Six songs by Erskine Allon to words by Sir Thomas Wyatt, who died in 1542.—All that Mr. Allon writes is interesting. In these songs the accompaniments are as full of charm as the melodies are of quaint character and grace.
C. King.
Shakesperian Sketches, for Pianoforte, by Frank Adlam.—Clever illustrations of passages and scenes in Shakespeare’s plays.
Boosey and Co.
The Choralist: 269, “Waiting for the Spring.” 270, “A Winter Serenade.”—Two capital four-part songs by J. S. Mitchell.—267, “Come, Lassies and Lads.”—A masterly arrangement in four parts of the good old seventeenth-century ditty.
Cavendish Music Books.—In No. 101 we have a selection of American pieces. To those who wish to know what our cousins on the other side of the Atlantic are doing in musical composition, we advise a perusal of this selection. It proves that, at any rate in this kind of art work, we are more “go-ahead” than they are.
The Sweet old River. Song by Sydney Smith.—A smoothly written song, published in C and E flat.
Dreams. Song by Cecile S. Hartog.—Miss Hartog’s compositions are exceptionally good, and far above the average ballad.
The Wide, Wide Sea.—One of the best songs that Stephen Adams has written. Compass, B flat to E flat, or C to F.
In the Chimney Corner. By F. H. Cowen.—A song of the Behrend type, but higher in conception, and rather more hopeful in tone.