No. 10 is a sly attack on the slave system. If the arguments against it had always been as feeble as the music of this song, real emancipation would have even a poorer chance than it now has, when a trifle of twenty millions is devoted to its accomplishment.
In No. 11 is a great deal more than we fear will be properly appreciated. The composer will gain reputation by his canzonet—(a cantata implies recitative) but no profit.
No. 12 is pretty, but like a thousand other songs. Why such a runaway ritornel? Is it an imitation of the West wind?
HARP.
- THE BARD, a fourth Sérénade du Troubadour, with ad lib. accompaniments for Piano-forte, Flute, and Violoncello, composed by F. C. MEYER. Op. 54. (Chappell.)
- A THIRD SCOTTISH GEM, arranged with Variations, by T. H. WRIGHT. (Chappell.)
THE first of the above is in three short movements, besides a few introductory arpeggios. A certain gracefulness characterizes this, rather than originality or energy. It is, however, skilfully adapted to harp-players, who, generally speaking, are not very desirous of combating difficulties; and they have reason on their side, so far as relates to those of execution; but difficulty arising from novelty, from unexpected cadences and combinations, is of a totally different kind, and ought to be encouraged whenever met with; which is but seldom, we must allow.