Transcript
Page 1: Sonate quasi Fantaisie, pour Piano et Violoncelloby Joseph Street;Sonate, pour Piano et Violinby Joseph Street

Sonate quasi Fantaisie, pour Piano et Violoncello by Joseph Street; Sonate, pour Piano et Violinby Joseph StreetThe Musical Times and Singing Class Circular, Vol. 13, No. 309 (Nov. 1, 1868), pp. 573-574Published by: Musical Times Publications Ltd.Stable URL: http://www.jstor.org/stable/3354801 .

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Page 2: Sonate quasi Fantaisie, pour Piano et Violoncelloby Joseph Street;Sonate, pour Piano et Violinby Joseph Street

the E1v series takes a prominent position in this wonder- the kev of the song, and the former with the dominant of ful out-coming is, mith us, a settled conviction. the relative minor; but we presume that the object of

[In our next issue we intend supplemellting the above Mr- Calkin was to announce emphaticalltt the suleject of review with a table showing the diffErent degrees of diffi- the early portion of the Oratorio, as the words of the culty, form, and style of each number of this series.] recitative are very judiciously given with the notes. Th0

' transcription of the chorus is remarkably good * the instru- gymn for a Contralto Voice, and Chor?ss. F. hIendel- Inental an(l choral effects being well preserved throughout

ssohn Bartholdy. Op. 96. We quite agree with Mr Calkin that the part in C major LITrLE less admirable thanhis two great Oratorios are beginning, ; His me.rcies on thousands fall," is usually

the various hymns, ps-llms, and sacred cantatas in n7hicil taken somewhatfaster; butwe see no reason forit and re- WIendelssohn has also evidenced his possession of a sublime gret that conductors should so blindlv follow each other. musical genius, and a perfection of art training, that have We coulmend Mr. Calkin, however, for allnouncing in a owassociated his na.mewith those of the grandest Of foot-note that, although '6Ptu. moto" is ularked, such

composers, Bach, Handel, and Beethoven. While sonLe direction is only " sanctioned by custom." No. 2 colltains of these lesser (but still great) works of Mendelssohn, such the Andflqzte of the chorus, " Baal, we cry to thee," arsd the as the Lobyesang, Lauda Sion, gear rny Prayer, the Forty- trio, " Lift thine eyes," the latter forlaing an effective little second and the Ninety-fifth Psalms3, &c., are as well kllown piece; but we question the policy of repeating the chorus as his St. Paul and Eltyah, there are others quite as afterwards. In No. 3, we have an arrangement of the worthy of recognition and performance, which are yet but soprano solo, " Hear 5 e, Israel," transposed into (: nlirsor seldom heard; among them, especially the psalm now re- alld nlajor, for greater facility in performance. Here ferred to. In Rietz',s catalogue, it is dated 184S, LeiL)zig * agaill, the nvords of the recitative, which connects the two and i3 stated to be 44 the elaboration of a work forrllerly Itlovements are given; a feature in these transcriptions pululished by Simrock, of Bonn, 7ithout ans OpZbS number, whicil we should like to see extensively followed. Al o. 4 entitled, s Three Sacred S(,ngs for an Alto Voice, Chorus contaiils Elijah's air, " It i3 enough." In this the origina1 and Organ."' In its present shape it fortns one of three key is preserved, and the prominent illstrurnental points, piecesofreligiousmusiewhichthelateMr.Broadleycorn- are effEctivelnr woven in; the ulel)dv being distilletly nissioned Moscheles, Mendelssohn, and Spohr to compose. marked throughout with connecting lines. rEhis is one of That by the latter composer was performed at the last the best arrangemelats of the series, and may be made Norwich Fe;3tival, in 1866. very effEctive by a player who can sufficiently draw the

The opening movement of the hymn by Mendelssohn voice part away froln the accompaniment. In No. 5, we ("Lord,bow down Thine ear") is a lovely andantein six- have the well-known alto sokl, " O relst in the Lord," eight, full of flowing, graceful melody, of exquis;itely which has been very carefully laid out {or the hands, and pathetic expression, yet never departing froul the dignity tan be recommended, llOt only for it3 intrinsic beauty of religious elenation. EIere, as in his oratorios, we see (re,specting nThich no two opinions ean exi3t), but for the how a great master can impart melodious beauty to sacred excellent practice the arrangement affords to all who desire mu,sic without approaching, as illferior composers do a to cultivate the legato sttrle of performance. '1'he air is secular and mundane style. The ,strains of this charming preceded by the recitative, commencing, ;' Arise, Elijah." and sublime movement are alternated between the con- Four pieces are contained in No. 6 * Ii1 lijah's air, 4' Lold tralto solo and the responsive chorus, in a manner similar God of Abraharn" (including the opening recitative), the to the opening portion of the hSmn, Hear my Prcryer, by tenor solo, i"rhen shall the righteous," and the quartetts the same composer. CL'he second movement is a chorale '6Cast thy lJurden," and " O colne, ev'ry one that thil steth." given out first by the solo voice, and then in fu11 choral These are all exceedingly well suited for transcription harmony. The introduction of the form of the I,utheran and the twv solos, especially, are very faithful r flections churchtune is amalked featureofBach'ssacredmusic Of the originals, In conclusion, we may mentioll that which Mendelsso}n has followed both in his oratorios and amateurs will be pleased to find the fingeXring marked over others, of his works, with an effect northy of his great every pas8age where any difficulty might arise. We cor- model. The following movement, ; Lord, we trust," alPso dially welcome the,se arrangements as pleasant remillis- alternated between the solo voice and ttle chorus, is a ca?z- cences to those who have so often been moved by the tabile melody, of pure and simple character, with a well- migilty power of the original work. Such music cannot colltrasted moving accompanirnent. llhis is, carried on to be too often before us; and these arrangements will intro- some length, closing ̂vith one of those impressive cadences duce illtO the family circle a knowledge of the beauties of peculiar to Mendelssohn. The hymn colcludes with a real sacred music, which will do much towards retarding choral fugue, on a clearly-defined, bold, diatonic theme the growth of vapid and worthless imitations,. led off by the basses,, and wrought with that contilluous Sonate quasi Funtaisze, pour Piano et Violoncello. power and free command of counterp(lint, without pedantry which only such a ntaster can display An e¢ective point Sonate, pour Plano et Violin. d'orgue, and some good sequential and imitative passages Both composed by Jos,eph Street. (Leipzig, Breitkopf lead to another of those slow, concluding cadences whicl:; and Hartel.) form such worthy climases, to Mendels;sohn's ch,)ral WE are glad that Mr. Street hax sent us a Sonata5asb writing. well as a Sonata " quasi Fantasia " because experience hasX

.. proved to lls that the latter title is too often us,ed by COTev Transcrsptzons from " Elgah." By J. Baptiste Calkin. posers to cover their want of wri.ing a solid and well balanced Sonata. Of the two works beforo us, we in-

THESE Transcriptions are tenderly treated, as might be finitely prefer the Sonata (not " quasi Fantasia") for Piano expected from a conscientious artist like Mr. Calkin * and, and Violin, in the course of which much talent, it not as pencil-sketches of a grand picture, they are worthy the genius, is shown. It has evidently been a labour of love attention of all Mendelssohll lovers. Here is, indeed, with Mr. Street- for the work is dedicated to Molique healthy " Sunday music," which may be enjoyed for its who was it appears, his instructor in composition * alld own sake any day in the week, a merit which cannot be from whom, no doubt he gleaned much valuable infor claimed for a large portion of the 4< sacred " compositions mation respecting the instrument he has written for. The so plentifully supplied to serious families. In the first first movement is conceived in the true spirit of Sonata number we have averyexcellentarrangement of thetenor writing, and the passages never degenerate either intcx solo, " If, withall your hearts," and thefine chorus, 44 Yet common-place or mere executive display. The instru- doth the Lord see it not." WSe do not quite like the sub- ments are skilfully combined, and the themes are told and stitution of Elijah's opening recitative (transposed into G well-marked. The Adagio, althollgh scarcely, perhaps, as minor) for the recitative of Obadiah, before the tenor solo, melodious as se could wish, is eSective throughout- and especially as the latter ends with the dominant chord in the Ftnale i8 remarkable for vigour and contrast of subject.

the E1v series takes a prominent position in this wonder- the kev of the song, and the former with the dominant of ful out-coming is, mith us, a settled conviction. the relative minor; but we presume that the object of

[In our next issue we intend supplemellting the above Mr- Calkin was to announce emphaticalltt the suleject of review with a table showing the diffErent degrees of diffi- the early portion of the Oratorio, as the words of the culty, form, and style of each number of this series.] recitative are very judiciously given with the notes. Th0

' transcription of the chorus is remarkably good * the instru- gymn for a Contralto Voice, and Chor?ss. F. hIendel- Inental an(l choral effects being well preserved throughout

ssohn Bartholdy. Op. 96. We quite agree with Mr Calkin that the part in C major LITrLE less admirable thanhis two great Oratorios are beginning, ; His me.rcies on thousands fall," is usually

the various hymns, ps-llms, and sacred cantatas in n7hicil taken somewhatfaster; butwe see no reason forit and re- WIendelssohn has also evidenced his possession of a sublime gret that conductors should so blindlv follow each other. musical genius, and a perfection of art training, that have We coulmend Mr. Calkin, however, for allnouncing in a owassociated his na.mewith those of the grandest Of foot-note that, although '6Ptu. moto" is ularked, such

composers, Bach, Handel, and Beethoven. While sonLe direction is only " sanctioned by custom." No. 2 colltains of these lesser (but still great) works of Mendelssohn, such the Andflqzte of the chorus, " Baal, we cry to thee," arsd the as the Lobyesang, Lauda Sion, gear rny Prayer, the Forty- trio, " Lift thine eyes," the latter forlaing an effective little second and the Ninety-fifth Psalms3, &c., are as well kllown piece; but we question the policy of repeating the chorus as his St. Paul and Eltyah, there are others quite as afterwards. In No. 3, we have an arrangement of the worthy of recognition and performance, which are yet but soprano solo, " Hear 5 e, Israel," transposed into (: nlirsor seldom heard; among them, especially the psalm now re- alld nlajor, for greater facility in performance. Here ferred to. In Rietz',s catalogue, it is dated 184S, LeiL)zig * agaill, the nvords of the recitative, which connects the two and i3 stated to be 44 the elaboration of a work forrllerly Itlovements are given; a feature in these transcriptions pululished by Simrock, of Bonn, 7ithout ans OpZbS number, whicil we should like to see extensively followed. Al o. 4 entitled, s Three Sacred S(,ngs for an Alto Voice, Chorus contaiils Elijah's air, " It i3 enough." In this the origina1 and Organ."' In its present shape it fortns one of three key is preserved, and the prominent illstrurnental points, piecesofreligiousmusiewhichthelateMr.Broadleycorn- are effEctivelnr woven in; the ulel)dv being distilletly nissioned Moscheles, Mendelssohn, and Spohr to compose. marked throughout with connecting lines. rEhis is one of That by the latter composer was performed at the last the best arrangemelats of the series, and may be made Norwich Fe;3tival, in 1866. very effEctive by a player who can sufficiently draw the

The opening movement of the hymn by Mendelssohn voice part away froln the accompaniment. In No. 5, we ("Lord,bow down Thine ear") is a lovely andantein six- have the well-known alto sokl, " O relst in the Lord," eight, full of flowing, graceful melody, of exquis;itely which has been very carefully laid out {or the hands, and pathetic expression, yet never departing froul the dignity tan be recommended, llOt only for it3 intrinsic beauty of religious elenation. EIere, as in his oratorios, we see (re,specting nThich no two opinions ean exi3t), but for the how a great master can impart melodious beauty to sacred excellent practice the arrangement affords to all who desire mu,sic without approaching, as illferior composers do a to cultivate the legato sttrle of performance. '1'he air is secular and mundane style. The ,strains of this charming preceded by the recitative, commencing, ;' Arise, Elijah." and sublime movement are alternated between the con- Four pieces are contained in No. 6 * Ii1 lijah's air, 4' Lold tralto solo and the responsive chorus, in a manner similar God of Abraharn" (including the opening recitative), the to the opening portion of the hSmn, Hear my Prcryer, by tenor solo, i"rhen shall the righteous," and the quartetts the same composer. CL'he second movement is a chorale '6Cast thy lJurden," and " O colne, ev'ry one that thil steth." given out first by the solo voice, and then in fu11 choral These are all exceedingly well suited for transcription harmony. The introduction of the form of the I,utheran and the twv solos, especially, are very faithful r flections churchtune is amalked featureofBach'ssacredmusic Of the originals, In conclusion, we may mentioll that which Mendelsso}n has followed both in his oratorios and amateurs will be pleased to find the fingeXring marked over others, of his works, with an effect northy of his great every pas8age where any difficulty might arise. We cor- model. The following movement, ; Lord, we trust," alPso dially welcome the,se arrangements as pleasant remillis- alternated between the solo voice and ttle chorus, is a ca?z- cences to those who have so often been moved by the tabile melody, of pure and simple character, with a well- migilty power of the original work. Such music cannot colltrasted moving accompanirnent. llhis is, carried on to be too often before us; and these arrangements will intro- some length, closing ̂vith one of those impressive cadences duce illtO the family circle a knowledge of the beauties of peculiar to Mendelssohn. The hymn colcludes with a real sacred music, which will do much towards retarding choral fugue, on a clearly-defined, bold, diatonic theme the growth of vapid and worthless imitations,. led off by the basses,, and wrought with that contilluous Sonate quasi Funtaisze, pour Piano et Violoncello. power and free command of counterp(lint, without pedantry which only such a ntaster can display An e¢ective point Sonate, pour Plano et Violin. d'orgue, and some good sequential and imitative passages Both composed by Jos,eph Street. (Leipzig, Breitkopf lead to another of those slow, concluding cadences whicl:; and Hartel.) form such worthy climases, to Mendels;sohn's ch,)ral WE are glad that Mr. Street hax sent us a Sonata5asb writing. well as a Sonata " quasi Fantasia " because experience hasX

.. proved to lls that the latter title is too often us,ed by COTev Transcrsptzons from " Elgah." By J. Baptiste Calkin. posers to cover their want of wri.ing a solid and well balanced Sonata. Of the two works beforo us, we in-

THESE Transcriptions are tenderly treated, as might be finitely prefer the Sonata (not " quasi Fantasia") for Piano expected from a conscientious artist like Mr. Calkin * and, and Violin, in the course of which much talent, it not as pencil-sketches of a grand picture, they are worthy the genius, is shown. It has evidently been a labour of love attention of all Mendelssohll lovers. Here is, indeed, with Mr. Street- for the work is dedicated to Molique healthy " Sunday music," which may be enjoyed for its who was it appears, his instructor in composition * alld own sake any day in the week, a merit which cannot be from whom, no doubt he gleaned much valuable infor claimed for a large portion of the 4< sacred " compositions mation respecting the instrument he has written for. The so plentifully supplied to serious families. In the first first movement is conceived in the true spirit of Sonata number we have averyexcellentarrangement of thetenor writing, and the passages never degenerate either intcx solo, " If, withall your hearts," and thefine chorus, 44 Yet common-place or mere executive display. The instru- doth the Lord see it not." WSe do not quite like the sub- ments are skilfully combined, and the themes are told and stitution of Elijah's opening recitative (transposed into G well-marked. The Adagio, althollgh scarcely, perhaps, as minor) for the recitative of Obadiah, before the tenor solo, melodious as se could wish, is eSective throughout- and especially as the latter ends with the dominant chord in the Ftnale i8 remarkable for vigour and contrast of subject.

the E1v series takes a prominent position in this wonder- the kev of the song, and the former with the dominant of ful out-coming is, mith us, a settled conviction. the relative minor; but we presume that the object of

[In our next issue we intend supplemellting the above Mr- Calkin was to announce emphaticalltt the suleject of review with a table showing the diffErent degrees of diffi- the early portion of the Oratorio, as the words of the culty, form, and style of each number of this series.] recitative are very judiciously given with the notes. Th0

' transcription of the chorus is remarkably good * the instru- gymn for a Contralto Voice, and Chor?ss. F. hIendel- Inental an(l choral effects being well preserved throughout

ssohn Bartholdy. Op. 96. We quite agree with Mr Calkin that the part in C major LITrLE less admirable thanhis two great Oratorios are beginning, ; His me.rcies on thousands fall," is usually

the various hymns, ps-llms, and sacred cantatas in n7hicil taken somewhatfaster; butwe see no reason forit and re- WIendelssohn has also evidenced his possession of a sublime gret that conductors should so blindlv follow each other. musical genius, and a perfection of art training, that have We coulmend Mr. Calkin, however, for allnouncing in a owassociated his na.mewith those of the grandest Of foot-note that, although '6Ptu. moto" is ularked, such

composers, Bach, Handel, and Beethoven. While sonLe direction is only " sanctioned by custom." No. 2 colltains of these lesser (but still great) works of Mendelssohn, such the Andflqzte of the chorus, " Baal, we cry to thee," arsd the as the Lobyesang, Lauda Sion, gear rny Prayer, the Forty- trio, " Lift thine eyes," the latter forlaing an effective little second and the Ninety-fifth Psalms3, &c., are as well kllown piece; but we question the policy of repeating the chorus as his St. Paul and Eltyah, there are others quite as afterwards. In No. 3, we have an arrangement of the worthy of recognition and performance, which are yet but soprano solo, " Hear 5 e, Israel," transposed into (: nlirsor seldom heard; among them, especially the psalm now re- alld nlajor, for greater facility in performance. Here ferred to. In Rietz',s catalogue, it is dated 184S, LeiL)zig * agaill, the nvords of the recitative, which connects the two and i3 stated to be 44 the elaboration of a work forrllerly Itlovements are given; a feature in these transcriptions pululished by Simrock, of Bonn, 7ithout ans OpZbS number, whicil we should like to see extensively followed. Al o. 4 entitled, s Three Sacred S(,ngs for an Alto Voice, Chorus contaiils Elijah's air, " It i3 enough." In this the origina1 and Organ."' In its present shape it fortns one of three key is preserved, and the prominent illstrurnental points, piecesofreligiousmusiewhichthelateMr.Broadleycorn- are effEctivelnr woven in; the ulel)dv being distilletly nissioned Moscheles, Mendelssohn, and Spohr to compose. marked throughout with connecting lines. rEhis is one of That by the latter composer was performed at the last the best arrangemelats of the series, and may be made Norwich Fe;3tival, in 1866. very effEctive by a player who can sufficiently draw the

The opening movement of the hymn by Mendelssohn voice part away froln the accompaniment. In No. 5, we ("Lord,bow down Thine ear") is a lovely andantein six- have the well-known alto sokl, " O relst in the Lord," eight, full of flowing, graceful melody, of exquis;itely which has been very carefully laid out {or the hands, and pathetic expression, yet never departing froul the dignity tan be recommended, llOt only for it3 intrinsic beauty of religious elenation. EIere, as in his oratorios, we see (re,specting nThich no two opinions ean exi3t), but for the how a great master can impart melodious beauty to sacred excellent practice the arrangement affords to all who desire mu,sic without approaching, as illferior composers do a to cultivate the legato sttrle of performance. '1'he air is secular and mundane style. The ,strains of this charming preceded by the recitative, commencing, ;' Arise, Elijah." and sublime movement are alternated between the con- Four pieces are contained in No. 6 * Ii1 lijah's air, 4' Lold tralto solo and the responsive chorus, in a manner similar God of Abraharn" (including the opening recitative), the to the opening portion of the hSmn, Hear my Prcryer, by tenor solo, i"rhen shall the righteous," and the quartetts the same composer. CL'he second movement is a chorale '6Cast thy lJurden," and " O colne, ev'ry one that thil steth." given out first by the solo voice, and then in fu11 choral These are all exceedingly well suited for transcription harmony. The introduction of the form of the I,utheran and the twv solos, especially, are very faithful r flections churchtune is amalked featureofBach'ssacredmusic Of the originals, In conclusion, we may mentioll that which Mendelsso}n has followed both in his oratorios and amateurs will be pleased to find the fingeXring marked over others, of his works, with an effect northy of his great every pas8age where any difficulty might arise. We cor- model. The following movement, ; Lord, we trust," alPso dially welcome the,se arrangements as pleasant remillis- alternated between the solo voice and ttle chorus, is a ca?z- cences to those who have so often been moved by the tabile melody, of pure and simple character, with a well- migilty power of the original work. Such music cannot colltrasted moving accompanirnent. llhis is, carried on to be too often before us; and these arrangements will intro- some length, closing ̂vith one of those impressive cadences duce illtO the family circle a knowledge of the beauties of peculiar to Mendelssohn. The hymn colcludes with a real sacred music, which will do much towards retarding choral fugue, on a clearly-defined, bold, diatonic theme the growth of vapid and worthless imitations,. led off by the basses,, and wrought with that contilluous Sonate quasi Funtaisze, pour Piano et Violoncello. power and free command of counterp(lint, without pedantry which only such a ntaster can display An e¢ective point Sonate, pour Plano et Violin. d'orgue, and some good sequential and imitative passages Both composed by Jos,eph Street. (Leipzig, Breitkopf lead to another of those slow, concluding cadences whicl:; and Hartel.) form such worthy climases, to Mendels;sohn's ch,)ral WE are glad that Mr. Street hax sent us a Sonata5asb writing. well as a Sonata " quasi Fantasia " because experience hasX

.. proved to lls that the latter title is too often us,ed by COTev Transcrsptzons from " Elgah." By J. Baptiste Calkin. posers to cover their want of wri.ing a solid and well balanced Sonata. Of the two works beforo us, we in-

THESE Transcriptions are tenderly treated, as might be finitely prefer the Sonata (not " quasi Fantasia") for Piano expected from a conscientious artist like Mr. Calkin * and, and Violin, in the course of which much talent, it not as pencil-sketches of a grand picture, they are worthy the genius, is shown. It has evidently been a labour of love attention of all Mendelssohll lovers. Here is, indeed, with Mr. Street- for the work is dedicated to Molique healthy " Sunday music," which may be enjoyed for its who was it appears, his instructor in composition * alld own sake any day in the week, a merit which cannot be from whom, no doubt he gleaned much valuable infor claimed for a large portion of the 4< sacred " compositions mation respecting the instrument he has written for. The so plentifully supplied to serious families. In the first first movement is conceived in the true spirit of Sonata number we have averyexcellentarrangement of thetenor writing, and the passages never degenerate either intcx solo, " If, withall your hearts," and thefine chorus, 44 Yet common-place or mere executive display. The instru- doth the Lord see it not." WSe do not quite like the sub- ments are skilfully combined, and the themes are told and stitution of Elijah's opening recitative (transposed into G well-marked. The Adagio, althollgh scarcely, perhaps, as minor) for the recitative of Obadiah, before the tenor solo, melodious as se could wish, is eSective throughout- and especially as the latter ends with the dominant chord in the Ftnale i8 remarkable for vigour and contrast of subject.

the E1v series takes a prominent position in this wonder- the kev of the song, and the former with the dominant of ful out-coming is, mith us, a settled conviction. the relative minor; but we presume that the object of

[In our next issue we intend supplemellting the above Mr- Calkin was to announce emphaticalltt the suleject of review with a table showing the diffErent degrees of diffi- the early portion of the Oratorio, as the words of the culty, form, and style of each number of this series.] recitative are very judiciously given with the notes. Th0

' transcription of the chorus is remarkably good * the instru- gymn for a Contralto Voice, and Chor?ss. F. hIendel- Inental an(l choral effects being well preserved throughout

ssohn Bartholdy. Op. 96. We quite agree with Mr Calkin that the part in C major LITrLE less admirable thanhis two great Oratorios are beginning, ; His me.rcies on thousands fall," is usually

the various hymns, ps-llms, and sacred cantatas in n7hicil taken somewhatfaster; butwe see no reason forit and re- WIendelssohn has also evidenced his possession of a sublime gret that conductors should so blindlv follow each other. musical genius, and a perfection of art training, that have We coulmend Mr. Calkin, however, for allnouncing in a owassociated his na.mewith those of the grandest Of foot-note that, although '6Ptu. moto" is ularked, such

composers, Bach, Handel, and Beethoven. While sonLe direction is only " sanctioned by custom." No. 2 colltains of these lesser (but still great) works of Mendelssohn, such the Andflqzte of the chorus, " Baal, we cry to thee," arsd the as the Lobyesang, Lauda Sion, gear rny Prayer, the Forty- trio, " Lift thine eyes," the latter forlaing an effective little second and the Ninety-fifth Psalms3, &c., are as well kllown piece; but we question the policy of repeating the chorus as his St. Paul and Eltyah, there are others quite as afterwards. In No. 3, we have an arrangement of the worthy of recognition and performance, which are yet but soprano solo, " Hear 5 e, Israel," transposed into (: nlirsor seldom heard; among them, especially the psalm now re- alld nlajor, for greater facility in performance. Here ferred to. In Rietz',s catalogue, it is dated 184S, LeiL)zig * agaill, the nvords of the recitative, which connects the two and i3 stated to be 44 the elaboration of a work forrllerly Itlovements are given; a feature in these transcriptions pululished by Simrock, of Bonn, 7ithout ans OpZbS number, whicil we should like to see extensively followed. Al o. 4 entitled, s Three Sacred S(,ngs for an Alto Voice, Chorus contaiils Elijah's air, " It i3 enough." In this the origina1 and Organ."' In its present shape it fortns one of three key is preserved, and the prominent illstrurnental points, piecesofreligiousmusiewhichthelateMr.Broadleycorn- are effEctivelnr woven in; the ulel)dv being distilletly nissioned Moscheles, Mendelssohn, and Spohr to compose. marked throughout with connecting lines. rEhis is one of That by the latter composer was performed at the last the best arrangemelats of the series, and may be made Norwich Fe;3tival, in 1866. very effEctive by a player who can sufficiently draw the

The opening movement of the hymn by Mendelssohn voice part away froln the accompaniment. In No. 5, we ("Lord,bow down Thine ear") is a lovely andantein six- have the well-known alto sokl, " O relst in the Lord," eight, full of flowing, graceful melody, of exquis;itely which has been very carefully laid out {or the hands, and pathetic expression, yet never departing froul the dignity tan be recommended, llOt only for it3 intrinsic beauty of religious elenation. EIere, as in his oratorios, we see (re,specting nThich no two opinions ean exi3t), but for the how a great master can impart melodious beauty to sacred excellent practice the arrangement affords to all who desire mu,sic without approaching, as illferior composers do a to cultivate the legato sttrle of performance. '1'he air is secular and mundane style. The ,strains of this charming preceded by the recitative, commencing, ;' Arise, Elijah." and sublime movement are alternated between the con- Four pieces are contained in No. 6 * Ii1 lijah's air, 4' Lold tralto solo and the responsive chorus, in a manner similar God of Abraharn" (including the opening recitative), the to the opening portion of the hSmn, Hear my Prcryer, by tenor solo, i"rhen shall the righteous," and the quartetts the same composer. CL'he second movement is a chorale '6Cast thy lJurden," and " O colne, ev'ry one that thil steth." given out first by the solo voice, and then in fu11 choral These are all exceedingly well suited for transcription harmony. The introduction of the form of the I,utheran and the twv solos, especially, are very faithful r flections churchtune is amalked featureofBach'ssacredmusic Of the originals, In conclusion, we may mentioll that which Mendelsso}n has followed both in his oratorios and amateurs will be pleased to find the fingeXring marked over others, of his works, with an effect northy of his great every pas8age where any difficulty might arise. We cor- model. The following movement, ; Lord, we trust," alPso dially welcome the,se arrangements as pleasant remillis- alternated between the solo voice and ttle chorus, is a ca?z- cences to those who have so often been moved by the tabile melody, of pure and simple character, with a well- migilty power of the original work. Such music cannot colltrasted moving accompanirnent. llhis is, carried on to be too often before us; and these arrangements will intro- some length, closing ̂vith one of those impressive cadences duce illtO the family circle a knowledge of the beauties of peculiar to Mendelssohn. The hymn colcludes with a real sacred music, which will do much towards retarding choral fugue, on a clearly-defined, bold, diatonic theme the growth of vapid and worthless imitations,. led off by the basses,, and wrought with that contilluous Sonate quasi Funtaisze, pour Piano et Violoncello. power and free command of counterp(lint, without pedantry which only such a ntaster can display An e¢ective point Sonate, pour Plano et Violin. d'orgue, and some good sequential and imitative passages Both composed by Jos,eph Street. (Leipzig, Breitkopf lead to another of those slow, concluding cadences whicl:; and Hartel.) form such worthy climases, to Mendels;sohn's ch,)ral WE are glad that Mr. Street hax sent us a Sonata5asb writing. well as a Sonata " quasi Fantasia " because experience hasX

.. proved to lls that the latter title is too often us,ed by COTev Transcrsptzons from " Elgah." By J. Baptiste Calkin. posers to cover their want of wri.ing a solid and well balanced Sonata. Of the two works beforo us, we in-

THESE Transcriptions are tenderly treated, as might be finitely prefer the Sonata (not " quasi Fantasia") for Piano expected from a conscientious artist like Mr. Calkin * and, and Violin, in the course of which much talent, it not as pencil-sketches of a grand picture, they are worthy the genius, is shown. It has evidently been a labour of love attention of all Mendelssohll lovers. Here is, indeed, with Mr. Street- for the work is dedicated to Molique healthy " Sunday music," which may be enjoyed for its who was it appears, his instructor in composition * alld own sake any day in the week, a merit which cannot be from whom, no doubt he gleaned much valuable infor claimed for a large portion of the 4< sacred " compositions mation respecting the instrument he has written for. The so plentifully supplied to serious families. In the first first movement is conceived in the true spirit of Sonata number we have averyexcellentarrangement of thetenor writing, and the passages never degenerate either intcx solo, " If, withall your hearts," and thefine chorus, 44 Yet common-place or mere executive display. The instru- doth the Lord see it not." WSe do not quite like the sub- ments are skilfully combined, and the themes are told and stitution of Elijah's opening recitative (transposed into G well-marked. The Adagio, althollgh scarcely, perhaps, as minor) for the recitative of Obadiah, before the tenor solo, melodious as se could wish, is eSective throughout- and especially as the latter ends with the dominant chord in the Ftnale i8 remarkable for vigour and contrast of subject.

573 573 573 573 TIffE MUSICAL TIMESs -OVEMBER 1, 1868. TIffE MUSICAL TIMESs -OVEMBER 1, 1868. TIffE MUSICAL TIMESs -OVEMBER 1, 1868. TIffE MUSICAL TIMESs -OVEMBER 1, 1868.

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Page 3: Sonate quasi Fantaisie, pour Piano et Violoncelloby Joseph Street;Sonate, pour Piano et Violinby Joseph Street

574 574 574 574 574 574 574 574 THE MIJSICAL TTS.- NOB.yR2R 1, 1868. THE MIJSICAL TTS.- NOB.yR2R 1, 1868. THE MIJSICAL TTS.- NOB.yR2R 1, 1868. THE MIJSICAL TTS.- NOB.yR2R 1, 1868. THE MIJSICAL TTS.- NOB.yR2R 1, 1868. THE MIJSICAL TTS.- NOB.yR2R 1, 1868. THE MIJSICAL TTS.- NOB.yR2R 1, 1868. THE MIJSICAL TTS.- NOB.yR2R 1, 1868.

In the Sonate quasi Fantaisie, we have al80 some vers ex- cellent writing, toth for pianoforte and violoncello; but we think the composition scarcelv equal to t)se one already noticed. There is nothing crude, however, in the con- tunual changes of tempo; nor is there any effect of patchiness in the entire z ork. The subjects are. perhaps, scarcely as happy as those in the Violin Sonata; but in the present dearth of good music for the violoncello ne heartily commend the Sonata as the earnest production of a composer who writes with an evidence of real sympathy for the highest forms of the art.

Choral Songs. Composed by Arthur S. Sullivan. The words by Henry F. Chorley. No. 7, TAle long dc(y closes. No. 8, The Be/eaguered.

BBE choral songs are for four male noice.s, and are, indeed, worthy conlpanions of those that have preceded them. Part-song making is sso extensively practised in the present day by all composers who can throw together a few chord# withollt any glaring defects, that it becolnes a welcome duty to recomrnend these soli(l works of a musi- Giall whose talent i8 now so fully recognised. Mr. Sullinan always writes well, and conscientiously, and we are inclined to think that these two songs will materially add to his reputation as a composer of choral l art-music. No 7, " The long day closes," i8 extremely melodious, and harmonised with a freedom and absence of pedantry in periect keeping with the theme. The unison forte passage on the words 4; Heed not how hope believes," followed by thepiano phrase in (: sharp nlinor, is full of poetry; and the conclusion, with its long-drawn notes on the ol)stinate dominant bass, is perfectly beautiful No. 8, 4 'l he Beleaguered,} i8 extremely original; and likely, we think. to be one of the most popular of tlle series. 'rhe opening subject, in the nxillor, afterwards repeated in the major, is very effective; and the contrast of the placid phrase, "Mothers and wieres, to praver." with the martial cXlaracter of the more im*sioned parts, shows that the composer has faithfully btuetied the poetry he has undertaken to illustrate. We predict that tilese sologs will become esta- bli.shed favourite,q mith all who cultivate part-music for male voices.

ASHDOWN SND PARRWY. lianover Square. No. 12. October.

HERR RUHE'S ,fforceeru de Salon, called 44 ithadow and Sunlight," ils the ^)resent numl)er of this periodical, is as harmless as mas be inla,gined from the title. The passages however, lie well under the haI<d; and the piece contaillFe sufficient variety of touch to make it llseftll for plactice. The other instrumental compoeition is by the editor, Mr. Lindsay Sloper a valse, called 44 Felics," which is simple and unpretellding, but extremely elegant through- out. \ve {:ancy that if WIr. Bloper were to put hinlself more forward as a c>mtvoser in the serial under hi.s direction, he might help materially to raise its character. Mr. Hawwtree's b.lllad, ; Ah, love'; (to words frolll Long- fellow's s Spanish Student") shows an excellent feeling for vocal composition, and a praiseworthy desire to avoid mere common-place. There is a crudeness about much of the accompaninlent, however, which .somewhat mars the effect of the 801)g; as an instance of uhich we ma- cite the passage in the last two bars of the second page, where the bas8 drops in similar motion with the voice, to a bare chord of the t. l he second song, *; l'wo tiumnler days," by lichael Watson, not being written to infantine words, must be intended, we presume, for grown children. We should nlention that this uork is most carefullv edited- and a god word should als) be said for the e.X- cellent Inanner in which the whole of the music is printed.

METZLER AND CO. Exeter Hall. C>ctober.

In the Sonate quasi Fantaisie, we have al80 some vers ex- cellent writing, toth for pianoforte and violoncello; but we think the composition scarcelv equal to t)se one already noticed. There is nothing crude, however, in the con- tunual changes of tempo; nor is there any effect of patchiness in the entire z ork. The subjects are. perhaps, scarcely as happy as those in the Violin Sonata; but in the present dearth of good music for the violoncello ne heartily commend the Sonata as the earnest production of a composer who writes with an evidence of real sympathy for the highest forms of the art.

Choral Songs. Composed by Arthur S. Sullivan. The words by Henry F. Chorley. No. 7, TAle long dc(y closes. No. 8, The Be/eaguered.

BBE choral songs are for four male noice.s, and are, indeed, worthy conlpanions of those that have preceded them. Part-song making is sso extensively practised in the present day by all composers who can throw together a few chord# withollt any glaring defects, that it becolnes a welcome duty to recomrnend these soli(l works of a musi- Giall whose talent i8 now so fully recognised. Mr. Sullinan always writes well, and conscientiously, and we are inclined to think that these two songs will materially add to his reputation as a composer of choral l art-music. No 7, " The long day closes," i8 extremely melodious, and harmonised with a freedom and absence of pedantry in periect keeping with the theme. The unison forte passage on the words 4; Heed not how hope believes," followed by thepiano phrase in (: sharp nlinor, is full of poetry; and the conclusion, with its long-drawn notes on the ol)stinate dominant bass, is perfectly beautiful No. 8, 4 'l he Beleaguered,} i8 extremely original; and likely, we think. to be one of the most popular of tlle series. 'rhe opening subject, in the nxillor, afterwards repeated in the major, is very effective; and the contrast of the placid phrase, "Mothers and wieres, to praver." with the martial cXlaracter of the more im*sioned parts, shows that the composer has faithfully btuetied the poetry he has undertaken to illustrate. We predict that tilese sologs will become esta- bli.shed favourite,q mith all who cultivate part-music for male voices.

ASHDOWN SND PARRWY. lianover Square. No. 12. October.

HERR RUHE'S ,fforceeru de Salon, called 44 ithadow and Sunlight," ils the ^)resent numl)er of this periodical, is as harmless as mas be inla,gined from the title. The passages however, lie well under the haI<d; and the piece contaillFe sufficient variety of touch to make it llseftll for plactice. The other instrumental compoeition is by the editor, Mr. Lindsay Sloper a valse, called 44 Felics," which is simple and unpretellding, but extremely elegant through- out. \ve {:ancy that if WIr. Bloper were to put hinlself more forward as a c>mtvoser in the serial under hi.s direction, he might help materially to raise its character. Mr. Hawwtree's b.lllad, ; Ah, love'; (to words frolll Long- fellow's s Spanish Student") shows an excellent feeling for vocal composition, and a praiseworthy desire to avoid mere common-place. There is a crudeness about much of the accompaninlent, however, which .somewhat mars the effect of the 801)g; as an instance of uhich we ma- cite the passage in the last two bars of the second page, where the bas8 drops in similar motion with the voice, to a bare chord of the t. l he second song, *; l'wo tiumnler days," by lichael Watson, not being written to infantine words, must be intended, we presume, for grown children. We should nlention that this uork is most carefullv edited- and a god word should als) be said for the e.X- cellent Inanner in which the whole of the music is printed.

METZLER AND CO. Exeter Hall. C>ctober.

In the Sonate quasi Fantaisie, we have al80 some vers ex- cellent writing, toth for pianoforte and violoncello; but we think the composition scarcelv equal to t)se one already noticed. There is nothing crude, however, in the con- tunual changes of tempo; nor is there any effect of patchiness in the entire z ork. The subjects are. perhaps, scarcely as happy as those in the Violin Sonata; but in the present dearth of good music for the violoncello ne heartily commend the Sonata as the earnest production of a composer who writes with an evidence of real sympathy for the highest forms of the art.

Choral Songs. Composed by Arthur S. Sullivan. The words by Henry F. Chorley. No. 7, TAle long dc(y closes. No. 8, The Be/eaguered.

BBE choral songs are for four male noice.s, and are, indeed, worthy conlpanions of those that have preceded them. Part-song making is sso extensively practised in the present day by all composers who can throw together a few chord# withollt any glaring defects, that it becolnes a welcome duty to recomrnend these soli(l works of a musi- Giall whose talent i8 now so fully recognised. Mr. Sullinan always writes well, and conscientiously, and we are inclined to think that these two songs will materially add to his reputation as a composer of choral l art-music. No 7, " The long day closes," i8 extremely melodious, and harmonised with a freedom and absence of pedantry in periect keeping with the theme. The unison forte passage on the words 4; Heed not how hope believes," followed by thepiano phrase in (: sharp nlinor, is full of poetry; and the conclusion, with its long-drawn notes on the ol)stinate dominant bass, is perfectly beautiful No. 8, 4 'l he Beleaguered,} i8 extremely original; and likely, we think. to be one of the most popular of tlle series. 'rhe opening subject, in the nxillor, afterwards repeated in the major, is very effective; and the contrast of the placid phrase, "Mothers and wieres, to praver." with the martial cXlaracter of the more im*sioned parts, shows that the composer has faithfully btuetied the poetry he has undertaken to illustrate. We predict that tilese sologs will become esta- bli.shed favourite,q mith all who cultivate part-music for male voices.

ASHDOWN SND PARRWY. lianover Square. No. 12. October.

HERR RUHE'S ,fforceeru de Salon, called 44 ithadow and Sunlight," ils the ^)resent numl)er of this periodical, is as harmless as mas be inla,gined from the title. The passages however, lie well under the haI<d; and the piece contaillFe sufficient variety of touch to make it llseftll for plactice. The other instrumental compoeition is by the editor, Mr. Lindsay Sloper a valse, called 44 Felics," which is simple and unpretellding, but extremely elegant through- out. \ve {:ancy that if WIr. Bloper were to put hinlself more forward as a c>mtvoser in the serial under hi.s direction, he might help materially to raise its character. Mr. Hawwtree's b.lllad, ; Ah, love'; (to words frolll Long- fellow's s Spanish Student") shows an excellent feeling for vocal composition, and a praiseworthy desire to avoid mere common-place. There is a crudeness about much of the accompaninlent, however, which .somewhat mars the effect of the 801)g; as an instance of uhich we ma- cite the passage in the last two bars of the second page, where the bas8 drops in similar motion with the voice, to a bare chord of the t. l he second song, *; l'wo tiumnler days," by lichael Watson, not being written to infantine words, must be intended, we presume, for grown children. We should nlention that this uork is most carefullv edited- and a god word should als) be said for the e.X- cellent Inanner in which the whole of the music is printed.

METZLER AND CO. Exeter Hall. C>ctober.

In the Sonate quasi Fantaisie, we have al80 some vers ex- cellent writing, toth for pianoforte and violoncello; but we think the composition scarcelv equal to t)se one already noticed. There is nothing crude, however, in the con- tunual changes of tempo; nor is there any effect of patchiness in the entire z ork. The subjects are. perhaps, scarcely as happy as those in the Violin Sonata; but in the present dearth of good music for the violoncello ne heartily commend the Sonata as the earnest production of a composer who writes with an evidence of real sympathy for the highest forms of the art.

Choral Songs. Composed by Arthur S. Sullivan. The words by Henry F. Chorley. No. 7, TAle long dc(y closes. No. 8, The Be/eaguered.

BBE choral songs are for four male noice.s, and are, indeed, worthy conlpanions of those that have preceded them. Part-song making is sso extensively practised in the present day by all composers who can throw together a few chord# withollt any glaring defects, that it becolnes a welcome duty to recomrnend these soli(l works of a musi- Giall whose talent i8 now so fully recognised. Mr. Sullinan always writes well, and conscientiously, and we are inclined to think that these two songs will materially add to his reputation as a composer of choral l art-music. No 7, " The long day closes," i8 extremely melodious, and harmonised with a freedom and absence of pedantry in periect keeping with the theme. The unison forte passage on the words 4; Heed not how hope believes," followed by thepiano phrase in (: sharp nlinor, is full of poetry; and the conclusion, with its long-drawn notes on the ol)stinate dominant bass, is perfectly beautiful No. 8, 4 'l he Beleaguered,} i8 extremely original; and likely, we think. to be one of the most popular of tlle series. 'rhe opening subject, in the nxillor, afterwards repeated in the major, is very effective; and the contrast of the placid phrase, "Mothers and wieres, to praver." with the martial cXlaracter of the more im*sioned parts, shows that the composer has faithfully btuetied the poetry he has undertaken to illustrate. We predict that tilese sologs will become esta- bli.shed favourite,q mith all who cultivate part-music for male voices.

ASHDOWN SND PARRWY. lianover Square. No. 12. October.

HERR RUHE'S ,fforceeru de Salon, called 44 ithadow and Sunlight," ils the ^)resent numl)er of this periodical, is as harmless as mas be inla,gined from the title. The passages however, lie well under the haI<d; and the piece contaillFe sufficient variety of touch to make it llseftll for plactice. The other instrumental compoeition is by the editor, Mr. Lindsay Sloper a valse, called 44 Felics," which is simple and unpretellding, but extremely elegant through- out. \ve {:ancy that if WIr. Bloper were to put hinlself more forward as a c>mtvoser in the serial under hi.s direction, he might help materially to raise its character. Mr. Hawwtree's b.lllad, ; Ah, love'; (to words frolll Long- fellow's s Spanish Student") shows an excellent feeling for vocal composition, and a praiseworthy desire to avoid mere common-place. There is a crudeness about much of the accompaninlent, however, which .somewhat mars the effect of the 801)g; as an instance of uhich we ma- cite the passage in the last two bars of the second page, where the bas8 drops in similar motion with the voice, to a bare chord of the t. l he second song, *; l'wo tiumnler days," by lichael Watson, not being written to infantine words, must be intended, we presume, for grown children. We should nlention that this uork is most carefullv edited- and a god word should als) be said for the e.X- cellent Inanner in which the whole of the music is printed.

METZLER AND CO. Exeter Hall. C>ctober.

In the Sonate quasi Fantaisie, we have al80 some vers ex- cellent writing, toth for pianoforte and violoncello; but we think the composition scarcelv equal to t)se one already noticed. There is nothing crude, however, in the con- tunual changes of tempo; nor is there any effect of patchiness in the entire z ork. The subjects are. perhaps, scarcely as happy as those in the Violin Sonata; but in the present dearth of good music for the violoncello ne heartily commend the Sonata as the earnest production of a composer who writes with an evidence of real sympathy for the highest forms of the art.

Choral Songs. Composed by Arthur S. Sullivan. The words by Henry F. Chorley. No. 7, TAle long dc(y closes. No. 8, The Be/eaguered.

BBE choral songs are for four male noice.s, and are, indeed, worthy conlpanions of those that have preceded them. Part-song making is sso extensively practised in the present day by all composers who can throw together a few chord# withollt any glaring defects, that it becolnes a welcome duty to recomrnend these soli(l works of a musi- Giall whose talent i8 now so fully recognised. Mr. Sullinan always writes well, and conscientiously, and we are inclined to think that these two songs will materially add to his reputation as a composer of choral l art-music. No 7, " The long day closes," i8 extremely melodious, and harmonised with a freedom and absence of pedantry in periect keeping with the theme. The unison forte passage on the words 4; Heed not how hope believes," followed by thepiano phrase in (: sharp nlinor, is full of poetry; and the conclusion, with its long-drawn notes on the ol)stinate dominant bass, is perfectly beautiful No. 8, 4 'l he Beleaguered,} i8 extremely original; and likely, we think. to be one of the most popular of tlle series. 'rhe opening subject, in the nxillor, afterwards repeated in the major, is very effective; and the contrast of the placid phrase, "Mothers and wieres, to praver." with the martial cXlaracter of the more im*sioned parts, shows that the composer has faithfully btuetied the poetry he has undertaken to illustrate. We predict that tilese sologs will become esta- bli.shed favourite,q mith all who cultivate part-music for male voices.

ASHDOWN SND PARRWY. lianover Square. No. 12. October.

HERR RUHE'S ,fforceeru de Salon, called 44 ithadow and Sunlight," ils the ^)resent numl)er of this periodical, is as harmless as mas be inla,gined from the title. The passages however, lie well under the haI<d; and the piece contaillFe sufficient variety of touch to make it llseftll for plactice. The other instrumental compoeition is by the editor, Mr. Lindsay Sloper a valse, called 44 Felics," which is simple and unpretellding, but extremely elegant through- out. \ve {:ancy that if WIr. Bloper were to put hinlself more forward as a c>mtvoser in the serial under hi.s direction, he might help materially to raise its character. Mr. Hawwtree's b.lllad, ; Ah, love'; (to words frolll Long- fellow's s Spanish Student") shows an excellent feeling for vocal composition, and a praiseworthy desire to avoid mere common-place. There is a crudeness about much of the accompaninlent, however, which .somewhat mars the effect of the 801)g; as an instance of uhich we ma- cite the passage in the last two bars of the second page, where the bas8 drops in similar motion with the voice, to a bare chord of the t. l he second song, *; l'wo tiumnler days," by lichael Watson, not being written to infantine words, must be intended, we presume, for grown children. We should nlention that this uork is most carefullv edited- and a god word should als) be said for the e.X- cellent Inanner in which the whole of the music is printed.

METZLER AND CO. Exeter Hall. C>ctober.

In the Sonate quasi Fantaisie, we have al80 some vers ex- cellent writing, toth for pianoforte and violoncello; but we think the composition scarcelv equal to t)se one already noticed. There is nothing crude, however, in the con- tunual changes of tempo; nor is there any effect of patchiness in the entire z ork. The subjects are. perhaps, scarcely as happy as those in the Violin Sonata; but in the present dearth of good music for the violoncello ne heartily commend the Sonata as the earnest production of a composer who writes with an evidence of real sympathy for the highest forms of the art.

Choral Songs. Composed by Arthur S. Sullivan. The words by Henry F. Chorley. No. 7, TAle long dc(y closes. No. 8, The Be/eaguered.

BBE choral songs are for four male noice.s, and are, indeed, worthy conlpanions of those that have preceded them. Part-song making is sso extensively practised in the present day by all composers who can throw together a few chord# withollt any glaring defects, that it becolnes a welcome duty to recomrnend these soli(l works of a musi- Giall whose talent i8 now so fully recognised. Mr. Sullinan always writes well, and conscientiously, and we are inclined to think that these two songs will materially add to his reputation as a composer of choral l art-music. No 7, " The long day closes," i8 extremely melodious, and harmonised with a freedom and absence of pedantry in periect keeping with the theme. The unison forte passage on the words 4; Heed not how hope believes," followed by thepiano phrase in (: sharp nlinor, is full of poetry; and the conclusion, with its long-drawn notes on the ol)stinate dominant bass, is perfectly beautiful No. 8, 4 'l he Beleaguered,} i8 extremely original; and likely, we think. to be one of the most popular of tlle series. 'rhe opening subject, in the nxillor, afterwards repeated in the major, is very effective; and the contrast of the placid phrase, "Mothers and wieres, to praver." with the martial cXlaracter of the more im*sioned parts, shows that the composer has faithfully btuetied the poetry he has undertaken to illustrate. We predict that tilese sologs will become esta- bli.shed favourite,q mith all who cultivate part-music for male voices.

ASHDOWN SND PARRWY. lianover Square. No. 12. October.

HERR RUHE'S ,fforceeru de Salon, called 44 ithadow and Sunlight," ils the ^)resent numl)er of this periodical, is as harmless as mas be inla,gined from the title. The passages however, lie well under the haI<d; and the piece contaillFe sufficient variety of touch to make it llseftll for plactice. The other instrumental compoeition is by the editor, Mr. Lindsay Sloper a valse, called 44 Felics," which is simple and unpretellding, but extremely elegant through- out. \ve {:ancy that if WIr. Bloper were to put hinlself more forward as a c>mtvoser in the serial under hi.s direction, he might help materially to raise its character. Mr. Hawwtree's b.lllad, ; Ah, love'; (to words frolll Long- fellow's s Spanish Student") shows an excellent feeling for vocal composition, and a praiseworthy desire to avoid mere common-place. There is a crudeness about much of the accompaninlent, however, which .somewhat mars the effect of the 801)g; as an instance of uhich we ma- cite the passage in the last two bars of the second page, where the bas8 drops in similar motion with the voice, to a bare chord of the t. l he second song, *; l'wo tiumnler days," by lichael Watson, not being written to infantine words, must be intended, we presume, for grown children. We should nlention that this uork is most carefullv edited- and a god word should als) be said for the e.X- cellent Inanner in which the whole of the music is printed.

METZLER AND CO. Exeter Hall. C>ctober.

In the Sonate quasi Fantaisie, we have al80 some vers ex- cellent writing, toth for pianoforte and violoncello; but we think the composition scarcelv equal to t)se one already noticed. There is nothing crude, however, in the con- tunual changes of tempo; nor is there any effect of patchiness in the entire z ork. The subjects are. perhaps, scarcely as happy as those in the Violin Sonata; but in the present dearth of good music for the violoncello ne heartily commend the Sonata as the earnest production of a composer who writes with an evidence of real sympathy for the highest forms of the art.

Choral Songs. Composed by Arthur S. Sullivan. The words by Henry F. Chorley. No. 7, TAle long dc(y closes. No. 8, The Be/eaguered.

BBE choral songs are for four male noice.s, and are, indeed, worthy conlpanions of those that have preceded them. Part-song making is sso extensively practised in the present day by all composers who can throw together a few chord# withollt any glaring defects, that it becolnes a welcome duty to recomrnend these soli(l works of a musi- Giall whose talent i8 now so fully recognised. Mr. Sullinan always writes well, and conscientiously, and we are inclined to think that these two songs will materially add to his reputation as a composer of choral l art-music. No 7, " The long day closes," i8 extremely melodious, and harmonised with a freedom and absence of pedantry in periect keeping with the theme. The unison forte passage on the words 4; Heed not how hope believes," followed by thepiano phrase in (: sharp nlinor, is full of poetry; and the conclusion, with its long-drawn notes on the ol)stinate dominant bass, is perfectly beautiful No. 8, 4 'l he Beleaguered,} i8 extremely original; and likely, we think. to be one of the most popular of tlle series. 'rhe opening subject, in the nxillor, afterwards repeated in the major, is very effective; and the contrast of the placid phrase, "Mothers and wieres, to praver." with the martial cXlaracter of the more im*sioned parts, shows that the composer has faithfully btuetied the poetry he has undertaken to illustrate. We predict that tilese sologs will become esta- bli.shed favourite,q mith all who cultivate part-music for male voices.

ASHDOWN SND PARRWY. lianover Square. No. 12. October.

HERR RUHE'S ,fforceeru de Salon, called 44 ithadow and Sunlight," ils the ^)resent numl)er of this periodical, is as harmless as mas be inla,gined from the title. The passages however, lie well under the haI<d; and the piece contaillFe sufficient variety of touch to make it llseftll for plactice. The other instrumental compoeition is by the editor, Mr. Lindsay Sloper a valse, called 44 Felics," which is simple and unpretellding, but extremely elegant through- out. \ve {:ancy that if WIr. Bloper were to put hinlself more forward as a c>mtvoser in the serial under hi.s direction, he might help materially to raise its character. Mr. Hawwtree's b.lllad, ; Ah, love'; (to words frolll Long- fellow's s Spanish Student") shows an excellent feeling for vocal composition, and a praiseworthy desire to avoid mere common-place. There is a crudeness about much of the accompaninlent, however, which .somewhat mars the effect of the 801)g; as an instance of uhich we ma- cite the passage in the last two bars of the second page, where the bas8 drops in similar motion with the voice, to a bare chord of the t. l he second song, *; l'wo tiumnler days," by lichael Watson, not being written to infantine words, must be intended, we presume, for grown children. We should nlention that this uork is most carefullv edited- and a god word should als) be said for the e.X- cellent Inanner in which the whole of the music is printed.

METZLER AND CO. Exeter Hall. C>ctober.

In the Sonate quasi Fantaisie, we have al80 some vers ex- cellent writing, toth for pianoforte and violoncello; but we think the composition scarcelv equal to t)se one already noticed. There is nothing crude, however, in the con- tunual changes of tempo; nor is there any effect of patchiness in the entire z ork. The subjects are. perhaps, scarcely as happy as those in the Violin Sonata; but in the present dearth of good music for the violoncello ne heartily commend the Sonata as the earnest production of a composer who writes with an evidence of real sympathy for the highest forms of the art.

Choral Songs. Composed by Arthur S. Sullivan. The words by Henry F. Chorley. No. 7, TAle long dc(y closes. No. 8, The Be/eaguered.

BBE choral songs are for four male noice.s, and are, indeed, worthy conlpanions of those that have preceded them. Part-song making is sso extensively practised in the present day by all composers who can throw together a few chord# withollt any glaring defects, that it becolnes a welcome duty to recomrnend these soli(l works of a musi- Giall whose talent i8 now so fully recognised. Mr. Sullinan always writes well, and conscientiously, and we are inclined to think that these two songs will materially add to his reputation as a composer of choral l art-music. No 7, " The long day closes," i8 extremely melodious, and harmonised with a freedom and absence of pedantry in periect keeping with the theme. The unison forte passage on the words 4; Heed not how hope believes," followed by thepiano phrase in (: sharp nlinor, is full of poetry; and the conclusion, with its long-drawn notes on the ol)stinate dominant bass, is perfectly beautiful No. 8, 4 'l he Beleaguered,} i8 extremely original; and likely, we think. to be one of the most popular of tlle series. 'rhe opening subject, in the nxillor, afterwards repeated in the major, is very effective; and the contrast of the placid phrase, "Mothers and wieres, to praver." with the martial cXlaracter of the more im*sioned parts, shows that the composer has faithfully btuetied the poetry he has undertaken to illustrate. We predict that tilese sologs will become esta- bli.shed favourite,q mith all who cultivate part-music for male voices.

ASHDOWN SND PARRWY. lianover Square. No. 12. October.

HERR RUHE'S ,fforceeru de Salon, called 44 ithadow and Sunlight," ils the ^)resent numl)er of this periodical, is as harmless as mas be inla,gined from the title. The passages however, lie well under the haI<d; and the piece contaillFe sufficient variety of touch to make it llseftll for plactice. The other instrumental compoeition is by the editor, Mr. Lindsay Sloper a valse, called 44 Felics," which is simple and unpretellding, but extremely elegant through- out. \ve {:ancy that if WIr. Bloper were to put hinlself more forward as a c>mtvoser in the serial under hi.s direction, he might help materially to raise its character. Mr. Hawwtree's b.lllad, ; Ah, love'; (to words frolll Long- fellow's s Spanish Student") shows an excellent feeling for vocal composition, and a praiseworthy desire to avoid mere common-place. There is a crudeness about much of the accompaninlent, however, which .somewhat mars the effect of the 801)g; as an instance of uhich we ma- cite the passage in the last two bars of the second page, where the bas8 drops in similar motion with the voice, to a bare chord of the t. l he second song, *; l'wo tiumnler days," by lichael Watson, not being written to infantine words, must be intended, we presume, for grown children. We should nlention that this uork is most carefullv edited- and a god word should als) be said for the e.X- cellent Inanner in which the whole of the music is printed.

METZLER AND CO. Exeter Hall. C>ctober.

strikinglv original, the song cannot fail to please: more- over, the words are well expressed thloughotlt. The hymn tune, ;; The I,ord my pasture shall prepare," by Alexaleder S. Cooper, is a smooth piece of harmony and the noice parts are easy for amateurs to sing. Mr. J. Conway Brown's song, " I will sing of Thy mercy," is pervaded ̂rith a quiet, religious feeling, which we do not often find esren in compositions of far greater pretension. The crotchet accompaniment flowing tllrougllout with the voice, is high]5- effective; and the change into the relati e millOr i8 in perfect ssmpathy with tlle words. Herr Kuhe's selection from St Paul, is scarcely a very happy one. The transcription of the soprano solo. " Jerusalem," is fairly done but the chorus, 4 How loxelv are the mes;sengers." is suddenly interrupted, and brought to a clima;, with a series of arpeggios quite out of ( haracter with the compo9ition. The number concludes, as usual, with Dr. lsimbault's arrangements, called 4& Sunday Evenings at the Harmonium," anongst the nlost attractive of which will be found the air, 4; But Tllou didst not leave," from the ./RIesstah.

Fe tival .1axzrch. Composed alld arranged f'or the Piano- forte l)y B. Agutter.

rl'EI:eE is a certain vigour about this March which lifts it above the common-place compositions of the kiled eo often brollght before our notice; although we think that it would be infinitely nlore effective scored for a military band, than arranged for the pianoforte. 'l'he harmonies are lsold. and the cantabile phrase in C major is flowing and rllelodious. In the last part, where the theme is Taried, we .see no reason svhy the octaves in the left hand .should be written in srxlall notesv anybody who could pla) octasepassagesatall could plythese g and theex- tended chords su^ciently prove that the piece is not intended for childlen.

Primavera. Polka hIazurka de Saloll, pour Piano. By Emile Wal(ltenfel.

W: han-e never let been able tounderstandwhya piece publiShed in England should have a title page in f rench; still less can we comprehend how, as in the present in- astance, a composer can so mix ul) two languages, as to say that hi.s composition is ;; pour Piano," and ** by" E:mile Waldtellfel Surely it is tinle that such an incongluous jumble as this shou]d be abolished: and that a work should have a title-page p,iljted in the language of the country ill mhich it is publis;hed. The Polka is vell sritten, and has a life and character wllich may make it acceptable to those who wish to play dance.mllsic in their drawing- rooms. The trio is based on a well-marked theme, which contrast3 well uith the vivacious first sul ject.

Les Oisenux. Valse de Salon. Par E. de Palis. rJ'HERE is a flutter about the opening subject of this

piece ̂ thich aptly illustrates its title again, by the way of course, in French and tlle passages are extremely elegant throughout. The cantabile melods, in A flat, is pleasing, and the return to the ol iginai tlleme well- nanaged. 'l'his will be found a cheerful alld eSective little waltz.

strikinglv original, the song cannot fail to please: more- over, the words are well expressed thloughotlt. The hymn tune, ;; The I,ord my pasture shall prepare," by Alexaleder S. Cooper, is a smooth piece of harmony and the noice parts are easy for amateurs to sing. Mr. J. Conway Brown's song, " I will sing of Thy mercy," is pervaded ̂rith a quiet, religious feeling, which we do not often find esren in compositions of far greater pretension. The crotchet accompaniment flowing tllrougllout with the voice, is high]5- effective; and the change into the relati e millOr i8 in perfect ssmpathy with tlle words. Herr Kuhe's selection from St Paul, is scarcely a very happy one. The transcription of the soprano solo. " Jerusalem," is fairly done but the chorus, 4 How loxelv are the mes;sengers." is suddenly interrupted, and brought to a clima;, with a series of arpeggios quite out of ( haracter with the compo9ition. The number concludes, as usual, with Dr. lsimbault's arrangements, called 4& Sunday Evenings at the Harmonium," anongst the nlost attractive of which will be found the air, 4; But Tllou didst not leave," from the ./RIesstah.

Fe tival .1axzrch. Composed alld arranged f'or the Piano- forte l)y B. Agutter.

rl'EI:eE is a certain vigour about this March which lifts it above the common-place compositions of the kiled eo often brollght before our notice; although we think that it would be infinitely nlore effective scored for a military band, than arranged for the pianoforte. 'l'he harmonies are lsold. and the cantabile phrase in C major is flowing and rllelodious. In the last part, where the theme is Taried, we .see no reason svhy the octaves in the left hand .should be written in srxlall notesv anybody who could pla) octasepassagesatall could plythese g and theex- tended chords su^ciently prove that the piece is not intended for childlen.

Primavera. Polka hIazurka de Saloll, pour Piano. By Emile Wal(ltenfel.

W: han-e never let been able tounderstandwhya piece publiShed in England should have a title page in f rench; still less can we comprehend how, as in the present in- astance, a composer can so mix ul) two languages, as to say that hi.s composition is ;; pour Piano," and ** by" E:mile Waldtellfel Surely it is tinle that such an incongluous jumble as this shou]d be abolished: and that a work should have a title-page p,iljted in the language of the country ill mhich it is publis;hed. The Polka is vell sritten, and has a life and character wllich may make it acceptable to those who wish to play dance.mllsic in their drawing- rooms. The trio is based on a well-marked theme, which contrast3 well uith the vivacious first sul ject.

Les Oisenux. Valse de Salon. Par E. de Palis. rJ'HERE is a flutter about the opening subject of this

piece ̂ thich aptly illustrates its title again, by the way of course, in French and tlle passages are extremely elegant throughout. The cantabile melods, in A flat, is pleasing, and the return to the ol iginai tlleme well- nanaged. 'l'his will be found a cheerful alld eSective little waltz.

strikinglv original, the song cannot fail to please: more- over, the words are well expressed thloughotlt. The hymn tune, ;; The I,ord my pasture shall prepare," by Alexaleder S. Cooper, is a smooth piece of harmony and the noice parts are easy for amateurs to sing. Mr. J. Conway Brown's song, " I will sing of Thy mercy," is pervaded ̂rith a quiet, religious feeling, which we do not often find esren in compositions of far greater pretension. The crotchet accompaniment flowing tllrougllout with the voice, is high]5- effective; and the change into the relati e millOr i8 in perfect ssmpathy with tlle words. Herr Kuhe's selection from St Paul, is scarcely a very happy one. The transcription of the soprano solo. " Jerusalem," is fairly done but the chorus, 4 How loxelv are the mes;sengers." is suddenly interrupted, and brought to a clima;, with a series of arpeggios quite out of ( haracter with the compo9ition. The number concludes, as usual, with Dr. lsimbault's arrangements, called 4& Sunday Evenings at the Harmonium," anongst the nlost attractive of which will be found the air, 4; But Tllou didst not leave," from the ./RIesstah.

Fe tival .1axzrch. Composed alld arranged f'or the Piano- forte l)y B. Agutter.

rl'EI:eE is a certain vigour about this March which lifts it above the common-place compositions of the kiled eo often brollght before our notice; although we think that it would be infinitely nlore effective scored for a military band, than arranged for the pianoforte. 'l'he harmonies are lsold. and the cantabile phrase in C major is flowing and rllelodious. In the last part, where the theme is Taried, we .see no reason svhy the octaves in the left hand .should be written in srxlall notesv anybody who could pla) octasepassagesatall could plythese g and theex- tended chords su^ciently prove that the piece is not intended for childlen.

Primavera. Polka hIazurka de Saloll, pour Piano. By Emile Wal(ltenfel.

W: han-e never let been able tounderstandwhya piece publiShed in England should have a title page in f rench; still less can we comprehend how, as in the present in- astance, a composer can so mix ul) two languages, as to say that hi.s composition is ;; pour Piano," and ** by" E:mile Waldtellfel Surely it is tinle that such an incongluous jumble as this shou]d be abolished: and that a work should have a title-page p,iljted in the language of the country ill mhich it is publis;hed. The Polka is vell sritten, and has a life and character wllich may make it acceptable to those who wish to play dance.mllsic in their drawing- rooms. The trio is based on a well-marked theme, which contrast3 well uith the vivacious first sul ject.

Les Oisenux. Valse de Salon. Par E. de Palis. rJ'HERE is a flutter about the opening subject of this

piece ̂ thich aptly illustrates its title again, by the way of course, in French and tlle passages are extremely elegant throughout. The cantabile melods, in A flat, is pleasing, and the return to the ol iginai tlleme well- nanaged. 'l'his will be found a cheerful alld eSective little waltz.

strikinglv original, the song cannot fail to please: more- over, the words are well expressed thloughotlt. The hymn tune, ;; The I,ord my pasture shall prepare," by Alexaleder S. Cooper, is a smooth piece of harmony and the noice parts are easy for amateurs to sing. Mr. J. Conway Brown's song, " I will sing of Thy mercy," is pervaded ̂rith a quiet, religious feeling, which we do not often find esren in compositions of far greater pretension. The crotchet accompaniment flowing tllrougllout with the voice, is high]5- effective; and the change into the relati e millOr i8 in perfect ssmpathy with tlle words. Herr Kuhe's selection from St Paul, is scarcely a very happy one. The transcription of the soprano solo. " Jerusalem," is fairly done but the chorus, 4 How loxelv are the mes;sengers." is suddenly interrupted, and brought to a clima;, with a series of arpeggios quite out of ( haracter with the compo9ition. The number concludes, as usual, with Dr. lsimbault's arrangements, called 4& Sunday Evenings at the Harmonium," anongst the nlost attractive of which will be found the air, 4; But Tllou didst not leave," from the ./RIesstah.

Fe tival .1axzrch. Composed alld arranged f'or the Piano- forte l)y B. Agutter.

rl'EI:eE is a certain vigour about this March which lifts it above the common-place compositions of the kiled eo often brollght before our notice; although we think that it would be infinitely nlore effective scored for a military band, than arranged for the pianoforte. 'l'he harmonies are lsold. and the cantabile phrase in C major is flowing and rllelodious. In the last part, where the theme is Taried, we .see no reason svhy the octaves in the left hand .should be written in srxlall notesv anybody who could pla) octasepassagesatall could plythese g and theex- tended chords su^ciently prove that the piece is not intended for childlen.

Primavera. Polka hIazurka de Saloll, pour Piano. By Emile Wal(ltenfel.

W: han-e never let been able tounderstandwhya piece publiShed in England should have a title page in f rench; still less can we comprehend how, as in the present in- astance, a composer can so mix ul) two languages, as to say that hi.s composition is ;; pour Piano," and ** by" E:mile Waldtellfel Surely it is tinle that such an incongluous jumble as this shou]d be abolished: and that a work should have a title-page p,iljted in the language of the country ill mhich it is publis;hed. The Polka is vell sritten, and has a life and character wllich may make it acceptable to those who wish to play dance.mllsic in their drawing- rooms. The trio is based on a well-marked theme, which contrast3 well uith the vivacious first sul ject.

Les Oisenux. Valse de Salon. Par E. de Palis. rJ'HERE is a flutter about the opening subject of this

piece ̂ thich aptly illustrates its title again, by the way of course, in French and tlle passages are extremely elegant throughout. The cantabile melods, in A flat, is pleasing, and the return to the ol iginai tlleme well- nanaged. 'l'his will be found a cheerful alld eSective little waltz.

strikinglv original, the song cannot fail to please: more- over, the words are well expressed thloughotlt. The hymn tune, ;; The I,ord my pasture shall prepare," by Alexaleder S. Cooper, is a smooth piece of harmony and the noice parts are easy for amateurs to sing. Mr. J. Conway Brown's song, " I will sing of Thy mercy," is pervaded ̂rith a quiet, religious feeling, which we do not often find esren in compositions of far greater pretension. The crotchet accompaniment flowing tllrougllout with the voice, is high]5- effective; and the change into the relati e millOr i8 in perfect ssmpathy with tlle words. Herr Kuhe's selection from St Paul, is scarcely a very happy one. The transcription of the soprano solo. " Jerusalem," is fairly done but the chorus, 4 How loxelv are the mes;sengers." is suddenly interrupted, and brought to a clima;, with a series of arpeggios quite out of ( haracter with the compo9ition. The number concludes, as usual, with Dr. lsimbault's arrangements, called 4& Sunday Evenings at the Harmonium," anongst the nlost attractive of which will be found the air, 4; But Tllou didst not leave," from the ./RIesstah.

Fe tival .1axzrch. Composed alld arranged f'or the Piano- forte l)y B. Agutter.

rl'EI:eE is a certain vigour about this March which lifts it above the common-place compositions of the kiled eo often brollght before our notice; although we think that it would be infinitely nlore effective scored for a military band, than arranged for the pianoforte. 'l'he harmonies are lsold. and the cantabile phrase in C major is flowing and rllelodious. In the last part, where the theme is Taried, we .see no reason svhy the octaves in the left hand .should be written in srxlall notesv anybody who could pla) octasepassagesatall could plythese g and theex- tended chords su^ciently prove that the piece is not intended for childlen.

Primavera. Polka hIazurka de Saloll, pour Piano. By Emile Wal(ltenfel.

W: han-e never let been able tounderstandwhya piece publiShed in England should have a title page in f rench; still less can we comprehend how, as in the present in- astance, a composer can so mix ul) two languages, as to say that hi.s composition is ;; pour Piano," and ** by" E:mile Waldtellfel Surely it is tinle that such an incongluous jumble as this shou]d be abolished: and that a work should have a title-page p,iljted in the language of the country ill mhich it is publis;hed. The Polka is vell sritten, and has a life and character wllich may make it acceptable to those who wish to play dance.mllsic in their drawing- rooms. The trio is based on a well-marked theme, which contrast3 well uith the vivacious first sul ject.

Les Oisenux. Valse de Salon. Par E. de Palis. rJ'HERE is a flutter about the opening subject of this

piece ̂ thich aptly illustrates its title again, by the way of course, in French and tlle passages are extremely elegant throughout. The cantabile melods, in A flat, is pleasing, and the return to the ol iginai tlleme well- nanaged. 'l'his will be found a cheerful alld eSective little waltz.

strikinglv original, the song cannot fail to please: more- over, the words are well expressed thloughotlt. The hymn tune, ;; The I,ord my pasture shall prepare," by Alexaleder S. Cooper, is a smooth piece of harmony and the noice parts are easy for amateurs to sing. Mr. J. Conway Brown's song, " I will sing of Thy mercy," is pervaded ̂rith a quiet, religious feeling, which we do not often find esren in compositions of far greater pretension. The crotchet accompaniment flowing tllrougllout with the voice, is high]5- effective; and the change into the relati e millOr i8 in perfect ssmpathy with tlle words. Herr Kuhe's selection from St Paul, is scarcely a very happy one. The transcription of the soprano solo. " Jerusalem," is fairly done but the chorus, 4 How loxelv are the mes;sengers." is suddenly interrupted, and brought to a clima;, with a series of arpeggios quite out of ( haracter with the compo9ition. The number concludes, as usual, with Dr. lsimbault's arrangements, called 4& Sunday Evenings at the Harmonium," anongst the nlost attractive of which will be found the air, 4; But Tllou didst not leave," from the ./RIesstah.

Fe tival .1axzrch. Composed alld arranged f'or the Piano- forte l)y B. Agutter.

rl'EI:eE is a certain vigour about this March which lifts it above the common-place compositions of the kiled eo often brollght before our notice; although we think that it would be infinitely nlore effective scored for a military band, than arranged for the pianoforte. 'l'he harmonies are lsold. and the cantabile phrase in C major is flowing and rllelodious. In the last part, where the theme is Taried, we .see no reason svhy the octaves in the left hand .should be written in srxlall notesv anybody who could pla) octasepassagesatall could plythese g and theex- tended chords su^ciently prove that the piece is not intended for childlen.

Primavera. Polka hIazurka de Saloll, pour Piano. By Emile Wal(ltenfel.

W: han-e never let been able tounderstandwhya piece publiShed in England should have a title page in f rench; still less can we comprehend how, as in the present in- astance, a composer can so mix ul) two languages, as to say that hi.s composition is ;; pour Piano," and ** by" E:mile Waldtellfel Surely it is tinle that such an incongluous jumble as this shou]d be abolished: and that a work should have a title-page p,iljted in the language of the country ill mhich it is publis;hed. The Polka is vell sritten, and has a life and character wllich may make it acceptable to those who wish to play dance.mllsic in their drawing- rooms. The trio is based on a well-marked theme, which contrast3 well uith the vivacious first sul ject.

Les Oisenux. Valse de Salon. Par E. de Palis. rJ'HERE is a flutter about the opening subject of this

piece ̂ thich aptly illustrates its title again, by the way of course, in French and tlle passages are extremely elegant throughout. The cantabile melods, in A flat, is pleasing, and the return to the ol iginai tlleme well- nanaged. 'l'his will be found a cheerful alld eSective little waltz.

strikinglv original, the song cannot fail to please: more- over, the words are well expressed thloughotlt. The hymn tune, ;; The I,ord my pasture shall prepare," by Alexaleder S. Cooper, is a smooth piece of harmony and the noice parts are easy for amateurs to sing. Mr. J. Conway Brown's song, " I will sing of Thy mercy," is pervaded ̂rith a quiet, religious feeling, which we do not often find esren in compositions of far greater pretension. The crotchet accompaniment flowing tllrougllout with the voice, is high]5- effective; and the change into the relati e millOr i8 in perfect ssmpathy with tlle words. Herr Kuhe's selection from St Paul, is scarcely a very happy one. The transcription of the soprano solo. " Jerusalem," is fairly done but the chorus, 4 How loxelv are the mes;sengers." is suddenly interrupted, and brought to a clima;, with a series of arpeggios quite out of ( haracter with the compo9ition. The number concludes, as usual, with Dr. lsimbault's arrangements, called 4& Sunday Evenings at the Harmonium," anongst the nlost attractive of which will be found the air, 4; But Tllou didst not leave," from the ./RIesstah.

Fe tival .1axzrch. Composed alld arranged f'or the Piano- forte l)y B. Agutter.

rl'EI:eE is a certain vigour about this March which lifts it above the common-place compositions of the kiled eo often brollght before our notice; although we think that it would be infinitely nlore effective scored for a military band, than arranged for the pianoforte. 'l'he harmonies are lsold. and the cantabile phrase in C major is flowing and rllelodious. In the last part, where the theme is Taried, we .see no reason svhy the octaves in the left hand .should be written in srxlall notesv anybody who could pla) octasepassagesatall could plythese g and theex- tended chords su^ciently prove that the piece is not intended for childlen.

Primavera. Polka hIazurka de Saloll, pour Piano. By Emile Wal(ltenfel.

W: han-e never let been able tounderstandwhya piece publiShed in England should have a title page in f rench; still less can we comprehend how, as in the present in- astance, a composer can so mix ul) two languages, as to say that hi.s composition is ;; pour Piano," and ** by" E:mile Waldtellfel Surely it is tinle that such an incongluous jumble as this shou]d be abolished: and that a work should have a title-page p,iljted in the language of the country ill mhich it is publis;hed. The Polka is vell sritten, and has a life and character wllich may make it acceptable to those who wish to play dance.mllsic in their drawing- rooms. The trio is based on a well-marked theme, which contrast3 well uith the vivacious first sul ject.

Les Oisenux. Valse de Salon. Par E. de Palis. rJ'HERE is a flutter about the opening subject of this

piece ̂ thich aptly illustrates its title again, by the way of course, in French and tlle passages are extremely elegant throughout. The cantabile melods, in A flat, is pleasing, and the return to the ol iginai tlleme well- nanaged. 'l'his will be found a cheerful alld eSective little waltz.

strikinglv original, the song cannot fail to please: more- over, the words are well expressed thloughotlt. The hymn tune, ;; The I,ord my pasture shall prepare," by Alexaleder S. Cooper, is a smooth piece of harmony and the noice parts are easy for amateurs to sing. Mr. J. Conway Brown's song, " I will sing of Thy mercy," is pervaded ̂rith a quiet, religious feeling, which we do not often find esren in compositions of far greater pretension. The crotchet accompaniment flowing tllrougllout with the voice, is high]5- effective; and the change into the relati e millOr i8 in perfect ssmpathy with tlle words. Herr Kuhe's selection from St Paul, is scarcely a very happy one. The transcription of the soprano solo. " Jerusalem," is fairly done but the chorus, 4 How loxelv are the mes;sengers." is suddenly interrupted, and brought to a clima;, with a series of arpeggios quite out of ( haracter with the compo9ition. The number concludes, as usual, with Dr. lsimbault's arrangements, called 4& Sunday Evenings at the Harmonium," anongst the nlost attractive of which will be found the air, 4; But Tllou didst not leave," from the ./RIesstah.

Fe tival .1axzrch. Composed alld arranged f'or the Piano- forte l)y B. Agutter.

rl'EI:eE is a certain vigour about this March which lifts it above the common-place compositions of the kiled eo often brollght before our notice; although we think that it would be infinitely nlore effective scored for a military band, than arranged for the pianoforte. 'l'he harmonies are lsold. and the cantabile phrase in C major is flowing and rllelodious. In the last part, where the theme is Taried, we .see no reason svhy the octaves in the left hand .should be written in srxlall notesv anybody who could pla) octasepassagesatall could plythese g and theex- tended chords su^ciently prove that the piece is not intended for childlen.

Primavera. Polka hIazurka de Saloll, pour Piano. By Emile Wal(ltenfel.

W: han-e never let been able tounderstandwhya piece publiShed in England should have a title page in f rench; still less can we comprehend how, as in the present in- astance, a composer can so mix ul) two languages, as to say that hi.s composition is ;; pour Piano," and ** by" E:mile Waldtellfel Surely it is tinle that such an incongluous jumble as this shou]d be abolished: and that a work should have a title-page p,iljted in the language of the country ill mhich it is publis;hed. The Polka is vell sritten, and has a life and character wllich may make it acceptable to those who wish to play dance.mllsic in their drawing- rooms. The trio is based on a well-marked theme, which contrast3 well uith the vivacious first sul ject.

Les Oisenux. Valse de Salon. Par E. de Palis. rJ'HERE is a flutter about the opening subject of this

piece ̂ thich aptly illustrates its title again, by the way of course, in French and tlle passages are extremely elegant throughout. The cantabile melods, in A flat, is pleasing, and the return to the ol iginai tlleme well- nanaged. 'l'his will be found a cheerful alld eSective little waltz.

}E. John Barnett's sacred songe '; Thou art the wav," is the best vocal compo.sition in this number. A# mav be expected from so accompli.shed a musician, the meledy and harmony flow throughout in loving company; and if not

}E. John Barnett's sacred songe '; Thou art the wav," is the best vocal compo.sition in this number. A# mav be expected from so accompli.shed a musician, the meledy and harmony flow throughout in loving company; and if not

}E. John Barnett's sacred songe '; Thou art the wav," is the best vocal compo.sition in this number. A# mav be expected from so accompli.shed a musician, the meledy and harmony flow throughout in loving company; and if not

}E. John Barnett's sacred songe '; Thou art the wav," is the best vocal compo.sition in this number. A# mav be expected from so accompli.shed a musician, the meledy and harmony flow throughout in loving company; and if not

}E. John Barnett's sacred songe '; Thou art the wav," is the best vocal compo.sition in this number. A# mav be expected from so accompli.shed a musician, the meledy and harmony flow throughout in loving company; and if not

}E. John Barnett's sacred songe '; Thou art the wav," is the best vocal compo.sition in this number. A# mav be expected from so accompli.shed a musician, the meledy and harmony flow throughout in loving company; and if not

}E. John Barnett's sacred songe '; Thou art the wav," is the best vocal compo.sition in this number. A# mav be expected from so accompli.shed a musician, the meledy and harmony flow throughout in loving company; and if not

}E. John Barnett's sacred songe '; Thou art the wav," is the best vocal compo.sition in this number. A# mav be expected from so accompli.shed a musician, the meledy and harmony flow throughout in loving company; and if not

IN EITH, PROWSE AND CO. ^ There sifs a bird on yonder tree. Song. Words from ^ the 44 Ingoldsby Legends." Composed by M. S. Skefflng- > ton. * THERE is a very laudable desire to soar beyond the r vapid ballad in tllis song, and many parts 8hOW a good

feeling for melody. 'I he flou ing accompaniment to the * opening theme i>; effective; and the words are gerlerally

well expressed. The harmonies, llowever. are often un- sati.sfae tl)rwF, and occasionallv interfere with those naturally suggested by the melody. ;rhe 2 (uncerenloniou.sly taken

' by a skip\ on the la8t note of the fiSth bar of the song is Z to us, particularly unplea^ant, especially as the D in the 1 mel)dy cleally belongs to the doulillant harmony, and t should have been accompanied with a g on C}. It would

IN EITH, PROWSE AND CO. ^ There sifs a bird on yonder tree. Song. Words from ^ the 44 Ingoldsby Legends." Composed by M. S. Skefflng- > ton. * THERE is a very laudable desire to soar beyond the r vapid ballad in tllis song, and many parts 8hOW a good

feeling for melody. 'I he flou ing accompaniment to the * opening theme i>; effective; and the words are gerlerally

well expressed. The harmonies, llowever. are often un- sati.sfae tl)rwF, and occasionallv interfere with those naturally suggested by the melody. ;rhe 2 (uncerenloniou.sly taken

' by a skip\ on the la8t note of the fiSth bar of the song is Z to us, particularly unplea^ant, especially as the D in the 1 mel)dy cleally belongs to the doulillant harmony, and t should have been accompanied with a g on C}. It would

IN EITH, PROWSE AND CO. ^ There sifs a bird on yonder tree. Song. Words from ^ the 44 Ingoldsby Legends." Composed by M. S. Skefflng- > ton. * THERE is a very laudable desire to soar beyond the r vapid ballad in tllis song, and many parts 8hOW a good

feeling for melody. 'I he flou ing accompaniment to the * opening theme i>; effective; and the words are gerlerally

well expressed. The harmonies, llowever. are often un- sati.sfae tl)rwF, and occasionallv interfere with those naturally suggested by the melody. ;rhe 2 (uncerenloniou.sly taken

' by a skip\ on the la8t note of the fiSth bar of the song is Z to us, particularly unplea^ant, especially as the D in the 1 mel)dy cleally belongs to the doulillant harmony, and t should have been accompanied with a g on C}. It would

IN EITH, PROWSE AND CO. ^ There sifs a bird on yonder tree. Song. Words from ^ the 44 Ingoldsby Legends." Composed by M. S. Skefflng- > ton. * THERE is a very laudable desire to soar beyond the r vapid ballad in tllis song, and many parts 8hOW a good

feeling for melody. 'I he flou ing accompaniment to the * opening theme i>; effective; and the words are gerlerally

well expressed. The harmonies, llowever. are often un- sati.sfae tl)rwF, and occasionallv interfere with those naturally suggested by the melody. ;rhe 2 (uncerenloniou.sly taken

' by a skip\ on the la8t note of the fiSth bar of the song is Z to us, particularly unplea^ant, especially as the D in the 1 mel)dy cleally belongs to the doulillant harmony, and t should have been accompanied with a g on C}. It would

IN EITH, PROWSE AND CO. ^ There sifs a bird on yonder tree. Song. Words from ^ the 44 Ingoldsby Legends." Composed by M. S. Skefflng- > ton. * THERE is a very laudable desire to soar beyond the r vapid ballad in tllis song, and many parts 8hOW a good

feeling for melody. 'I he flou ing accompaniment to the * opening theme i>; effective; and the words are gerlerally

well expressed. The harmonies, llowever. are often un- sati.sfae tl)rwF, and occasionallv interfere with those naturally suggested by the melody. ;rhe 2 (uncerenloniou.sly taken

' by a skip\ on the la8t note of the fiSth bar of the song is Z to us, particularly unplea^ant, especially as the D in the 1 mel)dy cleally belongs to the doulillant harmony, and t should have been accompanied with a g on C}. It would

IN EITH, PROWSE AND CO. ^ There sifs a bird on yonder tree. Song. Words from ^ the 44 Ingoldsby Legends." Composed by M. S. Skefflng- > ton. * THERE is a very laudable desire to soar beyond the r vapid ballad in tllis song, and many parts 8hOW a good

feeling for melody. 'I he flou ing accompaniment to the * opening theme i>; effective; and the words are gerlerally

well expressed. The harmonies, llowever. are often un- sati.sfae tl)rwF, and occasionallv interfere with those naturally suggested by the melody. ;rhe 2 (uncerenloniou.sly taken

' by a skip\ on the la8t note of the fiSth bar of the song is Z to us, particularly unplea^ant, especially as the D in the 1 mel)dy cleally belongs to the doulillant harmony, and t should have been accompanied with a g on C}. It would

IN EITH, PROWSE AND CO. ^ There sifs a bird on yonder tree. Song. Words from ^ the 44 Ingoldsby Legends." Composed by M. S. Skefflng- > ton. * THERE is a very laudable desire to soar beyond the r vapid ballad in tllis song, and many parts 8hOW a good

feeling for melody. 'I he flou ing accompaniment to the * opening theme i>; effective; and the words are gerlerally

well expressed. The harmonies, llowever. are often un- sati.sfae tl)rwF, and occasionallv interfere with those naturally suggested by the melody. ;rhe 2 (uncerenloniou.sly taken

' by a skip\ on the la8t note of the fiSth bar of the song is Z to us, particularly unplea^ant, especially as the D in the 1 mel)dy cleally belongs to the doulillant harmony, and t should have been accompanied with a g on C}. It would

IN EITH, PROWSE AND CO. ^ There sifs a bird on yonder tree. Song. Words from ^ the 44 Ingoldsby Legends." Composed by M. S. Skefflng- > ton. * THERE is a very laudable desire to soar beyond the r vapid ballad in tllis song, and many parts 8hOW a good

feeling for melody. 'I he flou ing accompaniment to the * opening theme i>; effective; and the words are gerlerally

well expressed. The harmonies, llowever. are often un- sati.sfae tl)rwF, and occasionallv interfere with those naturally suggested by the melody. ;rhe 2 (uncerenloniou.sly taken

' by a skip\ on the la8t note of the fiSth bar of the song is Z to us, particularly unplea^ant, especially as the D in the 1 mel)dy cleally belongs to the doulillant harmony, and t should have been accompanied with a g on C}. It would

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