1. CHEERFUL GLEE, Old May Morning, for four voices; the Words by CHARLES COWDEN CLARKE; the Music by VINCENT NOVELLO. (J. A. Novella.)
  2. CHEERFUL GLEE, ‘Sweet Mirth,’ for three voices, composed by WILLIAM SHORE. (J. A. Novello.)
  3. GLEE, ‘Had we never met,’ for four voices; the Poetry by BURNS; composed byW. SHORE. (J. A. Novello.)

The two first of these glees obtained the prizes given by the gentlemen of the Manchester Glee Club; Mr. Novello’s was successful last year, and Mr. Shore’s the year preceding.

Mr. Novello’s glee, in A, six quavers in a bar, for four equal, or men’s voices, is in one movement, though the time is rather slackened at page 7, but intended, we presume, to be recovered after the pause, in which case the want of proper notice is an omission that may mislead. This is a composition which will gain the applause of the connoisseur as well as the mere admirer of vocal harmony; the words are set with great propriety, there is no want of pleasing melody, and the technical part is evidence of the author’s ability. The length of the glee, however, excites a wish for a little more modulation: by the frequent repetition of the subject, good as it is in the same key, the ear begins to grow rather impatient, and desires some decided change for the sake of that variety which in a long piece is so needful. But then comes in a holding base, operating like a charm, and a passage (page 9) where the lowest voice imitates the first tenor, introducing some of those syncopated notes so delightful to people of cultivated taste, reconciling us to what had begun to excite some slight degree of mental murmur. Mr. Novello has not spared the countertenor, who frequently is called upon to hold a C sharp, and the other parts demand from the performers more effort than glee-singers in general like to exert. The chances are that many of them will complain that this does not ‘sing well;’ but it is high time to rouse them; drowsy glees which have no merit except that of being ‘well written,’—for such is the phrase under which much dulness is attempted to be concealed,—will not much longer be listened to with that forbearance which has too often been extended to them.

Mr. Shore’s glee in D is for three equal voices, and in three movements, the first and last quick, the second rather slower. When we have said that this is not an unpleasing composition, and that it makes no pretence, we have bestowed as much praise on it as is at all allowable. It certainly has not the smallest claim to originality, either in design or execution, and must have been very fortunate in the kind of competitors it had to contend against.

No. 3 is a clear and pleasing melody, agreeably harmonized for soprano, alto, tenor, and bass, and the exceedingly touching words of Burns are set with taste and feeling.

  1. SCENA E ROMANZA, in the operetta of Amore e Psiche, the Poetry by S. E. PETRONJ, Esq., composed by G. LIVERATI. (Lonsdale and Mills.)
  2. RECIT. E DUETTO, do. do. do.
  3. THREE ITALIAN NOTTURNOS, composed by D. CRIVELLI, the words by Sig. CARAVITA. (Cramer and Co.)
  4. ARIETTA, ‘Calma ti pria ch’io parta,’ composed and published as the preceding.
  5. CAVATINA, ‘Gentil vaga Violetta,’ nell’ opera La Violetta, del Sig. M. CARAFA. (Chappell.)
  6. CANZONET, ‘Va! lusingando Amore,’ composed by JOHN BARNETT. (Chappell.)

No. 1 is an accompanied recitative, with a long harp introduction. The romance which follows, in G minor,—a happy mixture of the Italian and German styles,—is full of passion and melodious effect.