The repertoire of his band may be justly said to embrace the whole gamut of the classic and classic-romantic schools. He could scarcely be called a whole-hearted Wagnerian, but his mind was so receptive even to the last, that however antagonistic to his own feelings some of the latest developments in orchestral music proved to be, he submitted willingly to what he saw to be the inevitable tendency of the times, and formed his programmes in accordance with them, provided always that his ideal standard was maintained. In 1848 there were but few orchestras in the provinces, and these, judged from Hall['e]'s standpoint, were very bad, that of the "Gentlemen's Concerts" being one of them. He accepted the conductorship with the greatest reluctance, and only on the understanding that his power should be unlimited to do what he thought necessary to remodel it. In fact, his early experience with it was so painful to him, and his dread of conducting the concerts so great, that he nearly abandoned the idea of settling in Manchester. However, the directors were far-seeing men, and, happily, largely through their efforts, Hall['e] was saved for the North. It must, however, be said that had it not been for the support he received from the German community, it would not have been possible for him to remain, but through their efforts he not only quickly acquired a large teaching connection, but was able to establish his classical Chamber Concerts on a satisfactory financial basis. It is interesting to note that four-fifths of the subscribers were fellow-countrymen. The important question of an adequate income for the support of his family having been thus settled, he was left with a mind delivered from that source of anxiety, and able to devote itself to the cause he had at heart. The field open to him was, Heaven knows, extensive enough. At that time the English people, even of the more educated classes, had little or no appreciation of purely abstract music, their sympathies being confined more or less to oratorios and ballads. However, Hall['e] set himself to educate them, and history tells how he succeeded. He was no believer in violent methods, as the programme of his first orchestral concert shows, but, while dearly indicating the direction in which he intended to go, was wise enough not to frighten away those who were willing to test their power of appreciation of this, to them, new experience. Hence, although the programme was mainly classical, he included a selection from Verdi's "Il Trovatore," doubtless with the familiar melodies played, in the manner of Jullien, on instruments such as the euphonium and cornet. In this way he pursued the wise course of gradually attracting the people towards a higher form of art.