The first object of Manns, however, when he had at length come into possession of the orchestra he had so sturdily striven for, was to perform and popularise classics that were then unknown, and to bring into existence a body of supporters of sufficient importance to justify the large expenditure involved. He would thus not only satisfy his directors, but carry out a work worthy of the earliest traditions of the Palace. When he arrived in England the music of Schubert and Schumann was practically unknown. Here was a great opportunity, and with the aid of his friend, Sir George Grove, he took advantage of it, and literally played and preached them into such popularity, that their names soon became as familiar on concert programmes as that of Mendelssohn himself. From whatever point of view one may look, it is certain that the name of August Manns will go down in the history of English music as one of its foremost champions. German to the core himself (he only naturalised himself when he had lived here over forty years), he had a natural broad-mindedness that gradually enabled him to see things somewhat from the point of view of the country that had sheltered him, and he did his best--and it was noble--for its interests as he comprehended them. The next great pioneer of orchestral music that we shall deal with is the late Sir Charles Hall['e]. What Manns was doing in the South, Hall['e] was doing not less effectively, and on a larger scale, in the North. Less eclectic in his tastes than Manns, his efforts were severely limited to the propagation of strictly classical music. In English music, or, perhaps we should say, music written by Englishmen, he never had or pretended to have, the slightest interest, and for many years no British composer's name could be seen on his programmes. From this rigid classicalism he never swerved, unless his successful efforts to popularise Berlioz may be so considered. He arrived in England in 1848, and soon settled in Manchester, where his strong personality immediately made itself felt, the first result being his appointment as conductor of the "Gentlemen's Concerts" in 1849. The next and most important feature in his career, from our immediate point of view, was his establishing the "Manchester Concerts," which later became known as the "Hall['e] Concerts," in 1857. From that time until he died, about forty years later, he practically devoted his life to his famous orchestra and no less famous choir, and it is certain that Hall['e] did, in those years, more than any dozen others for the cause of music in the North and Midlands.