- DUET, ‘Ah! why, too lovely Bayadères?’
- NOTTURNO, two voices, ‘O happy Banks of Ganges!’
- AIR, ‘Charming Bayadère.’
- BALLAD, ‘Beats there a heart on earth sincere?’
- AIR, ‘Ne’er is the Cottager’s door.’
No. 1 (‘Comment, aimables Bayadères’) possesses one great charm, that of originality, and of a pleasing kind too, though we cannot add that the words are set in a manner corresponding with the sentiment or the scene. The second movement of this is an air that must soon become popular.
No. 2 (‘O bords heureux du Gange’) is exceedingly light, pretty, and novel: there are too many words for the notes, in both languages, and, as in the former case, the sound does not agree with the sentiment. Love is tender, not sportive: there is in this passion nothing of a comic kind to plead an apology for music of so very playful a description.
In No. 3 (‘Sois ma Bayadère’) the composer partly imitates himself, and partly Rossini. There is nothing worth a remark in this.
Nothing can be more common than No. 4; not a phrase, not a cadence, but what has been worn to tatters years and years past. We should have guessed this to be an English air, did not the title-page inform us otherwise.
No. 5 is a failure in English, whatever it may be in the original language. We have rarely met with words, both in signification and accent, so ill adapted to the music as are the present.