, the Directors of the Aquarium, their liberality and judicious entering, are doing a great deal towards educating Brighton in particular and the world in general upon musical as well as scientific matters. (Brighton Guardian, Wednesday, 29 August 1877)

Thursday, 15 November 1877 : Mr. A. Collard's First of Three Flute Recitals at Langham-Hall, 43 Great Portland-Street.

FLUTE - The FIRST of Mr. COLLARDS THREE FLUTE RECITALS will take place at Langham Hall, on Thursday Evening Next. Vocalists: Misses Ada Patterson and Jessie Bond. Mr. Tower. Flutes: MM. Barrett, Collard, Radcliff, Samson. Piano: - MM. E. Bending and Lindsay-Sloper. Subscription: - Two reserved seats at each concert, one guinea ; one reserved ditto, 12s; single reserved seat, 5s.; admission, 1s.; - Of Rudall, Carte & Co., 20, Charing-cross. (The Standard, Wednesday, 14 November 1877)

Friday, 16 November 1877 : Brighton Philharmonic Society's Second Evening Concert at the Dome of the Royal Pavilion, Brighton.

FRIDAY EVENING, NOVEMBER 16, 1877, commence precisely at Eight o'clock. GRAND BALLAD CONCERT MADAME EDITH WYNNE. MLLE. NEUMAN. MADAME ANTOINETTE STERLING. EDWARD LLOYD. SIGNOR FOLI. Solo Violin: MADAME NORMAN NERUDA. Solo Pianoforte : MONS. E. DE PARIS. BRIGHTON PHILHARMONIC CHOIR. CONDUCTORS: MR LINDSAY SLOPER & MR F. KINGSBURY. Prices, 1s to 1l. Plans, tickets, and programmes at Messrs .[?] and Co.'s establishment. (Brighton Guardian, Wednesday, 7 November 1877)

BRIGHTON PHILHARMONIC SUBSCRIPTION CONCERTS. The second concert of this season's series will be given in the Dome on Friday evening next, under the management of Mr George Watts, musical director to Messrs J. B. Cramer and Co. The patronage of their Imperial Highnesses the Archduke and Archduchess Rainer of Austria is again announced. This entertainment will take the form of Grand Ballad Concert, and there is every reason to anticipate that Mr Watts will have as great success as on the occasion of the first concert, when Miss Robertson gave such a musical revelation to the subscribers, and when Cheshire's band of eight harps not only pleased the audience by the support they gave to the choral performances of the Philharmonic Society's members; but also earned for themselves and their leader special acclaim and enduring remembrance their rendering of Mendelssohn's "Wedding March," than which more spirited or accomplished harp performance had ever been heard in Brighton. There is one singer now to Brighton to appear at the forthcoming concert, and it is possible that this lady-Mlle. [?] may rival the success of Miss Robertson. such anticipation is held out; but these are days of surprises; and it is difficult to say what may happen. The other solo vocalists are so well-known that the mere mention of their names will give sufficient assurance of their merit. They are Mine. Edith Wynne, Mine. Antoinette Sterling, Mr Edward Lloyd, and Signor Foli. Mme. Edith Wynne will sing a song by Sullivan-one of his most popular compositions-and the now "good old melody, "She wore a wreath of roses." Mme. Sterling will also render one of Mr Sullivan's now songs: the same composer's Lost Chord" (with organ and pianoforte accompaniment), and Hullah's "Three Fishers -the song in which she not only first stamped her position before Brighton audience, but in which she has since repeatedly sustained her reputation one of the first ballad singers of the day. Lloyd and Signor [?] are down for several of their best efforts, as well as for some vocal novelties, and they will "conjoin their talent in that duett of Cook's, "Love and War," which is now taking a now lease of popularity. Lovers of the violin-and who is not a lover of it when played by such an artiste as Mme. Norman-Neruda will have the opportunity of hearing that gifted artiste play in her matchless style ; while that eminent and accomplished resident pianist, Mr E. Paris, -now too seldom heard in public-will contribute solos, including a new MS. transcription on the Pilgrim's Chorus " Verdi's "Lombardi." It will be a pleasant feature of the concert to hear E. Paris' scholarly, ingenious, and elegant treatment of such an interesting theme. Besides, there will be the performances of the Brighton Philharmonic Choir, who will sing several part-songs and madrigals and one operatic chorus -that of the fishermen from Auber's Masaniello - well-known under its English words - "Away, the morn is freshly breaking." Mr Charles Robey will be at the organ; and Mr Lindsay Sloper and Mr F. Kingsbury will be the conductors. Country readers will note that the late train arrangements are still in force upon the main and branch lines of railway. Brighton residents can ensure tickets and places at the establishments of Messrs Cramer and Co., West street and Western road. (Brighton Guardian, Wednesday, 14 November 1877)

Brighton. -The second of the Brighton Philharmonic Subscription Concerts took place at the Dome last night. The artistes included Madame Edith Wynne, Mdlle. Neumann, Madame Antoinette Sterling, Mr. E. Lloyd, Signor Foli, Madame Norman Neruda (solo violin), and Mons. E. de Paris (solo pianoforte). Mr. Lindsay Sloper and Mr. F. Kingsbury conducted. There was a very large audience. (The Standard, Saturday, 17 November 1877)

BRIGHTON PHILHARMONIC SUBSCRIPTION CONCERTS. On Friday evening, the second concert of the current season's series was held in the Dome, when what may be almost termed phenomenal audience assembled. Not only were the stalls, reserved seats, and balcony fully occupied ; but additional chairs had to be introduced after the concert had commenced, in order to accommodate those who applied at the doors for high-priced seats. The same course had also to obtain with regard to the outer circle, every seat in which was tilled and the doorways almost absolutely blocked for most of the evening. Indeed, one late-coming stall-holder could not force his way through the Pavilion grounds, and his pertinacity in averting his right of passage caused some interruption at very interesting part of the performance. In fact, the audience, both collectively and individually, was one such as only seen in the Dome on really "great" musical occasions, and upon the principle of vox populi vox dei, even the hypercritical must allow that George Watts, the manager of the concerts, had succeeded in bitting alike the popular and the cultivated taste to a degree which should make him the envied hero of local entrepreneurs. A newspaper writer must not, however, be made enthusiastic, even by the fact an audience so largely overflowing the available accommodation that "shoals" (such was the word heart!) of would-be hearers were turned away from the doors, but must look quietly and dispassionately at the musical results of the concert, and the prospect is afforded of future efficiency or eminence in respect of the choral organization allied with the Philharmonic Society and the annual subscription design. Last year, due occasion was taken to give high, but deserved, praise to the choral performances these concerts, and it may now be equally truly and deservedly said that Friday night's concert put the choir almost upon last year's standard. This must encouraging to Mr F. Kingsbury, who so zealously and skilfully drills the choir, and Watts, who spares no labour or inducement to enlist efficient musical recruits. That he has been successful in doing during the present season any habitual concert-goer could realise cursory glance at the orchestra, there being a decided increase in numbers, and the faces of many well-known amateurs being easily recognised. The continual throng of arrivals did not allow the opening selection -the fisherman's chorus from Auber's Masaniello-to be well heard ; but there is little risk in hazarding the statement that it went with sparkle and precision. Certainly, its effectiveness was felt even against the untoward circumstances through which it was given. Like all the other choral pieces of the concert it was taken unaccompanied, from chord struck by Mr Kingsbury on the pianoforte, and the way in which the pitch thus given was maintained in every selection told well for the efficiency and good training of the choir. Not only was the ensemble always well in tune, but each part had good intonation, and thus the beauty harmony and balance of sympathetic sound could not fail of giving pleasure the audience and of extorting general admiration. Mendelssohn's setting the 43rd Psalm, "Judge me, O God," was rather crucial test-there being no organ accompaniment to support or load the voices, or to bide any little imperfection. The "corale" phrases founded on the Lutheran hymn that Mendelssohn has used so often and so well, were "attacked" with a precision of tone and accord of time really impressive in effect, while the melodic passages, which carry the composer's individuality, were given with delicacy of treatment, refinement, of phrasing, and intelligence of vocalization, that were unanimously recognized by the audience. When Mr Kingsbury quicken**d the tempo towards the close of the psalm, the choir at once took his indication, and they were equally ready and efficient when he signalled a rallentando upon the closing bars. The second part was opened with Pinsuti's well-known part-song " Good night, beloved with which was bracketed Reay's Dawn of day." These two selections mast have been tolerably familiar to most of the choristers even before rehearsals began ; therefore, is almost needless to say that they went capitally. Special mention should, however, be made of the excellent marking of light and shade during their performance; the choir sometimes giving really sonorous " forte and more than once attaining the real test of choral accomplishment, good and true piano," of sweet tone and little any trace of what Gounod calls bouche ferme." The old madrigal Edwards (1560) In going to my lonely bed " tried the mettle of the choir in a sufficiently quaint specimen of that class of composition, and again the singers proved their ability to grapple with class of music which some may think very simple; but which is in reality very difficult for those whose musical education and practice have ordinarily followed quite different vein. .Such a vein was found in Spofforth's " Hail, smiling morn," bracketed, possibly way of contract, with the 16th century music of Edwards. 'ked upon as a piece of representative modern made (comparatively) it made, perhaps, a greater tod upon the attainments of the choir than any other of their pieces upon the programme, and again they endured the ordeal remarkably well. The glee character of the music was well marked throughout, and when that has been said of a choir numerous and so young (chorally) this trained and conducted Mr Kingsbury, everyone who understands what part-singing is may be left to draw the commendatory inference. In truth, the Philharmonic Choir has again made its mark as local musical organization, and though it has still a crowning ordeal to undergo the third concert of the series, those who wish it well will he fain to hope that it will pass it as easily the characters of II Flauto Magico go through their ultimate trials. If so. it will be ready to enter upon another campaign with flying colours. This is said, too, when not a word has been written respecting the last piece performed at this concert, -Macirone's Sir Knight." Frankly, open doors, keen draughts, and persistent exodus of the audience, prevented the writer hearing even a note of this composition, he having thought it prudent quit the Dome even before it was commenced. After the performances of the choir, the next most interesting feature of the concert was the debut at a Dome concert of very youthful, but very promising young lady singer, who now appeared, after at least one minor local performance, under the name of Mlle. Nennam, who, though still evidently in her immature teens, found not only the sympathy, but the critical approval of those who came to judge, not merely to applaud. The youthful soloist was heavily handicapped, but she won her way to unanimous approbation. Her first solo was the recitative and aria, from Mozart's Nozze di Figaro, *o Giunzo alfin and I Deh, vioni." It is positive merit in these days to find ' singer betray obvious nervousness ; and in the recitative Mile. Nennam was almost painfully nervous. Still she kept sell-possession and her vocal strength, and gave such good evidence of musical intelligence, natural gifts, and well-directed study that when she finished the introductory declamation she was cheered by genuine, hearty, and unanimous tribute of applause. She had, in fact, shown that she possessed voice of exceptional quality, round and mellifluous in the lower register, clear, sweet, and tedling in the upper notes, and of register which she wisely did not seek fully display. Indeed, she sung with extreme care cure which in more experienced singer would deemed tameness, hut which, her case, was very captivating, and which found its way at once to the appreciation of the audience. Cheered by the applause which broke forth the end of the recitative, she warmed to her task the aria. and even ventured upon a little vocal ornamentation, the tasteful and efficient introduction of which confirmed the audience in the conviction that they had before them no mere instance of musical precocity, but earnest and capable student, who, when her natural and most creditable hesitancy has been overcome by widened platform experience. will herself credit and justify the hopes of those who prophesy for her enviable artistic career. Mile. Nennam was, indeed, almost physically incapable of singing at this concert, and she cheerily acknowledged the almost enthusiastic recall given her at the end of the aria, it was seen when she: advanced to sing her second solo.-the penultimate number the way upon the programme-that while she had, to a great extent, overcome her nervousness, her physical weakness had positively increased during the interval. This second solo was Haydn's canzonet-" mother bids me bind my hair," I another instance of what some would call simple ballad ; but, in truth, aria which demands no mean artistic | power to given with due effect such area as the ! Dome and before such an audience crowded that area at this concert. Brighton audiences have acquired almost proverbial repute for "coldness; it is, therefore gratifying to record that nearly everyone present stayed to hear the second of the interesting young debutante, and that, its conclusion, she was again re-called to the plat! form in order to receive still heartier tribute of approval and encouragement than that which rewarded her in the earlier part of the evening. That Mile. Nennam was accompanied in both her solos by Mr Kingsbury was suggestive most of those who heard her. In point of fact, the young lady having made the promising local appearance, or appearances, already spoken of, has been placed under the tutelage of Mr Kingsbury, and there is every reason to anticipate that, under his well-directed and experienced t- she will quickly make her mark in the profession, as other of Mr Kingsbury's pupils have done even during 1 bis later experience of Brighton concerts and concert rooms. Mlle. Nennam will certainly have all due encouragement; and so long she conquers nervousness and does not allow confidence to deteriorate into self-assertion or mannerism she will certainly be a promising and rising young vocalist. Of the other solo artists -more experienced and more inured to the concert platform, as well as of assured and undisputed eminence in the profession-httlo need be said. Mme. Edith Wynne displayed her accustomed taste and skill in her solos-Sullivan's "My dearest heart'' and Knight's She wore u wreath of roses," but the favourite Welsh cantatrice was not good musical "form" and had scarcely her usual meed of public approval. She also sang the soprano part in Randegger's trio I Naviganti," the other parts being taken respectively Mr Edward Lloyd and Signor Fob, who both sang throughout the concert as freshly mid vigorously as if they had been basking for a month in the balmy air of the Madeira road, instead of having travelled express from Glasgow smoke and Scotch storms so to reach Brighton just in time to take part in the concert. Mme. Antoinette Sterling is now an accepted local musical idol, and at this concert oven Signor Foli and Mr Edward Lloyd had bow their diminished heads before the greater popularity of her characteristic and surpassing talent. Mme. Sterling also "affected" Sullivan, singing that composer's song Thou art weary " and The lost chord," the latter with both organ and pianoforte accompaniment. Some say that Mr Sullivan has not been so original is bis wont in the dramatically conceived composition of " The lost chord " and that the flavour of older song is cleverly disguised by the organ obligato. However this may be, there is no question that, sung by Mme. Sterling, the song appeals immensely to the popular taste, and on this, on previous occasions, Mme. Sterling bad encore so persistent and unanimous that even repented acknowledgments would not allow her to shirk, and she was obliged repeat the last verse under renewed testimony of amateur delight. Her third solo was Hullah's setting of Tennyson's lines "Three fishers," given with her accustomed impressiveness of vocal expression and rare clearness of verbal utterance. No living vocalist sings this she does, and the rapt silence in which she was heard, as well as the succeeding outburst of applause, culminating in, perhaps, The recall the evening, formed feature of the concert which might have been-and, no doubt, was-generally anticipated. Mr Edward Lloyd and Signor Foli sang, as has been said, at their best, the former pleasing immensely in Blumenthal's "My Queen " and Sullivan's "Sweethearts," and the latter in two songs by Pinsuti -"I fear no foe " and A Bedouin's Love Song,"-neither peculiarly suited to his voice or style, but both so well rendered to win loud applause and determined recalls. Madame Norman-Neruda was engaged as solo-violinist, and again entranced and inspirited Brighton audience by her extremely brilliant performances. A variated air, Vieuxtemps, was remarkable for one of the finest effects ever beard from the instrument, namely, a prelude in the ordinary instrumental manner, followed by change of tone in the playing of the the cantabile theme, which was astonishing simulation of bow clear, flute-like female human voice would sing the subject. In the second part, a cavatina by Raff, the German composer, who is now rising quickly to insular celebrity, was another fine legato performance, and this was followed by unaccompanied study," the composition of the old Italian master, Fiorillo. Whatever advances may have been made during late generations in vocal or orchestral ensemble, some of those old violinists stand far ahead in string studies and compositions. This of Fiorillo almost exhausts the capabilities of the instrument; but then Mme. Norman-Neruda is more than equal to such task, and the difficulties and involvements of this selection simply gave her scope for one of those magnificent displays in which she is unapproachable for grace of expression and elegance of treatment. Double-stopping, harmonised passages, staccato bowing of the most splendid character, harmonic " episodes of the purest and clearest tone, and fingering that fairly puzzled both eye and oar, were evolved with an ease and " comeliness," so to say, of execution that will suffice to form life-long recollection and a standard of experience for the younger amateurs who had the good fortune to bear this ultra-accomplished artiste. Mme. Norman-Neruda was accompanied in her solos (save the etude ") by Mr £. Paris, who himself made two solo appearances. On the first he played his new transcription " of the Pilgrims' Chorus," from I Lombardi, a morceau yet in MS. It is. this paper anticipated, vigorous and earnest setting of Verdi's well-known melodious theme, elaborated and varied with that skill and combination of brilliancy and discretion which always mark Mr do Paris' compositions for the pianoforte. Upon this, as upon bis second solo appearance, when be played a study by Thalberg and bis own "Casilda" etude, Mr de Paris had the well-deserved compliment of encore. In both cases the audience evidently desired repetition, but Mr de Paris declined. Indeed, the artists, both vocal and instrumental, were unusually reticent throughout the concert, and the audience was surprisingly indulgent in not pressing their demands beyond fair limitation. Lindsay Sloper admirably played the bulk of the accompaniments to the vocal selections, and Mr Robey very efficiently introduced the grand organ by way of aid to Sullivan's Lost Chord. It is almost making hackneyed remark to observe that the seating arrangements of each concert made a special demand upon the resources and exertions of the local staff of Messrs J. B. Cramer and Co. The utmost attainable amount of comfort was, however, ensured, under the personal supervision of Mr George Watts, musical director to the firm. (Brighton Guardian, Wednesday, 21 November 1877)

There has been no lack of music in Brighton during the month of November. Mr. Kuhe finished his series of Recitals, and gave a "grand ballad concert" on St. Cecilia's day ; the Brighton Sacred Harmonic Society gave a performance of "Israel" in on the 13th, with the "Lord is a man of war" sung by all the basses ; Signor Conti gave a concert early in the month, and Miss Spearing gave a pianoforte recital on the 7th, and Madame Arabella Goddard on the 21st. In addition to all this, the musical and general entertainments at the Aquarium have been quite up to the mark. A very successful concert has been given by the Brighton Philharmonic Society, under the management of Mr. George Watts. The vocalists were Mdlle. Neunan: debutante at Brighton), Mdme. Edith Wynne, Mdme. Antoinette Sterling, Mr. Lloyd, and Signor Foli. Mdme. Neruda and Mr. de Paris played solos, and the chorus sang part-songs, madrigals, &c. Mr. Lindsay Sloper and Mr. Kingsbury were the conductors. (The orchestra, Oct. 1863-Mar. 1881, Saturday, 1 December 1877)

Thursday, 22 November 1877 : Mr. W. Kuhe's Concert at Brighton.

Mr Kuhe announces his grand annual ballad concert for the evening of Thursday, Nov. 22nd. The artists engaged are Mme. Trebelli, Miss A. Williams, Mile. Ida Basilair, Mme. Patey, Mr Barton McGuckin, Mr Sims Reeves, Herr C. Behrens, Signor Foli, and M. C. Jaquinot (violin), with Mr Lindsay Sloper, F. H. Cowen, W. Kuhe, and Sir Julius Benedict at the pianoforte. (Brighton Guardian, Wednesday, 31 October 1877)

… JAQUINOT (his first appearance in Brighton). BENEDICTS and CHOPIN'S POSTHUMOUS MAZURKA for four performers on two pianos will be played by MM. LINDSAY SLOPER, F. H. COWEN W. KUHE, and Sir JULIUS BENEDICT. Programmes and all particulars, Messrs Potts and Co 187, North-street, and 108 … [Abridged] (Brighton Herald, Saturday, 3 November 1877) (Also: Brighton Guardian, Wednesday, 7 November 1877.)

KUHE'S GRAND ANNUAL BALLAD CONCERT. Again has Mr Kuhe has set forth a most attractive and important "cast" and programme for his grand annual ballad concert, to be given in the Dome on the evening of to-morrow (Thursday) week, the 22nd inst. Mme. Trebelli, Mme. Patey, Mr Sims Reeves, and Signor Foli, make a quartett of leading vocal artists whom it would be difficult to surpass, whilst the musical appetite of Mr Kuhe's patrons will be whetted by the announcement of no less than three first appearances in Brighton, namely,-Mlle. Isa Basilier, au eminent Swedish soprano; Mr Barton McGuckin, the new Irish tenor, who is evidently not ashamed of either his country or his name, and who is highly spoken of by Press representatives and musicians who have heard him ; and Mr Claude Jaquinot, a solo violinist, most probably of the French school. The special French manner of violin playing will now bear recruiting, and if M. Jaquinot will sustain a claim to supplement the genius of his compatriot, M. Sainton, will be right welcome to the musical world. It is but the simple truth that the programme of the concert is galaxy of musical gems,-the only difficulty felt in looking down it being as to what one would or would not hear in preference to anything else. Sir Julius Benedict will be one of the conductors, and the veteran musician and composer will impart special interest the performance. He will accompany Mme. Patey in her singing of his own ballad "the sad sea waves," and he will take part a pianoforte quartett performance; both items to be played having his name attached. One is an andante of his own for eight hands; the other is his arrangement - also for four performers - of Chopin's Posthumous Mazurka. The pianists will be Mr Lindsay Sloper, Mr F. H. Cowen, Mr Kuhe, and Sir Julius himself. This is quite a novelty to the Brighton concert room and should, of itself, draw numbers to the Dome on the evening of the concert. Mr Sims Reeves will sing Roeckel's song Sing again ye happy children and the Scotch patriotic song "The MacGregor's gathering." He will also join Signor Foli in Braham's favourite duett "All's Well," which has not now been sung a Brighton grand concert for several seasons, and which, if recollection serves, was last taken part in here by Mr Reeves himself. Herr Behrens is recognised as one of the best bassos now before the public and he has made some excellent selections for this concert. Mme. Trebelli's solos are an air from Rossini's L'Italiani in Algieri and Sullivan's Looking Back. The famous French contralto will also join Herr Behrens in an operatic duett by Rossini-one of her favourite composers. Mr Kuhe will play Liszt's second "Rhapsodie Hongroise," in which he created such a furore at his Saturday's Recital. There are the usual late trains to all the principal stations on the Brighton system. Tickets and places can secured and all information obtained at the establishments of Messrs R. Potts and Co., North street and King's road. (Brighton Guardian, Wednesday, 14 November 1877)

BENEDICT'S ANDANTE and CHOPIN'S POSTHUMOUS MAZURKA. MR LINDSAY SLOPER, Mr F. H. COWEN, Mr KUHE, and Sir JULIUS BENEDICT will play Sir Julius Benedict's Arrangement, for four performers on two pianofortes, of the above admired Morceau, at Mr Kuhe's Concert, at Brighton, on Thursday evening, Nov. 22nd. (The Musical world, Saturday, 17 November 1877)

MR KUHE'S GRAND ANNUAL BALLAD CONCERT. Having drawn attention last week, at some length, to this concert, it is needless now to particularize detail… his other concerts during the season, Kuhe has a super-eminent vocal attraction in Mme. Trebelli, the prima donna of the party, who will be supported by first-rate contingent of other artists, comprising Miss Anna Williams, Mile. Ida Basilier, Mme. Patey, Mr Barton McGuckin, Herr Conrad Behrens, and Signor Foli. Violin, M. Claude Jaquinot; Pianoforte, Mr Lindsay Sloper, Mr F. H. Cowen, Kuhe, and Sir Julius Benedict. Mr Kuhe, on receiving an intimation that Mr Sims Reeves would be unable to sing, offered an engagement to Mme. Albani, but she also was prevented from accepting it. Our readers already understand that the programme is admirably selected and that it comprises some very choice…Mme.. Trebelli will sing Rossini's aria L'Italiana in Algieri," and with Herr Behrens the same composer's duo ''Ai capricci" also, Sullivan's ballad, "Looking back." Considerable interest attaches to the local debut of Mme. Basilier, the eminent Swedish vocalist, and the first appearance here of Jacquinot will also be awaited with considerable expectation. The other artists are such as are worthy to appear at so important an entertainment, and the programme being, as has been said, a model of careful and discriminating selection, there is no doubt but that this third concert of Mr Kuhe's will outstrip anything he has accomplished this year. As seats are being rapidly taken up, early application is necessary at the establishments of Messrs R. Potts and Co., North street and King's road, where a plan of the room may seen and tickets and places secured. (Brighton Guardian, Wednesday, 21 November 1877)

MR KUHE'S GRAND BALLAD CONCERT One does not quite know whether to apply the phrase finis coronal opus." Mr Kuhe seems to have concluded his autumn season of concert giving ; but be may, possibly, have something else in his "mind's eye" to astonish the Brighton residents and London visitors between now and his next Festival. Not that be should have any extension of his autumn scheme under consideration. It is a wonder how his involved plans, worked out long antecedent to announced dates, are fulfilled with a certainty and attractiveness which even the great London opera houses cannot surpass. Indeed, the London opera houses have to sink before Mr Kuhe. Singers are announced, works are announced; but people who scour Continents for singers, and command composers for new operas, find out the truth of the saw that " the best laid plans of mice and men 'gang aft aglee." Mr Kuhe's speciality is that his plans scarcely ever 'gang aglee." Last year, he enabled Brighton amateurs to hear the three chief prime donne of the day. The names of Patti, Nilsson, and Albani were posted for months before the concert dates, and each came and delighted crowded audiences. This season, Mr Kuhe has brought down Albani, Nilsson, and Trebelli. Not only so; but he has supported those supreme artists by others worthy of individual concert association; of Mr Kuhe's own well earned repute ; and of the standing of Brighton, a town where the attractions of Nature and local position are supplemented by individual energy and enterprise which few, if any, other towns can instance. It is almost ridiculous to print the phrase that Brighton is London-by-the-Sea; but it is a positive truth that musical Brighton is such mainly by, of, Mr Kuhe. His first efforts back to date which only the grey-haired can remember. The fruition of his career is seen in the fact that Brighton amateurs now look to his Concerts and Festivals with extreme interest and unfailing reliance. Undoubtedly, it has been well for Brighton music and Brighton musical attractions that Mr Kuhe made himself Brightonian. He has always set the highest possible attainable standard, and in so doing he has not only elevated himself but also the town, his art, and local refinement. Take, for instance, his last series of Pianoforte Recitals. To his own efforts he added the performances of quartett (quintett or sestett would be the more correct word), whose playing was simply a delight to every hearer capable of appreciating extreme musical cultivation and earnestness, without any degeneracy to artistic bobby or professional crotchet. This paper has already expressed fear that even slightly before his time for "chamber music" performances in Brighton; bathe is not now much ahead of the local clientele, and he may yet advance that opinion to actual result. If so. be will have done nearly, if not quite, all that can be done in local musical matters; and he will then, indeed, have crowned a career which will often be referred to by coming professional generations. So much of general tribute nu … season's musical prospectus. The engagements for this concert were equal in attractiveness to any which had preceded. They comprised Mme. Trebelli (her first and only appearance this season); Miss Anna Williams ; Mlle. Ida tsilier (the eminent Swedish soprano) who made her first appearance at Brighton ; Mme. Patey ; Mr Sims Reeves; Barton McGuckin Herr Conrad Behrens, and Signor Foli. The instrumentalists included Mr Claude Jaquinot, violinist (another first appearance Brighton); while four first-rate pianists had been retained, viz, Mr Lindsay Sloper, Mr F. H. Cowen, Kuhe, and Sir Julius Benedict. As everyone conversant with music knows, Mr Sims Reeves is liable to bronchial disability in changeable weather, and his enemy overtook him on this occasion ; so that he was unable to keep his engagement. The attractiveness of Mr Kuhe's concerts are not, however, dependent upon the appearance or non-appearance of any single artist, however eminent, and Thursday evening found the Dome again filled to its utmost capacity-the involved absence of Mr Sims Reeves having been publicly notified in the forenoon. His engagement was, in fact, a supplementary attraction to the concert, one of those special musical bon-bons which Mr Kuhe is wont to offer his patrons and the concert constituency for which he admirably caters. The other chief artists engaged showed not only unusual consideration for Kuhe's disappointment, but self-abnegation as to extra exertion, and Mme. Trebelli, Mr Barton McGuckin, and Signor Foli took care that, so far as they could fill the gap, nothing should be lost to the audience by the absence of the singer, who is still, it must be cheerfully and gratefully admitted, pre-eminent, alike in his art and in his fame. That the same expression will hold true of Mme. Trebelli, it is now trite repetition to say that her vocalization, expression, intonation-everything, in fact, which goes to make up the perfection of musical art-is simply superb. … (Brighton Guardian, Wednesday, 28 November 1877)

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