, for four equal voices, gained the premium—(a Prize implies a medal, or cup; a far more gentlemanlike reward, by-the bye,)—given by a club at Manchester, and is a very impressive composition, the words set with judgment and feeling, and full of good, rich harmony. Being long, a more frequent and decided change of key would have increased the effect of this; though as it is in four different movements, the sameness which otherwise would have been felt, is much concealed. The melody at the words ‘where shower and singing-bird,’ is very charming; and the whole of pages 4 and 5, where the author modulates first into A
, then into D
, is set in a masterly, affecting manner.
The second, ‘Up! quit thy bower!’ a cheerful glee in F, for two sopranos, tenor, and base, is lively and pleasing: the frequent use here of the diminished 7th is rather a novelty in a glee, and tends to a good purpose. The whole of this is full of agreeable melody, which is particularly striking at page 15, where the annexed passage occurs,—a successful departure from the usual habits of glee-writers:—
The third, ‘No more the morn with tepid rays,’ in D, for four equal voices,—the words, Dr. Johnson’s Ode to Winter,—is in several movements, but the key is not so various, and the whole, though set with a due regard to the Poet’s sentiments, is rather monotonous and heavy. The following passage contains some clashing notes, though we allow that many of them are passing notes.—