“The form of the music is no doubt like that of his master Quantz, unoriginal and stereotyped, but his specialty lies in the simple musical thoughts, which flow freely and easily from him, as the natural adequate expression of inward emotions. Frederick’s musical personality is most clearly delineated in his Adagios. These compositions furnish the proof of the story that he often moved his hearers to tears by his adagio playing. They reveal a surprising tenderness of feeling, a soul which seeks its satisfaction in the sweet melancholy and tender, almost feminine, yet never effeminate plaintiveness. The lovely Siciliani of Sonatas 3, 16, and 25 charm like Watteau pictures, with their graceful figures and delicate colour harmony, at the same time not lacking German depth of feeling. More serious, darker feelings rise up in the Grave of the Third Concerto.... Certain it is, and remains, that his music affords the hearer deep insight into a unique soul-life, and for this reason alone its publication would be justified.” [Sidenote: =Dando Concerts=] In the year 1836 a series of Quartett Concerts were organised by Joseph Dando, a London violin professor. These concerts, which were continued until 1842, were held in the Hanover Square Rooms, and the artists associated with Dando were Henry Blagrove, Henry Gattie, and Charles Lucas. Dando is said to have been the first to introduce public performances consisting altogether of instrumental quartetts in London. [Sidenote: =John Ella and The Musical Union=] In 1845 a series of Morning Concerts for chamber music, under the title of “The Musical Union,” were commenced in London by John Ella (1802-88), a Yorkshireman, who, originally intended for the legal profession, became a violinist, and established himself in the metropolis. These concerts continued for some thirty-three years. In the year 1850 Ella also started another series under the title of “Musical Winter Evenings,” and they went on until 1859. At these concerts the best chamber music was performed by the leading artists, both English and foreign. [Sidenote: =Analytical Programmes and Position of Platform=] The Musical Union is said to have had its origin in chamber music meetings which were held at Mr. Ella’s residence in London, and it would be difficult to over-estimate the important influence which its doings have had on the taste for high-class music of this kind in England. To Mr. Ella is also due the introduction of analytical Programmes, which were unknown before. These were sent to the subscribers some days before the concerts, thus enabling all earnest students to acquaint themselves with the various points of interest in the works to be performed.