VOCAL.
‘Tantum ergo,’ a SOPRANO SOLO, with chorus, and violin, or flute, obligato, composed by C. GUYNEMER. (J. A. Novello.)
THIS is more to be praised for smoothness of melody, and elegance in style, than for invention; we meet with nothing in it that can be called new, but, at the same time, nothing but what is rather agreeable. The air is in two movements, the first slow in three-four time, the last quicker, in common time. We prefer the former. The chorus, with a principal soprano added, to which a few florid passages are given, is simple, therefore—according to our notion of choral church music—appropriate; but it is also graceful. The flute accompaniment (by Mr. Nicholson) is good, as such, but not of that grave character which the words so imperatively demand.
- TERZETTO, ‘Soccorso, sostegno,’ for soprano, contr’alto, and basso, composed by JOHN LODGE, Esq. (Lonsdale and Mills.)
- GLEE, ‘The Butterfly,’ for four voices, the words by S. ROGERS [Esq.] the music by JAMES BATTYE. (Goulding and D’Almaine.)
- DUET, ‘Wandering Zephyr,’ (the words from the Spanish, by Mrs. Lawrence,) composed by JOHN LODGE, Esq. (Lonsdale and Mills.)
- DUET, ‘We must part, love!’ written by W. BALL, the melody by MOZART, with symphonies, &c. by WILLIAM FORDE. (Cocks and Co.)
No. 1 begins with a single voice, the contr’alto following, on the same subject a fourth below; but the most pleasing part of this is where the three voices come together. The whole is quite in the Italian style,—the best, though; and not unworthy the acceptance of the talented and lovely young dilettante to whom it is dedicated,—the Hon. Mary Anne Jervis.
No. 2 is not a glee, we beg to hint to the composer: having an accompaniment, and a free one too, it should have been called a quartet. The name, however, may not much signify; but as Mr. Brown is better known by that appellation than if he were called Mr. White, so the term quartet more correctly explains the nature of the present composition than that now bestowed on it. But whatever the name of this, it will not give one to its author: he must not build his hopes of immortality on The Butterfly.
No. 3 is simple, easy in every respect, and exactly calculated to please those who either do not understand or have no taste for elaborately written music. In whatever Mr. Lodge publishes, however unpretending, a trait of originality is always to be found, and this duettino is no exception to the rule.