It appears from the Preface to this volume, that two composers were severally invited by Mr. Lunn to set his poetry to music, but that one, after requiring many months to consider the subject, declined; and the other was bound by engagements which prevented his undertaking the task. The probability is, that the latter, Mr. Bishop, well knew the difficulty of such an enterprise, and was not very willing to risk his reputation in it. The other was blessed with more intrepidity, and embarked in a work of a similar kind[87], though he had, in a modest excuse, declared his incompetency to set the poetry of his friend.
Mr. Lunn, being thus deserted and disappointed, at length presented his manuscript to the Melodists’ Club, six of whose members undertaking to set the words, the volume under notice was produced.
The first, LOVE, is an elegant composition in A flat, but much too grave for the words, which, we should imagine, the author meant to be set in a light, playful manner.
The second portrays HATE in the proem or exordium, but in the song launches out into certain moral reflections on valour, and the generosity springing from this, describing the passion by its contraries; which we cannot but consider as injudicious, because at variance with what was, or what ought to have been, the general design of the poet, who, when he ceased to depict, should at least have illustrated by resemblances, not opposites. Hence the composer, who has well expressed the deadly passion, has been driven into a trumpety, military style in his air, which, we must add, is quite of the common theatrical kind.
Joy is the third, and, with the exception of a pastoral movement, which certainly is anything but suited to so active, so almost riotous a passion, the composer has well designed his work, but wanted vigour in the execution.
No. 4, GRIEF, is evidently the work of a thinking composer, and of a very good musician. There are some excellent points in this; but the want of unity in the poem has necessarily influenced the composer. We conceive that each passion should have stood alone, unweakened by any adjunct. Here we have the pleasure of memory added to the pangs of grief; thus both poetry and music are enfeebled.
The fifth, HOPE, is not lyrical poetry—the composer therefore must not be blamed for having made little of it. He does not seem to have spared effort, but his labour has been bestowed on an unfruitful soil.
Mr. Lunn’s DESPAIR is nearly of the same cast as Virgil’s—
——Moriamur, et in media arma ruamus.
We much prefer Spenser’s, who is found in