“The One-hundredth Popular Concert,” says Mr. Hueffer,[11] “was given on July 7th, 1862, when, according to _The Times_, more than one thousand persons were refused admission for the want of space—a statement in itself sufficient to show the broad popular basis on which the concerts were by that time founded. In 1865 the Saturday Afternoon Concerts were added to those given on Monday evenings, and on May 15th of the same year one of the most important events in the history of this institution—the first appearance of Madame Schumann—took place. The programme on that occasion was devoted entirely to the works of her husband, which, in those days, were thought by the public and the press to be the abstruse effusions of the modern spirit, but which are now as generally, and almost as highly appreciated as those of Beethoven himself. Five years later, in 1870, Madame Norman-Neruda was added to the list of executants, and has remained one of the prime favourites of these and English audiences generally, ever since. In the season of 1873-74 more than common attention was paid to contemporary talent, the names of Saint-Saëns, Rubinstein, Rheinberger, Raff, and other then living composers playing a prominent part. The cause of this inroad upon established tradition is partly to be found in the appearance at the piano of Dr. Hans von Bülow, who, here as everywhere else, exercised a beneficial, but, so far as the popular concerts were concerned, a passing influence. There are few names of eminence absent from the list of executants who have appeared on and off. The one-thousandth performance was given on April 4th, 1888.” [Footnote 11: _Half a Century of Music in England_, p. 17.] [Illustration: Chopin [signature]] [Sidenote: =Joachim=] Among the other artists who constantly played at the “Monday Pops.” were Piatti, who for very many years occupied the position of leading ’cellist, and his brother-artist of world-wide repute, Dr. Joseph Joachim, the violinist. Although Joachim’s connection with the art of music is by no means limited to any one branch, yet it is in the realm of chamber music that we have chiefly felt his strong influence in Great Britain, and as an upholder of a high and pure standard of musical taste he obtains without doubt the grateful adhesion of all the serious musicians of our land. Were it for no other reason than his steadfast advocacy of the high claims of the works of Johannes Brahms, and for his presentation, under those conditions of a faultless rendering which they imperiously demand, of the later Quartetts of Beethoven, we, and the entire musical world, owe him a deep debt of gratitude. [Illustration: THE JOACHIM QUARTETT. JOACHIM. HAUSMANN. WIRTH. HALIR.]