Soon after his final settling in London, he commenced a series of chamber concerts, and continued to present the classical masterpieces of this form of music for about twelve years. It was his enthusiasm alone that accounts for this fact, not public support, for that, he may be said never to have received, to any appreciable extent. His style was, perhaps, too refined and his tastes too rigidly classical. In this respect he was, if one may be permitted to say so, somewhat narrow in his outlook. For instance, he could not tolerate Chopin's music, and, as one of them told me, would not permit his pupils to play it in his presence. He was of a retiring disposition, and the arts of public advertising were as objectionable to him, as they appear to be acceptable to many performers to-day. Again, the rivalry of eminent foreign musicians and the conspicuous patronage they received in high quarters, which naturally aroused public interest in them, militated against his success, and so, feeling that the conditions were unequal, he withdrew from the arena. He was especially great as a player of Bach's music, to which he was intensely attached, and it may be at once admitted that he was entirely lacking in that emotional temperament, which seems to appeal so strongly to the feminine atmosphere that so frequently pervades the public concert-room. He was essentially a player who most appealed to musicians. His personality must have been a fascinating one, for he aroused even passionate attachment in many of his pupils, and it has often been a source of interest to hear grey-headed men talk of his memory in the language of a lover. His pianoforte music contains much that is both beautiful and original in style, the lovely sketches, "Lake," "Millstream" and "Fountain," being the best known and most popular. The more important chamber compositions include a sestet for piano and strings, a trio, and a sonata for violincello and piano. In 1855, he produced his cantata, "May Queen," at the Leeds Festival, with great success. It contains much delightful music, and, like other of his works, the comparative neglect into which it has fallen, seems perfectly extraordinary. Nine years were to elapse before his great work, "The Woman of Samaria," was to appear at the Birmingham Festival. If it created no great sensation at the time, that may be accounted for by the fact that he studiously avoided sensational effects. It is, however, characterised by nobility of thought, religious feeling, and perfect grace of expression. Although seldom performed as a whole, the touching quartet, "God is a Spirit," is in general use, and remains a model of beauty and simplicity. This work, together with his overtures--especially the "Naiades" and "Paradise and the Peri"--and his pianoforte concertos in F and D minor, are the chief compositions on which his fame will principally rest.