Concert Advertisements and Reviews - 1884.

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Tuesday, 1 January 1884 : Mademoiselle Alice Roselli's Concert at Brompton Hospital.

BROMPTON HOSPITAL. Last evening a most successful concert was given by a number of friends of this institution, which accommodates over 300 consumptive patients of both sexes. The hospital was originally endowed by Miss Reid's legacy of £100,000, and is now being maintained by voluntary contributions. The management is under Mr. Henry Dobbin, and the institution has the advantage of the services of Miss Storey (temporary lady sister), who obtained the Red Cross during the Egyptian campaign. The apartments are lofty and well ventilated, and the large number of recoveries speak highly for the services of the medical staff and the nurses. The concert last evening was given under the auspices of Mdlle. Alice Roselli and Mr. Churchill Sibley, who presided at the organ. Mr. Lindsay Sloper played the pianoforte accompaniments, and the other artistes who performed were Mr. Woodhouse, Mr. Sydney Smith, and Miss Helen Meason, all of whom acquitted themselves with distinction, many of the pieces being encored. At the dose of the entertainment Mr. Dobbin proposed, on be half of the patients, a hearty vote of thanks to the ladies and gentlemen who had so kindly given their services, and the motion was carried by acclamation. (London Evening News, Wednesday, 2 January 1884)

MISS ALICE ROSELLI gave a concert at the Brompton Hospital on New Year's Day, assisted by Miss Helen Meason and Mr Woodhouse, Messrs Churchill Sibley, Lindsay Sloper, and Sydney Smith. Miss Roselli was in excellent voice, singing Gounod's "Cantique de Noel;" a song, "With thee ?" by Mr Churchill Sibley ; "No, thank you, Tom !" by Roeckel (encored), and Pinsuti's "Carrier John" (substituted) ; Roeckel's "Cast thy bread upon the waters " (encored, "Market-tide," by Cotsford Dick, being substituted) ; and, with Mr Woodhouse, Campana's "Una sera d'amore" (encored, and Marzials' "Secret voices" substituted). Miss Helen Meason gave Marzials' "The Miller and the Maid," " Some day," and "The Bailiff's Daughter of Islington," all of which this clever young singer was called upon to repeat. Mr Sydney Smith played his popular arrangement of Irish airs and his spirited march "En route ;" Lindsay Sloper a Lied Ohne Wrote by Mendelssohn, and Gottschalk's "Pasquinade;" Mr Churchill Sibley giving his own "Marionettes' Wedding Dance." The arrangements for the concert were admirably carried out by the secretaries, Messrs Dobben and Theobald, whose zeal and kindness are indefatigable for the welfare of the inmates of the hospital. At the conclusion of the concert, the patients expressed themselves highly gratified with the entertainment, and wished Miss Roselli and the other artists "a happy new year." (The Musical world, Saturday, 5 January 1884)

Monday, 14 January 1884 : City of London Choir's Concert at Morley Hall.

City of London Choir.-A concert of considerable merit was given by this body of singers on Monday evening in the Morley Hall. The choir is composed of advanced section of the London Sunday School Choir, and comprises many well trained and excellent voices. The programme consisted of extracts from old and modern masters, and formed good test, and must be admitted that the choir succeeded triumphantly. commencement was made with trio, violin piano and violoncello, by Bache, Andante Espressivo, from trio in D Minor, brilliantly executed by Miss Marie Schumann, Master J. F. Carrodus and Mr D Davies. Following was a choice excerpt from Mendelssohn. "How lovely are the Messengers," by the Choir, and a couple of pianoforte solos by Mr. Lindsay Sloper. Both performances were ably executed. A 'Magnificat,' composed for the London Sunday School Choir by Mr. David Davies, was ably treated by the Choir. Then Miss Adelaide Arnold played with exquisite sweetness Prayer from Moses,' Rossini. The Choir gave Psalm xliv., "Judge me, O God," Mendelssohn with harmony and precision. A beautiful rendering of duet, Rondeau Brillant,' Schubert, was given on the… pianoforte by Miss Marie Schumann and Mr D Davies. The performance of Miss Schumann was appreciatively recalled. An air from Mendelssohn's 'St. Paul,' 'Jerusalem, thou that killest the prophets,' was given with rich plaintive melody by Miss Edith Umpleby. and some fine instrumentation displayed Master J. F. Carrodus. The first part concluded with effective rendering of the Hallélujah Chorus.' The second part was executed with equal care and ability. Mr. Luther Hinton was able conductor. Mr. David Davies accompanied on the organ and shared with Mr. Lindsay the duties the pianoforte. (Hackney and Kingsland Gazette, Friday, 18 January 1884)

Tuesday, 5 February 1884 : Madame Jenny Viard-Louis's First Beethoven Performance at Prince's Hall, Piccadilly.

THE PRINCE'S HALL, PICCADILLY.- Mdme JENNY VIARD-LOUIS will give a SUITE of MEETINGS for the complete AUDITION of BEETHOVEN'S WORKS, connected with piano by chronological order; also vocal music of the same master. The first of these meetings will take place on Tuesday,5th of February, at 4 o'clock. Mdlle. Viard-Louis will be assisted by Mr. Iver McKay. as vocalist. Mr. Hollander as violinist, Mr. Libotton as violoncellist. and Mdme. Mira Gould and Mr. Lindsay Sloper as accompanists. Tickets at the Prince's Hall, Piccadilly. Prices: Subscription tickets for the first five meetings, stalls, one guinea ; reserved seats, 10s.; single tickets, stalls 7s. 6d., reserved seats, 2s. 6d. Admission 1s. (The Times, Wednesday, 30 January 1884) (Also: The Times, Friday, 1 February 1884.)

MADAME VIARD-LOUIS' BEETHOVEN PERFORMANCES AT PRINCES HALL. Madame Viard-Louis is remembered even by the most fickle of amateurs as an energetic French pianiste who some years since gave some very important orchestral concerts at St. James's Hall - more to the benefit of art, it is to be feared, than to her personal aggrandisement. To Madame Viard-Louis and her able aide-de-camp, Mr. H. Weist Hill, we owe acquaintance of several works of the highest artistic significance, in which category the Symphony in F of Hermann Goetz, the gifted composer of "The Taming of the Shrew," will be first to present itself. .Musicians will therefore be glad to learn that Madame Viard Louis is amongst us once more, and at the head of an enterprise which can but commend itself to all who have the slightest interest in classical music, the object being nothing less than the sequential presentation of Beethoven, works for the pianoforte, alone or in association with other instruments, the selections to be relieved by vocal excerpts, also given in their chronological order. Such a scheme is nothing less than admirable, and is a particularly valuable to those students of the great master who have perused and taken to heart Lenz's work " Beethoven, et les Trois Styles." The pianiste opens up fresh ground in inviting musicians to the chronological performances of all Beethoven's works for piano - sonatas, variations, or fantasias, with violin and with violoncello, - trios, quintets, and, in short, all that appertaining to the domain of chamber music, the distinction being drawn at the line which introduces the full orchestra with the solo instrument. For those who haven't the catalogue of Beethoven's Opera di Oeuvres at hand we may give the list of compositions to be performed in full:- Op. 1, Three trios for piano, violin, and violoncello : op. 2, three sonatas, for piano solo ; op. 5, two sonatas for piano and violoncello; op. 6, easy sonata for four hands; Op. 7 sonata for piano solo: Op. 10, three sonatas for piano; Op 11 trio for piano, violoncello, and clarionet; Op. 12., three sonatas for piano and violin: op. 13. Sonata, piano solo ; op. 14, two sonatas, piano solo ; and Op. 15 quintette for piano, oboe, clarionet, horn and bassoon. The vocal numbers include ''Six Cantiques de [?] op. 32 ; the cantata " Adelaida,"op. 46: scena and aria, op. 48; eight songs, op. 52: "Le Depart," op. 50; "Souvenir", op. 51 ; "Sensations produite par [?] delite de Lydee," op. 52: and "Mia Pensee," op 53. Of this extensive and somewhat formidable array of interesting material, a considerable amount was got through at the first of the five "meetings" which commence in Prince's Hall yesterday afternoon at four o'clock, and was not completed until a good time after the hour of six had sounded. Mdme. Viard Louis contributed the three sonatas numbered op 2 and dedicated "a Mr. Joseph Haydn, Docteur en Musique par Louis von Beethoven," playing with abundance of spirit and entering with heart and soul into her task. It might possibly occur that a more finished executant of Beethoven's sonatas than the French pianist might answer but a more enthusiastic one never. In the three early trios Madame Viard Louis was associated with MM. Hollander and Libotton, the result being highly satisfactory on all hands. Mr. Iver M'kay displayed a full toned tenor voice in the six songs to words by Geller, two of which, Nos. 4 and 6, are familiar and popular with amateur singers- and in "Adelaida." - but his method is, unfortunately, throaty to a degree. The accompanists were Madame Mina Gould and Mr. Lindsay Sloper. The dates of the four remaining "meetings "are March 5sth, April 5th, May 5th and June 12th. (The Standard, Thursday, 7 February 1884)

MADAME VIARD-LOUIS'S CONCERTS. On Tuesday afternoon, at the Prince's Hall, Piccadilly, Madame Viard-Louis commenced a task of some difficulty and not a little interest to the lover of music. The lady, who has won credit in London by her pianoforte playing and her energetic efforts to present music of a high character to the musical public, tells us in what manner she intends to carry out her plan of rendering the works of Beethoven. She proposes to take these famous works in chronological order, and states that so far as she is aware, not even in Germany, have the works of Beethoven been heard consecutively. The symphonies, of course, are frequently played in the order in which they are written, but an immense number of these lovely musical creations are very seldom heard at all. Now, it is very certain that everything Beethoven wrote is worth hearing, and the pleasure of having them performed according to date is greatly enhanced when we are thus enabled to trace the earlier developments of the composer's genius and to compare them with the full maturity of his extraordinary powers. For a long time but few of the quartets of Beethoven were at all familiar to the public, but of late years they have been performed frequently; and again with his pianoforte works we all know that certain pieces are constantly heard, while others equally striking in their way are utterly neglected. Then there are a number of concerted pieces, such, for example, as duets for pianoforte and violin, trios, &c., and there are also the songs, which are seldom heard. Madame Viard-Louis says she believes that the knowledge of the composer's works, and musical culture generally, warrant her in the attempt she is making, and she therefore intends to play all the music Beethoven has written for the pianoforte, sonatas, variations, and fantasias for the piano alone, and also every kind of chamber music. The songs to be included in the scheme are, as Madame Viard-Louis says, to give her hearers "repose " from the instrumental portions. The series of concerts will be divided. The first commenced on Tuesday, and four other performances will be given in March, April, May, and June. Several items rarely heard will be included, as, for example, the duets for piano and violoncello and the quintet for piano, oboe, clarionet, horn, and bassoon. The concert at the Prince's Hall on Tuesday opened with the first Trio in E flat major, for pianoforte, violin, and violoncello, Madame Viard-Louis being of course the pianist, Mons. Hollander taking the violin, and Mons. Libotton the violoncello. With such competent interpreters there could not be any doubt as to the result, and the various movements of the trio were applauded most heartily, the pianiste gaining special recognition in the elegant slow movement, while her vigour and decision of style in the finale also gained ample appreciation. The Trio in G major of the same set was rendered by the same performers, and also the Trio in C minor, the third of Opus 1. The pianiste chose for her solos, the Sonata in F minor, Opus 2, for pianoforte alone, the Sonata in A major, No. 2, and in C major, No. 3. Her command of all the technical resources of the instrument were not so severely tried as they will be in later works of the composer, but the lady has courage and ability equal to her task, and there is little doubt that she will enable the lover of Beethoven to thoroughly enjoy the feast of beautiful ideas presented in his various works. These earlier pieces do not, of course, exhibit the full grasp and daring originality of a genius which later in life gave to the composer his world-wide fame. They are distinguished by grace, fancy, and freshness of ideas, rather than that almost startling power and novelty which afterwards characterised his works. Madame Viard-Louis, remembering this, made no endeavour in the direction of sensational pianoforte playing, but gave the works simply and clearly, with due attention to their style and character, and thus won the goodwill of those who desired to study the works of the composer for his own sake, and not for the sake of any caprice or new-fangled ideas on the part of the pianist. Great praise may be given to M. Hollander for his careful and competent rendering of the violin passages in the trios, and M. Libotton by his pure tone and neat execution upon the violoncello, enhanced the effect of the concerted passages greatly. The songs of Beethoven, including "Adelaide," were rendered by Mr Iver M'Kay, who seemed to have a reserve of physical power not fully brought out. This was probably because the singer wished to interpret the sentiment of the composer, and in this respect he fairly succeeded, and his good taste combined with good intonation and pure tone caused his singing to be welcome. Madame Mina Gould and Mr Lindsay Sloper accompanied at the pianoforte. We trust Madame Viard-Louis may be compensated by a larger attendance at future concerts as the interest of the subject will increase. (The Era, Saturday, 9 February 1884)

MME. VIARD-LOUIS'S RECITALS. THERE is something imposing in the mere idea of giving the whole of Beethoven's chamber compositions in chronological sequence, and Mme. Jenny Viard-Louis, who undertakes the pianist's share of the vast undertaking, may be congratulated on its novelty and enterprise. The immensity of Beethoven's pianoforte compositions, their enormous range of aim and variety of accomplishment, are sufficient to try the confidence of any but the most ardent students and the most able interpreters. If we except the five concertos, as being strictly orchestral works, there remain for the pianist no fewer than thirty-eight sonatas for piano - some of them presenting difficulties of the most exacting kind - ten others for piano and violin, five for piano and cello, eight trios for piano and strings, the sonata for piano and horn, a prodigious number of variations, &c., for the piano, besides the quintet for wind instruments and piano, and the quartets for strings and piano. In addition to these, the programme of Mme. Viard-Louis includes the occasional vocal compositions. It is manifest that, while the public are presented with a grandiose scheme, the pianist has set herself an arduous task, and one which, on completion, must necessarily abound in inequalities of rendering, technical and intellectual. While it is true that such an enterprise as this may be completely realized by few, there is no denying its attraction, though the long intervals between Mme. Viard-Louis's recitals must detract somewhat from the vague autobiographic interest which makes a chronological interpretation of Beethoven attractive. In the opening recital at Prince's Hall last Tuesday the programme comprised the three trios for piano, violin, and violoncello (Op. 1), and the three sonatas (Op. 2) dedicated to Haydn; the vocal pieces being the six cantiques de Gellet and "Adelaide." In the trios the pianist received the assistance of M. Hollander (violin) and Me Libotton (violoncello); these were well rendered, particularly the famous third which Haydn advised the composer not to publish. The performance of the well-known sonatas demands no special notice, and Mr. Iver McKay's singing would have been more successful if his phrasing did not suffer from his slight acquaintance with German. He would have been heard to greater advantage in the six cantiques if he had been accompanied by Mr. Lindsay Sloper, as in the "Adelaide," instead of by Mme. Mina Gould. (Saturday review of politics, literature, science and art, Saturday, 9 February 1884)

CONCERTS. MDME VIARD LOUIS began her series of performances of "Beethoven's Works" on Tuesday morning, February 5, at Prince's Hall, with the assistance, as vocalist, of Mr Iver McKay. The instrumentalists were Mdme Jenny Viard Louis (pianoforte), M. Hollander (violin), and M. Libotton (violoncello). The following is the program :- Op 1, No. l, Trio, E flat major (pianoforte, violin, and violoncello) ; Three Lieder (voice and pianoforte) ; Op. 2, No. l, Sonata, F minor (pianoforte alone) ; Op. l, No. 2, Trio, G major (pianoforte, violin, and violoncello) ; Three Lieder (voice and pianoforte) ; Op. 2, No. 2, Sonata, A major (pianoforte alone); Op. l, No. 3, Trio, C minor (pianoforte, violin, and violoncello) ; Adelaide (voice and piano) ; Op. 2, No. 3, Sonata, C major (pianoforte alone). Mdme Mina Gould and Mr Lindsay Sloper accompanied the vocal music, and the whole performance was listened to with great attention by a discriminating audience. (The Musical world, Saturday, 9 February 1884)

MADAME VIARD-LOUIS'S ILLUSTRATIONS OF BEETHOVEN'S WORKS. Mdme. Viard-Louis, on Tuesday afternoon, Feb. 5th, at the Prince's Hall, began a course of four concerts (the first series of five), with the laudable and practical purpose of enabling the public to hear, in close consecutive and chronological order, all the works composed by Beethoven for the pianoforte, said by her "to be properly the home of his spirit " ; also for the pianoforte in combination with associated instruments. The list of works, in short, will comprise the sonatas, the variations or fantasias, the sonatas for piano and violin, for piano and violoncello, the trios and quintets ; all that is comprised under the denomination of "chamber music," only stopping at the boundary of the orchestral works with pianoforte." The scheme of Feb. 5th, decidedly too long, if the character and depth of the compositions is considered, included the three early pianoforte trios, known as "Opus 1," in E flat, G and C minor ; the solo sonatas (dedicated to Haydn), in F minor, A and C; and several vocal pieces, to wit, the six "Lieder," with words by Gellet, published at Vienna in 1803 ; and the immortal "Adelaida." To expatiate on these fine works would decidedly not be "chronological" at this hour of the world's history. Sufficient to report a reverent, careful, conscientious, and sympathetic reading of the truly sacred texts by Mdme. Viard-Louis (the pianist), M. Holländer (violin), and M. Libotton (violoncello). The vocalist, Mr. Iver McKay, could hardly be commended by exacting critics, either for voice or style. "Adelaida " has been rendered by our most eminent tenors, and will bear no ordinary artist. The songs of Gellet are short. and not very striking. Nos. l, 2, and 3 of the set are respectively entitled "Bitten," "Die Liebe des Nächsten," and "Vom Tode;" the range of the voice part is generally limited - the compass from C sharp to high G natural. As already hinted, the one drawback to these instructive recitals is their length. Mdme. Viard-Louis begins so late as four o'clock, and half the audience, consequently, are obliged to leave at six (or before six), not in time for that dreadful modern institution, "afternoon tea," but for dinner. Thus, on this occasion, many were obliged to miss the best work on the list, the pianoforte trio in C minor, so unaccountably above the comprehension of good "Papa" Haydn, who deprecated its publication, much to Beethoven's annoyance. Ladies, nevertheless, need not stalk out of the hall during the performance, or gossip as they go out. An excellent and concise analysis of the instrumental works is printed in the programme-book. Mdme. Mina Gould and Mr. Lindsay Sloper were the accompanists of the lieder. The second concert is fixed for Wednesday, March 5. The prospectus of these recitals deserves to be quoted at length :- "It would seem that the amazing fecundity of Beethoven has alarmed his most fervent admirers ; for, up to the present time, as far as my knowledge extends, neither in France, nor in England, nor even in Germany, have all the works of this colossal genius been heard consecutively, though, truly, the number of his symphonies being nine, orchestral societies have been able to produce them all in the same season. His immortal quatuors for stringed instruments are seventeen in number, and these works, at first neglected, have become familiar during the last few years, thanks to the talented artists who, without being scared by the master's lofty flights, and his metaphysical dreams, have adventured not only to follow him, but also to raise the cultured public with them. On this side, also, the master is completely known. But his work for the piano is much more considerable, and necessarily so. When one knows the life of Beethoven, one feels that the piano is, properly speaking, the home of his spirit ! and not only does the broad stream of his being flow in this channel, revealing itself from day to day, following the feeling of the moment, in melancholy, sorrow, joy, or simply work for the publisher ; not only, say I, is he completely reflected herein, but around this "Home" he calls and groups his friends, the violin, the violoncello, the clarionet, the horn, and others, to interpret anew his thought, and with these his converse follows the whim of his fancy. Thus it is a vast trophy, the pianoforte music of Beethoven in its entirety, and his boldest interpreters have only gone so far as to make his thirty-two sonatas for the piano consecutively heard; the rest has been played in no order whatsoever. I believe that public taste and musical culture are now sufficiently advanced that one may dare to play all his pianoforte works in their chronological sequence, and I think that this manner of study should serve to throw a stronger light on the road traversed by him, and by those who have followed in his wake. Thus with confidence I invite amateurs of music to the chronological and consecutive hearing of all that Beethoven has written for the piano ; sonatas, variations, or fantasias for the piano alone, for piano and violin, piano and violoncello, trios, quintets; in fact, all that is comprised under the denomination of chamber music, only stopping at the boundary of his orchestral works with pianoforte. To give my hearers repose from the sound of the instruments, I will ask of the master those accents he confided to the human voice, and thus shall we have the complete Beethoven "at home," following him step by step through his life. But his works being prodigiously numerous, this will take much time. I have therefore thought it well to divide the complete study into series, each occupying five meetings." (Musical standard, Saturday, 16 February 1884)

MADAME JENNY VIARD LOUIS began recently at the Prince's Hall a series of performances of Beethoven's pianoforte works, solo and concerted, interspersed with vocal pieces by the same composer. The lady is favourably remembered by some excellent orchestral concerts given by her at St. James's Hall, at which her skilful pianoforte performances were among the features of the programmes. The present scheme is an interesting one, and was well inaugurated, at the first matinée, when the selection comprised the first-three solo sonatas, the three earliest pianoforte trios, some of the lieder and "Adelaide." Madame Viard-Louis playing was characterised by the same earnest a spirit that she had manifested at the former concerts just adverted to. The first programme included the efficient co-operation of Mr. Hollander as violinist, W. Libotton as violoncellist, and Mr. McKay as vocalist. Madame Mina Gould and Mr. Lindsay Sloper acted as accompanists. The next concert will be given on March 4. (Daily News, Saturday, 23 February 1884)

Thursday, 21 February 1884 : Madame Inez Maleska's Grand Morning Concert at St. James's Hall, Piccadilly.

MADAME INEZ MALESKA'S GRAND MORNING CONCERT, at St. James's Hall, Under the patronage of The LORD BISHOP of LONDON, and The Right Hon. the LORD MAYOR of LONDON, In AID of the COPENHAGEN ENGLISH CHURCH BUILDING FUND, THURSDAY, February 21, at half-past two. The following distinguished artists have most kindly given their services : - Miss De Fonblanque, Miss Beata Francis, Miss Edith Marriott, and Madame Inez Maleska (Guildhall School of Music), Miss Hope Glenn (her first appearing since her return from America), Miss Hilda Wilson, and Miss Rosa Leo ; Mr. Redfern Hollins and Mr. Dyved Lewys, R.A.M., Mr. Gilbert Campbell, MM. Traherne and Ernest Cecil ; Lady Benedict and Miss Bessie Waugh, Miss Maud Powell, and Miss Marie Schumann (Keyser Exhibitioner, Guildhall School of Music), and Miss Ida Andain. Conductors, Sir Julius Benedict, Mr. Lindsay Sloper, Mr. F. Walker, and Mr. J. B. Jefferys. Stalls, 7s. 6d.; balcony, 3s.; area, 2s.; admission, 1s. Tickets at Austin's, Chappell's, the usual agents, and of Madame Inez Maleska, 25, Lancaster-road, Notting-hill, W. (The Standard, Thursday, 14 February 1884) (Also: Morning Post, Thursday, 14 February 1884; Morning Post, Friday, 15 February 1884.)

MADAME INEZ MALESKA'S GRAND MORNING CONCERT, at St. James's Hall, Under the patronage of The LORD BISHOP of LONDON, and The Right Hon. the LORD MAYOR of LONDON, In AID of the COPENHAGEN ENGLISH CHURCH BUILDING FUND, THURSDAY next, February 21, at half-past two. The following distinguished artists have most kindly given their services : - Miss De Fonblanque, Miss Beata Francis, Miss Edith Marriott, and Madame Inez Maleska (Guildhall School of Music), Miss Hope Glenn (her first appearing since her return from America), Miss Hilda Wilson, and Miss Rosa Leo ; Mr. Redfern Hollins and Mr. Dyved Lewys, R.A.M., Mr. Gilbert Campbell, MM. Traherne and Ernest Cecil ; Lady Benedict and Miss Bessie Waugh, Miss Maud Powell, and Miss Marie Schumann (Keyser Exhibitioner, Guildhall School of Music), and Miss Ida Andain. Conductors, Sir Julius Benedict, Mr. Lindsay Sloper, Mr. F. Walker, and Mr. J. B. Jefferys. Stalls, 7s. 6d.; balcony, 3s.; area, 2s.; admission, 1s. Tickets at Austin's, Chappell's, the usual agents, and of Madame Inez Maleska, 25, Lancaster-road, Notting-hill, W. (Morning Post, Monday, 18 February 1884)

Saturday, 1 March 1884 : Concert in aid of Home for Blind Children [date approx] at Morley Hall.

Home for Blind Children, Lowti Ciaptok.-A concert was recently given in in Morley Hall, in aid of the above home. The affair under very distinguished patronage, and a first class programme was arranged. The vocalists were Miss Lavinia Ferrari, Madame Florence Winn, Miss Nelly Finlay, Mr. Duncan Finlay, Mr. W. H. Brereton and Mr. Ralph Leno. These fully sustained their high reputations in the exposition of some of our best songs, and their efforts drew forth many signs of approbation. Encores were very numerous. The instrumental music was also very meritorious. Miss Marie Schumann handled the violin with her customary brilliance, and Mr. Lindsay Sloper displayed marked skill on the pianoforte. The Poplar Orchestral Society added to its fame by its harmonious rendering of excerpts from Rossini, Atkins, Haydn and G. Asch. The performances of this body were much appreciated. Mr. Finlay proved an efficient musical conductor. The leader of the band was Mr. J. fl. Bradley. The arrangements were very satisfactory, and altogether the concert proved very successful. (Hackney and Kingsland Gazette, Monday, 17 March 1884)

Wednesday, 5 March 1884 : Miss Amy Sedgwick and Miss Glamoye's Dramatic Recital at The Banqueting Room, St. James's Hall, Piccadilly.

Miss AMY SEDGWICK, the Eminent Actress and Elocutionist, and Miss GLAMOYE will give High-class DRAMATIC RECITALS, in the BANQUETING ROOM, ST. JAMES'S HALL (Entrance in Regent-street), March 5th, at Eight. Vocalists :-Madame Zimeri and Mr Joseph Hall; Pianists, Mr Lindsay Sloper and Miss Lydia Cowen. Tickets, Mitchell's, Chappell's, and all Agents, and Mr Edwin Draw, Editor of the Elocutionist, 17, Howland-street, W. (The Era, Saturday, 1 March 1884)

In the Banqueting Room of ST. JAMES's HALL Miss Amy Sedgwick and Miss Glamoye gave an interesting recital on Wednesday night. In recitation Miss Sedgwick is as finished an actress as when formerly on the stage, and her command of varied styles of expression was well illustrated by the familiar excerpts from the School for Scandal and the Lady of Lyons, contrasting with the stirring pieces of "Tel-el-Kebir " and the " Women of Mumbles Head. " Her character impersonation of Serjeant Buzfuz was capital, even when challenging comparison with that of Mr. Toole. Considerable pathos and tragic power were shown by Miss Glamoye, who was most successful when depicting strong emotion, as in Tennyson's " Rizpah." Songs and piano solos were contributed by Madame Zimeri, Miss Cowen, and Messrs. J. Hall and Lindsay Sloper. (Graphic, Saturday, 8 March 1884)

THAT admirable actress and elocutionist Miss Amy Sedgwick gave dramatic recitals at St. James's Hall on Wednesday, and met with enthusiastic appreciation. In the carrying out of an excellent programme she was assisted by Miss Glamoye, and music, instrumental and vocal, was supplied by Mr Lindsay Sloper, Mr J. Hall, Miss Lydia Cowen, and Madame Zimeri. (The Era, Saturday, 8 March 1884)

In the banqueting-room at St. James's Hall on Wednesday evening, Miss Amy Sedgwick gave a dramatic recital before a small but appreciative audience. The programme was a long one, containing, not fewer than nine pieces, and was further strengthened by the musical performances of Miss Lydia Cowen, Madame Zimeri, Mr. Lindsay Sloper, and Mr. Joseph Hall. Miss Sedgwick was also ably assisted in her recitations by Miss Glamoye. Miss Sedgwick gave scenes from The Lady of Lyons end the School for Scandal; and wound up by impersonating in character and with irresistible humour the immortal Serjeant Buzfuz. (Lloyd's Illustrated Newspaper, Sunday, 9 March 1884)

Miss AMY SEDGWICK gave some "Dramatic Recitals" the other night in the Banqueting-Room at St. James's Hall. She was assisted by Miss GLAMOYE, who displayed considerable tragic power, and was very successful in several pieces. Miss SEDGWICK'S Sergeant Buzfuz has evidently lost none of its popularity, but it seemed to me that she was best in the "quarrel scenes between Sir Peter and Lady Teazle." CLEMENT SCOTT'S "Women of Mumble's Head" lost by being read from the book. The entertainment was pleasantly varied with music, this part being in the experienced hands of Mr. LINDSAY SLOPER (no relation to our ALLY). He accompanied with his usual taste and judgment, and a very promising young lady, Miss LYDIA COWEN, joined him in a duet, and quite held her own. If this was her first appearance, I venture to congratulate her on a nice touch and on keeping accurate time. Nor must the handsome presence and rich mezzo-soprano of Madame ZIMERI be forgotten, although she did not sing "pieces by RUBENSTEIN and ABT in brilliant style we need hardly say" (vide Daily News), the fact being that she substituted other songs. The audience tried hard to induce her to sing TOSTI's " Good bye" a second time, but probably some rule had been laid down about encores, or else, in her good-nature, Madame ZIMERI thought the programme already sufficiently long. The business arrangements Mr. EDWIN DREW was responsible for. (Judy, or the London Serio-Comic Journal, Wednesday, 19 March 1884)

Saturday, 8 March 1884 : Lubimoff's Recital at Piccadilly Hall.

LUBIMOFF'S RECITALS, Piccadilly Hall, - Season fashionable Dramatic Recitals and Ballad Concerts will commence To-morrow. Mmes. Osborne Williams, Hesketh, Delforce, and Zimeri; Messrs. Sinclair, Dunn, Lindsay Sloper, Range, and Carlo Ducci. Daily, at 3 and 8 o'clock. Prices, 5s., 2s., 1s. Booking office now open. (The Times, Friday, 7 March 1884)

LUBIMOFF'S RECITALS.- The Russian Tragedian is a master of his art. - Truth. THIS DAY, Three and Eight, Inauguration of Grand Season of Four Weeks, PICCADILLY HALL, W. Madames OSBORNE WILLIAMS HESKEITH ANNIE DELFORCE and MATHILDA ZIMERI Messrs LINDSAY SLOPER SINCLAIR DUNN MONARI-ROCCA IVAN RANGE CARLO DUCCI Dramatic Recitals and Ballad Concerts Daily, Three and Eight. (The Era, Saturday, 8 March 1884)

Monday, 24 March 1884 : Third Free Popular Concert at Westbourne Park Chapel.

FREE POPULAR CONCERTS. - The third of these concerts was held in Westbourne Park Chapel on the evening of the 24th ult. A well. selected programme was carried out to the evident satisfaction of the large gathering. Miss Fenne gave charmingly "Sooner or later," "The Children's Home," and "Side by side ;" Miss Jessie Coxall sang a new song by Hatton, entitled "Golden Dreams," and "Mabel's Answer " (Rogers). Mr Sinclair Dunn's rendering of "I always meet you in my dreams " and "An old wreath " in the first part, and " A dream of peace " in the second evoked loud applause ; and, being encored for the latter, he gave, by desire, "The Macgregor's Gathering." Mr J. Richards sang "The Fairy Jane" and "The Anchor's Weighed," receiving an encore for the latter. Mr Thurgate was the other singer, his selections being "The Vagabond " and "The Old Pilot" (Hatton). Mr E. S. Johnson, an amateur, gave Rode's celebrated Air for the Violin in a very creditable manner. Mr J. H. A. Hicks was the accompanist. This young artist deserves a word of praise for his successful rendering of the overtures to The Interrupted Sacrifice (Winter), in the first part, and that to Haydn's Orlando Paladrino in the second. The fourth concert, on Monday, 31st ult., was under the direction of Mr F. R. Kinkee (organist of the chapel), and was as fully attended as any of the preceding. The artists were Misses Annie Buckland, Maude West, and Anne Matthews, Messrs Joseph Lynde and J. Walker. Mr F. R. Kinkee proved a capable accompanist, and Mr Henry Roe gave selections on the concertina, which added pleasing variety to the entertainment. Popular ballads were again the order of the evening, and perhaps this concert manifested more level excellence on the part of the artists than the preceding one. The concert of Monday next is to be under the direction of Messrs Lindsay Sloper and F. R. Kinkee. These concerts, which partake of the nature of an experiment in the west of London, have proved very successful hitherto, and give every encouragement to their promoters to carry on the good work next season. - WETSTAR. (The Musical world, Saturday, 5 April 1884)

Wednesday, 2 April 1884 : Evening Ballad Concert at St. James's Hall, Piccadilly.

EVENING BALLAD CONCERT, St. James's Hall, WEDNESDAY next, April 2, at eight o'clock. Artistes : Madame Zimeri, Miss Alice Fripp, Miss Adelaide Mullen, Madame Antoinette Sterling. Miss Giovanna Ameris, Mr. Iver M'Kay, M.M. Traherne and Ernest Cecil, and Mr. Barrington Foote. Violin : Miss Amy Hickling. Pianoforte : Madame Mina Gould and Signor Carlo Ducci. Recitation, Mr. Arthur Lawrence. Conductors : Mr. Lindsay Sloper and Herr Leideritz.- Stalls, 7s. 6d. Tickets, 4s., 3s., 2s., 1s., of Austin, St. James's Hall; Chappell, 50, New Bond-street, and 10. Poultry ; and Messrs. F. Allan Gould and Co., 53, New Bond-street, W. (Morning Post, Friday, 28 March 1884) (Also: Morning Post, Saturday, 29 March 1884; The Standard, Saturday, 29 March 1884; Morning Post, Monday, 31 March 1884.)

EVENING BALLAD CONCERT, St. James's Hall, To-morrow (WEDNESDAY), April 2, at eight o'clock. Artistes : Madame Zimeri, Miss Alice Fripp, Miss Adelaide Mullen, Madame Antoinette Sterling. Miss Giovanna Ameris, Mr. Iver M'Kay, M.M. Traherne and Ernest Cecil, and Mr. Barrington Foote. Violin : Miss Amy Hickling. Pianoforte : Madame Mina Gould and Signor Carlo Ducci. Recitation, Mr. Arthur Lawrence. Conductors : Mr. Lindsay Sloper and Herr Leideritz.- Stalls, 7s. 6d. Tickets, 4s., 3s., 2s., 1s., of Austin, St. James's Hall; Chappell, 50, New Bond-street, and 10. Poultry ; and Messrs. F. Allan Gould and Co., 53, New Bond-street, W. (The Standard, Tuesday, 1 April 1884) (Also: Morning Post, Tuesday, 1 April 1884.)

TO-NIGHT. - GRAND EVENING BALLAD CONCERT. TO-NIGHT. - GRAND EVENING BALLAD CONCERT at St. James's Hall, at eight o'clock. Artistes : Madame Zimeri, Miss Alice Fripp, Miss Adelaide Mullen, Madame Antoinette Sterling. Miss Giovanna Ameris, Mr. Iver M'Kay, M.M. Traherne and Ernest Cecil, and Mr. Barrington Foote. Violin ; Miss Amy Hickling. Pianoforte : Madame Mina Gould and Signor Carlo Ducci. Recitation, Mr. Arthur Lawrence. Conductors : Mr. Lindsay Sloper and Herr Leideritz.- Stalls, 7s. 6d. Tickets, 4s., 3s., 2s., 1s., of Austin, St. James's Hall; Chappell, 50, New Bond-street, and 10. Poultry ; and Messrs. F. Allan Gould and Co., 53, New Bond-street, W. (Morning Post, Wednesday, 2 April 1884)

CONCERTS. THE ballad concert at St. James's Hall on Wednesday was of that miscellaneous character which, even in these advanced days, is sometimes regarded as essential to popularity. The general public undoubtedly love ballads, particularly those that are contemporary, and that set forth with sickly and unheroic sentiment the ways of the bold British sailor, which must invariably prove to be strange to that popular hero as well as to the admirers of Dibdin. The reception given on this occasion to dull and commonplace songs, indifferently sung, clearly reveals the existence of a large class of people whose taste has been wholly uninfluenced by such concerts as the Monday Popular. An extremely friendly audience showed itself desirous of re-hearing every song, good, bad, or indifferent, and recalled all the executants with amiable impartiality and most uncritical unanimity. This would be but a venial matter if the general execution had presented a dead surface of mediocrity ; but it was an ill recognition of the beautiful voice and artistic style of Mme. Antoinette Sterling, the admirable quality of Mr. Barrington Foote's singing, and that of one or two others, to confound them with much that was meretricious in one flood of noisy applause. The inconsistency of such a proceeding - not to speak of its humorous incongruity in such a concert-room - was only worthy of a susceptible people to whom for the first time the missionaries of music were addressing themselves, and of whom discernment was not to be expected. The musical foreigner, who is always with us, must have imagined himself in some Ultima Thule of the provinces, instead of in a hall consecrated to music and enriched with innumerable and splendid associations. It is to be hoped he will charitably correct this natural view, and consider the phenomenon as a fresh eccentric phase of our inscrutable social existence. The programme was sufficiently diversified to illustrate very forcibly the extreme range of modern songs. The higher quality of composition was represented by Blumenthal's "Far away, where angels dwell," expressively, but not faultlessly, sung by Mr. Iver McKay ; Cowen's " I hear thee speak of a better land," and Odoardo Barri's "Patchwork," both rendered with touching pathos and admirable art by Mme. Sterling. "The Brave Light," given with dramatic power by Mr. Barrington Foote, occupied an intermediate position ; and the same singer's fine and resonant voice was heard to great advantage in Molloy's "The Way of the World." Mme. Adelina Hirlemann sang "Voi che sapete," and was very successful in two other songs. In Wekerlin's pretty and characteristic song, "The Wood," Miss Alice Fripp sang in a style very superior to her interpretation of Gounod's "Ave Maria," which was lacking in expression and delicacy. Masini's pleasing and striking duet, "I Mulattieri," was sung with excellent effect by Mr. Traherne and Mr. Ernest Cecil. In some violin solos by Papini and De Beriot, Miss Amy Hicklin was a little uneven, her tone thin, and her execution characterized by an indecision which may be the result of nervousness, but had more the appearance of the inexperience of a young artist. The most successful of Mme. Zimeri's performances was her rendering of Dessauer's bolero, "Ouvrez, ouvrez," which was executed with facile precision and considerable grace of expression. Signor Carlo Ducci's pianoforte-playing and Mr. Arthur Lawrence's recitals must be considered as not the least strange anomalies in the evening's entertainment. The chief accompanyists were Mr. Lindsay Sloper and Mme. Mina Gould. (Saturday review of politics, literature, science and art, Saturday, 5 April 1884)

AT a concert given on Wednesday evening, April 2, at St James's Hall, the singers were Mesdmes Zimeri and Antoinette Sterling, Misses Alice Tripp and Giovanna Ameris, as well as Mdme Adelina Hirlemann, who took the place of Miss Mullen, for whom an apology had to be made by Mr Lindsay Sloper, Miss Mullen suffering from an attack of sore throat. This was much regretted, as rumours of Miss Mullen's fame in the Emerald Isle as a vocalist had been for some time bruited. It was lucky the entrepreneurs obtained so excellent a substitute at the last moment as Mdme Hirlemann, whose rendering of "Voi che sapete " and "Rode's air with variations," met with deserved applause. The other singers were Mr Iver McKay, MM. Traherne, Ernest Cecil, and Barrington Foote. The violinist was Miss Amy Hickling, and the pianist Signor Carlo Ducci. Besides these Mr Arthur Lawrance recited, with great effect, "The Midnight Charge," by Clement Scott. Among the vocal successes of the evening was that of Mdme Antoinette Sterling, who gave O. Barri's "Patchwork," and "The Better Land " (Cowen). Both being encored, Mdme Sterling substituted, "We're a' noddin," and "Twenty-One." Another success was that of Mr Barrington Foote, who repeated Reeves' song, "Highwayman Jack." MM. Traherne and Ernest Cecil obtained hearty applause and a call after Masini's amusing duet, "I Mulatieri," and Mdme Zimeri pleased everyone by the style in which she rendered Dessauer's bolero, "Ouvrez, Ouvrez." The instrumentalists met with great favour, Signor Carlo Ducci and Miss Hickling being "called" after Beethoven's Sonata in F, for violin and pianoforte, the young lady afterwards playing Papini's "Romance" and "Saltarella," as well as other pieces with effect, and Signor Ducci three charming pieces of his own composition. We must not omit a word of praise to a young singer, Miss Alice Tripp who gave with genuine expression Gounod's "Ave Maria," the obligato violin part being played by Miss Hickling. The singers were accompanied by Mdme Mina Gould, Mr Lindsay Sloper, Herr Leidenz, and Signor Samuelli, and the concert altogether gave perfect satisfaction. (The Musical world, Saturday, 5 April 1884)

Monday, 7 April 1884 : Fifth Free Popular Concert at Westbourne Park Chapel.

THE fifth of the series of Free Popular Concerts was given to a crowded audience in Westbourne Park Chapel on Monday evening, April 7. The vocalists were Misses Berrie Stephens, Jeannie Rosse, Messrs Alfred Rudland and Alfred Owen, with two youthful instrumentalists, (violin) Miss Cecile Elieson, and (pianoforte) Miss Esther Barnett. The songs selected by Miss Berrie Stephens, and to which she did ample justice, were "When my Jim comes home" (Marzials), encored, and "Waiting for the King " (Moir) ; those given by Miss Jeannie Rosse being "Fifty years ago, Dearie " (Mrs Moncrieff), Galatea (Roeckel), and "My Bonny Boy " (Wellings), all of which were loudly and deservedly applauded. Mr A. Rudland's robust tenor voice was heard to advantage in the three songs set down for him, Blumenthal's "Message," Morgan's "My Sweetheart when a Boy," and Pinsuti's "Last Watch." Mr Alfred Owen pleased most in "The Ship's Fiddler " (Baliol), his other selection being "The Silent March" (Pinsuti). Miss Cecile Elieson in her violin solo, "La Fille du Regiment " (De Beriot), reflected much credit on her instructors; but it is to be hoped she will take the applause showered upon her as an inducement to further diligent study. This remark applies equally to Miss Esther Barnett for her rendering of the pianoforte solos "Salterello " (S. Heller) and Barcarolle and Capriccio (Mendelssohn). Mr Ernest Paxon, of the Dramatic School of Art, gave several recitations in a refined manner, "Hood's Tale of Terror," being evidently more to the taste of the audience than an "Angel's Story," which is too discursive. Mr Lindsay Sloper (who gave a pianoforte solo during the evening in masterly style) and Mr F. R. Kinkee, were the accompanists. The Canadian Jubilee Singers take the concert of Monday next. (The Musical world, Saturday, 12 April 1884)

Tuesday, 22 April 1884 : Madame Liebhart's Grand Morning Concert at St. James's Hall, Piccadilly.

MADAME LIEBHART'S GRAND MORNING CONCERT, Tuesday, April 22.- RECITATIONS by Miss MINNIE DELL (from the Novelty Theatre, by permission of Miss Harris) and Mr. GEORGE GROSSMITH (by kind permission of D'Oyly Carte, Esq.). Conductors, Sir Julius Benedict, Signor Romili, Mr. Lindsay Sloper, Mr. Kuhe, Mr. Gear, and Mr. W. Ganz.- Tickets, 1s., 3s., 10s. 6d., and one guinea. (The Times, Thursday, 17 April 1884) (Also: The Times, Monday, 21 April 1884; The Times, Tuesday, 22 April 1884.)

MADAME LIEBHART'S GRAND MORNING CONCERT, April 22.- RECITATIONS by Miss MINNIE DELL (from the Novelty Theatre, by permission of Miss Harris) and Mr. GEORGE GROSSMITH (by kind permission of D'Oyly Carte, Esq.). Conductors, Sir Julius Benedict, Signor Romili, Mr. Lindsay Sloper, Mr. Kuhe, Mr. Gear, and Mr. W. Ganz.- Tickets, 1s., 3s., 10s. 6d., and one guinea. (Morning Post, Friday, 18 April 1884) (Also: The Standard, Saturday, 19 April 1884; The Standard, Monday, 21 April 1884.)

LIEBHART'S GRAND MORNING CONCERT takes place at ST JAMES'S HALL, on TUESDAY Next, April 22nd, on which occasion M. VLADIMIR DE PACHMANN will assist. and this will be his only and Last Appearance until 1885. The following distinguished Artists will also appear: Mdme Marie Roze (by kind permission of Carl Rosa, Esq.), and Mdme Ilma di Murska (from the Italian Opera, Covent Garden); Miss Carlotta Elliot, Miss Eva Lynn. Miss Emilie Lewis, and Miss de Fonblanque ; Mdme Antoinette Sterling; Mr Levetus, Signor Palmieri, Mr Dalgetty Henderson, Mr Gilbert Campbell, Mr W. Clifford, and Mr Isidore de Lara. Violin - Signor Erba. Recitations by Miss Minnie Bell (from the Novelty Theatre, bp permission of Miss Harris), and Mr George Grossmith (by kind permission of D'Oyly Carte, Esq.). Conductors - Sir Julius Benedict, Signor Romili, Mr Lindsay Sloper, Mr Kuhe, Mr Gear, and Mr W. Ganz. Stalls, £1 1s. ; Area Stalls, 10s.6d.; Balcony or Orchestra, 3s. ; Admission 1s. Tickets may be obtained of Stanley Lucas, Weber & Co., 81, New Bond Street; usual Agents; and at Austin's Ticket Office, St James's Hall. (The Musical world, Saturday, 19 April 1884)

MADAME LIEBHART'S GRAND MORNING CONCERT, TO-MORROW.- RECITATIONS by Miss MINNIE DELL (from the Novelty Theatre, by permission of Miss Harris) and Mr. GEORGE GROSSMITH (by kind permission of D'Oyly Carte, Esq.). Conductors, Sir Julius Benedict, Signor Romili, Mr. Lindsay Sloper, Mr. Kuhe, Mr. Gear, and Mr. W. Ganz.- Tickets, 1s., 3s., 10s. 6d., and one guinea. (Morning Post, Monday, 21 April 1884)

MADAME LIEBHART'S GRAND MORNING CONCERT, THIS DAY (Tuesday).- RECITATIONS by Miss MINNIE DELL (from the Novelty Theatre, by permission of Miss Harris) and Mr. GEORGE GROSSMITH (by kind permission of D'Oyly Carte, Esq.). Conductors, Sir Julius Benedict, Signor Romili, Mr. Lindsay Sloper, Mr. Kuhe, Mr. Gear, and Mr. W. Ganz.- Tickets, 1s., 3s., 10s. 6d., and one guinea. (The Standard, Tuesday, 22 April 1884)

MADAME LIEBHART'S GRAND MORNING CONCERT, TO-DAY.- RECITATIONS by Miss MINNIE DELL (from the Novelty Theatre, by permission of Miss Harris) and Mr. GEORGE GROSSMITH (by kind permission of D'Oyly Carte, Esq.). Conductors, Sir Julius Benedict, Signor Romili, Mr. Lindsay Sloper, Mr. Kuhe, Mr. Gear, and Mr. W. Ganz.- Tickets, 1s., 3s., 10s. 6d., and one guinea. (Morning Post, Tuesday, 22 April 1884)

Mme. Liebhart gave her annual concert in St. James's Hall on Tuesday afternoon. The stars were Mme. Marie Roze and M. V. De Pachmann, who appeared for the last time in London till the season of 1885. He played Auf Flugeln des Gesanges (Mendelssohn-Liszt); Rondeau Brilliant (G. M.Weber); Nocturne G minor (Chopin) Scherzo No. 3, Op. 39 (Chopin), on a Brinsmead pianoforte the last piece concluded the concert, from which several items had to be out out owing to its length. Mme. Liebhart sang her favourite song, Little Bird so sweetly singing, and two German songs. The following artists also assisted:. Miss Carlotta Elliot, Miss De Fonblanque, Mme. Antoinette Sterling Mr. Levetus, Mr. Dalgetty Henderson, Mr. Gilbert Campbell, Mr. W. Clifford, Mr. Isidore de Lara, Miss Minnie Bell, and Mr. George Grossmith. Conductors, Sir Julius Benedict, Signor Romili, Mr. Lindsay Sloper, Mr. W. Ganz, and Signor Erba, whose violin solo was exquisitely played, and was received with much applause. The hall was crowded in every part. (Illustrated Sporting and Dramatic News, Saturday, 26 April 1884)

CONCERTS. LIEBHART. - The concerts of this lady are usually among the most attractive, in the popular sense of the word, that musical enterprise affords, and of this we had evidence on Tuesday morning, when she invited her friends - and their name is legion - to listen to a varied and interesting programme at St James's Hall. The large room was filled in every part and the warmth of the applause which greeted the smiling vocalist when she made her appearance, bore testimony to the kindly estimation in which she is held, and which she has so deservedly earned during her long professional residence in this country. Of her quaint and sparkling delivery of ballads in which point and humour are essential necessities, there is no need now to dwell, for Madame Liebhart has long held her own in this pleasant domain of concert-room music. The examples she gave on Tuesday morning of her exceptional capabilities in this direction consisted of Mr G. B. Allen's song, "Little bird so sweetly singing," and the two charming Lieder by Mendelssohn and Abt, " O jugend, o schöne Rosenzeit," and "Guten morgen," in all of which she displayed the peculiar dramatic qualities to which we have referred, and also that freedom and neatness of vocalization which betoken the experienced and accomplished artist. The skilled facilities demanded in the initiative phrases of the first-mentioned ballad were met with exemplary precision, and fully merited the applause, and, we may parenthetically add, the bouquets, they received. Mdme Marie Roze lent resplendent grace to the programme by her masterly rendering of Poniatowski's showy aria "Pierre de Medicis," supplemented, upon requisition, by an arch and genial version of "Comin' through the rye," in both of which she was accompanied by Sir Julius Benedict. Of next importance was Mdme Antoinette Sterling, who sang Lieder by Rubinstein and Franz, and Cowen's setting of Longfellow's grandly suggestive verses, "There is a reaper whose name is Death " in the admirable and refined manner belonging peculiarly to herself. Another conspicuous feature among the incidents of the concert were the performances of M. Vladimir de Pachmann, whose rendering of Liszt's well-known mounting and framing of Mendelssohn's song "Auf flugeln des Gesanges," " Rondeau brillant," and a Nocturne and Scherzo by Chopin, again revealed all that exquisite delicacy of touch, all that grace and ethereality of expression which transfigures, as it were, everything he plays, and so fully accounts for and justifies the reputation he enjoys. Besides violin performances by Signor Erba, the programme contained other contributions by singers more or less known to fame. The names of Mr Dalgetty Henderson, Miss Eva Lynn, Mr Gilbert Campbell, Mr E. Levetus, Miss Emilie Lewis, Signor Palmieri, and Miss Adele Myers, are as yet of no particular import, but in addition to them we had Miss de Fonblanque, Miss Carlotta Elliot, Mr Walter Clifford, and Mr Isidore de Lara, who in the modest walks of song and ballad are always acceptable. To afford variety to the proceedings Mr George Grossmith was engaged, and gave a pair of his inimitable patter sketches, and also Miss Minnie Bell, of the Novelty Theatre, whose recitation of "Lord Tomnoddy " was somewhat out of place, on the score of the disagreeable nature of the story and an inherent vulgarity which no elocutionary cleverness could possibly get rid of. The accompanists, besides Sir Julius Benedict already mentioned, were Mr G. B. Allen, Mr W. Ganz, Signor Romili, Signor Carlo Ducci, and Mr Lindsay Sloper. (The Musical world, Saturday, 26 April 1884)

Tuesday, 6 May 1884 : Mademoiselle Alice Roselli's Grand Evening Concert at Prince's Hall, Piccadilly.

MADLLE. ALICE ROSELLI'S GRAND EVENING CONCERT, TUESDAY, May 6, at Prince's Hall, Piccadilly, at eight o'clock, under most Distinguished Patronage. Artists : Miss de Fonblanque, Miss Beata Francis, Miss Helen Meason, Miss Mary M'Clean, Miss Helen D'Alton, Mr. W. H. Cummings, Signor Villa, Mr. Woodhouse (amateur), and Mr. Santley. Piano, Mr. Sydney Smith ; Harp, Mr. John Thomas ; Violin, Miss Marie Schumann ; Organ, Mr. Churchill Sibley. Conductors, Sir Julius Benedict, Mr. Lindsay Sloper. Signor Visetti, Mr. Kuhe, Signor Li Calsi, and Miss Bessie Waugh.- Tickets, from 1s. to 21s. each, to be had of Madlle. Roselli, 21, Halsey-street, Cadogan-square, Chelsea ; and at the Hall. (Morning Post, Friday, 2 May 1884)

ALICE ROSELLI'S Grand EVENING CONCERT, May 6th, PRINCE'S HALL, under most distinguished Patronage. Artists: Miss De Fonblanque, Miss Beata Francis, Miss Helen Meason, Miss Mary McClean, and Miss Helen D'Alton; Mr W. H. Cummings, Signor Villa, Woodhouse, and Mr Santley. Piano - Mr Sydney Smith. Harp - Mr John Thomas. Violin - Miss Marie Schuman. Organ - Mr Churchill Sibley (a grand "Connoisseur" Smith American organ will be used). Conductors - Sir Julius Benedict, Mr Lindsay Sloper, Cavaliere Visetti, Mr Kuhe. Signor Li Calsi, and Reserved, 10s. 6d. and 5s.; Balcony, 2s. 6d. ; Miss Bessie Waugh. Stalls, 21s. ; Admission, ls.; to be had of Mdlle Alice Roselli, 21, Halsey Street, Cadogan Square, S. W. ; and at the Hall. (The Musical world, Saturday, 3 May 1884)

MDME ALICE ROSELLI'S evening concert was given under distinguished patronage in Princes' Hall, Piccadilly, on Tuesday evening, the 6th May. Owing to her recent painful bereavement, Miss de Fonblanque kindly supplied Mdlle Roselli's place in the programme. The other artists were Misses Beata Francis, Helen Meason, Mary McClean, Helen D'Alton, Mr W. H. Cummings, Signor Villa, and Mr Santley ; Miss O'Reilly - who appeared for Mr Sydney Smith, absent through indisposition - (pianoforte) ; Mr John Thomas (harp); Miss Marie Schumann (violin) ; and Mr Churchill Sibley (organ) ; conductor, Mr Lindsay Sloper. Space forbids a lengthened notice, the more especially as the programme was constructed on the principle of quantity as well as quality, there being twenty-four separate items therein. The recalls were numerous, but the encores fell to those who had long since won their spurs on many a well-contested field. For instance, Mr Santley, in two Lieder by Schumann, "Du bist wie eine blume " and "Ich grolle nicht, " had to repeat the latter, while Mr W. H. Cummings, for his charming singing of "Just as of old " (a song, by the way, of his own composition), had to reappear, when he gave "Once I loved a maiden fair." A like favour was also demanded of Mr John Thomas, for his exquisite rendering of the harp solos, "Echoes of a Waterfall" and "Reverie," both from his own scholarly pen. In response he gave, to the delight of the audience, "The march of the Men of Harlech. Apology was made for Signor Villa, who was suffering from cold, but this did not hinder a call for repetition of the Italian melody "Musica proibita." It is but fair to say that the lady vocalists received unstinted applause. It will be sufficient to indicate where this was most marked. A loud recall greeted Miss Beata Francis (who was accompanied by Mr John Thomas on the harp) for her singing of "The Ash Grove," another to Miss de Fonblanque for a new song by Molloy (words by William Boosey), entitled "Bébée ! " and "The Maiden and the Weathercock" (W. Austin), Miss Helen Meason also receiving the approbation of the audience for "The old, old story " (Blumenthal). A word of praise is due to Miss Schumann for her violin solos, and also to Mr C. Sibley for his performances on the organ. -WETSTAR. (The Musical world, Saturday, 10 May 1884)

MISS ALICE ROSELLI'S CONCERT. Miss Roselli's grand soirée at the Prince's Hall on Tuesday the 6th inst. was well patronized and fully attended, but the young lady herself had just lost her mother, and could not, therefore, sing as she had intended. Miss Roselli had (previously) elected to sing Sir J. Benedict's air, "Rock me to sleep " and Roeckel's "Cast thy bread." Mr. Lindsay Sloper and Mr. Churchill Sibley opened the concert with a duet of Beethoven for pianoforte and organ ("Théme varié de la Serenade") and Mr. J. Thomas began the second part with a harp solo. The vocalists were : Mr. Santley, Miss De Fonblanque, Mr. W. H. Cummings (who sang "Deeper and deeper still," by desire), Miss Helen D'Alton. Miss H. Meason, Miss Mary McClean, Miss B. Francis, and Signor Villa, who, in spite of a severe cold, gave a capital reading of Mr. Poznanski's song, "All for thee." The vocal part of the scheme, as usually the case, was rather too long. Messrs. Broadwood kindly lent one of their finest "concert grand" pianofortes, and Messrs. Smith a new "Connoisseur" organ of their manufacture, on which Mr. Churchill Sibley played a Fantasia. Miss Roselli (a pupil of Mr. W. H. Cummings) will resume her professional engagements in a short time: she enjoys the warm sympathy of her friends. (Musical standard, Saturday, 17 May 1884)

Friday, 9 May 1884 : Evening Concert on behalf of the Asylum for Fatherless Children, Reed ham at Town Hall, Shoreditch.

Town Shoreditch.-An evening concert took place here on Friday on behalf of the Asylum for Fatherless Children, Reed ham. Notwithstanding the very attractive programme, the audience hardly numbered 200, but these were remarkably appreciative and cheered vigorously the unusually meritorious performances. Madame Florence Winn secured an encore for "Cloister Voices," when she gave Caller Herrin' with beautiful effect; 'Good bye, sweet rose ' by the same vocalist was also nicely interpreted. Madame Ashton was in good voice, and rendered When the heart is young' and 1 love, my love with much taste and expression. For the first song she was recalled and gave Daddy ' in good style. A duet the above ladies "The Venetian Boat Song" was most harmoniously rendered. For you, for me ' and 4 Just well' Miss Alice Fowler, and Roberto che tu Adoro (Meyerbeer) and Stars, the night adorning ' by Miss Clarice Riley met with considerable approval. Mr. Redfern Hollins was very successful m his vocalisation. He gave The Promised Land,' 4 The Pilgrim of Love' and Sweet Sally Gray ' with marked musical ability, securing two encores, which responded to equally pleasing songs. Mr. B. Colin Coward (under whose direction the concert was given) gave able expositions of "The Diver " and "The Old Brigade," and Mr. W. Chapman "The Last Watch" and "My Sweetheart, when Boy." The latter song deservedly secured redemand, which was met with a splendid interpretation "The Anchor's Weighed." A noteworthy feature was the dramatic recitations of Miss Frances An excellent rendering of Queen Catherine's Speech to Henry VIII was heartily applauded, and led to the interpretation "Mercutio's Speech." The finest performance, however, was scene from The Lady of Lyons, in which four characters were pourtrayed with considerable flexibility of voice and manner. Mr. Lindsay Sloper was the accompanist, and opened the proceedings with a pianoforte solo. Mr. Herbert Reeves did not sing as announced; ; but the concert was, nevertheless, very satisfactory, except with regard to attendance. (Hackney and Kingsland Gazette, Wednesday, 14 May 1884)

Saturday, 10 May 1884 : Madame Jenny Viard-Louis's Beethoven Performance at Prince's Hall, Piccadilly.

MADAME VIARD-LOUIS' RECITALS. Madame Viard-Louis continues her interesting recitals of the works of Beethoven, and naturally they increased in interest as the genius of the composer is seen developing after the early period, when he was chiefly influenced by the style of Mozart. It was especially interesting to mark the difference in those works where the bent of the greatest modern composer begins distinctly to assert itself and to throw off the trammels of conventionality. We seem to trace the workings of a great soul which, after wearing a yoke for a time, finds it unbearable, and is resolved at all cost to be free. In some of these exquisite compositions, now regarded by all who love true music as masterpieces, we must remember that Beethoven had to fly in the face of friends and rivals, and to defy them with new ideas, a new style, and, in some cases, with even new rules of composition. "It is against all known laws," said a pedant, upon hearing a new work. "Yes, the laws of old are infringed," replied Beethoven, "but I shall make these passages lawful for the future." His proud prediction was fulfilled. On Saturday afternoon last, at the Prince's Hall, Madame Viard-Louis was unfortunate in not having the aid of Mr Carrodus, who was set down for the violin part in the Sonatas Op. 12. In these charming duet sonatas M. Hollander, however, played in such a finished and effective manner as to render the music enjoyable. There are three sonatas for pianoforte and violin, one in D major with a most exhilarating finale, one in A major with a slow movement so delightful that murmurs of applause were heard during its performance, and at the close the audience became enthusiastic. The concluding sonata is in E flat. Madame Viard-Louis herself played, in addition to the sonatas already referred to, that in C minor, Op. 10, and No. 2 in F major; and Fraulein von Henning sang several of Beethoven's songs, being accompanied by Mr Lindsay Sloper. Both Madame Viard-Louis and M. Hollander deserved cordial commendation for the refinement and purity of style with which they rendered these beautiful works of a great master, who is always a good model to place before the musical aspirants of the rising generation. (The Era, Saturday, 17 May 1884)

THE regular course of Mdme Viard-Louis' meetings for the performance of Beethoven's pianoforte music, having been interrupted by the Duke of Albany's death, was resumed on Saturday afternoon, May 10, when the enterprising French lady gave some excellent illustrations of the great composer's "first manner." She presented the two Sonatas in C minor and F major (Op. 10), for pianoforte alone, and the three Sonatas (Op. 12) for pianoforte and violin, her associate in the last group being Herr Holländer, who took the place which, by reason of indisposition, Mr Carrodus could not fill. The works for piano alone are, of course, well known ; every schoolgirl plays them. On the other hand, there are few opportunities of hearing the delightful works that make up Op. 12 - delightful because they combine so much of Mozart's grace and simplicity with the characteristic Beethoven touch. Mdme Viard-Louis deserves credit for reminding the musical public in so complete a way of the existence of compositions well adapted for the use of amateurs in the home. They were very well played, and evidently much enjoyed. In the course of the afternoon five of Beethoven's songs were sung by Fraulein Luise von Hennig, accompanied by Mr Lindsay Sloper. (The Musical world, Saturday, 17 May 1884)

Saturday, 7 June 1884 : Sir Julius Benedict's Fiftieth Annual Morning Concert at Royal Albert Hall.

Sir JULIUS BENEDICT'S JUBILEE, at the Royal Albert Hall SIR JULIUS BENEDICT'S FIFTIETH ANNUAL CONCERT, SATURDAY MORNING, June 7, at two o'clock. MADAME PAULINE LUCCA, Miss GERTRUDE GRISWOLD, and Madame SCALCHI (from the Italian Opera), will appear at Sir JULIUS BENEDICT'S JUBILEE CONCERT, SATURDAY, June 7. MADAME MARIE ROZE, Madame ROSE HERSEE, and Madame ANTOINETTE STERLING, Miss BEATA FRANCIS, and Miss HENRIETTA POLAK will appear at Sir JULIUS BENEDICTS JUBILEE CONCERT, SATURDAY, June 7. MR. EDWARD LLOYD and Mr. JOSEPH MAAS, Mr. BARTON M'GUCKIN and Mr. WILLIAM J. WINCH will appear at Sir JULIUS BENEDICTS JUBILEE CONCERT SATURDAY, June 7. SIGNOR DE RESZKE (Royal Italian Opera) and Signor FOLI. Mr. SANTLEY, Mr. FREDERICK KING and Herr FRANZ PISCHEK, Messrs. TRAHERNE and CECIL will appear at Sir JULIUS BENEDICTS JUBILEE CONCERT SATURDAY, June 7. DRAMATIC RECITAL by Mr. WILSON BARRETT (his first appearance in a concert room) at Sir JULIUS BENEDICT'S JUBILEE CONCERT, SATURDAY, June 7. PIANOFORTE.- Introduction and Tarantella from the Cantata, "Graziella" (Benedict), arranged by Mr. Lindsay Sloper for Eight Pianists on Four Pianos, and Four Harpists (whose names will be shortly announced) at Sir JULIUS BENEDICT'S JUBILEE CONCERT.SATURDAY, June 7. (Morning Post, Monday, 19 May 1884)

ROYAL ALBERT HALL. Sir JULIUS BENEDICT'S FIFTIETH ANNUAL CONCERT, SATURDAY MORNING, June 7, at two o'clock, with the following eminent artistes :- Madame Pauline Lucca, Madame Sembrich, Miss Gertrude Griswold, and Madame Scalchi (from the Royal Italian Opera), Madame Marie Roze, Madame Rose Hersee, and Madame Antoinette Sterling, Miss Beata Francis, and Miss Henrietta Polak ; Mr. Edward Lloyd and Mr. Joseph Mass, Mr. Barton McGuckin and Mr. William J. Winch, Signor de Reszke (Royal Italian Opera) and Signor Foli, Mr. Frederick King and Herr Franz Pischek, Messrs. Traherne and Cecil, and Mr. Santley. Tarantella from the cantata "Graziella" (Benedict), arranged by Mr. Lindsay Sloper for eight performers on four pianos and four harpists. Piano, Madame Arabella Goddard and Miss Agnes Zimmerman, Mrs. Baskcomb and Mrs. Clippingdale ; Messrs. Li Calsi, Tito Mattei, Kuhe, and Lindsay Sloper; harp, Mr. John Thomas, Mr. T. H. Wright, &c; M. Holiman (violoncello), Mr. John Thomas (harp), band of 2d Life Guards, under the direction of Mr. W. Winterbottom. Conductors, Messrs. Bevignani, A. Visetti, Bisaccia, Romili, Kuhe, Ganz, and Sir Julius Benedict. Tickets, £1 1s., 10s. 6d.; boxes, grand tier (for 10), £10 10s.; loggia boxes (for eight), £6 6s.; second tier (for five), £4 4s.; 7s.; 5s. ,2s. 6d. ; 5,000 admissions, 2s. At the Royal Albert Hall; the principal musicsellers' and librarians'; at Mr. Austin's ticket office, St. James's-hall, Piccadilly ; and of Sir Julius Benedict, 2, Manchester-square. (The Standard, Thursday, 22 May 1884) (Also: Morning Post, Thursday, 22 May 1884; The Times, Friday, 23 May 1884; The Times, Saturday, 24 May 1884; The Era, Saturday, 31 May 1884; The Musical world, Saturday, 31 May 1884.)

ROYAL ALBERT HALL. Sir JULIUS BENEDICT'S FIFTIETH ANNUAL CONCERT, SATURDAY MORNING next, June 7, at two o'clock, with the following eminent artistes :- Madame Pauline Lucca, Madame Sembrich, Miss Gertrude Griswold, and Madame Scalchi (from the Royal Italian Opera), Madame Marie Roze, Madame Rose Hersee, and Madame Antoinette Sterling, Miss Beata Francis, and Miss Henrietta Polak ; Mr. Edward Lloyd and Mr. Joseph Mass, Mr. Barton McGuckin and Mr. William J. Winch, Signor de Reszke (Royal Italian Opera) and Signor Foli, Mr. Frederick King and Herr Franz Pischek, Messrs. Traherne and Cecil, and Mr. Santley. Tarantella from the cantata "Graziella" (Benedict), arranged by Mr. Lindsay Sloper for eight performers on four pianos and four harpists. Piano, Madame Arabella Goddard and Miss Agnes Zimmerman, Mrs. Baskcomb and Mrs. Clippingdale ; Messrs. Li Calsi, Tito Mattei, Kuhe, and Lindsay Sloper; harp, Mr. John Thomas, Mr. T. H. Wright, &c; M. Holiman (violoncello), Mr. John Thomas (harp), band of 2d Life Guards, under the direction of Mr. W. Winterbottom. Conductors, Messrs. Bevignani, A. Visetti, Bisaccia, Romili, Kuhe, Ganz, and Sir Julius Benedict. Tickets, £1 1s., 10s. 6d.; boxes, grand tier (for 10), £10 10s.; loggia boxes (for eight), £6 6s.; second tier (for five), £4 4s.; 7s.; 5s. ,2s. 6d. ; 5,000 admissions, 2s. At the Royal Albert Hall; the principal musicsellers' and librarians'; at Mr. Austin's ticket office, St. James's-hall, Piccadilly ; and of Sir Julius Benedict, 2, Manchester-square. (The Standard, Saturday, 31 May 1884) (Also: The Standard, Tuesday, 3 June 1884; Morning Post, Tuesday, 3 June 1884.)

Sir JULIUS BENEDICT'S JUBILEE, FRIDAY EVENING, June 6, at 8 o'clock. Oratorio ST. PETER (Benedict), with the following eminent artistes: Madame Pauline Lucca and Madame Sembrich, Miss Gertrude Griswold, and Madame Scalchi (from the Royal Italian Opera), Madame Marie Roze and Madame Rose Hersee, and Madame Antoinette Sterling; Miss Beta Frauds and Miss Henrietta Polak. Mr. Edward Lloyd and Mr. Joseph Maas, Mr. Barton McGuckin and Mr. William J. Winch, Signor de Beszke (Royal Italian Opera) and Signor Foli. Mr. Frederick King and Herr Franz Pischek, Messrs. Traherne and Cecil and Mr. Santley. Tarantella from the Cantata "Graziella" (Benedict;), arranged by Mr. Lindsay Sloper for eight performers, on four pianos and four harps; Piano, Madame Arabella Goddard and Miss Agnes Zimmerman, Mrs. Baskcombe and Mrs. Clippingdale, Messrs. Le Calsi. Tito Mattei, Kuhe, and Lindsay Sloper Harp, Mr. John Thomas Mr. T. H. Wright, &c. M Hollmann (violoncello), Mr. John Thomas (harp). Band of the 2nd Life Guards, under the direction of Mr. W. Winterbottom. Conductors. -Messrs. Bevignani, A. Visetti, Bisaccia, Romili, Kuhe, Ganz, and A. Randegger. Tickets, 21s. to 2s., at the Royal Albert Hall Mr. Austin's Ticket Office, St. James's Hall, Piccadilly. (Illustrated Sporting and Dramatic News, Saturday, 31 May 1884)

SIR JULIUS BENEDICT. As regards the jubilee concerts announced by Sir Julius Benedict to take place in the Albert Hall on June 6 and 7, we have already directed special attention to the performance of the veteran musician's oratorio, St Peter. It is matter for sincere congratulation that Sir Julius will be represented as a composer by a work of the noblest aim and highest character. The occasion will thus prove worthy of the career in which it marks a memorable stage. Mdmes Albani and Patey, Messrs Sims Reeves, Winch, and Santley have engaged to take part in the oratorio. With such artists as these, and such a chorus as that of the Royal Albert Hall Choral Society, a fine rendering of the music may be looked upon as assured. The miscellaneous concert to take place on June 7 appeals, of course, to amateurs who affect a lighter kind of art than oratorio. A host of attractive names are now before the public in connection with this entertainment, and we need not repeat them here. To some important features, however, we may properly advert. Most interesting, of these will be the appearance of Mdme Sembrich as a violinist, "for the first and only time," her praiseworthy desire being thus to offer a special compliment to the beneficiaire. That the gifted prima donna of Covent Garden can play the violin, and play it well, has long been known to her friends and their friends. Nor is it any secret that she is as much at home on the pianoforte keyboard as with the bowed instrument. Mdme Sembrich's performance of the Adagio and Rondo from De Beriot's Concerto in D will constitute a real attraction, and, no doubt, answer the kindly purpose which the lady has in view. Mr Wilson Barrett's promised dramatic recital is another powerful feature in the programme, while those who, loving pianoforte music, like to have it in manifold, are anticipating the execution, by Mdmes Arabella Goddard, Zimmermann, Baskcomb, and Clippingdale, Messrs Li Calsi, Mattei, Sloper, Kuhe, John Thomas, Wright, &c., of the Tarantella in Sir J. benedict's Graziella, as arranged by Mr Lindsay Sloper for eight performers on four pianofortes and four harps. With such a combination of talent as is now promised for these concerts, Sir Julius Benedict should break the spell that has hitherto doomed the present musical season to failure. We understand that Mdme Adelina Patti has been asked to take part in Sir J. Benedict's Jubilee, but feels compelled to decline making a journey from Wales to London for that purpose. - D. (The Musical world, Saturday, 31 May 1884)

JUNE ROYAL ALBERT HALL. ononwa a Hallway and the The Exhibition is within a few Bineton and Gloucester road Stations of the District Metr and Metropolitan Patey and The Royal Albert Hall Choral Society permission of its the Duke of Edinburgh who have kindly volunteered their services a select orchestra numbering altogether upwards of performers Organ Boxes guineas to 10 Tickets 10s and Juno 1 at 2 with the following eminent Lucca and Mdme Sembncti Miss Gertrude Griswold and Madame Scalchi from the Royal Italian Jldras Marie Roze and Madame Roso and Madame Atitometw Spring Miss Beta Francis and Miss Henrietta Putin Mr Edward Lloyd and Joseph Barton McGurkin and Mr Wm Winch Signer do Reszke Royal Italian Opera and Signor Frederick King and Herr Franz Pischek, Traherne and and Tarantella from the arranged by Lindsay sloper for eight hands on four pianofortes and four Madame Arabella Goddard and Agnes BaskrnnH and Tito and Lindsay John T Hollmann John Thomas Band of the 2nd Life under the direction of [?] and to at the Royal Albert Hall Ticket St James's usual agents and of Sir Julius Benedict … (Lloyds Weekly Newspaper, Sunday, 1 June 1884)

THE BENEDICT TESTIMONIAL. When it first became known that the fiftieth anniversary of Sir Julius Benedict's Concerts would take place during the present year, it was natural that much interest would be excited, and that offers of assistance on all sides would be forthcoming. Considering Sir Julius's eminence as a composer, it might also be expected that his representative sacred the Oratorio "St. Peter," should be heard on the occasion; and as this could not be performed on the same morning as that of the miscellaneous Concert, it was decided that it should be given on the previous evening, with the assistance of the Royal Albert Hall Choral Society, which, under the direction of Mr. Barnby, has now attained such efficiency as to make its co-operation in this cause a special attraction. In addition, however, to all these spontaneous offers of aid from his brothers and sisters in the profession which he has done so much to ennoble, it was also felt that some substantial testimonial should be offered to Sir Julius Benedict in consideration of his long services to art in this country, the only difficulty being as to the form such presentation should take so as to be most acceptable to the recipient. At the preliminary meeting of the Committee, held in the saloon of Her Majesty's Theatre, in February last, it was resolved that a sum of money should be raised by subscription, to be presented to Sir Julius, and this decision, once made publicly known, was, as might be expected, liberally responded to; but as there were lingering clouds in the minds of many as to whether this was the most graceful offering that could be devised, we are glad to be able to set this question at rest by reference to the proceedings at a meeting at the Mansion House, on the 26th ult. On this occasion Mr. Alderman de Keyser, who was in the chair, said it was unfortunately necessary for him to state that the testimonial should be a substantial one. The money was to make good losses which were not in any way attributable to extravagance, to thriftlessness, to neglect of prudential duties and obligations. It might be that Sir Julius Benedict, an artist, heart and soul, was like other artists in not being a very good man of business; but he had been no squanderer of his hard earnings. He had suffered reverses which no recklessness of expenditure brought upon himself. He had been induced, no doubt by well-meaning friends, to invest his money, saved from the fruit of a life's toil, in undertakings which had failed. Hence it was that this differed totally in character from most other testimonials." Let it now therefore go forth to the public that, to provide for Sir Julius Benedict in the declining years of his active life, a solid and substantial sum must be raised, and we can scarcely doubt the result. The Committee announces that the subscription list will close on the 14th inst., so that no time should be lost in sending contributions either to Messrs. Novello, Ewer and Co., 1, Berners Street. or to the office, 125, Strand. As an earnest of the kind feeling of the most eminent of the profession, may mention that at the performance of "St. Peter" at the Royal Albert Hall, on the evening of the 6th inst., Madame Albani, M Patey, Mr. Sims Reeves, Mr. William J. Winch. and Mr. Santley will be the solo vocalists, and Dr. Stainer will be at the organ; and at the fiftieth annual Concert, on the following afternoon, Madame Pauline Lucca, Madame Sembrich, Miss Gertrude Griswold, Madame Marie Roze, Madame Rose Hersee, Miss Beata Francis, Madame Scalchi, Madame Antoinette Sterling, Miss Henrietta Polak, Messrs. E. Lloyd. Barton McGuckin, and William J. Winch, Signor de Reszke, Signor Foli, Mr. Santley, Mr. F. King, Herr Franz Pischek, Messrs. Traherne and Cecil will appear; Mr. Wilson Barrett will give a dramatic Recital. Madame Arabella Goddard, Miss Agnes Zimmermann, Mrs. Baskcombe, Mrs. Chippingdale, Messrs. Li Calsi. Tito Mattei, Kuhe and Lindsay Sloper (pianoforte), Messrs. John Thomas, T. Wright, &c. (harp), will perform a piece arranged for eight players on four pianofortes and four harps; Madame Sembrich has consented, only for this occasion, to perform on the violin the Adagio and Rondo from De Beriot's Concerto in D; M. Hollman will contribute a violoncello solo; the band of the 2nd Life Guards will appear, and the Conductors will be - besides Sir Julius Benedict. - Messrs. Bevignani, A. Visetti, Bisaccia, Romili, Kuhe, and Ganz. Apart, then, from the strong public sympathy with the beneficiaire, there can be little doubt that such a powerful musical attraction will fill the Royal Albert Hall to an overflow, and counsel all who desire to be present to make an early application for seats. (Musical times and singing class circular, 1844-1903, Sunday, 1 June 1884)

ROYAL ALBERT HALL. Sir JULIUS BENEDICTS FIFTIETH ANNUAL CONCERT, SATURDAY MORNING next, June 7, at two o'clock, with the following eminent artistes :- Madame Pauline Lucca, Madame Sembrich, Miss Gertrude Griswold, and Madame Scalchi (from the Royal Italian Opera), Madame Marie Roze, Madame Rose Hersee, and Madame Antoinette Sterling, Miss Beata Francis, and Miss Henrietta Polak ; Mr. Edward Lloyd and Mr. Joseph Mass, Mr. Barton McGuckin and Mr. William J. Winch, Signor de Reszke (Royal Italian Opera) and Signor Foli, Mr. Frederick King and Herr Franz Pischek, Messrs. Traherne and Cecil, and Mr. Santley. Tarantella from the cantata "Graziella" (Benedict), arranged by Mr. Lindsay Sloper for eight performers on four pianos and four harpists. Piano, Madame Arabella Goddard and Miss Agnes Zimmerman, Mrs. Baskcomb and Mrs. Clippingdale ; Messrs. Li Calsi, Tito Mattei, Kuhe, and Lindsay Sloper; harp, Mr. John Thomas, Mr. T. H. Wright, &c; M. Holiman (violoncello), Mr. John Thomas (harp), band of 2d Life Guards, under the direction of Mr. W. Winterbottom. Conductors, Messrs. Bevignani, A. Visetti, Bisaccia, Romili, Kuhe, Ganz, and Sir Julius Benedict. Tickets, £1 1s., 10s. 6d.; boxes, grand tier (for 10), £10 10s.; loggia boxes (for eight), £6 6s.; second tier (for five), £4 4s.; 7s.; 5s. ,2s. 6d. ; 5,000 admissions, 2s. At the Royal Albert Hall; the principal musicsellers' and librarians'; at Mr. Austin's ticket office, St. James's-hall, Piccadilly ; and of Sir Julius Benedict, 2, Manchester-square. (Morning Post, Monday, 2 June 1884)

Sir Julius Benedict gives his fiftieth Grand Jubilee Concert at the Albert Ball on Friday and Saturday next, the 6th and 7th inst. His oratorio St Peter, with Madame Albani, Madame Patey, Mr Sims Reeves, Mr. Winch, and Mr. Santley as principals, can hardly fail to attract on Friday evening, and with such a host of talent as we have before us his Grand Morning Concert on the Saturday will doubtless be a great success On that occasion some striking novelties will offer particular attractions. Madame Sembrich will, in order to pay a special compliment to Sir Julius Benedict on his jubilee, perform (for the first and only time in England) a concerto on the violin besides singing Proch's variations and a duet with Madame Lucca. Mr. Otto Goldschmidt will accompany a new duet of his composition, "Echo," the words by Tom Moore; a quartet, "The Song of Life," composed expressly for this occasion by Dr. Ferdinand von Hiller, will be performed for the first time, and an arrangement from the beneficiaire's "Graziella" by Lindsay Sloper will be entrusted to eight distinguished pianists and four harpists, including Madame Arabella Goddard, Miss Agnes Zimmermann (piano), and Mr. John Thomas (harp). The combined bands of the Grenadier Guards the 2nd Life Guards, conductors Messrs. Dan Godbey and W. Winterbottom, will also appear. (Daily News, Tuesday, 3 June 1884) (Also: Liverpool Mercury, Wednesday, 4 June 1884.)

ROYAL ALBERT HALL. Sir JULIUS BENEDICT'S FIFTIETH ANNUAL CONCERT, To-morrow MORNING, June 7, at two, with the following eminent artistes :- Madame Pauline Lucca, Madame Sembrich, Miss Gertrude Griswold, and Madame Scalchi (from the Royal Italian Opera), Madame Marie Roze, Madame Rose Hersee, and Madame Antoinette Sterling, Miss Beata Francis, and Miss Henrietta Polak ; Mr. Edward Lloyd and Mr. Joseph Mass, Mr. Barton McGuckin and Mr. William J. Winch, Signor de Reszke (Royal Italian Opera) and Signor Foli, Mr. Frederick King and Herr Franz Pischek, Messrs. Traherne and Cecil, and Mr. Santley. Tarantella from the cantata "Graziella" (Benedict), arranged by Mr. Lindsay Sloper for eight performers on four pianos and four harpists. Piano, Madame Arabella Goddard and Miss Agnes Zimmerman, Mrs. Baskcomb and Mrs. Clippingdale ; Messrs. Li Calsi, Tito Mattei, Kuhe, and Lindsay Sloper; harp, Mr. John Thomas, Mr. T. H. Wright, &c; M. Holiman (violoncello), Mr. John Thomas (harp), band of 2d Life Guards, under the direction of Mr. W. Winterbottom. Conductors, Messrs. Bevignani, A. Visetti, Bisaccia, Romili, Kuhe, Ganz, and Sir Julius Benedict. Tickets, £1 1s., 10s. 6d.; boxes, grand tier (for 10), £10 10s.; loggia boxes (for eight), £6 6s.; second tier (for five), £4 4s.; 7s.; 5s. ,2s. 6d. ; 5,000 admissions, 2s. At the Royal Albert Hall; the principal musicsellers' and librarians'; at Mr. Austin's ticket office, St. James's-hall, Piccadilly ; and of Sir Julius Benedict, 2, Manchester-square. (Morning Post, Friday, 6 June 1884)

SIR JULIUS BENEDICT'S JUBILEE CONCERTS. The concerts arranged at the Albert Rall for Friday and Saturday, under the immediate patronage of her Majesty and the principal members of the Royal family, are unique in the annals of music. No other representative musician has, like Sir Julius Benedict, appealed to the public annually for half a century. Sir Julius Benedict, as the favourite pupil of Weber, is one of the connecting links between the present and the past, and he has been one of the most prominent musicians in this country during his whole career. When we recall the many important works he has composed and the many occasions when he has assisted to bring forward the works of others, we may confidently declare that few, if any, deserve so well of the public. His charming operas have done much to encourage that department of music, and, as we are all aware, The Lily of Killarney is one of the most popular operas of the day. His oratorio St. Peter has high merit, and he has written so much for the orchestra, the voice, and the pianoforte, that it would be impossible to give the entire list. A musician who for half a century has held so prominent a position has, of course, influenced the taste of the public in no ordinary degree, and it is to the credit of Sir Julius Benedict that he has ever advocated the claims of the best music. His oratorio St. Peter, with Madame Albani, Madame Patey; and Mr Santley as the chief singers, was the attraction on Friday night, and there has seldom been such an array of talent as will be found in the programme of the concert to-day at the Albert Hall. Some striking novelties will offer particular attractions. Madame Sembrich will, in order to pay a special compliment to Sir Julius Benedict on his jubilee, perform (for the first and only time in England) a concerto on the violin, besides singing Proch's variations and a duet with Madame Lucca. Mr Otto Goldschmidt will accompany a new duet of his composition, "Echo," the words by Tom Moore; a quartet, "The Song of Life," composed expressly for this occasion by Dr. Ferdinand von Hiller, will be performed for the first time; and an arrangement from the beneficiaire's Graziella, by Lindsay Sloper, will be intrusted to eight distinguished pianists and four harpists, including Madame Arabella Goddard, Miss Agnes Zimmerman (piano), Mr John Thomas (harp). The combined bands of the Grenadier Guards and the 2d Life Guards, conductors Messrs Dan Godfrey and W. Winterbottom will also appear, in addition to many other celebrated and popular performers, the most prominent being Mr Wilson Barrett, who has kindly postponed his morning performance at the Princess's in order to give a dramatic recital at Sir Julius Benedict's jubilee. We anticipate the fullest attendance at the Albert Hall that has been seen at any concert of the season, and we trust Sir Julius Benedict will be spared to enjoy a few years longer the fame and esteem he has won in this country. (The Era, Saturday, 7 June 1884)

ROYAL ALBERT HALL. Sir JULIUS BENEDICT'S FIFTIETH ANNUAL CONCERT, THIS DAY, at two o'clock, with the following eminent artistes :- Madame Pauline Lucca, Madame Sembrich, Miss Gertrude Griswold, and Madame Scalchi (from the Royal Italian Opera), Madame Marie Roze, Madame Rose Hersee, and Madame Antoinette Sterling, Miss Beata Francis, and Miss Henrietta Polak ; Mr. Edward Lloyd and Mr. Joseph Mass, Mr. Barton McGuckin and Mr. William J. Winch, Signor de Reszke (Royal Italian Opera) and Signor Foli, Mr. Frederick King and Herr Franz Pischek, Messrs. Traherne and Cecil, and Mr. Santley. Tarantella from the cantata "Graziella" (Benedict), arranged by Mr. Lindsay Sloper for eight performers on four pianos and four harpists. Piano, Madame Arabella Goddard and Miss Agnes Zimmerman, Mrs. Baskcomb and Mrs. Clippingdale ; Messrs. Li Calsi, Tito Mattei, Kuhe, and Lindsay Sloper; harp, Mr. John Thomas, Mr. T. H. Wright, &c; M. Holiman (violoncello), Mr. John Thomas (harp), band of 2d Life Guards, under the direction of Mr. W. Winterbottom. Conductors, Messrs. Bevignani, A. Visetti, Bisaccia, Romili, Kuhe, Ganz, and Sir Julius Benedict. Tickets, £1 1s., 10s. 6d.; boxes, grand tier (for 10), £10 10s.; loggia boxes (for eight), £6 6s.; second tier (for five), £4 4s.; 7s.; 5s. ,2s. 6d. ; 5,000 admissions, 2s. At the Royal Albert Hall; the principal musicsellers' and librarians'; at Mr. Austin's ticket office, St. James's-hall, Piccadilly ; and of Sir Julius Benedict, 2, Manchester-square. (The Standard, Saturday, 7 June 1884)

ROYAL ALBERT HALL. Sir JULIUS BENEDICT'S FIFTIETH ANNUAL CONCERT, THIS DAY, at two, with the following eminent artistes :- Madame Pauline Lucca, Madame Sembrich, Miss Gertrude Griswold, and Madame Scalchi (from the Royal Italian Opera), Madame Marie Roze, Madame Rose Hersee, and Madame Antoinette Sterling, Miss Beata Francis, and Miss Henrietta Polak ; Mr. Edward Lloyd and Mr. Joseph Mass, Mr. Barton McGuckin and Mr. William J. Winch, Signor de Reszke (Royal Italian Opera) and Signor Foli, Mr. Frederick King and Herr Franz Pischek, Messrs. Traherne and Cecil, and Mr. Santley. Tarantella from the cantata "Graziella" (Benedict), arranged by Mr. Lindsay Sloper for eight performers on four pianos and four harpists. Piano, Madame Arabella Goddard and Miss Agnes Zimmerman, Mrs. Baskcomb and Mrs. Clippingdale ; Messrs. Li Calsi, Tito Mattei, Kuhe, and Lindsay Sloper; harp, Mr. John Thomas, Mr. T. H. Wright, &c; M. Holiman (violoncello), Mr. John Thomas (harp), band of 2d Life Guards, under the direction of Mr. W. Winterbottom. Conductors, Messrs. Bevignani, A. Visetti, Bisaccia, Romili, Kuhe, Ganz, and Sir Julius Benedict. Tickets, £1 1s., 10s. 6d.; boxes, grand tier (for 10), £10 10s.; loggia boxes (for eight), £6 6s.; second tier (for five), £4 4s.; 7s.; 5s. ,2s. 6d. ; 5,000 admissions, 2s. At the Royal Albert Hall; the principal musicsellers' and librarians'; at Mr. Austin's ticket office, St. James's-hall, Piccadilly ; and of Sir Julius Benedict, 2, Manchester-square. (Morning Post, Saturday, 7 June 1884) (Also: The Times, Saturday, 7 June 1884.)

SIR JULIUS BENEDICT. Sir Julius Benedict's jubilee performances to celebrate the completion of 50 years' residence in London as a professional musician attracted on Friday evening and on Saturday afternoon immense audiences to the Albert Hall. On the first of the two days the oratorio of "St Peter," Sir Julius's masterpiece in the sacred style, was performed, with Madame Albani, Madame Patey, Mr Sims Reeves, Mr Winch (a well-endowed and well-trained tenor from America), and Mr Santley in the principal parts. Mr Reeves was obliged, however, by a sudden attack of hoarseness to retire after singing his first air, leaving the rest of his tenor music to be sung exclusively by Mr Winch. Sir Julius Benedict conducted in person, and the performance was highly satisfactory. At Saturday's concert a great number of distinguished singers appeared, and a piece for pianoforte and harps arranged by Mr Lindsay Sloper on two themes from Sir Julius Benedict's "Graziella" was performed by eight eminent pianists, with Madame Arabella Goddard, Miss Agnes Zimmermann, Mr Kuhe, Signor Tito Mattei, and Sir Julius himself among them, and by four harpists led by Mr J. Thomas. It was known to a few that Madame Sembrich (to borrow a metaphor from an instrument on which she excels) had " two strings to her bow," and she proved at Sir Julius Benedict's concert that as a vocalist and as a violinist she equally excels. The other vocalists were Madame Lucca, who sang a German song composed by Sir Julius Benedict for the occasion ; Miss Griswold, who sang Sir .Julius's latest composition to Italian words ; Miss Rose Hersee, who sang an air from the same composer's "Gipsy's Warning ; " Mr Edward Lloyd, who sang his "Eily Mavourneen," from the "Lily of Killarney;" Mr Maas, who sang, to the accompaniment of the composer, Blumenthal's "Message," &c. At the conclusion of the concert, Sir Julius Benedict was presented with a wreath on the part of his fellow-artists. He also received a number of bouquets from the audience, and, in acknowledgment of these offerings, he delivered a brief, but eloquent speech. (Edinburgh Evening News, Monday, 9 June 1884)

SIR JULIUS BENEDICT'S JUBILEE. The Royal Albert Hall presented a brilliant appearance on Saturday, when almost completely filled with an audience representing all classes of musical society, and bent on doing honour to Sir Julius Benedict, who on this occasion gave his 50th annual concert. On the previous evening his admirable oratorio, 'St. Peter," had been given under his direction, with Mesdames Albani and Patey, Mr. Sims Reeves, Mr. Winds, and Mr. Santley as leading vocalists, a chorus and band of 1,000 performers, and Dr. Stainer at the great organ. The artistes above named did full justice to their respective tasks, and although the choral music might have gone better had it been more amply rehearsed, "St. Peter" was well presented, and its many beauties were so skilfully developed that it is not likely to remain much longer forgotten by the choral societies of this country. The audience was large, but owing to the inclement weather - less numerous than might have been expected. On Saturday the weather was favourable, and the success of the concert was so complete that it may be hoped it will add considerably to the fund which Is now being created for the benefit of the honoured beneficiaire. To give full details of a concert in which 40 artistes took part would occupy more space than can be spared. The list of principal vocalists included the names of Mdmes Pauline Lucca, Sembrich, Griswold, and Scalchi, and Signor Di Reszke (of the Royal Italian Opera), Mdmes. Rose Hersee and Antoinette Stirling; MM. Edward Lloyd, Maas, Winch, and M'Guckin, Mr. Santley, Signor Foli, and Mr. F. King, and many other vocalists. Madame Sembrich, besides her vocal contributions, played a selection from one of De Beriot's violin concertos with a purity of tone and brilliancy of execution that elicited warm applause. Another special feature was an arrangement, by Mr. Lindsay Sloper, of the Introduction and Tarantella from Sir Julius Benedict's "Graziella," for eight pianists and four harps. The twelve executants were eminent professors, but owing to the injudicious arrangement of the instruments they could not all watch the conductor's beat, and we must wait for a more favourable opportunity of hearing the work. Another important novelty was a, new vocal quartet, composed expressly for the Benedict Jubilee by the veteran Ferdinand von Hillier, and sung by Madame Rose Hersee, Mdlle. Desvignes, Mr. Henry Guy, and Mr. F. King. It is a bright and effective composition, and was heartily applauded. When it is added that, in addition to a recitation by Mr. Wilson Barrett, the programme announced the names of more than twenty of our most distinguished instrumentalists, with Madame Arabella Goddard at their head, it will be seen that ample musical provision was made for the thousands of amateurs who flocked to the jubilee concert of Sir Julius Benedict. Recalled twice after his finished playing of his pianoforte fantasia "Erin," he expressed his thanks to the audience, and to the people of his adopted country, in a short but interesting speech, which was followed by prolonged and enthusiastic applause. (Western Mail, Monday, 9 June 1884)

SIR JULIUS BENEDICT'S JUBILEE. The morning concert in the Albert Hall on Saturday, the second part of the jubilee festival, was better attended than the oratorio of the previous night. The miscellaneous programme was more attractive, and the weather was more propitious. The names of more than forty artists of the first rank were announced, who had promised to do honour to the veteran musician and the interesting occasion, most of whom were present. There were thirty-three items in the programme, some of which were of more than passing merit, and worthy of particular mention. The performance of a violin solo by Madame Sembrich (the andante and rondo from De Beriot's Concerto in D) excited great applause and a demand for encore, which was complied with. Madame Sembrich, if she had not been a great singer, would have been a great violinist. Her tone is large, full, and pure, and her execution brilliant and artistic. She also sang Proch's variations with great success. Mesdames Pauline Lucca, Scalchi, Rose Hersee, Antoinette Sterling, Messrs. Edward Lloyd, Maas, M'Guckin, Santley, Foli, F. King, and others also sang. As a special piece, written for the occasion, Dr. Ferdinand Hiller contributed a vocal quartett, written with much skill and fraught with musical expression, which was sung by Madame Rose Hersee, Madlle. Desvignes, Mr. H. Guy, and Mr. F. King, and was favourably received. An arrangement by Mr. Lindsay Sloper, of the Tarantella, from "Graziella," the last published cantata by Sir Julius Benedict for eight pianists and four harpists, was played by Mesdames Arabella Goddard, Agnes Zimmermann, Chippingdale, and Baskcomb, Signori Li Calsi and Tito Mattei, Mr. Kuhe, and Sir Julius Benedict at the pianos, with Miss Arnold and Messrs. John Thomas, T. H. Wright, and Barker at the harps. As a composition it is clever; as a performance it might have been better. Sir Julius Benedict exhibited all his wonted fire and energy in his fantasia "Erin" for the pianoforte, and was twice recalled. He was presented with a wreath at the conclusion, and made a short speech expressive of his thanks and a general testimony of the kindness he had received during the period of half a century in which he had lived in England. His remarks were received with great applause. It would be needless to describe all the items of this remarkable concert in detail, but mention must be made of a new song, "Fairer than all," written and accompanied by Lady Benedict, sung by Miss Beata Francis, and favourably received. The concert was, as usual, an epitome of the prevailing fancies and tendencies of the musical season, not excepting the introduced dramatic recital, furnished on this occasion by Mr. Wilson Barrett ; and the attendance was so large as to justify the hope that a considerable sum will be added to the fund proposed to be offered as a testimonial to Sir Julius Benedict on the attainment of his jubilee. The first concert given by him in London on the 15th of July, 1835 contains the names of Malibran and Grisi, and one of the items was the duet from Mercadante's opera "Andronico," which created a great sensation when sung by those two famous artists then in the pride and prime of youth and beauty. If it were possible to compile a record of these annual concerts it would be found to contain a perfect history not only of the state of music of the several periods, but also an interesting chronicle of the estimation in which the artists were held by the public from time to time. (Morning Post, Monday, 9 June 1884)

ST JULIUS BENEDICT's CONCERT. The first of three events - the performance of Sir Julius's Oratoria "St Peter," at the Royal Albert Hall, on Friday evening - was duly recorded by us. On Saturday afternoon, in the same locale, Sir J. Benedict's fiftieth annual concert took place. For half a century these concerts have, in more central localities, been among the specialties of our musical season, the interest having been enhanced on the present occasion by the celebration associated with it. That the attractions were great was proved by the large attendance. Of a concert lasting several hours, and including a large number of more or less familiar details, it is unnecessary to speak at length. Mesdames Pauline Lucca, Sembrich, Scalchi, Antoinette Sterling, Rose Hersee, Mr. E. Lloyd, Mr. Maas, Mr. McGuckin, Mr. Santley, Signor Foli, and other estimable vocalists contributed effective performances. A special feature was the appearance of the eminent Dresden prima donna Madame Sembrich, as solo violinist, in which capacity she played the Andante and rondo from a concerto of de Beriot's in a style that must have astonished those t whom she was previously only known by her brilliant vocal talent. Her skilful performance was warmly applauded. Another remarkable item of the programme was Sir J. Benedict's pianoforte solo "Erin" (on Irish airs), in which the veteran pianist proved his continued mastery of the instrument. The presentation (by Mr. Lindsay Sloper) of a wreath was acknowledged in a neat and gracious speech. Among other specialties of the concert were a new vocal quartet, composed for the occasion by Dr. Ferdinand Hiller, and sung by Madame Hersee, Miss C. Desvignes, Mr. Guy and Mr. F. King; a pleasing new song by Lady Benedict, "Fairer than all," sung by Miss B. Francis, accompanied by the composer; a new Bolero of Sir J. Benedict's, sung by Miss Griswold; and an arrangement by Mr. Lindsay Sloper for eight pianists and four harpists, of the introduction and tarantella from Sir J. Benedict's Graziella, Madame Arabella Goddard and the composer having been among the pianists. Violoncello and harp performances were contributed respectively by M. Holiman and Mr. J. Thomas. The musical program was varied by a dramatic recital, admirably declaimed by Mr. Wilson Barrett. (Daily News, Monday, 9 June 1884)

Sir Julius Benedict's jubilee has been a brilliant success, and, so far as the pecuniary returns are concerned, that success would have been still greater but for the inclement weather, which, on Friday especially, prevented many from attending who would otherwise have been present. On Friday the venerable musician's oratorio "St. Peter" was given under his own direction, with Albani, Patey, Sims Reeves, and Santley in the principal parts, and Dr. Stainer at the organ. The musical interest of yesterday's concert will be gathered from the fact that such vocalists as Madames Sembrick, Pauline Lucca, Schalchi, Rose Hersee, and Antoinette Sterling, and Signor Foli, Messrs. Edward Lloyd, Maas, M'Guckin, and Santley took part in it. One of the special features of the performance was an arrangement by Mr. Lindsey Sloper for eight pianists and four harpists of the introduction and tarantella from Sir Julius's "Graziella," and there was besides a new vocal quartet composed for the occasion by Ferdinand von Hiller, and sung by Madame Rose Hersee, Mdlle. Desoignes, Mr. Henry Gray, and Mr. F. King. Sir Jules Benedict himself played his well known fantasia "Erin," and at the close of the performance made a short and graceful speech, expressing his gratitude for the honour paid him. (Nottingham Evening Post, Monday, 9 June 1884) (Also: Shields Daily Gazette, Monday, 9 June 1884; Shields Daily Gazette, Monday, 9 June 1884; Nottingham Evening Post, Monday, 9 June 1884.)

THE BENEDICT JUBILEE. The Royal Albert Hall presented a brilliant spectacle on Saturday last when filled by an audience of nine thousand amateurs and musicians, assembled to do honour to Sir Julius Benedict. On this occasion he gave his 50th annual concert, and the universal admiration and esteem felt for his musical genius and high social qualities were evinced not only by the crowded state the hall, but the generous and ready aid vocal and instrumental artists of the highest rank in art. Among them were Mdmes. Pauline Lucca, Sembrich, Scalchi, Griswold, Rose Hersee, and Antoinette Sterling, MM. Edward Lloyd, Maas, M'Guckin, Retzile, F. King, Foli, and Santley. The instrumentalists included the famous pianiste Arabella Goddard, who for this occasion only left her retirement in order to do honour to her illustrious teacher; Miss Zimmermann, MM. Li Calsi, Tito Mattei, Lindsay Sloper, and Kuhe, Herr Hollman, Mr. T. H. Wright, and Mr. John Thomas, harpist her Majesty. Another instrumentalist was forthcoming in Madame Sembrich, who played exquisitely a selection from one of De Beriot's violin concertos, and was rewarded with enthusiastic applause and a double recall. Another attraction was provided in an admirable recitation by Mr. Wilson Barrett, who was warmly applauded. When it is also mentioned that the band of the 2nd Life Guards, under the direction Mr. W. Winterbottom, gave their valuable aid, and that the conductors were MM. Bevignani, Viotti, Biaaccia, Romili, Ganz, Kuhe, and Randegger, it will be obvious that the concert presented unusual artistic attractions, in addition to those attached to the interesting character of the occasion. The only novelties were Lady Benedict's charming new song, Fairer than All," sung Miss Beala Francis, and accompanied by the fair composer; an arrangement Mr. Lindsay Sloper of the Introduction and Tarantella from "Graziella" for eight pianists and four harpists, and a new vocal quartett, a Song of Life," composed expressly for this occasion by Dr. Ferdinand von Hiller, and sung by Madame Rose Hersee, Mdlle. Desvignes, Mr. Henry Guy, and Mr. Frederic King. The remainder the programme consisted of previously produced selections from the works of Sir Julius Benedict and other celebrated composers. Among the most interesting was Sir Julius's pianoforte fantasia "Erin," played the veteran composer with less brilliancy of execution than command of expression. He was recalled again and again to the platform, and at length addressed the audience in short but eloquent speech, expressive of his thanks to all who had attended his concert, and his gratitude to the entire English people for the sympathy and kindness shown him throughout the half century spent by him in his adopted country. The concert was in all respects successful, and, although attended with heavy expenses, is likely to add considerably to the Benedict Testimonial Fund, which will finally closed on Saturday next. During the interim, subscriptions will be received by the Lord Mayor and and the hon. secretary, C. W. Thompson, Esq., 125, Strand. (Globe, Monday, 9 June 1884)

The jubilee in celebration of the fiftieth anniversary of Sir Julius Benedict's first concert in London was, as it ought to have been, a repetition, in principle, of the concerts he has been in the habit of giving annually for the last half century. Counting together the jubilee oratorio performance of Friday and the jubilee concert of Saturday, all the great vocalists of the day took part in the ceremony: that is to say, Mdme Albani, Mdme. Sembrich, Mdme. Lucca, Mdme. Rose Hersee, Mr. Sims Reeves, Mr. Edward Lloyd, Mr. Maas, Mr. Santley-not to mention several others. The performances of the two days' festival included specimens of almost every style in which Sir Julius Benedict has distinguished himself; that is to say oratorio, opera, songs, pieces, for the pianoforte -everything, in short, except purely orchestral works; though even of this examples were presented in the interludes of "St. Peter." At Saturday's concert many of the pieces were (as the public under the circumstances must have expected and desired) the work of Sir Julius himself. Among these may in particular be mentioned a new bolero, Italian, sung very brilliantly by Miss Gertrude Griswold ; a new song, in German, dramatically rendered by Mdme. Pauline Lucca; and the principal soprano air from the "Gipsy's Warning," given very expressively (to Mr. John Thomas's harp accompaniment) by Miss Rose Hersee. One of several charming songs lately published by Lady Benedict, "Fairer than all," was sung by Miss Beata Francis, accompanied by the composer, and warmly applauded by the public. Sir Julius Benedict and played in masterly style his own arrangement of Irish airs called "Erin" and he was joined by seven other pianists (and by four harpists) in a piece composed for the occasion, on a slow movement and tarantella from his "Graziella," by Mr. Lindsay Sloper. The pianists in this colossal transcription were headed by Mdme. Arabella Goddard; the harpists by Mr. John Thomas. Nothing in the whole concert was more interesting than Mdme. Sembrich's violin solo, following as it did on her admirable performance of Brock's "Variations for the Voice." That Mdme. Sembrich had the feeling of a true musician was already known to all who had heard her sing. But one understands better than ever the perfection of her style as a vocalist after bearing her play, as she played on Saturday afternoon, two movements (an andante and a final rondo) from one of De Beriot's concertos. (St James's Gazette, Monday, 9 June 1884)

SIR JULIUS AND HIS JUBILEE. SIR Julius BENEDICT ought to be satisfied. If not crowned with flowers, he had a wreath of evergreens and blossoms given him at the Albert Hall on Saturday which he could hardly carry off the stage. He made a nice pathetic little speech about probably retiring for ever. Surely not, Sir Julius, after all those evergreens ! He also said he had been nearly half a century before the English public. Yes, forty-nine years. He came over here in 1835. In the Literary Gazette of June 15, 1838, we find "Mr. Benedict gave a grand concert in Her Majesty's Theatre," &c.; and, further, " the programme included a fair share of Mr. Benedict's own compositions." Read instead "a more than fair share," and the words fit the programme of 1884 as well as the programme of 1838. On Saturday we were gratified, or otherwise, with no less than ten of Sir Julius's own compositions. Still the Albert Hall was well filled; indeed, far fuller than on Friday, when the programme consisted of nothing but Sir Julius's music - in fact, the oratorio of " St. Peter." A critical feuilleton was to be obtained in the hall, containing a careful, not to say cooked, portrait of the hero of forty-nine concert seasons, and we all know how many years. A portrait of Sir Julius's youthful and charming wife, in which the artist had occasion to draw less heavily upon his imagination, was on the opposite page. Husband and wife both looked about the same age - which was considered highly creditable to every one concerned. The concert on Saturday could not fail to be attractive, with the names of Lucca, Sembrich, Santley, Scalchi, Hollman, Antoinette Sterling, and Lloyd; but, oddly enough, as many bad mistakes as could be made were made, every one of which might easily have been avoided. There need have been no inferior singing at all, and there was. Then Mdme. Lucca, even out of kindness, ought to have sung a German song by Sir Julius, which she probably could not understand and certainly could not pronounce. We could have managed with something under ten of Sir Julius's own compositions, among them not one of his best. But we must now come to Sir Julius himself. Had he played one of the "Songs without Words," which would have belonged to his period, and which he could have played without mistakes, instead of a flimsy show piece of his own in the Thalberg taste, which he could no longer play, it would have been in better taste. No pianoforte teacher is supposed to keep up his technique to the age of eighty. We heard old Charles Neate - a famous teacher in his time, who died at the age of ninety-three-play Handel's " Musical Blacksmith " perfectly when past seventy ; and Liszt played Chopin's "Nocturnes " to us at the age of seventy-two; but neither of these veterans attempted anything he could not still do perfectly. It was otherwise on Saturday with Sir Julius. The next huge blot was the arrangement by Lindsay Sloper of a "Tarantella " of Benedict's for eight pianists and four harpists. The hapless conductor was Lindsay Sloper himself. He could see some of the players, but few of them could see him. Unhappily both he and we could hear all of them. As to time, there was none; tune, not much; tone, too much, and quite of the wrong sort. It was a complete fiasco, and all the players after the general muddle got up and slunk out almost in silence. Every one seemed sorry for them: we had not the heart to hiss, nor the cruelty to applaud. After this much it is but fair to add that Mdme. Lucca sang splendidly in her own language; that Mdme. Sembrich astonished and delighted every one with her charming violin playing, and was also in fine voice, although she flourished her pocket handkerchief and pointed to her chest. Altogether the concert was of course a grand success, in spite of the blots. The public do not mind blunders when there are enough plums, and it is to be hoped that Sir Julius is on the whole a richer man, which he is not slow to assure his friends he might well be. Money losses in old age are doubly painful, and we heartily wish well to the Benedict testimonial, in spite of Bulow's sixpence, and congratulate the veteran knight of harmony on his imposing, and we hope remunerative, "Jubilee. '' (Pall Mall Gazette, Tuesday, 10 June 1884)

On Saturday afternoon Sir Julius Benedict's 50th annual concert took place at the Royal Albert-hall before a very large audience. The programme was especially attractive. Mesdames Pauline Lucca, Sembrich, Scalchi, Antoinette Sterling, Rose Hersee, Messrs. E. Lloyd, Maas, Barton M'Guckin, Santley, and Foli, with other vocalists of name and fame, made a combination of excellence rarely attained at one concert. Madame Sembrich, the Dresden prima donna, appeared and sang Proch's vocal variations "Deh Torno mio ben," and then, as a solo violinist, gave the andante and rondo from a concerto of du Beriot's in a manner which hardly rivalled her brilliant vocal performances. The veteran musician, Sir Julius Benedict, performed a solo on the pianoforte, and acknowledged in a short speech the presentation of a wreath by Mr. Lindsay Sloper. An arrangement by Mr. Lindsay Sloper for eight pianists and four harpists of the introduction and tarentella from Sir J. Benedict' s "Grasziella" was a special feature of the entertainment, Madame Arabella Goddard, being one of the pianists. Mr. John Thomas, with Sir J. Benedict, performed in an admirable manner a duet for harp and piano on airs from "Faust." Mr. Wilson Barrett declaimed a short piece, which met with very warm approval. (Western Mail, Wednesday, 11 June 1884)

SIR JULIUS BENEDICT'S JUBILEE CONCERTS. The Jubilee Concert of Sir Julius Benedict was given at the Albert Hall on Saturday afternoon last, a very large audience being present. On the previous evening his oratorio St. Peter was given in the same hall. This was composed for the Birmingham Festival of 1870. The general performance hardly did justice to the work, but of course the efforts of the artists afforded ample enjoyment to the audience. Madame Albani, who sang the Soprano music for the first time, was in splendid voice, and her success was rivalled by that of our famous native contralto Madame Patey. Mr. Santley, who sang in the oratorio at Birmingham, again rendered the chief bass solos, and Mr Sims Reeves Sang one of the airs, but then quitted the Platform, and an apology was made on the score of "sudden hoarseness," and Mr Winch, the American tenor, sang the remaining tenor music. Sir Julius Benedict himself conducted the oratorio. There was an immense variety of musical items in the concert of Saturday, no less than thirty songs, instrumental solos, and concerted pieces. But Sir Julius Benedict always provides an ample musical feast for his patrons, and it would be a curious chronicle of musical events if any lover of sweet sounds were to collect the various programmes of the concerts given annually by this popular musician. It would be found to represent some of the principal musical events, for most of the great singers, players, and composers have taken part in these concerts. As far back as July 15th, 1835, the first of these monster gatherings was given, and on that occasion the vocalists were the most celebrated of the day, including Madame Malibran and Madame Grisi, who sang a duet of Mercadante. These magnificent Singers were then in the height of their fame, and the particular duet we have referred to created quite a sensation. Since that time all the stars of the operatic world have been heard at these concerts, and frequently for the first time in London. The initial item on Saturday was the composer's overture entitled "The Octoroon," founded on American melodies. This was played by the band of the 2d Life Guards, conducted by Mr Winterbottom, and made an agreeable introduction to the concert. A new song, composed by Lady Benedict, was entitled "Fairer than All." This was sung by Miss Beata Francis, and was much applauded. Lady Benedict herself accompanied it, and was cordially welcomed, not only for the song, but on her own behalf. One of Sir Julius Benedict's most popular songs is, as everybody knows, "Eily Mavourneen," from The Lily of Killarney, and this was sung by Sir Edward Lloyd with such beauty of tone and expression that the singer was literally compelled to repeat it. We may remark that Mr Wall had graciously given his "free consent " for the air to be sung at the Albert Hall. Miss Gertrude Griswold, the charming American prima donna, introduced a Bolero composed by Sir Julius Benedict, and, although she appeared rather nervous, the charm of her voice and style and the facility of her brilliant execution delighted the audience. Another item by the concert-giver was his own fantasia for the pianoforte on Irish melodies. This was a great success. So also was the beautiful melody "Scenes of my youth," from the opera The Gypsy's Warning, which was sung with excellent effect by Madame Rose Hersee, and accompanied on the harp by Mr John Thomas. A march for the band, entitled "Camp Life," was also played, and a curious arrangement of the Tarantella from Graziella for eight pianists and four harpists. This was rendered by the following artists :-Pianoforte, Madame Arabella Goddard, Miss Agnes Zimmermann, Mrs Baskcomb, and Mrs. Clippingdale, Sir Julius Benedict, Signor Li Calsi, Signor Tito Mattei, and Mr Kuhe; harp, Mr John Thomas, Mr T. E. Wright, Mr Barker, and Miss Arnold; the conductor being Mr Lindsay Sloper. It was cleverly arranged by the latter gentleman, but he must have been rather disgusted with the effect, for owing to insufficient rehearsal it did not go well together, and the unfortunate conductor banged his music stand in vain efforts to get a good ensemble. The splendid singing by Madame Scalchi of Mercadante's "Ah s' estinto" was one of the most enjoyable items of any, and the duet "Sull' aria " by Madame Pauline Lucca and Madame Sembrich was also a great success. The latter artist has seldom been heard to greater advantage. She sang the brilliant variations for the voice composed by Proch in magnificent style, and was compelled to repeat the last variation. Madame Sembrich was equally successful in her violin playing. She gave the Andante and Rondo from De Beriot's Concerto in D with a finish, style, and expression worthy of any living violinist, and her success was immense Herr Robert Pischek was one of the vocalists. He sang an air by Kreutzer, and Mdlle. Polak was excellent in Diehl's pretty ballad "Going to market." Mr Barton M'Guckin, in the air "O vision entrancing," from Mr Goring Thomas's opera Esmeralda, acquitted himself admirably, and the fine voice of Mr Maas was heard with remarkable effect in Blumenthal's song "The Message." Mr Maas sang it splendidly, and the composer accompanied. "A Reverie" for the harp was beautifully played by Mr John Thomas, and "The Lost Chord" by Madame Antoinette Sterling was one of the successes of the concert. The air from Gounod's Philemon et Baucis was sung with capital effect by Mr Santley and Signor Foli sang Sir Julius Benedict's capital song "Comrades " effectively. Madame Pauline Lucca made a great impression in the air "Suicido " from Gioconda, and also sang a German song by the concert-giver. Another of Sir Julius Benedict's airs was "Rage, thou angry storm," given by Mr Frederick King. Having referred to the principal vocal items we have to chronicle the splendid results attending a dramatic recital by Mr Wilson Barrett of a poem entitled "A Story of our Farm." It describes how a young wife in joke leaves a note for her simple-minded husband to the effect that she has left her home and gone with "a handsomer man," and when the husband in despair recalls their happy life she comes back with her own father, who was the "handsomer man." Simple as the story was, the splendid elocution and intense power of Mr Barrett made a great impression, and it was remarkable how finely his voice told in the vast hall. Every syllable rang out with the utmost purity and distinctness, and the intense expression of the popular actor awakened the utmost enthusiasm. Towards the close of the concert Sir Julius was presented with a wreath by Mr Lindsay Sloper, the donor being Madame Arabella Goddard, and, coming forward, he asked the audience to accept his heartfelt thanks for the kindness he had met with during his half century of experience as a musician in this country. He could not express all he felt, but he should remember the day for the remainder of his life. Amongst the remaining items one of the most important was a fine vocal quartette entitled "A Song of Life," composed by Dr Ferdinand Hiller, and sung by Madame Hersee, Mdlle Desvignes, Mr Henry Guy, and Mr Frederick King. (The Era, Saturday, 14 June 1884)

Sir Julius Benedict's Jubilee. - The Royal Albert Hall presented a brilliant appearance on Saturday, being almost filled with an audience representing all classes of musical society, bent on honouring Sir Julius Benedict, who gave his fiftieth annual concert. On the previous evening his oratorio, "St. Peter," was given under his direction, with Mesdames Albani and Patey, Mr. Sims Reeves, Mr. Winch, and Mr. Santley as leading vocalists, a chorus and band of 1,000 performers, and Dr. Stainer at the organ. The audience was large, but less numerous than expected. On Saturday the success of the concert was complete. It is hoped it will add considerably to the fund for the benefit of the honoured beneficiaire. The list of principals included Mdmes. Pauline Lucca, Sembrich, Griswold, Scalchi, and Signi Di Reszke, Rose Hersee, and Antoinette Sterling; M.M. Edward Lloyd, Maas, Winch, and M'Guckin ; Mr. Santley, Signor Foli, Mr. F. King, and other vocalists. Madame Sembrich played a selection from one of De Beriot's violin concertos. Another special feature was an arrangement by Mr. Lindsay Sloper, of the Introduction and Tarantella from Sir Julius Benedict's "Graziella," for eight pianists and tour harps. Another novelty was a new vocal quartette, composed expressly for the Benedict Jubilee by Ferdinand von Hiller, and sung by Madame Rose Hersee, Mdlle. Desvignes, Mr. H. Guy, and Mr. F. King. In addition to a recitation by Mr. Wilson Barrett, the programme announced the names of more than twenty distinguished instrumentalists, with Madame Arabella Goddard at their head. Recalled twice after his finished playing of his pianoforte fantasia "Erin," Sir Julius expressed his thanks in a short speech, which was followed by enthusiastic applause. (Leed's Times, Saturday, 14 June 1884)

The jubilee concert in celebration of the fiftieth anniversary of Sir Julius Benedict's first concert in London was held on Saturday, and was a repetition, in principle, of the concerts he has been in the habit of giving annually for the last half-century. Counting together the jubilee oratorio performance of Friday and the jubilee concert of Saturday, all the great vocalists of the day took part in the ceremony; that is to say, Mdme. Albani, Mdme. Sembrich, Mdme. Lucca, Mdme. Rose Hersee, Mr. Sims Reeves, Mr. Edward Lloyd, Mr. Maas, Mr. Santley - not to mention several others. The performances of the two days' festival included specimens of almost every style in which Sir Julius Benedict has distinguished himself: oratorio, opera, songs, pieces for the pianoforte - everything, in short, except purely orchestral works; though even of this examples were presented in the interludes of St. Peter. At Saturday's concert many of the pieces were the work of Sir Julius himself. Among these may in particular be mentioned a new bolero, in Italian, sung by Miss Gertrude Griswold a new song, in German, rendered by Mdme Pauline Lucca ; and the principal soprano air from the Gipsy's Warning, given by Mdme. Rose Hersee. One of several charming songs lately published by Lady Benedict, "Fairer than all," was sung by Miss Beata Francis, accompanied by the composer, and warmly applauded by the public. Sir Julius Benedict played in masterly style his own arrangement of Irish airs called "Erin;" and he was joined by seven other pianists (and by four harpists) in a piece composed for the occasion, on a slow movement and tarantella from his Graziella by Mr. Lindsay Sloper. The pianists in this colossal transcription were headed by Mdme. Arabella Goddard ; the harpists by Mr. John Thomas. Nothing in the whole concert was more interesting than Mdme. Sembrich's violin solo, following as it did on her admirable performance of Proch's "Variations for the Voice." (John Bull, Saturday, 14 June 1884)

THE BENEDICT JUBILEE. On June 6th the veteran composer's "St. Peter" was revived - this word having a full meaning, seeing that the oratorio had failed to keep a place in the history of its class, notwithstanding the suavity and elegance of certain of its numbers. The Royal Albert Hall Choral Society, with Dr. Stainer at the organ, did all that could be done for the work; and though it seems unlikely to live, its presentation upon this occasion was timely and graceful. The solo parts were finely sung by Mesdames Albani and Patey, Messrs. Sims Reeves (who had to leave Mr. Winch to finish his part by reason of hoarseness) and Santley. The composer, who was warmly received by his friends, conducted. On the afternoon of June 7th, Sir Julius Benedict's Fiftieth Annual Concert took place, also in the Albert Hall. Mesdames Pauline Lucca, Sembrich, Marie Roze, Scalchi, Antoinette Sterling, and Rose Hersee, Messrs. E. Lloyd, Maas, McGuckin, Santley, Signor Foli, Signor De Reszke, and other eminent vocalists, and some leading instrumentalists, with the band of the 2nd Life Guards, under Mr. W. Winterbottom, assisted. The music was, of course, of a miscellaneous olla Podrida type. A piece for eight pianists and four harpists was one feature. This was arranged by Mr. Lindsay Sloper from "Graziella." This singular performance the writer remembers to have heard outdone in "the banging and twanging" of about twice the above number of artists at a benefit concert at Exeter Hall, more than a quarter of a century ago. Mdme. Sembrich appeared "for this occasion only " - as the programme had it, after the fashion of Richardson's show play-bills, in the days of yore - as a violinist. The lady performed with much skill and taste a selection from De Beriot's Concerto in D. Several of the concert-giver's songs, etc., were sung, including "Comrades," by Signor Foli, accompanied by the military band. A vocal quartet, composed for the occasion by F. Hiller, did not prove to be a work of much power or interest. Sir Julius Benedict played his own Fantasia, "Erin," joined Mr. John Thomas, the distinguished harpist, in a "Faust" duo; and took part in the piece for the small army of pianists and harpists. The presentation of a wreath by Mr. Lindsay Sloper, acting for Madame Arabella Goddard, and a speech from the veteran musician, were matters of interest connected with the memorable jubilee of one who has played a prominent part in the musical world here for many years. (Musical standard, Saturday, 14 June 1884)

SIR JULIUS BENEDICT. - TO fill the Albert Hall with people is a matter of such difficulty that it may almost be called impossible. Hence the tolerably crowded aspect of the huge building last Saturday must have amply satisfied all reasonable expectations. Few empty seats were noticeable, and despite that sense of chilliness which so often spell-binds the audience of a morning concert into sombre silence, especially on a wet overcast June day, the applause, nearly always hearty, rose at times to enthusiasm. It is needless to say that these outbursts were mostly called forth by the appearance on the platform of Sir Julius Benedict. Besides accompanying two or three of the vocal pieces, the concert-giver took part in the pianoforte and harp arrangement of the excerpt, and played his own masterly arrangement of Irish airs called Erin. This piece has been made familiar in old time by Mdme Arabella Goddard, for whom it was expressly composed, and to whom it was dedicated. It here constituted Sir Julius Benedict's only solo, and was, naturally, the occasion for the feelings of the audience to be manifested with special warmth. That their reception of Sir Julius before his performance, and their acclamation of him after it were almost overpowering, may well be imagined. On being presented with a wreath, Sir Julius made a brief speech, which was very affecting to those many concert-goers who recognized in his familiar figure one connected with their oldest associations. Of course, the programme included several of his compositions, to wit, the Octoroon overture, the song from the Gipsy's Warning, "Rage, thou angry storm," sung by Mr Frederic King, a new bolero, "Quando dinanzi agli nomini," by Miss Gertrude Griswold, of Parisian fame ; the popular "Eily Mavourneen " from the Lily of Killarney, for which Mr Edward Lloyd received the honour of an encore ; the introduction and tarantella from Graziella, arranged by Mr Lindsay Sloper for eight pianists and four harpists, played by Mdme Arabella Goddard, Miss Agnes Zimmermann, Baskcomb, and Mrs Clippingdale, Messrs Li Calsi, Tito Mattei, Kuhe, and Lindsay Sloper ; harps - Mr John Thomas, Mr T. H. Wright, ; a German song, "Die Aeolsharfe," sung by Mdme Pauline Lucca ; "Scenes of my youth" (another selection from The Gipsy's Warning), and more. They were all crowned with success. In fact, the length of the programme in no way militated against the interest of the concert, the bulk of the audience remaining to the end. Among the numbers which seemed to give particular satisfaction must be mentioned a Chopin Nocturne, which the violoncellist, Mons. Hollman, playing with massive tone and earnest expression, had to repeat, also Mdme Antoinette Sterling's rendering of Sir Arthur Sullivan's "The Lost Chord," and Proch's well-known "variations," wherein Mdme Sembrich was enabled to display her powers of vocalization and was encored. "For the first time, and on this occasion only," Mdme Sembrich excited the curiosity and gratified the critical intelligence of her hearers by giving such a performance of the andante and rondo from De Beriot's Concerto in D as served to place her unquestionably in the first rank of fiddle amateurs. A grateful variety was lent to the entertainment by Mr Wilson Barrett. He preluded his dramatic recital by observing that he did not know the name of the author of the poem he was about to recite, and added that he was not quite sure of knowing the poem itself. All doubts on the latter score, however, were set at rest when the actor who has made "Claudian " a household word delivered, in the most impressive style and with telling effect, a poem of a very dramatic character. Not a word of Mr Wilson Barrett's fine voice was lost, and, at the conclusion of his recital, applause called him twice back to the platform. The list of the artists' names who took part in the concert presents a long record, comprising, besides those already alluded to, Mr John Thomas, Mr Santley, who sang Gounod's "Au bruit des lourds marteaux," Mdme Scalchi, Mr Joseph Maas, Signor Foli, Signor de Reszke, Mdme Rose Hersee, Miss Carlotta Desvignes, Mr Henry Guy, Herr Franz Pischek, Mdlle Henrietta Polak, Mr Kuhe, Mr Tito Mattei, Mr Traherne, Mr Ernest Cecil, and Miss Beata Francis, who sang a new song by Lady Benedict, called "Fairer than all," and enjoyed the advantage of being accompanied by the composer. The Octoroon overture was performed by the Band of the Second Life Guards, under the direction of Mr Winterbottom. - URRE. (The Musical world, Saturday, 14 June 1884)

THE BENEDICT JUBILEE. IT seldom happens to artists that the public recognition of their achievements increases with the flight of time through half a century, and is marked by a progressive measure of appreciation unqualified by the fickle moods of fashion. Too frequently it is only through death that genius inherits renown, as M. Gounod said of Berlioz - a poor inheritance for genius notwithstanding the permanent enrichment of humanity. Sir Julius Benedict is in the fortunate position of the well-known person who survived his own wake, and overheard the judgment of posterity ratify the oft-repeated favourable verdict of a long lifetime; he has received the assurance for which so many men years, and it has been pronounced with rare unanimity and emphasis. The celebration of his fiftieth annual concert at the Albert Hall, last Saturday, was attended by an enthusiasm that befitted so memorable an event. The extraordinary nature of the programme, its unusual proportions and peculiar attractions, combined with the reputation of the artists engaged, would alone have sufficed to collect a large audience. The mere celebration of a musician's fiftieth annual concert is a notable occasion, and deserving record ; in the present instance it was but a factor in the great sum of interest. It was not alone the eminent conductor who was honoured, or the accomplished pianist; the pupil of Weber was recognized, the friend of Mendelssohn, the composer of one of the most poetical and inspired of English operas, the musician who more than any now among us represents the musical progress of the century. All these varied presentments of the versatile composer occupied the public mind; and, beyond all doubt, the remarkable reception accorded him was not more expressive of professional esteem than of the most cordial and universal public regard. When, with a few simple and eloquent words, Sir Julius Benedict acknowledged the applause that greeted him, there must have been among the vast concourse who remained untouched by the pathos or unstimulated by the suggestion of the situation. He is something more than a visible link between the present and that past to which he so gracefully referred. He had been connected by the most intimate ties with some of the greatest masters of music, with one of whom - the illustrious Weber - his name is indissolubly associated. From the roll of his friendship scarcely a great name in music of the past fifty years is absent ; his youth is enriched with memories of his great master, the poet of composers, and of Schubert and Beethoven; his career corresponds with the most brilliant and fecund era in the history of music. Beyond all these claims to consideration, weighty though they be, there remains the composer's own art-work, so excellent in artistry, so fresh in conception, so admirably free from affectation or pretence. This was in some respects more appropriately recognized on Friday evening, when the oratorio St. Peter was performed, than by the miscellaneous concert of Saturday. This fine work, written for the Birmingham Festival and produced in 1870, is little familiar to amateurs, and the new edition is not entirely free from obstacles to its frequent hearing, some of the choral numbers being excessively prolonged. It contains, however, some of the most masterly examples of the composer's work, and was interpreted with perfect finish and expression by the soloists - Mme. Albani, Mme. Patey, Mr. Sims Reeves, Mr. Winch, and Mr. Santley. Among the more notable numbers are the chorus, "The Lord be a lamp ;" the contralto solo and chorus, "The deep uttereth His voice;" the soprano solo, "The Lord hath His way in the whirlwind," sung with fine dramatic feeling by Mme. Albani ; the richly harmonized quartet, "O come let us sing," rendered with faultless expression, and encored. In the second part Mme. Patey sang the beautiful air, "O thou afflicted," with impressive fervour ; Mr. Winch gave "The Lord is very pitiful" with exquisite delicacy and sentiment; Mme. Albani, in the tender and pathetic lament "I mourn as a dove," displayed the highest artistic qualities, the most perfect vocalization, and the utmost depth and significance of feeling ; and Mr. Santley, who represented St. Peter, sang the expressive air, "O that my head were waters," with the intense dramatic force that resolves the singer into the personification of the mood he interprets. Dr. Stainer presided at the organ, and the oratorio was produced under the conduct of the composer. Mr. Sims Reeves was unfortunately obliged to retire through indisposition after singing the first tenor air, the remaining air allotted to him being rendered by Mr. Winch. More than forty artists were concerned in the concert of Saturday, and the programme comprised thirty items, including several instrumental arrangements and a recitation by Mr. Wilson Barrett. It is only necessary to note such details as are of special importance, or of personal interest as illustrating the varied scope and extensive range of Sir Julius Benedict's works. Chief among these were a fine performance of the overture "The Octoroon" by the band of the Second Life Guards, conducted by Mr. Winterbottom; Mr. Frederic King's admirable singing of the popular air, "Rage, thou angry storm;" a new song, "Fairer than all," by Lady Benedict, very attractive in style, and excellently rendered by Miss Beata Francis ; the beautiful ballad "Eily Mavourneen," given with tenderest feeling by Mr. Edward Lloyd; a bolero composed for the occasion by Sir Julius Benedict, very piquant and graceful, and brilliantly sung by Miss Griswold; the same composer's song "Die Aeolsharfe," admirably accordant with the sentimental poem, sung by Mme. Pauline Lucca ; the spirited and martial air "Comrades," irreproachably sung by Signor Foli ; and the ballad "Scenes of my youth," from The Gipsy's Warning, sung by Mme Rose Hersée. Mme. Sembrich created immense enthusiasm by her brilliant delivery of Proch's vocal exercise, "Deh! torna mio bene," and her facile rendering of the andante and rondo from De Beriot's violin concerto in D. The excellence of her tone, her expression and phrasing, her execution of the rondo, were admirable features in this unique performance, Sir Julius Benedict himself effected the culmination of the popular enthusiasm by his finished performance of his fantasia on Irish airs, which resulted in the presentation, by Mr. Lindsay Sloper, of a handsome floral wreath, the gift of Mme. Arabella Goddard. Another interesting feature of the programme was the singing of a new quartet, composed by Ferdinand Hiller, and dedicated to his friend, Sir Julius Benedict. It is unnecessary to add that every one concerned in the success of the concert rendered important aid ; the remaining artists and conductors who shared in the observance of this memorable festival were all alike animated with the same enthusiasm that characterized the audience, were all possessed by the honourable zeal which the occasion naturally evoked. (Saturday review of politics, literature, science and art, Saturday, 14 June 1884)

Monday, 16 June 1884 : Sixpenny Concert at Clarence Esplanade Pier, Southsea.

SOUTHSEA CLARENCE ESPLANADE PIER., The management of this popular place of resort deserve the thanks of the community for their enterprise in connection. with the Monday vocal and instrumental concerts, which have now become an established and favourite institution. Not only are the services of the Royal Marine Light Infantry and Royal Marine Artillery orchestral bands secured, but the selection of vocalists is so well judged and liberal that it would be hard if success did not ensue. The principal attraction in this department on Monday was Mr. Henry Guy, to class whom among leading English tenors is no flattery. Mr. Guy possesses a voice of good range and power, yet of delicate sweetness, and to listen to him when he sang "The Anchor's Weighed'" was a rich, rare treat at the same time that his other performances were mostly of the highest praise. Madame Ernst has a fairly good soprano voice, and was heard to great advantage in Cowen's "Light in Darkness." Mr. Lindsay Sloper gave two pianoforte selections, for the first of which he was rewarded with a unanimous recall. His execution leaves nothing to be desired. As to Herr Kreyer's orchestra, it is difficult to say anything now, for they have so frequently been spoken of in those terms of commendation which they so eminently deserve. Suffice it that their rendering of Michaeli's descriptive piece "Schmiede am Walde," in which the blowing of the furnace the cooling of hot iron, and the hammering on the forge, are delineated with a likeness to the original wholly unprecedented, was rapturously encored. Mr. H. Austin Storry played the accompaniments to the vocal portions of the programme with his accustomed ability. (Hampshire/Portsmouth Telegraph, Saturday, 21 June 1884)

A SIXPENNY CONCERT ON THE CLARENCE PIER. "Of course you will take your knitting!" said my German friend. "Music and knitting assimilate so well." "Of course I shall do no such thing, you prosy, sensible Teutonic soul," say I. "Sit and knit on a four-legged chair, or recline and knit on a fauteuil on Southsea Pier if thou wilt, but verily you won't find me turning an old heel or executing some intricate stitch when going to stuff my musical senses with sixpennyworth of the music of past, the present, and future." My German friend throws-up her German eyes, and murmurs something about English women with their idle fingers and vulture stare, and adds, "they had far better knit than 'grow those stares' " and I say: "We are a commercial people, Fraulein F-, given to weights and scales." "A pound of dress to half an ounce of looks. A pound of looks to a quarter of a pound of dress. We state and calculate; we exercise our mathematical brains. Besides, for all you know, behind our somewhat vacant stare may lurk some little imaginative power. Like the fates, we may sit knitting up human destinies, Learn to be less severe. A nation is all faults that has no faults at all! Leave us our insular stare I" "Mind and laugh," I add, giving her a poke," when I show you anything funny. A little laughter and a little love" " And a little knitting," throws in Fraulein F-. "Should all go together," I was going to say, and then we ensconce ourselves comfortably in the corner of one of the fauteuil facing the orchestra in the round Pavilion. "Buy a rose., mi lady," says a voice at my side." "Artful boy; I'm not mi lady at all. Do you think to flatter my Conservative notions in this stronghold of Conservatism by that vain title?" "Only twopence," says the wheedling voice. So I buy, and the thrifty German says, "Folly lurks among the robes." " I thought it was Love," said I. "That's your English way of putting it," she replies, sententiously. "Your English - " but her the voice is drowned by a crash of instruments as the string band of the Royal Marine Light Infantry strikes the dominant note of the evening. "I wish they would play nothing but valses," I say at the conclusion, "like they do in beautiful Vienna. There is something so dreamy and admirably suited to string vibration in the one, two, three time. The 'Caliph of Bagdad' and your knitting assimilate, doubtless; but that style of music will never make what the poet calls 'Summer in one's veins.'" "Hush !" says Fraulein F-, gently rocking her head, "Metzer's exquisite 'Glucklich ver ein Hertz Gefinden' is about to commence." "Happy he who finds a heart," say I flippantly, for I'm determined not to be reduced to the German level. "That's all very well in theory. Will you glance at those beckoning, fantastical, black kid fingers before us? See how they (the fingers) signal. The owner of them is doing her best to separate a distant happy pair, who are evidently rejoicing in the 'Glucklich ver ein Hertz Gefinden' atmosphere." "The fingers are animated by a sensible and right-minded spirit," says Fraulein F-, stolidly. "Folly lurks among the corners of the Pier." "Who is Folly ?" say I. "Let us stick her with one of your knitting needles. Folly was evidently not reared on wurst or sauer kraut; but here comes Lindsay Sloper. Now I will hold still. I used to practice his method with many bitter tears. Give me your knitting, I'll turn that heel." I can't help thinking that Mr. Lindsay Sloper wanted to surprise his audience by his miserable rendering of a well-known "Song Without Words," and to treble the surprise by his masterly performance of Gottschalk's Pasquinade." Anyhow he smothered the dawning disappointment by a vociferous encore." That's the height of art, reticence," says Fraulein F-. "A. child could play as he played in the first instance, but only a giant in the second. Lindsay Sloper evidently brings philosophy to bear upon his musical development - from the little to the big." "I daresay he was nervous," say I, doggedly, "we are the creatures of our nerves. "Pah !" says Fraulein F-, and as if to mark her accentuated indifference to nerves, she seizes the vacant chair ahead of us, and rattles its legs about to serve as an encore. "Now for the descriptive piece," she says, glancing at her programme, "Schmiede am Walde." "You will hear some funny noises," and so we do; but I don't pay much attention to the crows, cackles, and gruntings of the farm yard effects, to which the instruments are now lending themselves. For there are two thousand people assembled (so we are told), and there is always amusement and interest to be found in studying the divine comedy of human nature. Faces peeping over from the gallery. Faces, faces, everywhere, some masked, and some unmasked, and I sit wondering, which have after all the most interest from the artistic point, the faces which show the "pumpkin" calm, or faces which show all the way through which they have come. us, A nocturne by Chopin now steals softly on the air. Lindsay Sloper again, and at his best. The wild, poetic, sensitive soul of Chopin seems to hover over the audience. I forget the knitter at my side, and the huge audience, in the thought of that life which was illumined by the strange mystic touch of genius. "You can enter into these frantic transitions " says the Fraulein. "Are you not the countrywoman of Heinrich Heine'? " I say, impetuously. " Ya, ya," she says; "poor Heinrich Heine ; but he was the first wit, the first humourist, the first creature of the imagination, born in Germany. His writings and Chopin's music are alike. Musicians of the same type of thought may crop op in the Fatherland; but give me the measured periods of Beethoven or the easily translatable whispers of Mendelssohn." The whistle announcing the arrival of a steamer disturbs the tangle of our talk, and while she knits I take in the alterations which have so vastly improved the Pier. "A little Turkish drapery, a few hanging baskets, some shady palms, and this Pavilion would be the most attractive of all concert-rooms - is it not so ?" "Ya wohl," says Fraulein F-. " We have nothing in Germany so handsome. The music is both good and cheap, and what can we want more than that these two, as a rule conflicting creatures should be united ? 'Cheap and nasty' has passed into a proverb. 'Cheap and good' must now be substituted in its place." Southsea, June 20th. (Hampshire/Portsmouth Telegraph, Saturday, 28 June 1884)

Monday, 23 June 1884 : Mademoiselle Victoria de Bunsen's Grand Morning Concert at 27, Harley Street.

MDLLE VICTORIA DE BUNSEN'S GRAND MORNING CONCERT will take place at 27, HARLEY STREET, on MONDAY next, June 23rd, at Three o'clock. Artists: Mdmes Carlotta Elliot, Badin, Hirlemann, Schow-Rosing, Victoria and Felicia de Bunsen ; Messrs Walker Marnock, Ria, Bokenham, Mason, Thorndike, Oberthür, Erba, Leu. Conductors - Sir Julius Benedict, W. Bendall, Samson, and Lindsay Sloper. Tickets, One Guinea each, to be had of Mdlle VICTORIA DE BUNSEN, 41, George Street, Portman Sq., W. (The Musical world, Saturday, 21 June 1884)

Mdlle. Victoria de Bunsen's morning concert took place at 27, Harley Street, Cavendish Square, on June 23rd. The programme opened with Grand Duo Brillant ("Oberon," Oberthür), Mdlle Felicia De Bunsen and Mr. Oberthür, and included: Aria ("La Sonnambula," Bellini), Mdlle. Schow-Rosing, of the Royal Opera, Copenhagen ; aria, "Fanciulle che il core" ("Dinorah," Meyerbeer), charmingly sung by Mdlle. Victoria Bunsen, whose artistic and impassioned singing is well known ; romance, "Linda di Chamounix, and "Aime moi" (Chopin), Mdlle. Victoria Bunsen; aria, "Qui la voce" ("I Puritani," Bellini), Madame. Hirlemann ; song, "Mother, we watch and wait " (Tosti), Miss Elliot ; and Valse, "Il Bacio" (Arditi), Mdlle. Schow Rosing. The numerous solos, etc., were duly appreciated. The conductors were Sir Julius Benedict, Mr. Wilfred Bendall, Mr. Sampson, and Lindsay Sloper. Signor Erba was the violinist and Herr Otto Leu held the violoncello. (Musical standard, Saturday, 28 June 1884)

VICTORIA DE BUNSEN, the Swedish vocalist, gave a concert on Monday morning, June 23, at 27, Harley Street, which was attended by one of the most fashionable audiences of the season. The room, indeed, resembled a parterre of flowers, so brilliant were the toilettes and so elegant the wearers. Mdlle de Bunsen was, consequently, in high spirits, singing with more than usual brilliancy and accepting the homage of her friends and admirers with, if possible, more than the accustomed gracefulness. The pieces selected to display her talent consisted of the contralto air from Dinorah, Fanciulle che il core," Pippo's air from Linda di Chamouni, and Chopin's "Aime moi," a brilliant arrangement for the voice of one of the Polish pianist's mazurkas. No better choice could have been made to exhibit Mdlle de Bunsen's fine voice to advantage and to charm the ears of her aristocratic audience. Well did the vocalist accomplish her task, winning the admiration of all and a "call " at the conclusion of each piece. Mdlle de Bunsen had the assistance of her clever sister as pianist, who played, with Mr Oberthür, his effective duet for harp and piano on airs from Oberon, and other pieces, Mr Oberthür also contributing, subsequently, his two admired solos for harp alone, "Adieu," and "Au rive de la mer. " Songs were given by Mdme Hirlemann, Mdlle Schow Rosing (who, en passant, we may state, sang the aria from La Sonnambula, "Come per me sereno," most charmingly), Mr H. Thorndike, Mr Bokenham, and Mr Mason (an excellent amateur). Solos on the violoncello were played by Herr Otto Leu, and on the violin by Signor Erba. The conductors were Sir Julius Benedict, Messrs Bendall, Sampson, and Lindsay Sloper. (The Musical world, Saturday, 28 June 1884)

Saturday, 5 July 1884 : Madame Jenny Viard-Louis's Fifth and Last Beethoven Performance.

MDME. VIARD.LOUIS'S BEETHOVEN SERIES. The last meeting of the season was held on Saturday afternoon (July 5th). The programme, proceeding as before, in strict chronological order, comprised the following works, to wit : the Sonata In F, Op. 17, for pianoforte and horn ; the two early pianoforte sonatas in E major and G, Op. 14, Nos. 1 and 2 ; and the rarely performed quintet, Op. 16, for pianoforte, hautboy, clarionet, horn, and bassoon, whereof the last movement is a fine specimen of graceful and eloquent melody. The wind instruments were held by Messrs. Marsh, Lazarus, Mann, and Wotton. Miss Wilmers, apparently rather nervous, sang the "Lied aus der Ferne" (Song from the Distance), and "Resignation," alias (in English; "the sigh of an unloved one, and reciprocal love." Mdme. Viard-Louis faithfully interpreted the sonatas, and conducted the quintet in splendid style. Mr. Lindsay Sloper was the accompanist. (Musical standard, Saturday, 12 July 1884)

CONCERTS AND ENTERTAINMENTS. THE fifth and final meeting this season of Mme. Viard-Louis's Beethoven recitals was held at Prince's Hall on Saturday, the extent of the pianist's progress being marked by the performance of the sonata for piano and horn (Op. 17). With this composition Mme. Viard-Louis may be said to have conducted her interpretation of the pianoforte works to the year 1799, though not with absolute chronological sequence. Many of Beethoven's compositions remained unnumbered for years, and several belong to the period indicated. Among them are the two early sonatas (Op. 49) and the twelve variations for piano and violoncello on an air from the Zauberflöte (Op. 66). Special interest attaches to the sonata (Op. 17), on account of the instrumental combination being unique in Beethoven's works, and because of the composer's share in its execution and its great popularity. Beethoven must have been partial to it, as he frequently played it, and without the score ; while on its production it received the unusual honour of an encore. An excellent rendering of this charming duet was given by Mme. Viard-Louis and Herr Stennebruggen. Of superior interest, however, was the execution of the quintett for piano and wind (Op. 16), in which the pianist received the assistance of Mr. Lazarus, clarionet, Mr. Malsch, oboe, Mr. Mann, horn, and M. Wotton, bassoon. This fine work was first heard at a concert given by Schuppanzigh, the Falstaff of Beethoven's Vienna circle, in 1797, and too seldom finds a place in modern concerts. With so fortunate a combination of artists, it is almost unnecessary to speak of the admirable delicacy of the interpretation of this beautiful composition, which so curiously abounds in Mozart-like characteristics. The second movement, with its suave but mournful initial subject and exquisite melodic charm, received the most expressive and finished execution of all the parts. The programme included also the two pianoforte sonatas (Op. 14) in E major and G major, the former a singular instance of the occasional lapse of genius into something like dulness. The effect of the latter was somewhat marred by the distracting competition of a barrel-organ outside, a nuisance that threatens to make morning concerts at Prince's Hall impossible in the future, so greatly does it increase. The street organist seems particularly to affect the purlieus of Jermyn Street, and is at no time so energetic as during a Beethoven recital. The vocalist, Miss Wilmers, accompanied by Mr. Lindsay Sloper, gave a selection of songs that included the pathetic "Seufzer eines Ungeliebten," in good style but with slight range of expression. (Saturday review of politics, literature, science and art, Saturday, 12 July 1884)

Sunday, 20 July 1884 : Mademoiselle De Smissen De Cortenberg's "At Home" at Her Residence, Connaught House, West Kensington Park.

On July the 20th, at her residence, Connaught House, West Kensington Park, Mdlle de Smissen de Cortenberg gave her last "At Horne," at which she was favoured by the assistance of many of our best artists, There was some capital singing and excellent instrumental music. Mdlle de Cortenberg, who sings in public under the name of Lilas Spontini, delighted her guests by some of her best songs, entre autres "His Footsteps, " composed by herself. Among the visitors were the Chevalier Goldberg, Messrs Lindsay Sloper, Ignace Gibsone, Frank Elmore, Chas. Oberthür, F. Wustemann, Signori Samuelli, Carozzi, Fraulein Leipoldi Wagner, Mdlle de Cortenberg's brother (Mr Edward de Cortenberg), who has a splendid baritone voice, sang several duets with her. (The Musical world, Saturday, 2 August 1884)

Monday, 25 August 1884 : Evening Concert at St. James's School-Room, Stratford.

CONCERT AT STRATFORD. - A concert was given at St. James's School-room, on Monday evening last. Mr. Sidney Vernon was the conductor, and the artists included Miss Clara Dowle (pupil of Mr. Albert Visetti), Miss Adela Duckham (pupil of Mr. Lindsay Sloper and Mr. George Palmer), and Messrs. Robinson, Popkins, Evans, Chandler, and Stockdale. Miss Clara Dowle's numbers were, "From Mighty Kings " and Cowen's beautiful song, "The Watchman and the Child," which she rendered with great skill, and was much applauded. Miss Adela Duckham (Guildhall School of Music), a little girl of 10 years of age, who won prizes and certificates at the Stratford Musical Festivals in 1883 and 1884, gave "The Harmonious Blacksmith " on the pianoforte, and a Fantaisie by Singalie on "Il Trovatore," on the violin, in a manner which pleased and astonished the audience, who persisted in their demands for encores, and she gave in response a second violin solo, "Air varie sur Théme de Bellini" (Dancla), which was also loudly applauded. The other solos and some glees were well rendered. (Musical standard, Saturday, 30 August 1884)

Monday, 15 September 1884 : Mr. and Madame Edwyn Frith's Grand Evening Concert at 13, Park-Lane, London, W..

MR. and Madame EDWYN FRITH will, by kind permission, give a GRAND EVENING CONCERT at 13, Park-lane, London, W., on Monday, Sept. 15, 1884, at 7.45 o clock, when the following Artistes will appear:- Madame Frith, Miss Clare Bowen. Miss Margaret Parkes. Miss Marion Salter, Mrs. A. G. Bridger, Miss May Rivers. Miss Florence Overy, Mrs. Griffiths, Miss Lizzie Burden, Madame Phyllis McGowan, Madame Sophie Tueski. Mr. Edwyn Frith, Signor Ria. and Mr. H. E. Page. Mr. Lindsay Sloper, the eminent pianist, has promised to accompany. CARTER MOFFAT, whose marvellous invention, the "Ammoniaphone," is now attracting so much attention in the musical world, has kindly consented to attend and deliver a brief address, demonstrating the extraordinary powers of the "Ammoniaphone " for strengthening, enriching, and extending the range of the human voice, and imparting mellow richness to the tones. Stalls, 10s. 6d. each ; to be obtained only of Mr. Edwyn Frith, 12, Oxford-mansions. Oxford-circus. W. (The Standard, Saturday, 13 September 1884)

Tuesday, 9 December 1884 : Mademoiselle Alice Roselli's Evening Concert at Brompton Hospital.

MDLLE ALICE ROSELLI, always ready to give her valuable aid in a good cause, directed a concert for the patients at the Brompton Hospital on Tuesday evening, Dec. 9, being assisted by many well. known artists, including Miss Harvey and Miss Ella Vicars (clever pianists), Miss Spencer Jones and Lynes Villa (vocalists), Sydney Smith (the popular composer and pianist), Mr Newman (violinist), Mdme Sidney Pratten (guitar), and Mr Pierce Johnson (reciter). One of the features of the concert was a new song written by Mr E. Such especially for, and beautifully sung by, Mdlle Alice Roselli, entitled "Like as the hart " (violin obbligato, Mr Newman), which obtained a hearty "call" both for singer and composer. Mr Lindsay Sloper, Mr Sibley, and Mr Such accompanied the songs. At the conclusion of the concert, one of the resident physicians thanked all for their valuable services, and especially alluded to Mdlle Roselli's kindness in having, for the second time, organized a concert, and voting her many "cheers." The applause and cheering then became so great that Mdlle Roselli had twice to come forward and gracefully bow her acknowledgments. Afterwards, the secretaries, Messrs Dobbin and Theobald, to whose untiring zeal and kindness the present grand hospital is greatly indebted, personally conducted Mdlle Roselli and a party of friends over the hospital wards. The audience was most brilliant, and included many of the élite of Belgravia, &c. (The Musical world, Saturday, 13 December 1884)

The third entertainment of the eighteenth annual season at Brompton Hospital consisted of the brilliant concert of Mdlle. Alice Roselli, who was ably supported by Miss Spenser Jones, Miss Hervey, Miss Ella Vicars, Madame Sidney Pratten, Signor Villa, Mr. Lindsay Sloper, Mr. Sydney Smith, Mr. Churchill Sibley, Mr. Newman, Mr. Edwin Such, Mr. Pierce Johnstone, and thirty ladies and gentlemen from the Albert Hall Choir. The spacious hall was filled, and the patients evinced by rapturous applause their appreciation of the delightful entertainment so kindly provided for them. (Illustrated London News, Saturday, 20 December 1884)

Friday, 19 December 1884 : Madame Jenny Viard-Louis's Second Beethoven Concert at Prince's Hall, Piccadilly.

The Viard-Louis Concert (second of the current series) given last Friday at Princes Hall was highly attractive, the artists engaged being Mme. Antoinette Sterling (who sang four of the Schottische Lieder with great effect), Mr. Carrodus, M. Libotton, and Mr. Lindsay Sloper, in addition to Mme. Jenny Viard-Louis, a host in herself. Her execution of the Sonata Op. 26, and the Nos. 1 and 2 of Op. 27, merited the enthusiastic applause bestowed by the appreciative audience. The next Beethoven Meeting will take place on January 20. (Illustrated Sporting and Dramatic News, Saturday, 27 December 1884)

MDME. VIARD.LOUIS'S BEETHOVEN CONCERTS. At her second Beethoven concert, on Friday afternoon, Dec. 19th, Mdme. Viard-Louis, as on the previous occasion, played with admirable force and expression. Her solos, in the regular course of proceeding, comprised the pianoforte Sonatas in A flat, Op. 26; E flat, Op. 27, No. 1 ; and C sharp minor, Op. 27, No. 2. The annotator of the Programme Book very properly ridicules the silly nickname of Moonlight applied to this last Sonata. The Sonata, in fact, was completed in 1801, whereas the marriage of the Countess of Guicciardi, in whose garden the work is said, by gossips, to have been written, was not married, and so not in possession of garden until 1803. Moonlight, sunlight, or witchlight, the Sonata in C sharp minor is a gem ; and the Allegretto in D flat (taken by an enharmonic change) the loveliest little effusion of grace and elegance. Mdme. Viard-Louis's rendering in no wise dimmed the gem's lustre, and she was vociferously applauded. With the able assistance of Mr. Carrodus, Mdme. Viard-Louis played the two Sonatas for pianoforte and violin in A and C minor, dedicated to the handsome Emperor of Russia, Alexander I. Mrs. (why Madame ?) Antoinette Sterling sang three of the "Scottish songs," viz. : "Dim is my eye," "Bonnie Laddie," and "The lovely Lass of Inverness," accompanied by Mr. Lindsay Sloper, Mr. Carrodus, and M. Libotton (violoncello). A grand "Brinsmead " was used. The next concert is fixed for Tuesday, Jan. 20th, 1885. A. M. (Musical standard, Saturday, 27 December 1884)

CONCERTS. MDME VIARD-LOUIS' second meeting for Beethoven's works was given at Prince's Hall, Piccadilly, on Friday, December 19. The unfortunate circumstance that several other concerts of great interest, including that of the Royal Academy of Music, were held on the same day, may have had some effect upon the attendance, which was considerably smaller than such talent ought to have commanded. At this meeting the sonatas given were Op. 30, No. l, A major, and No. 2, C minor, for pianoforte and violin. In the latter of these the adagio was warmly applauded, and the extra-ordinary difficulties of the bravura passages for the piano and of the concluding presto for both instruments were surmounted with the greatest ease by the executants - Mdme Viard-Louis and Mr Carrodus - who were recalled after their finished performance. The solo pianoforte sonatas were the popular Op. 26, in A flat major, with the well-known Funeral March, and Op. 27, No. l, E flat major, followed by No. 2, C sharp minor-known as the " Moonlight" - the exquisite tone-pictures of which were reproduced in perfection, and thoroughly appreciated by the audience. The "Schottische Lieder," Op. 108, Nos. 5, 6, 7, and 8, were given by Mdme Antoinette Sterling, with the accompaniment of pianoforte (Mr Lindsay Sloper), violin (Mr Carrodus), and violoncello (Mr Libotton) - as arranged by Beethoven - the last of which was encored. The next meeting will take place on January 20. - E. S. M. (The Musical world, Saturday, 27 December 1884)

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