1825.] 
verse, in the construction of which the 
composer has not been particularly careful ; 
in one instance, in a harmony of three 
parts, the bass and second move in octaves. 
it appears almost invidious to notice so 
trivial a fault, in so pleasing a composition, 
but we cannot lose an opportunity of ele- 
yating our critical noses. 
# ajo » A Song, sung at the Musi-.- 
by 
cal Festiv Mr. Braham. By W. H. 
Cutler, Mus. Bac., Oxon. 2s. 6d. Willis 
and Co.—We should have expected that 
Mr. Cutler, for occasions like those in- 
dicated on the title, would have exerted 
himself to produce some accession of Jau- 
rels—something which should do honour to 
the singer and the situation; but it appears 
that the composer’s energies were dormant 
at the time, and he certainly has not drawn 
very deeply, either on his hoards of science 
or invention, to furnish the quota of matter. 
The recitative is occasionally good, but 
seems unconnected in many parts; the in- 
termediate symphonies do not possess suf- 
ficient character. The Ritornel, after the 
- word Charity, is strangely uncouth ; we 
will venture to suggest to the singer whe- 
‘ther the C flat is not much more expres- 
sive of the feeling on the word dark than 
F, as it at present stands. The Andante 
Cantabile commences sweetly. The Alle- 
gro, though pretty and spirited, is much 
too trivial for the nature of the song. We 
must recapitulate that we should not ob- 
ject to this song, were its début more 
unpretending ; but when we hear of its be- 
ing composed for the oratorios and musical 
festivals, we expect a vocal composition of 
the highest class, to which title it cannot 
‘certainly aspire. How many grades is it 
below the song, “‘ Let the shrill Trum- 
pet,” by the same author ! ! 
“ Fair Geraldine.” Song. By John 
Barnet. 1s. 6d. Cramer, Addison, and 
Beale.—This little song, in the Spanish 
style, is evidently borrowed from Pianta- 
dina’s Philomela, but we cannot say that it 
equals the original. ‘The symphonies are 
very good, but the general effect of the 
‘song is more peculiar than beautiful. 
** As the Tree seems more Bright.’’ Song. 
John Barnet. 1s. 6d. Cramer and Co.— 
The melody, in six-eight time, is pleasing 
and simple; it is very similar, in some pas- 
‘sages, to Braham’s little song in Zuma, 
but the composer has much overloaded the 
‘accompaniments—there are two or three 
chords which grate dreadfully on the ear; 
we are not generally scrupulous on the 
subject of these new-fangled German caco- 
phonies, but here are two we really cannot 
tolerate, nor, we should imagine, would Mr. 
Barnet himself, if he accurately examined 
theni—Ist. we have B flat, D, E flat, F 
and A; 2dly. D flat, F natural, F sharp, 
A natural, and A sharp sounding together ; 
Review of M UsIC. 
259 
surely Mr. BG. cannot defend this, even 
putting its discrepancy with the style of 
the ballad out of the question. 
“ The Green Leaves are Dying.” Rondo. 
By T. Emden. 1s. 6d. Goulding, D' Al- 
maine, and Co.—A yery pleasing simple 
little ballad ; the minor is wéll introduced, 
and the return to the original subject, when 
properly managed, always produces a good 
effect. 
“ Brignal Barks.” A Glee for four 
‘Voices. By Mrs. Miles. 3s. Willis and 
Co.—This is truly a-lovely piece of music. 
The fair composer has precisely entered into 
the vein of the poetry ; it is ina light, naif 
style, in which she has been highly suc- 
cessful on several former occasions. In 
some points, it resembles some of Calcott’s 
best soprano glees: one passage in parti- 
cular, for two soprani, is almost borrowed 
from “ The Friar of Orders Grey.” The 
solos are very effective, and the whole 
glee, as a simple composition, is one of the 
most pleasing we have met with. 
PIANO-FORTE. 
Book the st of Twenty-four Grand 
Studies for the Piano-forte. By Henry 
Hertz, revised and corrected by Mr. Mos- 
chelles. 5s. Cocks and Co.—These studies 
differ materially from those of Cramer, 
Steibelt, &c., in exhibiting a much greater 
variety in the compass of each piece. In 
the exercises of Cramer, for instance, the 
composer has generally chosen one parti- 
cular passage for the formation of the 
hands, of which, solely, the lesson is com- 
posed, by running through a short course 
of modulation. In the Studies before us, 
though there are many practical exercises, 
they are delightfully interspersed with pas- 
sages of expression and simple counter- 
point, and, even for the purpose of exhibit- 
ing, they are well worthy of acquisition. 
The stretches for the hands are sometimes 
‘tremendous, and, as a practice, they will 
have an excellent effect in widening the 
span. 
Fantasia, for the Piano-forte, introducing 
the Air “ L’on revient toujours.’? Composed 
by Steibelt. 3s. 6d. Goulding and D’ Al- 
maine,—This fantasia is one of Steibelt’s 
best productions in that style. The intro- 
duction is beautiful. The theme, from 
Joconde, is simple and elegant; and the 
‘six variations, which form the principal 
part, are spirited and characteristic. 
_ Impromptu, for the Piano-forte. By 
Moschelles. 2s. 6d. Cramer and Co.—This 
lesson is brilliant, original and short—which 
‘last qualification is rather a rarity in the 
piano-forte compositions of the present 
day; it is interspersed with legato -pas- 
sages, which produce a charming variety ; 
and is altogether such a lesson as we should 
recommend to be committed to memory, for 
the benefit of admiring friends, 
ele os VARIETIES, 
