Art and Charity in Harmony: Lady Radnor’s Concert at St James’s Hall

A few days I posted about Charles Hubert Hastings Parry remarkable Lady Radnor’s Suite for string orchestra. It was premiered on the 29 June 1894, at London's St. James's Hall. The Daily Telegraph reported on the concert. It bears printing in full. That said, some of the critique would now be seen as patronising. What the listener must never forget is the impact that Lady Radnor Helen Matilda, Countess of Radnor had in promoting women’s orchestral performance in the late 19th century.

Lady Radnor’s concert at St James’s Hall, given for two charities, proved a genuine artistic success rather than an indulgence for amateurs. Her disciplined ensemble of ladies offered unusually fine unanimity, reflecting her firm, shaping influence. A distinguished audience, including royalty, heard a well‑chosen programme featuring Boyce, Handel, German, and the premiere of Parry’s new D‑minor Suite, played with striking precision. The chorus matched the orchestra in refinement, notably in works by Marchetti, Franck, Gounod, and Leslie. Mr Plunkett Greene and Countess Valda Gleichen contributed ably. Art and charity were happily united in a memorable evening.

St James Hall was built in 1858 and closed in 1905. It stood on the site of what is now the Piccadilly Hotel (now the Le Méridien Piccadilly) in Piccadilly Place.

A few contextual notes have been provided.

The Daily Telegraph critic wrote: When a delightful entertainment is given in support of two noble charities criticism finds itself an enviable position. For once there is no need to speak aught but the strict truth. Charity, it is well known, covers a multitude of sins, and the misdeeds of amateur musicians have a special faculty for getting themselves thus cloaked.

Lady Radnor, however, did not come forward at St James's hall last evening to claim indulgence for a crowd of incapables just because of their efforts were made in a good cause. On the other hand, she stood at the head of a group of ladies whose musical abilities have been welded by the industry and care of their accomplished conductor into a very harmonious and admirable whole. 

Only those who have grappled with the task of organising amateur orchestras and choirs know how difficult it is to secure in such cases anything approaching a fine ensemble. It speaks volumes then for the potency of Lady Radnor’s rule that the band of clever ladies who owe her allegiance should have attained so full a measure of that executive unanimity which is only met with in cases where the conductor is in reality a dominating influence and not merely a wielder of the baton.

Last evening brought with it a large and distinguished audience. If the body of the hall, however, bore a brilliant aspect so likewise did the orchestra which was entirely filled by the members of Lady Radnor's string band and chorus. No violent conflict of colours was to be noted in the costumes of these gracious musicians as they sat swaying their fans in preparation for the work of the occasion.

All were garbed in white, though shoulder-knots of pale pink and blue and sprays of roses lent the necessary touch of variety to the chromatic scheme. Royalty had announced its attention of listening to the evening's music and no long pause ensued before the coming of a group of exalted personages was duly signalled. Lady Radnor lifted her baton; the ladies of the orchestra rose with a flutter of white drapery and the National Anthem surged from the strings and organ as the Duke and Duchess of Saxe-Coburg [1] were conducted to their places by Lord Radnor.

A like welcome was accorded to the Princess of Wales, who, in company with the Princess Victoria and Maud, arrived almost immediately afterwards. [2]

Then was commenced a programme which, as we have already remarked, ran a delightful course from first to last. One or two disappointments had to be faced. For example, Mr Max Alvary, [3] detained at Drury Lane by a rehearsal of Tristan could not make his promised appearance while Miss Esther Palliser [4] was compelled by a newly caught cold to cancel two of her songs. But these untoward circumstances had no effect upon their attractiveness of the evening scheme. It was to listen to Lady Radnor 's band and chorus that the audience had come, and for once a professional element in the programme was regarded as of secondary importance. The instrumental pieces set down for performance had been happily chosen. It was really interesting to hear one of Dr Boyce’s Sonatas for two violins and bass [5] played by the whole body of strings. The addition of a viola part from the discrete pen of Dr Parry naturally enhanced the effect of the four movements, and, moreover, suggests that a similar judicious process might be adopted in the cases of other minor works, which would sound thinly to our modern ears in their original form.

We do not advocate latter day interference with masterpieces; but there is a large range of old music which might be made occasionally acceptable in this way without the act being deemed a sacrilege. Handel's graceful ‘Minuet’ from Berenice [6] was also given; while the dainty dance measures from Mr Edward German's music to Henry VIII [7] brought the concert to its close. But the most important work attacked during the evening was a new Suite for strings in D minor, composed by Dr Hubert Parry expressly for Lady Radnor and her gifted players.

This comprises six movements, all being designed on classical lines, though any extended elaboration has been intentionally avoided. It needs scarcely be said that Dr Parry has approached a task, that must have been mere child's play to him, in that spirit of musical scholarship which never deserts him. Brief and unambitious though it be, this Suite contains some delightful contrapuntal writing, and the true flavour of old-world music, without which an Allemande, a Sarabande, a Bourrée, and a Gigue would be unworthy of their names. The work was played with the firmness and precision quite remarkable, seeing that it came fresh to Lady Radnor's repertory; and Dr Parry, who finally came forward to acknowledge a ‘call’ did not hesitate publicly to congratulate the conductor under whom his movements had received such ample justice.

But if the instrumentalists covered themselves with honours so did the chorus follow their sister-artists’ example. Lady Radnor does not wrest content with securing broad forte and piano effects. She aims at real delicacy in the matter of tone-variety, and the nuances obtained by her chorus in an Ave Maria by Marchetti, [8] in two Petits Chœurs by Cesar Franck. [9] and in pieces by [Charles] Gounod and [Henry] Leslie were very welcome to the ear. [10]

Part singing, so tasteful and refined, drew its meed of applause as a matter of course. It only remains to note the excellent vocal assistance rendered by Mr Plunkett Green [11], who was heard in a long series of songs, and to complement the Countess Valda Gleichen [12], who gallantly stepped into the breach left by Miss Esther Palliser. The Society for the Prevention of Cruelty to Children and the ‘Clarence Ward’ of the Alexandra National Hospital at Woodhall-Spa [13] will certainly benefit largely by the evening's proceedings. At the same time, last night's audience will not easily forget the pleasures of a concert at which Art and Charity joined hands to such good purpose.

Daily Telegraph 30 June 1894, p.8

Notes

[1] Alfred, Duke of Saxe‑Coburg, and Gotha (r. 1893–1900), and his consort Maria Alexandrovna, daughter of Tsar Alexander II, occupied the ducal throne in 1894.

[2] Alexandra of Denmark was the Princess of Wales in 1894, widely admired for her public engagements. Her daughters Princess Victoria and Princess Maud, then in their mid‑twenties, frequently accompanied her at official events. Together, the three women formed one of the most visible and active royal groups in Britain during that period.

[3] Max Alvary, a celebrated German tenor of the Victorian era, was admired for his powerful voice, dramatic intensity, and acclaimed Wagner performances, becoming a favourite on British operatic stages.

[4] Miss Esther Palliser was a popular Victorian soprano, praised for her clear tone, expressive phrasing, and frequent appearances in British concert halls during the late nineteenth century.

[5] Dr William Boyce (1711-79) wrote Three Sonatas for two violins and bass. They were published around 1740. Seven years later, Boyce published Twelve Sonatas for two violins, cello, and harpsichord.

[6] Handel’s Berenice (1737) follows the Egyptian queen navigating political rivalry, threatened succession, and conflicted love, as competing factions struggle for power around her throne. The opera was not a success, but the Minuet, the slow section from the opera’s overture became an exceptionally popular standalone orchestral piece.

[7] Edward German’s (1862-1936) incidental music for Shakespeare’s Henry VIII (1892) evokes Tudor pageantry through graceful dances, noble, almost Elgarian, ceremonial themes, and a polished melodic charm.

[8] Filippo Marchetti (1831–1902) was an Italian opera composer best remembered for his 1869 opera Ruy Blas (based on Victor Hugo's play). Born in Bolognola he studied in Naples and became a prominent figure in 19th-century Italian opera between Verdi and the verismo movement of Puccini and Mascagni.

[9] César Franck’s Deux Petits Chœurs are brief liturgical miniatures: self‑contained sacred pieces for voices and organ, modest in scale yet tender in devotional character.

[10] Charles Gounod (1818-93) and Henry Leslie (1822–1905) exemplify contrasting yet complementary nineteenth‑century traditions: Gounod’s refined French lyricism shaped opera and sacred music, while Leslie’s English choral craft fostered amateur excellence through his celebrated choir and melodious part‑songs.

[11] Mr Plunkett Greene (1865-1936) was a distinguished early‑twentieth‑century baritone, admired for his eloquent phrasing, noble tone, and advocacy of English song. A favourite interpreter of Stanford and Parry, he championed many rising British composers.

[12] Countess Victoria “Valda” Gleichen (1868–1951), later Lady Valda Machell, was an accomplished British singer and grandniece of Queen Victoria. The daughter of Prince Victor of Hohenlohe-Langenburg, she performed frequently within elite British high-society musical circles.

[13] Built in 1890 in Queen Anne Revival style, the Alexandra Hospital at Woodhall Spa treated patients using the area's local mineral-rich bromo-iodine spa waters. Later serving under the NHS, it operated until 1983 and was eventually converted into residential apartments. In 1894 the new Clarence Ward was added.