ON Tuesday last [15 November 1892] M. de Pachmann gave his second pianoforte recital at St. James's Hall, which was attended by a large audience. His program included ten selections, of which six were compositions by Chopin. In place of the "Marche Funèbre," which had been announced, one of Chopin's Nocturnes was selected, and was excellently played, despite the annoyance evidently inflicted on the performer by what has been described as a "maddening obbligato," performed on a very noisy muffin-bell. The "Ballade in G minor, op. 23," was admirably performed. So also was the "Impromptu in A flat, op. 29," but M. de Pachmann took it upon himself to improve Chopin's work by interpolating several passages of his own invention, and coolly told the audience that they must excuse him for introducing some alterations "in such innocent passages"! The "Étude," op. 10, No. 5, "Mazurka," op. 24, No. 2, and the "Valse," op. 64, No. 1, were skillfully and sympathetically played. Beethoven's "Sonata in C sharp minor, op. 27," was not so satisfactorily played. Beethoven's express directions that the first movement should be played "Senza Sordini" (without using the soft pedal) was coolly disregarded, and the soft pedal was freely used—or abused. If we remember rightly, before M. de Pachmann made his lengthy visit to America he was not in the habit of disregarding the directions expressly given by great musicians, and the sooner he resolves to respect them the better it will be for his reputation. [The reviewer was clearly unaware that the term "Senza Sordini", when used with respect to the piano, means "without dampers", thus with the damper (right or "loud") pedal depressed.] Mendelssohn's "Prelude and Fugue, op. 35, No. 5," and Weber's "Rondo presto," from his Sonata, No. 3, were fairly well played, and the same may be said of Schumann's "Carnaval," op. 9, with which the recital ended.