Ballad Of Love's propitious Morning; written and adapted to a favourite African Melody; by William Ball. The Expectant, art thou not here Love, a Ballad; written and adapted to a favourite Portuguese Air; by Wm. Ball. O thou whose Vows are broken; written and adapted to a favourite Swedish Melody; by Wm. Ball. All by Chappell and Co. O where is the Minstrel with light flowing hair, Song; the Music composed by F. J. Close. London. Goulding, D'Almaine & Co. Ifthou couldst know what 'tis to Weep; Lines written by the late Mrs. Jordan during her late illness at Paris; the Music composed by F. J. Close. London. Goulding, D'Almaine and Co. When on the Lip the Sigh delays, Ballad; written and composed by Thomas Moore, Esq. London. Power. Ever since (and long before) the publication of Mr. Moore's national airs, the English public has manifested an eager curiosity for the vernacular melodies of other countries, and when we consider the exquisite beauties both of music and poetry there concentrated, like gnats in amber, we do not wonder at the search for such compositions, and the direction given to poetical talent toward their illustration. The three first songs upon our list are of this kind, and pretty enough they are. Mr. Klose's songs have more of the character of the canzonet in them, that is to say, they are not so simple either as to melody or accompaniment. The first is an agreeable song-the second certainly deserves notice on more accounts than one. That words of such deep feeling and such deep distress should be the last outpourings of the broken spirit of a woman so gifted, so caressed, so exalted, so fallen, and so miserable, affords the just but pitiable exposure of a life so elevated by talent, so depressed by misconduct. This is not only poetical, but moral justice. To say that the heart must ache at such a picture, conveys but a feeble notion of the feeling that all must and some ought to endure. It is a medicine that we should gladly see administered, not to pomp alone, but as a preventive to all who are liable to the fatal error of believing that vice can be sincere, or a false step venial, how ever high the titles the seducer may bear, or however palliated by circumstances the guilt may appear. We recommend this song not only to "the youth of both sexes," but to all "parents and guardians," as a composition of sensibility and truth. The poetry of Mr. Moore's ballad is written in his quaint and sly vein, and the melody is pleasing. It is the sort of thing that nobody else imagines or expresses half so well. The Garden of Roses. What is Prayer ? My Native Land, good night. All composed by John Barnett, and published by Mayhew and Co. Whilst the Moon, a Serenade in lhe Spanish style; the Music by John Barnett. London. Boosey and Co. We perceive that Mr. Barnett has felt the stimulus of his wellearned praise from us, and we doubt not, but his publishers have enjoyed a proportionate benefit, at which we most heartily rejoice. But we recommend this young and meritorious composer, exactly in the same temper, that we administered our commendation, to be careful of the fame he has acquired, and rather to produce one superior than a dozen mediocre compositions. We really think that there is a touch of genius in almost all that he writes, although it is sometimes obscured by its envelopements.— Such is the case with some of the songs before us. The first three are just and only just above the level of the ballads which swarm forth in the season, to catch the warmth of the genial sun. What is Prayer? has a larger portion of the refinement which we think we discern even in the lowest of this author's works, but it is not sufficiently simple-it is too much in the manner of a canzonet, though we admit it to be second only to the admirable adaptation of the same words by Mr. Horsley, amidst the various competitors who have taken the same ground. "My native land, good night," has a manly yet feeling expression, that will raise a correspondent emotion in the breasts of the hearers. But it is upon the last of the series, "Whilst the Moon," that Mr. Barnett was employed in the hour of inspiration. This piece is called a serenade in the Spanish style, and it is in fact a very ingenious and fanciful paraphrase of two passages of three notes each. Upon these the whole melody is framed, while the accompaniment is chords (very full) in quavers throughout. For the first few bars the hearer is struck only with the quaintness of the passages, but they grow upon the ear, seize the fancy, and settle into the pleasure which an unexpected, original, and imaginative production, not unmixed with sentiment, leaves upon the mind. The whole is certainly very like Spanish music, and the termination particularly so, and very elegant. Dearest Maid my Heart is thine; Duet, composed by J. Barnett. Oh take this Wreath; Duet, composed by John Barnett. London. Mayhew and Co. Shine out Stars; a Duet, by Thomas Moore, Esq. London. Power. All in the merry Whitsuntide; a Duet, by George Dance. London. Chappell and Co. Three Italian Notturnos; composed by D. Crivelli. London. Cramer, Addison, and Beale. Mr. Barnett's two duets are in the English dramatic manner, which is nearly the worst of all possible manners. "Dearest maid" is quite unworthy the author, and the second has but little to recommend it, though there are faint gleams of his power. Nothing is so much wanted perhaps as English duets, but not such as these the music-closet of the theatres can supply hundreds exactly like them, which every body has forgotten. Mr. Dance's is on the contrary in a very good old style, as simple as pure. To listen to it is like reading old Isaac Walton's descriptions, and what can fill the mind with sweeter, calmer thoughts? The only parts we dislike are the imitative ornaments towards the close-these are both common and out of place. It is a curious fact, that in nine cases out of ten the graces inserted by English composers are in bad taste. Mr. Moore's duet is an adaptation of Blangini-not, as it seems to us, with his usual felicity of choice. The notturnos are by Mr. Crivelli, the teacher of singing at the Royal Academy, whose elementary work we spoke of in our last number. They are not alla moderna, but sound, light, and simply constructed, easy of execution, and as effective as most of such graceful trifles. Grand Trio for three Flutes, by Tulou. Lavenu & Co. The Nightingale, consisting of twelve short Solos for the Flute, composed in the style of Improvisation, by J. N. Weiss. Lindsay and Co. A favourite Irish Melody, with an Introduction and Variations for the Flute, and an Accompaniment for the Piano Forte, by T.C. Weidner. Introduction and Waltz for the Flute and Piano Forte, composed by T. C. Weidner. T. Boosey and Co. Cease your funning, with Variations, as sung by Mrs. Salmon, composed by C. N. Bochsa, arranged for the Flute, with an Accompaniment for the Piano Forte, by W. Card. Lavenu & Co. Mr. Tulou's compositions we should have noticed in our last but for want of space. The Trio is particularly good-indeed very few compositions of the kind approach it; it is far from easy with regard to execution, and it requires delicacy of expression and great neatness in its performance. The Adagio is very beautiful-the Rondo elegant and lively. None of the parts lie very high, and they all afford good opportunity for producing a rich tone. The Fantasia is very original, partaking rather more of an executive than an expressive character, though it is by no means without the latter distinction. It contains good practice for the shake, and is on the whole a beautiful lesson. Mr. Weiss's Solos are of rather a singular character. We should suppose them to be intended more for practice than for amusement, and they are well adapted to this purpose. Nevertheless they are by no means devoid of attraction, and contain sufficient to entice the learner who begins them for practice, to continue them for pleasure. Mr. Weidner's Variations are clever, and far from ordinary. His lessons are both of a very agreeable character, and contain sufficient difficulty to incite the scholar to overcome them, without enough to weary his perseverance. Mr. Card's Arrangement does him great credit, both with regard to contrivance and idea; for we must consider the variations as much more fitted to instrumental than vocal effects. Mr. Kohler's may be safely recommended for its ease, simplicity, and taste. Hymn, Mournful Queen, dethroned Zion. Air, "A two-fold care disturbs this heart;" composed by Pio Cianchettini. London. Willis and Co. Canzonet, "Dear is the blush ;" composed by F. W. Horncastle. London (for the Author) by Birchall and Co. &c. &c. The first two airs are from a piece called "The Hebrew Family," which was damned last season at Covent Garden on the first night of representation. The music was written by several hands, and it appears that Mr. Cianchettini has determined, as respects his portion, "to print and shame the rogues." He is a well-educated musician, and his genius, both at its early and more mature stages, has been acknowledged. It is therefore much to be regretted that he should have been induced to mingle his reputation with that of others in a common adventure. The hymn is a solemn and rather affecting melody, with what we suppose would be called a brilliant harp accompaniment. The air is quite worthy Mr. Sinclair and VOL. VII. NO. XXVII.-SEPT. 1825. 2 F |