The family of our youthful musician, being anxious to wean him from a theatrical career, usually so trying to the principles of a young mind, placed him with a German Violinist (Herr Müller), of whose experience he availed himself to such extent as to become, in 1835, (when only 15 years of age) the Leader of the Norwich Theatre. While on a tour with the Norwich Company, our young Violinist made acquaintance with Edmund Kean; and, but for the sudden demise of that rare but very rambling genius, would, in all probability, have been so fascinated by his society, as to have relinquished the steady pursuit of music. Soon after this event, however (in 1837), we find him residing at Norwich, as a Professor of the Violin, Piano, Guitar, and Singing, in which accomplishments he had the honour of instructing several families of distinction. He was also appointed Organist of one of the churches, and became the most eminent solo violinist of his own county, and its neighbourhood. The Rev. R. F. Elwin (for many years sole manager of the Norwich Festivals, and a great admirer of musical talent), was influential in placing the youthful Violinist at the head of the musical department in his native city. Anxious to emulate the best musicians of the capital, Charles Hall, much against the wish of his family, repaired to London, in 1840, and became a student at the Royal Academy of Music, in which establishment he availed himself of the valuable instruction of the best masters belonging to the institution. The late Mr. T. Cooke, when Musical Director of Drury Lane Theatre, induced Mr. Hall to accept an engagement there as Leader of the Ballets and Pantomimes, in which position he continued for the space of five years. In 1844, this enterprising artist wrote and delivered some entertaining Musical Lectures at the Holborn Literary Institution, under the title of “Poesy and Minstrelsy.” Mr. Balfe, the Composer and Musical Director of Her Majesty’s Theatre, being much pleased with Mr. Hall’s performance on the violin during the Jenny Lind Concerts, took great notice of him, and engaged him for five years at that large and fashionable establishment. In the first year of this engagement, Mr. Hall offered the “Swedish Nightingale” the sum of £1000 to sing at two Concerts in Norwich. That enchanting warbler accepted the offer—the Concerts were given, upon the most liberal scale—and our adventurous artist cleared nearly £800 by the speculation. The Lord Bishop of Norwich appropriated his palace to the use of the Queen of Song, and the whole city was a scene of excitement and rejoicing, during the lady’s sojourn. After recording Mr. Hall’s well-deserved profits on this occasion, it must be added, with regret, that a large musical speculation, in 1848, deprived him of the chief portion of what he had so acquired.