In passing through Huddersfield I met with my old friend Meredith, the bass singer from Liverpool, who introduced me to Sir George Armytage, from... whom I learnt that an oratorio was about to take place in the church, under his patronage and direction, and I was pressed by the baronet to join them. As I had not seen anything of this musical district, termed the Germany of England, I accepted the invitation and halted for the day. At the church Sir George gave me the choice of two fine Italian violoncellos, and I played out of the same book with him. The oratorio was the Messiah, and several of the songs were sung by clergymen, who thought it no discredit to appear in such a performance. The voices and instruments were composed of the manufacturers and weavers in the neighbourhood. Among the instruments was Dahman, a Dutchman, then on a visit to Sir George Armytage, who performed admirably upon the viol di Gamba.... Mr. Hurst, a son of a merchant residing in the neighbourhood, was an excellent performer on the violoncello. The choristers, though good musicians, exhibited very little taste in the pronunciation of their words. They were accurate in their time, and pretty firm in their tone, which in their estimation were the only essentials in music; and, perhaps, as regards chorus singing, these qualifications are of the first importance. With respect to their pronunciation there was much to excuse, as their language is barbarous and uncouth in the extreme... ...After the church performance we had a concert in the evening, in which the native talent of the district was exhibited; and here also the mechanical exactness with which they performed was much more apparent than their taste. It was then I first heard Pleyel’s quartett, with the German hymn; the variation for the bass was so new and striking that I was delighted with it, and also with the manner in which it was executed by young Mr. Hurst. Dahman played two solos upon the viol di Gamba, which had a sweet effect. I think his instrument had six strings, from which he drew the most delicate tones, more like the viol d'amour than the violoncello ; but its greatest excellence was shown in the arpeggios, for which it is especially adapted. << less