VOCAL.

  1. DUET, ‘Now like a Monarch,’ composed by A. DE BEAUPLAN. (Chappell.)
  2. BALLAD, ‘The Kiss on the Lips we love,’ the Words by J. IMLAH, Esq., the Melody by Mrs. P. MILLARD. (Norwich, Woodward.)
  3. Mignon’s Song, or ‘A foreign Sky above,’ by the Author of MUSICAL ILLUSTRATIONS OF THE WAVERLEY NOVELS. (Novello.)
  4. The Sea Rover, the Poetry by J. S. FOSTER, Esq., the Music by the CHEVALIER SIGISMUND NEUKOMM.
  5. A Parting Song, the Poetry by Mrs. HEMANS, the Music by the CHEV. NEUKOMM. (Cramer and Co.)
  6. SONG, ‘So we’ll go no more a roving,’ written by LORD BYRON, composed by JOHN LODGE, Esq. (Chappell.)
  7. CHANSONNETTE, ‘Were a Wizard to say unto me,’ written and composed by J. AUGUSTINE WADE, Esq. (Chappell.)
  8. AIR, ‘I will think of thee,’ composed by HENRY R. BISHOP. (Chappell.)
  9. BALLAD, ‘She grew on Earth a summer Flower,’ composed by JOHN DANIEL. (Edinburgh, Wood and Co.)
  10. BALLAD, ‘He came to her with gentle Words,’ written by Miss RENNIE, composed by T. S. RAY. (Goulding and Co.)
  11. BALLAD, ‘My Rose,’ the Poetry by Mrs. CHARLES GREVILLE, composed by BIANCHI TAYLOR. (Collard and Co.)
  12. SONG, ‘I met him in the lonely Dell,’ written by G. VANDERHOFF, Esq., composed by B. HIME. (Collard and Co.)

The Duet, No. 1, possesses just that kind of silly prettiness which probably will sell it.

No. 2 is a very pleasing, easy melody, well accompanied.

No. 3 exhibits all the independence, the originality, and feeling, which are so conspicuous in this Lady’s ‘Illustrations.’ The words are Goethe’s, but we conjecture that the composer intends them to apply to the expatriated Poles, whose miseries have excited her strongest sympathy. There is all the enthusiasm of genius in this, but no want of method. We do not, however, see why the whole should not have been written in three-crotchet time.

No. 4 is a very spirited air, with a well-judged accompaniment, but it will inevitably be compared with the author’s ‘Sea,’ and thereby suffer, for the task would be no easy one to produce any thing at all equal to that brilliant composition. Let the present be judged by its own merits, and it will be generally approved. It is short, not difficult to sing, and suited to a tenor or a soprano voice.

No. 5 is, in fact, a ballad of four stanzas, the melody short, but repeated. It is gentle and elegant, rather à la Haydn, and would be easy, but for a double sharp or two, at which singers who accompany themselves are apt to start. Let us, however, recommend them not to be dismayed; the song is full of feeling, and will repay their trouble.

No. 6 is a very sweet melody, in the rondeau style, with an agreeable Scottish tinge, and accompanied in a lighter manner than is usual with Mr. Lodge; though there are glimpses of harmony here and them that show his inclination, which, however, he has not indulged to any great extent, but has afforded every possible facility to both singer and accompanist.

The words of No. 7 ought to sell the song. The reasons why a young maiden should not agree to be metamorphosed into a star, a flower, or a fish, are quite cogent and reasonable. The air is light, as it should be, and very simple.

No. 8 shows a strong effort to produce new harmonic effects: the modulation in the very first two bars from C to A flat is rather sudden, and somewhat startling—e. g.

[ LISTEN]

but anything is better than triteness. The air is free and agreeable, with an accompaniment in the guitar manner. We cannot, however, add that the words go quite smoothly and well to the melody.

The composer of No. 9 writes with much feeling, and his air is pleasing and appropriate, but he has injudiciously separated some of the words, and not very accurately accented others.

No. 10 certainly does not rise above mediocrity, either in music or words.

No. 11 is correct and graceful, rather than striking or new.

On No. 12 we really can bestow no praise, however qualified; the words and music are nearly on a par with the lithographed vignette, but of the three, the music is least obnoxious to criticism.