MORI AND LINDLEY'S QUARTET CONCERTS.
THE attempt to attract an audience to an exhibition of solo instru- mental performances, which originated with 13LAGROVE and Lucas, was speedily followed by Mont, who, in the musical world is " hie et ubique." Quartet-playing, of necessity, shows not only the executive power of a performer, but his mental temperament. The mere execu- tion of what he undertakes, however adroitly accomplished, will not suffice to give the meaning of a quartet. If the soul and spirit of music reside not in the player's mind, the mere velocity of his fingers will avail little. It is the presence of this attribute in its highest degree that imparts such a charm to the quartet-playing of SPOHR, and to that also of his pupil BLAGROVE—" alike in kind, though different in degree." It is its absence that renders Moat's performance, by comparison, in- effective.
The second concert of this party was on Monday night; and the most interesting piece of the selection was one in which the leader was not engaged—Hi MMEI:S Septuor in D minor. Madame DULCKEN sus- tained the principal part with finished excellence. Had HUMMEL him- self sat at the pianoforte, the beauties of this composition could scarcely have been more expressively conveyed to its hearers. A Quintet of ONSLOW'S was exceedingly tiresome. BEETHOVEN'S Quartet (No. 10) in E flat, was performed with great exactness, and exhibited much , manual skill.
The singing may be dismissed without remark.
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