Before departing, like most successful musicians, to America, these excellent pianists announce two concerts, the first of which took place in St. James's-hall yesterday afternoon, when both players appeared. The first duet was Schumann's andante with variations for two pianofortes, delightfully played, though exception might be taken to the comparatively slow pace adopted—no doubt with the intention of attaining clear articulation—for the sixth variation, marked "animato" by the composer. The four-hand arrangement of Beethoven's fugue in D, op. 137, written for string quartet, is not very well fitted for concert performance, although it should be welcome in any form, since it is most rarely played in its original shape. This was followed by a version for two pianofortes of Henselt's romance in B flat minor, and the famous étude, "Si oiseau j'étais". Encored in this piece, the artists played it again, but, for some reason unexplained, in its original form, simultaneously, or, as it is somewhat improperly called, in unison. M. Saint-Saën's Scherzos op. 87, for two pianofortes, made a brilliant close to the concert. Madame de Pachmann had the principal share of the solo music, as was only right, considering that at the next concert her husband appears alone in a programme selected exclusively from the works of Chopin, in which few living pianists can rival him. The selection of Schubert's lovely sonata in G and Mendelssohn's "Variations Serieuses" shows that Madame de Pachmann aims at the highest class of pianoforte playing—namely, the intellectual as opposed to the brilliant: and that she is justified in doing so will be evident to all who have watched the rapid improvement in her style. Both were played with remarkable refinement and repose, as well as great clearness and precision. Two pieces by Chopin and a vulgar "Galop Boulbakow" by Liszt completed the number of the lady's solos. M. de Pachmann's principal solo was the fantasia in F sharp minor dedicated by Mendelssohn to Moscheles: the opening andante was played with exquisite taste, and the whole performance would have been on the same level but for a slight failure of memory in the last movement, for which the player may well be excused. He failed to impart to Schumann's "romance" in D minor as much passion as some players have given it, but in the two pieces by Chopin he was, of course, at his best.