The Society of British Musicians gave the first of a
series of "Chamber Concerts," in the Hanover Square Rooms, on Monday evening. The au- dience was numerous, but, from the number of familiar faces we saw around us, it seemed of a professional rather than a public character. The Mini°, with the exception of a quintet of Mendelssohn, a pianoforte trio of Beet- hoven, and an opera air of Handel, consisted of pieces by members of the Society. There were, in particular, a stringed-instrument quartet by Mr. Potter, a pianoforte sonata by Mr. Walter Macfarren, and two songs by Mr. C.. Horsley. All these evinced talent for composition, but at the same time betrayed a want of originality and independence of style. Mr. Pot- ter's quartet was a pleasing amalgamation of the styles of Haydn and Mo- zart with traits of Beethoven. Mr. Macfarren's sonata was a bundle of reminiscences of Mendelssohn cleverly put together; and Mr. Horsley's songs were in the ultra German style of the day—meagre melodies set off by ingenious and brilliant accompaniments. The present German song- writers are like the ancient sculptor, who, not being able to make his Venus beautiful, made her rich.
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