Drives the dull sorrow, and inspires new arts.
Whom hath not an inspiring bumper taught
A flow of words, and loftiness of thought.
Where shall the lover rest, the song of I. Eustane, from Scott’s Marmion, has been set to music by three different composers—but that of sir John Stephenson is preferred far before the others—the melody being tasteful and elegant—the words judiciously distributed, and the passages well adapted to the different voices allotted to perform them. The accompaniment is ingenious and expressive, and the symphonies tasteful and much in the style of Moore.
A duet composed by V. Rauzzini, and sung at the Bath concerts by Mrs. Billington and Signora Cimador, has deservedly received the greatest approbation. It is called “Care luci inamorati”—the style is truly Italian; being simple, natural, and of course pleasing.
Sweet Ellen, Sorrows Child, a ballad set to music by Rauzzini also, is spoken of with great applause. The ballad itself is censured as being too long, it consisting of four verses, which produces a slight monotony, notwithstanding that the composer has displayed vast ingenuity in varying the accompaniment to each verse. The most beautiful melody is generally found to become tiresome after a third repetition. The present is sweetly plaintive and well adapted to the words.