“At the Norwich Festival of 1830, Mr. Taylor introduced Spohr’s Oratorio of ‘The Last Judgment’ for the first time into this country, the words being translated and adapted to the music by Mr. Taylor himself. This was followed at subsequent festivals by other oratorios of the same composer, which for originality, richness, and beauty, are unrivalled in their way. After the performance of ‘The Last Judgment,’ Mr. Taylor became personally acquainted with Spohr, and one day, getting an invitation from Mendelssohn to visit him and his family at Dusseldorf on the Rhine, where Spohr then was, the invitation was accepted, and thus Mr. Taylor first became known to the illustrious composer, with whom he formed a friendship which lasted as long as they both lived. “At the Norwich Festival of 1836, the expenses exceeded the receipts by £231 5s. 10d. We give an extract from a letter, written in the following year by Mr. Taylor to Mr. Henry Browne, which will be read with pain, because it shows that Mr. Taylor received far other treatment than he deserved at the hands of the committee of management. Mr. Taylor said, ‘I hear of the discord engendered by the winding up of the Festival with much concern, and which seems to threaten the existence of future ones. How it happened that the last terminated so unprofitably has always been a mystery to me. I think it ought not.’” And Mr. Taylor goes on to state the amount of work which he himself did for nothing. All the festivals had been hitherto successful. The first, in 1824, produced a surplus of £2399 to the Norfolk and Norwich Hospital. The second, in 1827, afforded that institution £1672; the third, in 1830, yielded £535 to the hospital; the fourth, in 1833, was also successful; but in 1836 the expenses of the Festival, as has been shown, exceeded the receipts by £231, and a general board of the hospital resolved that no part of the funds belonging to the institution should be used for any purpose connected with the Festival. At the Sixth Musical Festival, held on the 17th, 18th, 19th, and 20th September, 1839, Dr. Spohr conducted his own new Oratorio of “Calvary,” before a very large audience, in St. Andrew’s Hall. The performance was very grand, and produced a thrilling effect on the audience. The selection of such a subject as the Crucifixion for an Oratorio drew forth a good deal of criticism, but there could be no doubt of the musical merits of the composition.