j 
- 
1825.) 
—A very original composition; and we 
should hope, for the credit of our fair 
countrywomen’s taste, that it may become 
popular. Itis in the rondo style, and com- 
mences without a symphony (unless a single 
introductory bar of triplets can be called so), 
in alight joyous movement, which brings 
forcibly to the imagination the Maypole, 
with all its concomitants of rustic gaiety ; 
this is succeeded by an andante legato, 
perhaps of rather too serious a character, 
but it gives a greater brilliancy to the ori- 
ginal allegretto, which returns with re- 
doubled animation. The little ritornels of 
triplets, seldom of more than a bar in length, 
produce a light dancing effect, which much 
enhances our pleasurable sensations: the 
whole composition does great credit toa 
young composer, who, we prognosticate, 
will arrive at the highest eminence. 
* Good Bye.” A favourite Ballad, sung 
by Madame Vesiris. By J. Blewitt. 
Goulding, D’ Almaine, and Co.—This is a 
pleasing, elegant, and likely to be a popular 
baliad. The melody is well adapted to the 
light style of the poetry and the naiveté of 
the fair vocalist ; but there is one flaw in 
it, which in our opinion (who have no par- 
ticular predilection for singing nonsense) 
is fatal; but we will hope, for Mr. Blewitt’s 
sake, that all singers may not be so 
squeamish on the subject of uniting sense 
with sound. We fear it will be necessary 
to give the first six lines of the poetry to 
explain our meaning. 
«*I can bid you good morning, good day, or good 
night, 
At expense of perhaps one faint sigh, 
Since I know a few hours will renew my delight. 
But oh, when I bid you good bye 
My tongue becomes dull, and my heart becomes chill, 
And warm tears shut out light from each eye.” 
Qs. 
' ___ There is eyidently no pause, not even a 
or 
i 
: 
comma, at the word good bye; but the 
composer, because it is the end of the fourth 
line, after an abundant repetition, has 
brought the air to a regular close on that 
word, and given us a symphony of six bars 
in length after it; this is the more unfortu- 
nate, as it is only in the first verse that this 
circumstance occurs. The fact is, that the 
poetry is not, from this irregularity, adapted 
fora ballad of four lines in each stanza, as 
either the sense or the sound must be sacri- 
ficed ; and, as a composer, it was Mr. B.’s 
_ duty to have observed and guarded against 
it. 
_ “ My ain little Wife.’ Ballad, by J. Gar- 
nett, 1s. 6d. Goulding, D’ Almaine, and Co. 
—Mr. Garnett is not, we believe, a profes- 
sional man, and therefore is entitled to very 
high commendation for the production of 
s0 excellent a song, which, in its peculiar 
style, would do credit to any composer. The 
_ melody is simple and appropriate, and the 
accompaniment highly effective, though 
perhaps it possesses a fault common to most 
amateurs of talent, that of being too com- 
¥ plex for the simplicity of the subject. The 
a : 
‘i 
¥ 
Theatrical Review, and Music. 
355 
symphonies are elegant, and, without being 
a mere repetition of the subject, harmonize 
well with the general effect of the song. 
We should particularize the last four bars 
as strikingly pleasing : the flute echoing the 
mejody ; and the voice left ad libitum in the 
last bar but one, without accompaniment, 
are both effective passages. We have per- 
haps allowed our notice of this ballad to ex- 
tend to a greater length than was requisite 
for a composition of a minor class; but we 
are always happy to encourage any manifes- 
tation of talent, particularly where the par- 
ties have not passed through a course of 
professional studies. 
“When forced from dear Hebe to go.” 
Sung by Mr. Phillips. By Dr. Arne. 1s. 6d. 
Goulding, D’ Almaine, and Co.—We are 
always happy to see works of standard 
merit revived, and willingly step out of our 
beaten track to give them encouragement 
or publicity. Dr. Arne’s ballads are many 
of them master pieces; but partly from being 
published in score, or with thorough-bassac- 
companiments, and partly from the influence 
of fashion, the knowledge of them is can- 
fined to a very few genuine lovers of chaste 
melody. ‘The first of these objections is 
obviated in the present instance, by a simple 
piano-forte accompaniment ; the second we 
will endeavour to do away by our strong re- 
commendation. We hope that this will be 
only the precursor of a most valuable series 
of songs. 
' PIANO-FORTE. 
No. 5. Rondo for the Piano-Forte ; dedi- 
cated to Miss Norton. By F. Kalkbrenner. 33. 
Goulding and Co.—This is one. of a class of 
compositions to which we are extremely 
partial. The character of the piece is rather 
orchestral than otherwise : it is not a mere 
concatenation of brilliant piano-forte pas- 
sages, huddled together without design ; it 
consists of two or three regular subjects, 
which, after being treated simply, are inter- 
woven, in the most skilful manner, yet 
without any appearance of labour. The 
introduction of about three lines is com- 
pletely instrumental ; this leads by a chro- 
matic ascent, in unison, to a very elegant 
simple melody, which may be considered 
as the first subject. The second subject, 
which commences about the bottom of 
page three, is more peculiarly adapted to 
the powers of the instrument: the third 
commences alla fuga, about the middle of 
page five: from these, with the addition of 
a little cadencing, the remainder of the les- 
son is composed. The modulation into 
E flat, at the bottom of page seven, is un- 
expected and grand. 
“ La Misca.”’ Rawlings. 3s.6d. Goulding 
and Co.—The principal part of this lesson 
is made up of airs from I) Crociato, which we 
have had before in a variety of forms : the in- 
troductive cadences, and a little digression 
from each of the airs are original :—the in- 
troduction we much approve of—there is 
a great deal of character init. The digres- 
272 siVO 
