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dence, though so characteristic of the composer and of his age, have given offence to Mr. Gardiner.

3

Also the Holy Holy Ghost the Com

fort

- er.

He, therefore, favours us with it, alla moderna, as follows:

Also the Holy

Holy Ghost the Com - for - ter.

Enough of this: indeed, without any disrespect to our editor, we may say, that his present volume would not have occupied our attention more than those did which formerly came under our review, had it been of the same description. In them, though we often differed much with him in taste, we considered him to be harmlessly employed, when he was adapting music from quartetts, concertos, sonatas, &c. to poetry, a great proportion of which was not of a quality to be injured by such an association; but in the volume before us he has taken a higher flight, and we consider his failure to be equal to his presumption.

In whatever way he may amuse himself hereafter, let us advise him to refrain from the works of our old masters, which his studies have not fitted him to undertake. Or, if he must needs meddle with them, let him present them to the public in a more convenient form, than he has now done; and above all, let him attempt no improvements, nor insert his own compositions, where they will be so sadly out of place.

Afton Water, composed and arranged by W. Watson. London.

Gow and Son.

The Kiss that she left on my lip, composed by Charles E. Horn.
The Banks of Broomsgrove, by J.Barnett.

I see in that face, composed by Sir J. Stevenson.

Love in idleness, the Music by Henry R. Bishop.

We two each other's only pride, the Music by Henry R. Bishop. Oh call it by some better name, written and composed by Thomas Moore, Esq. All by Power.

Oh never may I feel again, the Music by F. Steers. London. Cocks and Co.

More ballads. The first, if it had not been stated to be composed by W. Watson, we should have sworn was stolen almost note for note from "The last rose of summer." How people are apt to be deceived!

Mr. Horn's ballad is pretty, and very like those Mr. James Hook used to make many years ago for Vauxhall Gardens.

Mr. Barnett has not been as successful as usual-indeed we know not what to make of some of his accents, which he obviously intends should express something out of the ordinary course.

Sir John Stevenson's is also pretty, but common place. Mr. Bishop's any thing but common place. Yet we cannot say they please us like most of his late canzonets.

"Oh call it by a better name," is a ballad written in, but not up to Mr. Moore's customary style. The words however are touched with the true flame.

The last on the list is written for a barytone, and is the best of the collection, being tolerably original and in good taste.

Sighs that speak of Love; the Music by John Ponder. London. Clementi, Collard, and Co.

The Sun on the Lake shines serene; composed by John Davy. London. Chappell and Co.

Ah did I swear to love thee not; composed by W. West. London. W. Evans.

Long Summers have smiled; the Music by G. Alex. D. Roche. London. Clementi, Collard, and Co.

The Wild Hyacinth, a Song; composed by J. Forbes Walmisley. London. Chappell and Co.

The first three of these ballads are in that manner which, however common, must still retain a claim on the score of melody and glittering structure in the accompaniment, which will please the ear of the many. Mr. West's is one of the best specimens of this class of composition that we can call to mind. Mr. Roche's is in a better style.

Mr. Walmisley has very properly called his a song, for there is a masculine and sound taste in its construction which elevates it far above the dandyism of most modern ballads. There is mind and manly feeling in every note of it. We relish the transition to the minor, which savours of the ancient "song." Yet there is elegance combined with strength, both in the melody and accompaniment.

O Erin, the Land of the Fair and the Bold; the words by W. F. Collard, the Music by J. C. Clifton.

Fill your Glasses, fill them high, a Bacchanalian Song; the Melody

and Words by W. F. Collard; Accompaniment by J. C. Clifton. Like a Vision, a Song, with Guitar and Piano Forte Accompaniment, Words, and Air, by W, F. Collard. Rosalie, a Canzonet, composed by J. G. Graef; the Words by W. F. Collard. London. Clementi, Collard, and Collard.

The public is indebted for a considerable number of songs to the active mind of Mr. William Collard, who is not less distin

guished by his acute mind than by his various attainments. It is honourable to commerce that persons so deeply engaged in extensive concerns should solace their own leisure and amuse the world by literary recreations.

Mr. Clifton's song, written upon the subject of Ireland, has a national character in its melody, which forms its chief recommendation. The second is such a composition as we have not been of late accustomed to meet with. It is bold, manly, and full of the esprit du vin, which used to be found in such fine old songs as "Rail no more ye learned asses," and "My temples with clusters of grapes I'll entwine," the most elegant drinking song by the way that ever was written.

"Like a Vision" is full of feeling and very elegant, and Mr. Graef's, with a great deal of pretension, conveys a sufficient share of excellence.

No. 1. "Mi vedrai nel ciglio ancora," Cavatina, Nell' Opera "Il Somnabulo;" del Sig. Carafa.

No. 2. "Parmi tra fronda e fronda, Recitativo ed Aria, Nell' Opera "Elena e Malvina; del Sig. Soliva.

No. 3. La mia pace a te si affida," Recitativo ed Aria, Nell' Opera" Isabella ed Enrico; del Sig. Pacini.

No.4. "Egilda o Suciampo," Terzetto, Nell' Opera " Egilda di Provenza," del Sig. Pavesi.

No. 5. Cavatina "Non so qual forza ignota," Nell Opera “Il Temistocle; del Sig. Pacini.

All by Grua, London.

The above pieces are all from operas entirely unknown in England. No. 1 is a very ingenious and effective cavatina, apparently for a contralto voice, and displays a very skilful knowledge of accompaniment. The first movement, previous to the recitative, is formed upon a moving bass in triplets. The recitative, which is simple and expressive, is followed by an andantino in Eb, savouring a little of the Rossinian manner, but ably accompanied. The last movement (allegretto) is not so effective as the former,

but concludes well in the dashing style of most operatic cavatinas. In the hands of an able and feeling singer this piece of Carafa's would be both pleasing and productive of variety.

No. 2 is from the pen of a young composer, about whom we have hitherto heard very little, but it appears he has written several operas, which have been well received on the Continent. The style of this aria is a mixture of Paisiello and Rossini, but is rather pleasing, especially the andante " Ah forse fra queste.”

No. 3 is one of the best pieces we have seen of the composer's, and we like it the better, because we perceive a recurrence to a style so strongly desirable at this period of distracted and extravagant principles of vocal writing. Mozart has been consulted in an andante, "La mia pace," the subject of which is in fact "Ah perdona," but it is delightful to see such reminiscences. After a few bars it passes on to a more florid style. A chorus then breaks in "Alla marcia," which we doubt not is effective, but these things lose their effect off the stage. "Della vittoria" is a spirited motivo, as it occurs between each reiteration of the chorus, but "something too much" of the old and ever satiating conclusion "al Italiano" drives (or is enough to drive) every sober hearer out of his seven senses. We had almost forgotten to say that this piece is for a tenor voice.

No. 4 is a terzetto, the second movement of which is a kind of canone. If the subject and treatment of it were not decidedly Rossini's, we should be inclined to be pleased with it. When will the time come that these composers shall dare to write a few notes of their own?

No. 5, "Non so qual forza ignota," shews more of Mr. Pacini's remembrances of a sound and beautiful style. It consists of but two movements, an andante and allegretto.-The first of these, with a preceding symphony, in which the violoncello apparently is to begin a sweet cantabile passage, which is afterwards taken by the voice and well sustained through three pages, shews a musician of feeling and judgment. The allegretto too, although more florid, is still in the same expressive manner. We sincerely wish this writer could prevail upon some of his brethren on that side of the water to join with him in keeping alive this "vestal fire," this true musical feeling, which attracts the hearts and not the wonder of the hearers.

VOL. VII. NO. XXVIII.-DEC. 1825.

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