VOCAL.

  1. BALLAD, ‘The kiss on the lips we love,’ the Words by JOHN IMLAH, Esq., the Melody composed by Mrs. P. MILLARD, the Accompaniment by ALFRED PETTET. (Woodward, Norwich.)
  2. HYMN of the Polish Exiles, composed by the Author of Musical Illustrations of the Waverley Novels; the Words from The Charmed Sea, a Tale by HARRIET MARTINEAU. (Novello, and Charles Fox.)
  3. AIR, ‘I’ll meet thee on the mountain,’ written by Miss S. WOLLASTON, composed by Miss WOLLASTON (Goulding and D’Almaine.)
  4. The Red Rover’s Song, the Words by EDWARD SMITH, Esq., composed by the Chevalier SIGISMUND NEUKOMM. (Goulding and Co.)
  5. Love’s Review, the Poetry by W. B. BERNARD, Esq., composed by JOHN BARNETT. (Collard and Collard.)
  6. BALLAD, ‘Lady Love,’ the Poetry by W. F. COLLARD, the Music by ALEXANDER LEE. (Collard and Collard.)
  7. BALLAD, ‘My harp of happier days,’ written by CHARLES JEFFREYS, composed by S. NELSON. (Chappell.)
  8. BALLAD, ‘My love he gave me roses,’ written by the Honourable GRANTLEY BERKELEY, the Music composed by ALEXANDER D. ROCHE. (Aldridge)
  9. CAVATINA, ‘The Flowers,’ the Poetry by Mrs. CHARLES GREVILLE; composed by BIANCHI TAYLOR. (Collard and Collard.)
  10. SERENADE, ‘Oh! come to the bower,’ written by G. MACFARREN, Esq.; composed by G. A. MACFARREN. (Aldridge.)

No. 1 is an agreeable air, the marked rhythm of which makes it at once understood. The sixth bar of the symphony would be better and more correct if the 3rd, 4th, 5th, and 6th notes in the treble were altered to G, B, A, and F.

No. 2 expresses in verse and song the deep sympathy of two highly talented ladies for the brutally oppressed, expatriated Poles. This is a short composition in C minor, air and chorus, which speaks as strongly in favour of the good feeling as of the taste and knowledge of the fair composer.

No. 3 is a series of examples of the most erroneous accentuation, and as such may be recommended as beacons, to all students in composition.

When it is stated that No. 4 is an animated composition—we are sure that the composer must always be correct—as much is said of it as impartial criticism will permit. We do not trace in it any marks of that genius which appear in so many of M. Neükomm’s works.

No. 5 is a lively air, à la militaire, but doubtless owes much of the rapturous applause,—of which the title-page, vulgarly enough, boasts,—to the exertion and popularity of Madame Vestris. The words, however, are set with spirit, and correctly.

There is much gentleness and grace in No. 6, and the words are, in all respects, appropriately and correctly set. The whole, too, is easy.

Nos. 7 and 8 are wholly exempt from censure, though not entitled to any praise, except that of correctness.

No. 9 is a clever composition, full of melody and good passages,—one more especially, beginning at the fifth bar of the second page, which indicates the real musician. The composer also has read and understood the poetry, both as regards its meaning and measure.

No. 10 displays no inconsiderable talent. The guitar-like accompaniment is not only in good keeping—exactly what a serenade requires—but shows a taste and command in harmony. This is altogether a pleasing, easy vocal piece.

  1. ARIETTA, ‘Praticel di fiori adorno,’ composta dal Mo. MICHELE COSTA. (Mori and Lavenu.)
  2. ARIA, ‘Dolce Calma, oh! Dio!’ introduced by Sig. Tamburini in PAER’s Agnese, composed and published as the preceding.
  3. ARIETTA, ‘Donzellette che presto volate,’ composed and published as the preceding.

No. 1 is a very sweet air, and not devoid of original passages. It is moderate in compass, and easy both to sing and accompany.

Nos. 2 and 3 are not equal to the preceding, but written in good taste.