Life.

Edmund Hugh Lindsay Sloper (known professionally as Lindsay Sloper) was an English pianist and composer. He was also first cousin of my great-great-great grandmother Harriet Sloper, the wife of William Chapman Pratt, of Avebury.

He was born on 14 June 1826, probably at his parent's home in Camden Terrace (now part of Camden Street), Camden Town, Middlesex (now Greater London), England.

His father was Michael Sloper (1791-1860), the son of Mark Sloper, a yeoman farmer of Bishops Cannings, Wiltshire. Michael moved to London, where he was employed by the East India Company in 1820, as an Assistant Elder in the Office at East India Wharf, Lower Thames. He remained with the company until his retirement in 1835, after which he received a company pension for the rest of his life.

On 10 August 1822, at Marylebone, Michael Sloper, married Emily Audibert (about 1791-1847), the daughter of French Emigres. I have not yet found her father's name but her mother was Marie Grace Audibert (nee Devese). It is not known exactly when the Audibert family emigrated from France to England but according to one record, Emily was born in England, and it is known that her mother was working as a mantua-maker in King Street (now Kingly Street), Golden Square, Soho, by early 1792.

Edmund Hugh Linday Sloper was Michael and Emily's only child. He was almost certainly named after Sir Edmund Antrobus (1792-1870) of Amesbury Abbey, Wiltshire, and the Hon. Hugh Lindsay (1865-1844). Edmund Antrobus was a baronet and banker and married Ann Lindsay, the daughter of the above mentioned Hugh Lindsay. Hugh Lindsay was a member of the scottish noble family the Lindsays of Balcarres. He was a director of the East India Company from 1814 until his death in 1844.

Family tree showing Edmund Hugh Lindsay Sloper's connection to my great-great-great grandmother, Harriet Sloper.

And the connection between the Sloper family and Lindsay family extends even further. Three years after the birth of Edmund Hugh Lindsay Sloper, Michael Sloper's brother Mark (1789-1867) married Meyndrina Christina Douglas (1803-1842) on 15 Sep 1829 at St Pancras Old Church. The marriage was witnessed by Hugh Lindsay. Stated as briefly as possible, Meyndrina Christina Douglas was the illegitimate daughter of Andrew Barnard and a black slave from the Khoikhoi tribe of South Africa. Andrew Barnard also happened to be the husband of Lady Ann Barnard (nee Lindsay), the older sister of Hugh Lindsay. Ann learned of the child's existence only after her husband's death in 1807, but she determined to raise and educate her as her own in Berkeley Square, London. Meyndrina Christina's marriage took place four years after Ann Barnard's death, at which time Christina was living in Camden Town. It is possible that Mark Sloper, who lived at Bishops Cannings was introduced to his future bride, on a visit to Camden Town to see his brother, as a result of Michael's acquaintanceship with Hugh Lindsay.

The precise relationship between Michael Sloper and Edmund Antrobus and Hugh Lindsay is not at all clear, nor how it came about. It is possible that the connection arose through their work for the East India Company. It is also equally possible that a connection between the Sloper family and the Antrobus family (or the Lindsay family) already existed and it was through this connection that Michael was able to obtain a position in the East India Company.

Lady Anne Lindsay also happened to write the well-known Scots ballad Auld Robin Gray in 1772, which during his career, Edmund Hugh Lindsay Sloper, accompanied many times on the piano forte in concert performances. Indeed, the connection with the Lindsay family lasted throughout Edmund Hugh Lindsay Sloper's life. In 1849, Lindsay Sloper dedicated one of his piano-forte arrangements (No. 3 of a set of six morceaux de Salon entitled "Feuillets d'Operas Italiens") to Miss Anna Maria Antrobus, daughter of the aforementioned Edmund Antrobus and Ann Lindsay. In the 1880s, the 'Girl's Own Annual' published How to Play the Pianoforte with separate chapters contributed by Lindsay Sloper, Lady Lindsay (of Balcarres), Arabella Goddard and others.

Edmund Hugh Lindsay Sloper
by Henry Hering
© National Portrait Gallery, London

By 1831, Michael Sloper and family had moved to No. 2 Gloucester Terrace, Regents Park. Music must have played an important part of family life since the musical instruments in their house were insured to a sum of £200, while the remaining household goods, wearing apparel, printed books, plate, china and glass, were insured for a further £600. By 1833, the sum insured for the musical instruments was increased to £300 and the remaining household goods, etc, for a further £700. It is probably after the family moved to Gloucester Terrace that Edmund Hugh Lindsay Sloper started taking pianoforte lessons from Ignaz Moscheles, since at this time Moscheles lived at Chester Place, only a few hundred yards away from home.

It is likely that the musical instruments in the house were not only for private use because Michael's wife, Emily (under the name of Mrs. Sloper Audibert) also conducted an "establishment for Young Ladies" at their Gloucester-terrace residence.

In 1838, by which time Michael had retired from the East India Company, and was taking a pension, the family moved again, to a Villa Residence, No. 41, Porchester-terrace, Bayswater-road, near Kensington-gardens. From this new address Emily also continued her establishment for Young Ladies.

However, by 1840, the family was on the move once more, this time to No. 9 Wigmore Street, Cavendish-square, Marylebone, although it seems they must have sub-let the residence at Porchester-terrace at least for a time, because the household goods, etc., at that address were insured by Michael, even though the dwelling was in tenure of a Dr. Nugent.

It was also in 1840, that Edmund Hugh Lindsay Sloper, aged only 14, published Pity. A Canzonet, his earliest known published work. Although I have been unable to locate the music for this piece, a review in The Musical World praised it as "a very sweet little song, set half in the minor, half in the major, of E Flat. The melody is graceful, expressive, and extremely well accompanied, and the two short pages which makeup the whole composition, exhibit more of the true musician's feeling than we can often discover in works of four times the extent and pretension."

In the same year he set off for Europe to further his studies.

• Although not intended by his parents to become a professor, he was allowed to follow the bent of his inclination; and, after studying diligently under Moscheles for some years, went to Frankfort, in order to profit by the instructions of Herr Aloys Schmitt, a well-known professor and teacher from Frankfort, he proceeded to Heidelberg, and studied harmony and counterpoint under Herr Charles Vollweiller, an eminent theorist, whose sole pupil he was at that time. Mr. Lindsay Sloper repaired to Paris in 1841, and and pursued the study of composition under Boisselot. During a long residence in that capital he obtained a well merited reputation, both as a writer and as a pianoforte player.

Adapted from: Cooper, Thompson, F.S.A., Men of the Time, 11th Edition, London, 1884; and Dictionary of National Biography, 1885-1900, Volume 52, by Robin Humphrey Legge

His Paris concerts of 1844 and 1845, when he was aged 17 and 18 respectively, were reported as follows:

• Dans les distractions de la semaine sainte devaient nécessairement figurer plusieurs soirées musicales. Le monde musical conserve encore le souvenir d'un magnifique concert qui a eu lieu dernièrement dans les salons d'Erard et qui était donné par M. Sloper, pianiste d'un talent vraiment supérieur. M. Sloper s'est placé d'emblée par la netteté, là vigueur et le charme de son jeu, à côté de Listz, de Doehler, deThalberg et d'Emile Prudent. C'est le plus bel éloge que nous puissions, faire de ce jeune artiste, qui n'a déjà plus de maîtres et qui n'a plus que des rivaux. (Le Siècle, 11 April 1844)

• Le brillant concert donné par M. Lindsay Sloper dans les salons d'Erard a fait apprécier de nouveau le beau talent de cet artiste. Le concert donné par lui l'an passé nous avait persuadé qu'il ne lui restait presque plus de progrès à faire sur lui-même. Le concert de cette année nous a prouvé le contraire. Un artiste tout dévoué à son art peut toujours marcher en avant dans la route sans fin de la perfection. Une année de travail a développé et augmenté encore les éminentes qualités de ce jeune artiste qui, dans le nombre et la sincérité des applaudissemens qui l'ont accueilli, a trouvé une juste et glorieuse récompense. M. Lindsay Sloper est appelé à prendre place au premier rang. (Le Siècle, 2 April 1845)

Stephen Heller's Letter of recommendation, 1846
© Wolfgang Stöger, Music Antiquarian

Immediately prior to his return to London from Paris in early 1846, his friend Stephen Heller (1813-1888), wrote this letter of recommendation (translated from the French into English):

• "My dear Allan, one of my friends, Mr. Lindsey Sloper, an artist of real talent, proposes to give a concert before his departure for London, where he intends to settle down, and he would very much like to have the support of your fine talent, and he has begged me to give for him an introductory word to you. Mr. Sloper will undoubtedly occupy a position in London worthy of his talent, and so [fantaisie?] allow you to reap some English guineas, Sloper will do all that is in his power to be useful to you. In the meantime, I urgently recommend Mr. Sloper to you, and beg you to believe in the sincerity of my devotion, Stephen Heller, Paris, January 25, 1846. "

Page 1 of Lindsay Sloper's Letter to Moscheles, 1846

This final Paris concert was briefly reported in the Morning Post of 10 March 1846:

• "Mr. Lindsay Sloper gave a farewell concert previous to his departure from Paris for London. In Mendelssohn's rondo in B minor, and in several compositions by Stephen Heller and himself, this admirable young pianist produced the greatest effect. Mr. Sloper is now settled in London, where he will succeed M. Moscheles in his professional avocations, when that celebrated musician leaves for Leipzig."

But this article also caused the young pianist great consternation, as this hurried letter to his former teacher, Ignaz Moscheles, reveals:

• 9 Bentinck Street, Manchester Square, March 10 / 46
  My dear Sir, I write these few lines in order that you may become acquainted with the object of my visit as soon as possible. My attention has been called to a paragraph in the Morning Post to day, where after many incorrect details concerning my concert in Paris, it is asserted that "Mr Lindsay Sloper is now settled in London where he will succeed Mr Moscheles in his professional avocations, on the departure of that eminent professor for Leipzig", or something to that effect. I need hardly tell you that having no idea how this unwarrantable assertion has found its way into the paper, I was as much grieved as astonished on perusing it. Grateful as I am to you for having thought of me for one moment in connection with yr departure, I have most studiously avoided circulating a rumour which, however honorable to me, has no positive foundation - an indelicacy of which I trust you believe me incapable. I have ever, when the advantage of such an event as is mentioned in the Post has been occasionally pointed out to me, given the most vague & unmeaning answers ; I am therefore totally at a loss to discover the origin of the assertion. I shall endeavour to find out who my officious friend is & from whom I would, in this instance, pray to be defended. I should gladly follow any suggestion that you may make in connection with this unpleasant circumstance & shall, if possible, do myself the honor of calling this evening. With compts to Mrs Moscheles & yr family, I am Sir, with much regret for this occurrence, Yours truly obliged in haste, Lindsay Sloper'.

One of Lindsay Sloper's first performances in London was at Mr. and Mrs Wessels Soirée Musicale, at their residence in Albany Street, Regent's Park, "before a large assemblage of amateurs, and the elite of the profession." He played Stephen Heller's "La Truite de Schubert," and his own compositions, "Tarantelle," from Studies, Op. 3, and Grand Waltz, in D Flat, entitled "Henriette" (Op. 2). The Musical World (28 March 1846) reported: "Mr. Lindsay Sloper bids fair to become one of the greatest honours to the art in this country. Both as a player and composer he evinces a talent at once original and sterling, that, fully developed, must lead to great things. Altogether Mr. and Mrs. Wessel's Soirée Musicale of Wednesday night, was one of the most agreeable which we ever attended.

Edmund Hugh Lindsay Sloper married Helen Mary Batchelor (1828-1880) on 12 Oct 1847 at St John's Church, Paddington, by Licence. At the time of their marriage, Edmund was living at 7 Southwick Place, Paddington, a short walk from the church, and Helen was living in Eton, Buckinghamshire, with her parents. The marriage was witnessed by the fathers of both parties. Helen's father, Thomas Batchelor (1786-1868) was the Page of the Back Stairs, for Queen Victoria - and George IV and William IV before her. Helen's older brother, Frederick Thomas Batchelor (1826-1897) became a Rector in Cornwall and married Charlotte Salusbury Trelawny (1830-1894), daughter of Sir William Lewis Salusbury-Trelawny, 8th Baronet, Lord Lieutenant of Cornwall.

Edmund Hugh Lindsay and Helen Mary Sloper had five children: Emily Augusta (born 19 November 1849), Charles Sidney (born 9 Apr 1851) Lucy (born 22 August 1852), Helen Charlotte (born 1854), and Henry Lindsay (born 1855). All children were born at the family home at 7 Southwick-place.

The Family of Edmund Hugh Lindsay Sloper.

Shortly after his marriage, Lindsay Sloper commenced his career as a Piano teacher, no doubt responding to the need of having to support and maintain a wife and soon to be young family. The Mirror monthly magazine, of 1 December 1847 describes this first venture:

• "Mr. Jules Benedict and Mr. Lindsay Sloper have arranged to act in concert to teach the pianoforte in classes. The idea itself is not novel, having been introduced into the French capital twenty years since, by M. Logier, and subsequently into this country by Madame Dulcken. This mode of tuition has, however, decided advantage over the solitary system, for it not only ensures an adherence to strict time, but the habit of playing in numbers banishes the nervousness and apprehension usually attendant upon young ladies performing in society. Benedict and Lindsay Sloper purpose improving and extending the practice, by the engagement of vocalists by which the pupils will acquire a proficiency in the valuable art of accompanying, and will also attain the knowledge of the best compositions, by playing trios, &c., with instrumentalists of celebrity. The best security for the improvement of the pupils, is in the names of the professors. Benedict, as a lyrical composer and graceful pianist, is too well known to require commendation from us; and Lindsay Sloper, we have little doubt, will acquire the same renown in this country as he did in Paris, where his finished execution and classic style, created a perfect furore."

These classes were initially held in the Beethoven-rooms, 76, Harley-street, Cavendish-square but later were conducted at No 2, Hinde-street, Manchester Square, the home of Miss Dolby, with Mr. Edward Schulz standing in for Bendedict when he was absent overseas in 1850.

Subsequently, he would teach piano at the following educational establishments:

A letter from Lindsay Sloper to his pupil Miss Nelson, 1884

• 1853+: Hyde Park College for Young Ladies, 81 Westbourne Terrace, Paddington (with Benedict),
• 1853+: Mr Antonin Roche's Academy, 1 North Audley Street, Grosvenor Square (with Benedict; Mr Roche was Moscheles' son-in-law)
• 1856+: Royal Academy of Music, Tenterden Street, Hanover Square
• 1856+: Stamford Hill College for Ladies, High Street, Stoke Newington (with Benedict)
• 1858+: City of London College for Ladies, 4 Artillery Place, Finsbury Square
• 1860+: Crystal Palace School of Art Science and Literature, Sydnenham (with Benedict, Ebenezer Prout and Arthur S. Sullivan)
• 1860+: Mr Antonin Roche's Belgravia Educational Institute for Young Ladies, Cadogan Gardens (with Benedict)
• 1864+: National College of Music, 216 Piccadilly (with Benedict, Franklin Taylor and J. G. Callcott)
• 1865+: Benedict and Sloper's Pianoforte Academy, Collard and Collard's Rooms, 16 Grosvenor Street and 1866+ at the Beethoven Rooms, 27 Harley Street
• 1866+: Miss Wilson's Finishing School, 166 Regent Street (with William Sterndale Bennett and Wilhelm Kuhe)
• 1874:+ St. Alban's College for Ladies, 9 Greville Road, Kilburn (1874, with Mr. Noseda)
• 1875+: Lyndhurst Finishing School for Ladies, 34 Belsize Park Gardens (with Mr. Noseda)
• 1876+: Alexandra Palace School of Music for Ladies, later School of Art Science and Liturature (Honorary Director, with Benedict and Frederic Archer)
• 1880-1887: London Guildhall School of Music (as one of its foundation professors)
• 1883+: City of London School, 60 Victoria Embankment
  The First Reading of a New Work
  Group portrait of musicians and music-lovers gathered around a piano, identified as J.B.Cramer, W.Sterndale Bennett (at the piano), Ed. Schultz, Lindsay Sloper, Me. Belleville-Oury, Mrs Anderson pianist to Her Majesty, Jules Benedict and G.A.Osborne.
  Print made by: Charles Baugniet, Date: 1852
  © The Trustees of the British Museum
  
  Various musical celebrities (No 597, Lindsay Sloper [Bottom row, second from right]
  by and after Elliott & Fry
  © National Portrait Gallery, London
  

  Throughout his career, his concert appearances in London were regular, if not exactly prolific. Each year he would either hold his own benefit concert or one in partnership with Miss Dolby, sometimes both. After each appearance, the London musical press would usually bemoan the fact that he did not play in public more often. He appeared occasionally at the concerts of the Musical Union (1846) and the Philharmonic Society (1849), of which he subsequently became a member, and regularly at the Monday Popular concerts. He would also regularly take part in concert tours of the provinces, where his role was not only to accompany the vocalists but also to perform solo pieces for the piano. But as his teaching connection grew, so his public appearances waned somewhat, and ultimately (like many of his brother professors), he devoted himself mainly to tuition, for which his services were in constant demand and which gave him great satisfaction. (Adapted from: Cooper, Thompson, F.S.A., Men of the Time, 11th Edition, London, 1884; and Dictionary of National Biography, 1885-1900, Volume 52, by Robin Humphrey Legge)

  The Morning Chronicle of 18 July 1851, following Queen Victoria's visit to the Great Exhibition on Day 68, reported:

  • "Her Majesty and Prince Albert, accompanied by her Royal Highness the Princess Alice, and attended by the Hon. Amelia Murray, Lord Charles Fitzroy, and Lieut.-Colonel Francis Hugh Seymour, again visited the Exhibition yesterday. The Royal party examined, among other objects of interest, the beautiful grand piano of Erard's, in the Foreign nave, and those of Collard and Broadwood in the British nave. Upon that of the last named firm a very pleasing selection from "Chopin" was performed by Mr. Lindsay Sloper. The various improvements in the instrument were pointed out to her Majesty, and more especially the transverse suspension bar, recently adopted by Messrs. Broadwood."

  In Fifty years' experience of pianoforte teaching and playing, London : Bosworth & Co., 1907, Oscar Beringer (1844-1922), recalls:

  • "The most prominent pianists living at that time in England were Arabella Goddard, Charles Hallé, Ernst Pauer and Lindsay Sloper. I had every opportunity of hearing them all, and for a long time their playing was my only instruction. I am not certain, however, that I did not gain more in this way than by taking lessons, which were then of the most perfunctory character, as I quickly found out when I was able to afford them."

  although he does add:

  • "The high standard set by these two artists [Goddard, and Hallé] was hardly maintained by Ernst Pauer and Lindsay Sloper."

  Nevertheless, the following reviews of two different Monday Popular Concerts of the 1862 season, would suggest that there was minimal difference in standard:

  • "The pianoforte Sonata, in the absence of M. Charles Hallé, was entrusted to Mr. Lindsay Sloper, whose sterling qualities as a classical player have been more than once advantageously exhibited at these concerts, and than whom a more efficient substitute for the popular German pianist could hardly have been chosen. Mr. Sloper played the beautiful sonata, Op. 90, dedicated by Beethoven to his friend and patron, Count Moritz Lichnowski, and Hummel's brilliant trio, Op. 98 (in E flat), in which his partners were Herr Joachim and Signor Piatti.(Musical World, 25 October 1962)"
  • "Last night's concert, devoted to the works of "various masters," demands a brief record not merely on account of the general excellence of the performance but also on account of the unexpected appearance of our excellent English pianist, Mr. Lindsay Sloper. Mr. Sloper, as all our musical readers are aware, is one of the most finished executants of the day, besides being thoroughly familiar with the "classical" repertory; but the distinction he earned on the present occasion was all the more honourable from the very short notice afforded him that his services would be in request. Owing to the sudden indisposition of the pianist [Arabella Goddard] who had been advertised for the sonata with Mr. Lazarus, itself a composition of no ordinary difficulty, and for the far more difficult solo-sonata in C major (terminating with the famous presto, known as the moto perpetuo") it was indispensable either to change the programme, postpone the concert, or supply a deputy. It is hardly too much to say that not one player out of a hundred foreign or English, would have undertaken without preparation to perform these two sonatas before a vast and well-instructed audience; and it speaks volumes both for the advanced cultivation of our native professors generally and for the artistic acquirements of Mr. Sloper in particular, that such a task should not merely have been readily accepted, but triumphantly accomplished. At the conclusion of the solo-sonata Mr. Sloper - as he well deserved to be - was unanimously recalled. (The Times, Tuesday, 21 January 1862)"

  On the other hand Beringer notes:

  • "In pianoforte - teaching an equal improvement was noticeable. Men like W. H. Holmes, Walter Macfarren, of Lindsay Sloper, Frederick Westlake, Harold Thomas, Arthur O'Leary, Franklin Taylor, Dannreuther, Fritz Hartvigson and others, were doing excellent work, and raising the standard of amateur performance to a much higher level."

  The Musical herald, (1 Nov 1906, pp. 323-325) states that "When quite a child [Beringer] came to England in 1852...His first teacher was his sister, who gave a few lessons to her baby brother ... Mr. Lindsay Sloper also gave the boy about a dozen lessons."

In The Living age, Personal recollections by the late Charles Salaman (New York, 1901, he writes:

• I still would gladly speak of several admirable pianists, eminent in their day - Pixis, Madame Dulcken, Jacques Rosenhain, Mrs. Anderson, Dreyshock, Jaell, Arabella Goddard, Madame Pleyel, Lindsay Sloper, Julius Benedict, and witty and talented George Osborne, my dear friend for sixty-five years. But I have yet to name, more eminent than all these, the great Clara Schumann and the great Anton Rubinstein.

In Memories of a musical career, [1932] Clara Kathleen Rogers (whose stage name was Clara Doria) recalls:

• "One of the musical nightmares of London was the "Monster Concert" which generally began at half-past two p.m. and ended heaven knows when! When we drove away from the hall, after having delivered ourselves of our respective numbers, it was always with the conviction that the concert, like the brook, would "go on forever." These were generally "Benefit Concerts" of some musician of note, like Benedict, who by virtue of his prominence could command the gratuitous assistance of many of the best and most celebrated artists of the day, while other lesser lights deemed it an honor to be invited to take part in it. ... The artist's room at such concerts was a rather interesting place to any one fond of observing human nature. It was amusing to note the airs and graces of some of the artists and the eager expression of some half dozen or more pianists who were waiting and hoping to be called upon to play the accompaniments for some diva, - for one never knew till the last moment who there would be to accompany one. Whenever we espied Lindsey Sloper we always made a straight line for him to secure his services, for he was the prince of accompanists!"

In Musical reminiscences and impressions, London : Hodder and Stoughton, 1906, John Francis Barnett (1837-1916) writes:

• "When I returned from Germany, among the most successful teachers of the pianoforte were Ernest Pauer, Lindsay Sloper, and Benedict...Another musician full of interesting memories of composers and pianists of his time was Lindsay Sloper, who was one of the most successful teachers during his earlier career. He was editor of the first musical journal ever started. It was called 'Hanover Square,' and was brought out by Ashdown & Parry. Lindsay Sloper asked me to contribute to it, and I accordingly wrote a little piece called 'Sunrise,' which was accepted."

In 1867, Lindsay Sloper involved himself in a new business venture when he became the editor of a magazine of new and orignal copyright music entitled Hanover Square, published by the firm Ashdown and Parry. While the idea of a musical magazine was not entirely new, prior to Hanover Square they would consist mostly of the compositions of old masters, mixed up occasionally with modern works, but Hanover Square was the first in which the contents were to be original music exclusively supplied by the leading composers of the day. Each issue, priced at one shilling, was to contain four pieces, two pianoforte pieces and two songs, and the first issue included a musical sketch for the pianoforte by Jules Benedict, dedicated to the honourable Mr. Charles Hugh Lindsay, entitled "Sorrows and Joys" and a setting of Tennyson's cradle-song "What Does Little Birdie Say ?" by Arthur Sullivan.

The magazine ultimately ran for 24 issues, generally to very favourable reviews, with its final issue being in October 1869. After the 18th issue, publication of the magazine was transferred from Ashdown and Parry to Cassell, Peter and Galpin although Lindsay Sloper remained editor throughout.

Edwin Ashdown, interviewed years later in the The Musical herald, (1 April 1903) said: "You may remember a magazine called 'Hanover Square,' edited by Lindsay Sloper. We announced it in the agony column of the Times, and spent a good deal. We sold 20,000 right off. Hopwood and Crew followed with 'Bond Street,' and Metzler with 'Exeter Hall.' There was no reaping for what we sowed. The public, too, seemed to think that they were robbed if there was one piece in a book that they did not like. A funny action resulted between us and Cramer & Co., who published 'The Orchestra.' Mr. George Wood of that firm did not like 'Hanover Square,' and would not review it. Instead of that, when 'Bond Street' appeared, he related a little story to the effect that a respectable honest couple opened a pie shop in merry Islington. They were nice clean people, the pies were good wholesome things, but the couple did not meet with success and were on the point of failure, when another person opposite opened a pie shop, and yet another, until at length the inhabitants of Islington found that pies were a necessity."

The following notice, in the London Gazette dated 20 March 1868, reveals that Lindsay Sloper had business interests in the music publishing firm of Addison and Company, Ltd:

"Special Resolution of Addison and Company (Limited). At a Special General Meeting of Members of the said Company, duly convened and holden at the Registered Offices of the Company, No. 210, Regent-street, in the county of Middlesex,on Thursday, the 13th day of February, 1868, and at a subsequent Special General Meeting, also duly convened and holden in like manner at the same place on Thursday, the 5th day March, 1868, the following resolution was passed and confirmed:- 1. "that the Company be wound up voluntarily, 2. "that Frederick Lucas, of No. 26, Maddox-street, Accountant, be the Liquidator. 3. "That two of the Directors be authorised at any time before the confirmation of the Resolution for Liquidation, to sell the leasehold premises, No. 210 Regent-street to any person or persons, and upon any terms they may think fit." Dated 18th day of March, 1868. Lindsay Sloper, Chairman of the meeting at which the Special Resolution was passed."

In 1870, however, personal financial difficulties of his own had arisen. The following notice appeared in the London Gazette, dated 20 December 1870:

"The Bankruptcy Act 1869. In the London Banruptcy Court. In the Matter of Proceedings for Liquidation by Arrangement or Composition with Creditors, instituted by Edmund Hugh Lindsay Sloper, of St John's House, Alexandra-road, Finchley new road, and of No 52 New Bond-street in the county of Middlesex, Professor of Music, Notice is hereby given, that a First General Meeting of the creditors of the above-named person has been summoned to be held at the Chambers of Commerce, No. 145 Cheapside in the City of London, on the 2nd day of January, 1871 at twelve o'clock at noon precisely. Dated this 16th day of December, 1870, JOHN BENJ. SMITH No 2, Church-court, Clement's-lane, E.C. and Greenwich, S.E. Attorney for the said Debtor."

By 1873, the extent of his financial hardship was clear. In a Cause in the Court of Chancery, brought against him and his cousin, William Gattie, by that-same cousin's wife, Henrietta Warwick Gattie, that plaintiff relates:

"Since [February 1873] the defendant Edmund Hugh Lindsay Sloper has been in great pecuniary difficulties and he is now, as the plaintiff believes, practically insolvent. All the goods and effects in his house have been recently sold. His house is now quite empty and the plaintiff has left it for some time and in a letter from the said defendant Edmund Hugh Lindsay Sloper to the plaintiff dated the 16th March 1873 the said defendant states : 'I have found it necessary to break up my establishment in London and indeed to part with the furniture. But now that the blow has past I am sure it will be immensely for my benefit as my expenses are decreased at least one-half and I am relieved of a debt which was an incubus to me.' And in another letter written by the said defendant to the plaintiff dated the 13th March 1873 the defendant says : 'Now since my own circumstances are such that my home is broken up you cannot look to me for help.' And in the same letter the said defendant says: 'Write to me here (43 Ebury Street Pimlico) but do not call for I am never here by day.' He is liable to be made bankrupt at any time as the plaintiff believes. The plaintiff has repeatedly endeavoured to obtain an interview with the defendant Edmund Hugh Lindsay Sloper but he has always carefully avoided meeting her and has when induced to make appointments to see her failed to keep them. His excuse for thus avoiding personal communication with her has been that he had placed the matter in the hands of his solicitor and on one occasion the said defendant Edmund Hugh Lindsay Sloper in a letter to her dated the 12th day of March 1873 says : 'We have left St. John's Wood. My family are at Brighton temporarily and pray address to me in future 43 Ebury Street Pimlico but do not call there.'"

In the midst of these financial difficulties, in 1871, Lindsay Sloper agreed to be join in a troupe of English musicians in a concert tour of America, as solo pianist and accompanist. Possibly, he was hoping that the tour would be financially rewarding and help him out of his diffulties. The tour was arranged by George Dolby, who had previously arranged Charles Dickens's successful lecture tour of the United States and who was also the brother of Charlotte Helen Dolby. Besides Lindsay Sloper, the "Dolby English Ballad Troupe," as it came to be known, consisted of Miss Edith Wynne, soprano, Mr. John George Patey, bass, and Mrs Janet Patey, contralto, Mr. William Hayman Cummings, the tenor, and Charles Santley, baritone.

His final benefit concert, prior to his departure for America, was reviewed thus:

"MR. LINDSAY SLOPER'S CONCERT. Under any circumstances, a concert given in the name of so distinguished a professor as Mr. Lindsay Sloper would have an attraction of its own. But a special interest belonged to that which recently took place in Hanover Square Rooms, and to which, in our last issue, we had only time to make a very brief reference. Mr. Sloper, we understand, goes to America shortly, as solo pianist and accompanist to an English concert party, including Miss Edith Wynne, Madame Patey, Mr. W. H. Cummings, and Mr. Santley. A trip across the Atlantic is reckoned now-a-days a smaller matter than our forefathers used to account the often-quoted journey to London, in view of which they made their wills. Still, it is an occasion of sufficient importance to justify a man in asking his friends for a hearty "God speed;" and the fact gave special interest to an otherwise interesting concert. Mr. Sloper took a prominent part at his matinée, and essayed music, both classical and popular, with all the success to be expected in the case of an artist so able and experienced. Among the classical selections with which he had to do were Mendelssohn's trio in D minor, for pianoforte, violin (Mdlle. Liebe), and violoncello (Signor Pezze), and Beethoven's Sonata Pastorale - works amply sufficient to display both the executant's manipulative skill and artistic perception. Mr. Sloper further took part with Mr. G. A. Osborne in a brilliant and effective duet by the latter gentleman, on themes from Don Giovanni, and, with Mdme. Carlotta Tasca and Miss Fanny Hart, in Sir Julius Benedict's admirable arrangement for three performers on two pianofortes of a hitherto unpublished Andante and Mazurka by Chopin, Lastly, the concert-giver played Chopin's familiar Impromptu in A flat; a "Study" in F minor by M. Stephen Heller; and his own extremely graceful and pretty "Felice" waltz. It cannot be neccessary to state in detail how this ample morning's work was got through. Mr. Sloper is no upstart pianist of yesterday, but one who has endured the test of criticism so long and so well, that critics may now be content to let him alone." (The Musical World, Saturday, 22 July 1871.)

The Dolby English Ballad Troupe sailed from Liverpool to New York in the Cunard royal mail steamship Russia on Saturday, 16 September, 1871, arriving in New York in the last week of September. They gave their first concert at Steinway Hall, New York on 9 October, 1871. Overall the tour was a critical success but a financial failure. The only performer who prospered from the tour was Charles Santley who was contracted for a fixed fee.

During the tour, a controversy arose from an article which appeared in the New York World, dated 9 Dec 1871, in which the character of the Prince of Wales is called into question. Charles Santley felt compelled to reply in a letter which appeared in the New York Times of the 11th inst.:

"I have read, with much concern in Saturday's World an account of certain interviews, reported to have taken place, into which have been introduced redactions, as unjust as they are ungenerous, on the character, as a gentlemen, of the Prince of Wales, in his relations with the theatrical world. From considerable experience in her Majesty's Theatre, the Royal Italian Opera, Drury-lane, and the Gaiety theatres, I can state positively that the bearing of the Prince of Wales, in these relations, was universally courteous and manly, and characterised by the greatest propriety. I am authorised by Mr. Chas. Fechter, whose opportunities of judging have been at least as frequent as those of any other manager or actor, to corroborate the above assertion on his behalf in the strongest possible manner; and Mr. Lindsay Sloper, a friend of Mr. Bancroft, of the Prince of Wales's Theatre, desires to add that he would have no difficulty in obtaining from the latter gentleman a complete denial of the allegations against the Prince in connection with that establishment, were it not too ridiculous to suppose that his Royal Highness would ever present himself at the stage door of any theatre whatever. Anyone connected with the stage must desire, at the present moment, to concur in all that Mr. Sothern is reported to have said as to the urbanity and modesty displayed by the Prince of Wales in his dealings with actors and it is a pity that the same column which contains this testimony should be disfigured by the slanderous aspersions I deem it my duty to contradict.-I am yours respectfully, C. SANTLEY. Grand Central Hotel, Sunday, Dec. 10, 1871."

Lindsay Sloper arrived back in England on the steamer Cuba, which arrived at Liverpool on Saturday 11 May 1872, Many other musicians were among the passengers disembarking including Mdlle. Christine Nilsson, Madame Parepa-Rosa, Mr Santley, M. Capoul, and others.

From this distance in time it is difficult to gauge the impact of the financial difficulties on Lindsay Sloper's mental and physical well-being, either directly or indirectly. From the extant records, it is evident that between 1871 and 1876, there was a significant increase in concert participation, particularly associated with extended tours. Presumably these were undertaken as a means of retrieving his financial position. This began with the tour of America in 1871-2 and was followed for each of the years from 1872 to 1876 by extensive provincial tours of England, Scotland and Ireland, involving between 30 and 50 engagements between September and December each year. For each of these engagements, Lindsay Sloper would accompany the vocal performances as well as perform one or two solo pieces on the piano, or a concerted piece for violin and piano. These tours were not without their stressful moments. The Nottinghamshire Guardian, in its 4 December 1874 issue, was one of many newspapers throughout England which reported the following incident:

• CARLOTTA PATTI STANDING UPON HER DIGNITY. Great disappointment was felt by a Birmingham audience on Thursday evening, on learning that Madlle Carlotta Patti, who had been announced to sing at a concert, had gone off in a "huff," and would not appear. The delicate task of making this announcement devolved upon Mr. Lindsay Sloper, the conductor or accompanyist of the party, who made his appearance in front of the orchestra some twenty minutes after the hour fixed for the opening of the performance, just in time to allay the rising impatience of the audience at the unaccountable delay in commencing. Mr. Sloper, who spoke with evident embarrassment, began by craving the indulgence for the delay which had occurred in explanation of which he had only a very unpleasant communication to offer. It was that Madlle. Carlotta Patti had come to Birmingham with the intention of singing at the concert, but, on finding herself announced in the local advertisements as the "sister of Adelina Patti," she felt so surprised and indignant that she could not make up her mind to appear. Holding the artistic position she did, and entertaining as she did a grateful recollection of the reception she experienced here eleven years ago, she did not think her claims stood in need of any adventitious aid, and the upshot of the matter was that Madlle Carlotta Patti not only declined to sing at the concert, but had set the seal to her resolution by going off to London by the 7.30 train that evening. Mr. Theodore Ritter, who had been announced as the solo pianist of the concert, accompanying her. Under the circumstances, he was charged by Messrs. Harrison, the concert-givers, to express their great regret that the concert as advertised could not take place, and that any of the audience who thought proper might have their money returned at the doors. The other principal artistes, he added, were in attendance including Madlle. Grandeville, Signor Danieli, Mr. Wadmore, and himself, and were prepared to go on with the performance for those who chose to remain. When the mingled applause and hisses which greeted this annnoucement had subsided, about one-fourth of a rather meagre audience availed themselves of the liberty to depart, leaving behind them a good number of empty benches, more particularly in the great and side galleries. After a few minutes further delay, Mr. Percy Harrison came forward in the place vacated by Mr. Sloper to supplement the statement of that gentleman by a short explanation of the matter from the standpoint of the concert givers. He said that he and his uncle were taken quite by surprise, and were as disappointed, as any of the audience at what had occurred, which was to them a very serious matter. They had acted throughout with the best intentions and were quite unconscious of offending Madlle. Carlotta Patti in announcing her as the sister of Madame Adelina Patti. On the contrary, they thought she would feel honoured instead of jealous at having her name coupled with that of so distinguished an artiste. (Applause.) When they learned, just before the commencement of the concert, Mdlle. Carlotta Patti's sentiments on the subject they had lost no time in sending to her – he had gone himself - to express their regret and apologise as fully as they could for having unintentionally wounded her feelings. He was unable at first to obtain an interview with Madlle. Carlotta Patti, and when he eventually did so he found her in a state of great anger. She had taken her place by the London train, and would not listen to his explanations or apologies, but stopped her ears against them with her hands. Mr. Ritter, he added, accompanied Madlle. Patti in the hope of perhaps changing her resolution before she reached Coventry, in which case, of course, she might yet arrive, though late. In conclusion, Mr. Percy Harrison said the remaining artistes would proceed with the concert as far as possible, and that in place of Mr. Ritter, Mr. Lindsay Sloper had kindly consented to play the moonlight sonata. By their applause the audience appeared to show that their sympathies in business were decidedly on the side of the Messrs. Harrison.

However, the following reports of his final tour date for 1876, may indicate the full toll that the touring schedule was taking on Lindsay Sloper's health:

• BALLAD CONCERT IN NOTTINGHAM. On Saturday night [18 November 1876] a well attended ballad concert, under the auspices of Mr. H. Farmer, was given in the Albert Hall, Derby-road, but, notwithstanding the prestige of the artistes engaged, it cannot be said to have proved that unqualified success which its promoter and the public hall looked for. The company was surely strong enough and talented enough to have gained the result we have hinted at, as it was composed of Madame Edith Wynne, Madame Antoinette Sterling. Mr. Edward Lloyd, and Mr. Lewis Thomas as vocalists; and Mr. Charles Ould as violoncellist, and Mr. Lindsay Sloper as solo pianist. The programme, consisting of essentially popular selection, opened with a grand polonaise brilliante by Chopin for pianoforte and violoncello, in which Mr. Lindsay Sloper undertook the pianoforte part, and Mr. Charles Ould that apportioned to the violoncello. Of the performance we cannot say it was either good or bad, but it was decidedly indifferent. We are at a loss to account for the slovenly instrumentation throughout, considering the high standing of at least one of the gentlemen named. From the first bar to the last of the selection, the timing was simply wretched, and it was only when the music allowed the violoncello to be dominant in a few sweet passages, that a ray of satisfaction was afforded to the audience at all. Chopin's composition fell quite flat, and a contretemps, in which the pianist was seen groping for his score underneath the pianoforte stool, and in which the violoncellist rose from his seat and was about to leave the platform, was rather a slight relief to the audience than otherwise. In the next item, the old favourite, Mr. Lewis Thomas, made his bow in "In Sheltered Vale," and in spite of discordant phrases from the piano, his fine rolling bass voice was heard to considerable advantage in the German song. Bucalossi's tender song, "The Mother and her child," introduced Madame Edith Wynne, and although again Mr. Lindsay Sloper sent forth such a heterogeneous series of sounds from the grand pianoforte at which he sat, the distinguished vocalist by the artistic management of her voice, and by dint of her determined and clear articulation, succeeded, under very trying circumstances, in interesting her audience. Mr. Edward Lloyd, the talented tenor, whose popularity seems to increase on each of his succeeding visits to Nottingham, next gave C. H. Sainton-Dolby's charming air " Sweet Saint " with exquisite taste, and although the rendering was agreeably assisted by a violoncello obligato from Mr. Ould, our previous remarks with regard to the pianoforte may be repeated here. Hullah's plaintive melody "Three Fishers went sailing " was next on the programme, it being beautifully sung by Mdme. Antoinette Sterling, and this in the face again of very defective accompaniment from the piano. Her rich contralto voice was so carefully modulated in the last verse that an encore was loudly demanded; but, under the circumstances, we think it was wisely declined. A fantasia on Irish airs, arranged by Paque, on the violoncello by Mr. Charles Ould, followed, and we are compelled to state that the appearance of Mr. Essex at the pianoforte, to accompany the violoncellist, was greeted with an outburst of applause which testified the audience's acceptance of the substitution. Stephen Adams's lively new song, "Nancy Lee," sung by Mr. Thomas, created such a favourable impression that the audience were again roused to loud applause. Miss Edith Wynne next pleased her admirers very much by her perfect vocalisation in Knight's sweet song, "She wore a wreath of roses," and when Mr. Henry Farmer struck the first notes of the accompaniment upon the piano there was a renewed manifestation of gratification from the auditors. To finish the first part of the programme Mr. Lindsay Sloper had been announced to perform two of his compositions on the pianoforte, namely, "Berceuse," and "Galop, L'Entrain," but on Mr. Lewis Thomas coming to the front of the platform, and stating (without any reason for Mr. Sloper's non-reappearance), that Madame Sterling would sing, instead of the item on the programme, the ballad, "The Three Ravens," the audience sent forth once more loud applause. It is needless to say that Madame Stirling's rendering of the quaint old ballad was most acceptable. The second part of the programme proved successful in every respect. … (Nottinghamshire Guardian, Friday, 24 November 1876)
• Mr. Lindsay Sloper in Trouble.- On Saturday night, the distinguished pianist, Mr. Lindsay Sloper, found himself the hero of a not very creditable escapade in Nottingham. It will be known by our musical readers that Mr. Sloper was engaged on Saturday night as the pianoforte accompanist at Mr. Henry Farmer's ballad concert in the Albert Hall, and that it was found necessary shortly after the commencement of the entertainment to supply his place at the instrument. It would appear that on leaving the hall the well-known composer and performer, mistaking a musical establishment in the neighbourhood for his hotel, entered it, and making his way to one of the bedrooms on a top storey, proceeded to take possession of it. This was objected to by the parties interested and a scene occurred, the result of which was that the talented pianist was lodged in a cell at the borough police station on a charge of drunkenness. The morning found a friend in need, ready to bail Mr. Sloper out of his uncongenial quarters, and the matter was settled before the magistrates on Monday by the payment by the accused of one guinea to the poor-box. (Nottinghamshire Guardian, Friday, 24 November 1876)

Lindsay Sloper never participated in an extended concert tour again. His next appearance in concert was on 9 Feb 1877 at the Dome, in Brighton and thereafter his performance schedule was significantly scaled back with appearances mainly confined to London and Brighton.

Punch (19 October 1878) sent their representative to the Covent Garden Promenade Concerts, The Italian Night, who included the following impressions from the concert:

• "…The next item of importance was a Violoncello Solo by M. VAN BIENE, who came on first, as the "Van," while Mr. LINDSAY SLOPER brought up the rear, and accompanied the Fiddling Dutchman on the piano. The audience were immensely pleased with M. VAN BIENE, the Double Dutchman, or the Double-Bass Dutchman. I do like Mr. LINDSAY SLOPER as an accompanyist. He seems so pleased at being asked. He comes on to the platform with an air of surprise, as if he had only just arrived to make a friendly call on Mons. RIVIERE, who had suddenly jumped up, and said, " My dear SLOPER, now you are here, do play us an accompaniment." And the amiable Mr. SLOPER, unable to refuse, had there and then consented, and had been at once introduced to Mr. VAN BIENE, or Signor URIO or whoever the soloist might be, had said some pleasant and polite things to him, asked how all the little Vans were at home-VAN JOHN, VAN TRUMP, VAN-ESSA, &c. - and, on Mons. RIVIERE looking at his watch, had courteously bowed to the Musical Hollander, and had accompanied him - on the platform, and on the piano..."

Helen Mary Sloper, the wife of Edmund Hugh Lindsay Sloper, died at their home, 33 Hillingdon-road, Hillingdon, on 8th November 1880, aged 52. The cause of death was "phthisis" (tuberculosis). She was buried in Hillingdon Cemetery on 13 November 1880.

After the death of his wife, Lindsay Sloper shifted his his home back to the city, taking up residence at 63 York Terrace, Marylebone, where he would remain for the remaining 6½ years of his life. His housekeeper, when he first settled in his now lodgings was 22 year old Emily Kemp, a native of Halstead, Essex. Within 6 months, he had married his young housekeeper. Also staying at the York Terrace residence as a "visitor", when he first moved in was Emily's sixteen year old sister, Ellen. However, when Lindsay Sloper died in 1887, sister Ellen was present at the death, so it is seems quite possible that she became something of a permanent guest. There were no children from this second marriage.

Edmund Hugh Lindsay Sloper died on 3 July 1887 at his home, 63 York Terrace, Marylebone. He was 61 years of age. His death was not unexpected and the official cause of death was "cirrhosis of the liver (some years), general dropsy (six months)". He was buried in Hillingdon Cemetery on 6 Jul 1887, in the same plot as his first wife (Gravespace BA31).

The inscription on their memorial reads:

• In Loving Memory of Helen Mary, wife of Lindsay Sloper, who passed to her rest 8th Novr 1880, Aged 52.
  Her children arise up and call her blessed.
  "And doubtless unto thee is given a life that bears immortal fruit in such great offices as suit the full grown energies of heaven."
  Also of Lindsay Sloper. Who died July 3rd 1887, Aged 61.

Their eldest daughter Emily (1849-1881) (wife of Malcom Charles Ross) is buried in an adjacent grave immediately to the right of her parents', and their grandson, Charles Allen Lindsay (1882-1914), son of Charles Sidney Sloper, in the adjacent grave to the left.

The Daily Telegraph, Tuesday, 30 August 1887, wrote:

• "Twenty years ago the announcement of the death of Mr. Lindsay Sloper would have created a stir in the musical world, in which he was then a prominent figure: but, though he had barely turned threescore, through circumstances over which none but himself had control, he had gradually slipped out of memory, and we have seen scarcely one reference to the fact that he has passed away. The pupil of Moscheles, Lindsay Sloper, made his debut in London in 1846, at the Musical Union, under the direction of John Ella, who, as an octogenarian, still lives."

Source: Illustrated Sporting and Dramatic News, November 2, 1878, p.149

Joseph Goddard wrote the following "In Memorium" for the Musical opinion and music trade review, Saturday, 1 October 1887: