The Psalm tunes are much like other compositions of the kind; they show no extraordinary exertion. The base accompaniment of a 5th in the last bar of the second is not altogether judicious; the 3rd in such a case is far preferable. We need hardly mention the omission of a D in the accompaniment, a few bars before, because it is most likely the fault of the engraver. The note is in the tenor, and doubtless was meant to appear in the organ part.
The Chants cannot boast of more new features than the Psalms; but, as a matter of taste, would not the C in the ninth bar of the first have been improved by a sharp? It now stands thus:—
The modulation is into D minor, and surely C would have sounded better had it been sharpened.
The rounds are not entitled to much notice; and that the canon is flat and unprofitable, only proves that the composer has, fortunately for himself, no talent for dulness.
The Melodies, No. 4, display a goodly disposition both for air and graceful expression, but also show a great want of the creative power, and of experience. We recommend Mr. Wallis to go on writing for a while, but to destroy as fast as he writes. Practice may do much for him. If, too, the poet who is joined in this publication were to employ his thoughts more, and his pen less, for some time to come, he might, perhaps, produce something rather superior to the verses to which he here gives his name.
PIANO-FORTE.
- INTRODUCTION et GRAND RONDEAU BRILLANT, (en A) composés par J. N. HUMMEL, Op. 56. (Wessel and Co.)
- RONDOLETTO BRILLANTE, composto da F. SCHOBERLECHNER. Op. 36. (Chappell.)