No. 3 is a spirited melodious song, not a ‘ballad,’ as the authoress calls it, for it consists of three movements. The second of these, in A flat, the former ending in G, is much too sudden a transition from a key so entirely irrelative. There are two or three slight oversights in this, which may easily be corrected: and the title of the song at first view is not a little ambiguous. We really read ‘Sally’ as a prænomen, as a Christian name. Would not sortie answer the purpose?
There is much sweetness and grace in No. 4, and the words are most correctly set. It is remarkably easy, and, except a single A above the staff, is within the compass of almost every female voice.
No. 5 is pleasing and elegant, though it does not lead us to suppose that the noble composer has made much effort in search of new effects. The Baron, however, has set the words—a mild anacreontic—with a correctness that many an English composer may take pattern from.
No. 6, written for two young ladies well known in the fashionable circles for their charming manner of singing, is one of those compositions which never fail to please in the drawing-room, for which the author has exclusively calculated his duet. It runs much in smoothly-flowing thirds and sixths, but Mr. Lodge’s natural tendency to something beyond these, occasionally peeps out, with good effect, though without calling on the performers for any additional exertion.
No. 7 sings very agreeably of the most valuable quality to be found among the petites morales, good-nature. There is an ease and suavity in his ballad that well agree with the theme his muse has furnished.
- BALLAD, ‘Pretty Love-birds,’ in The Yeoman’s Daughter, the words by Mr. SERLE, composed by J. AGUSTINE WADE, Esq. (Hawes.)
- BALLAD, ‘Is Love a thing of Joy?’ in the same, composed by W. HAWES. (Hawes.)