——joy is in her glance! the wing
Of a white bird is seen above.’
It is, in homely prose, a carrier-pigeon, who, of course, brings her the wished-for billet; and this calls upon her for a song, ‘Welcome, sweet bird,’ which does no little credit to Mr. E. Shulz, the composer, who has here shown much taste and greet feeling, if not equal fertility of invention.
The party grows gay, and some of the elders of the company sing a Bacchanalian trio, ‘Up with the sparkling brimmer!’ which claims, it appears, Bohemia as its country, though the parent is not much honoured by this her progeny; any clime, or any pen, might have produced it.
A warrior now gives breath to a martial air, ‘March! nor heed those arms that hold thee;’ another of ‘Bohemian’ origin, but spirited and very well adapted to the words.
The assembly, however, having once tasted the ‘Zacynthian juice,’ loudly call for the cup again; then gratefully extol the source of their pleasures, in a rapturous eulogium on the tree that bears the wit-inspiring grape,—that is to say, in a trio, ‘’Tis the vine! ’tis the vine!’ in which the ladies join; we fear, therefore, that they, for want of something better, have pressed the sparkling chalice too often to their ruby lips, they chaunt the encomiastic strain so like true Bacchantes. This is by an anonymous composer, but the author need not have concealed his name, if fear of criticism alone led him to withhold it, for it is one of the best pieces in the volumes,—a pleasing air, good harmony, marked rhythm, the words are very appropriately set, and the accentuation perfect.
We have thus at very considerable length entered into this work, for the standing and reputation of the poet and his coadjutor entitle them to more than common notice. The poetical part, though a little obscure in its unfinished state, exhibits all Mr. Moore’s glowing fancy, but without the slightest approach to that warmth of language so characteristic of some of his works; and abounds in richness of imagery. The musical portion has had the benefit of Mr. Bishop’s talent and experience, which are fully displayed in the accompaniments to the songs, the taste and fitness of which admit of no question.
PIANO-FORTE.
- INTRODUCTION, GRANDES VARIATIONS, et POLONAISE BRILLANTE, sur la Sentinelle, composées par J. H. WORZISCHEK. Op. 6. (Wessel and Co.)
- AIR DE BALLET, tiré de l’opera La Tentation, et arrangée en Rondeau, par J. HERZ. (Mori and Lavenu.)
THE first of these is the tenth number of a work under the title of Album des Pianistes de première force, a publication which has often come under our notice, and is especially suited to amateurs who have very vacant minds and many vacant hours; and most powerfully co-operates with those who wish to render piano-forte music ridiculous and repulsive. The whole of this,—introduction, variations, and all,—consists of a collection of difficult, stupid passages, not one of them having the slightest pretence to novelty, or exhibiting the smallest trait of either taste or feeling. There is nothing here, from the first note to the last, that a dull, plodding, industrious key-thumper, armed with pen, ink and paper, might not have produced, and it contains no one bar that a musician—who really understands his art—who is a man of enlarged mind—would not blush to avow. We have often warned professional men of the danger of encouraging such music, whether by using it, or by applauding it when performed in public. Their recommendation and affected approbation of it can only be placed to the account of ignorance or quackery. Ignorance in those who have not understanding enough to discriminate between good and bad in their art;—quackery in such as wish their own agility of fingers to be inferred from their admiration of it in others. But our warning has not been taken: a fact which too many know, to their cost.