No. 8 shows a strong effort to produce new harmonic effects: the modulation in the very first two bars from C to A flat is rather sudden, and somewhat startling—e. g.
but anything is better than triteness. The air is free and agreeable, with an accompaniment in the guitar manner. We cannot, however, add that the words go quite smoothly and well to the melody.
The composer of No. 9 writes with much feeling, and his air is pleasing and appropriate, but he has injudiciously separated some of the words, and not very accurately accented others.
No. 10 certainly does not rise above mediocrity, either in music or words.
No. 11 is correct and graceful, rather than striking or new.