1825.) 
sistance of good harmonies, and an elegant 
arrangement, might have formed a collec- 
tion worthy of a place in our Kbraries ; but 
they are so defiled by inaccuracies, that we 
cannot disgrace Haydn and Mozart by 
placing them on the same shelves. To 
prove that: we are not exaggerating, we 
will ‘extract a few instances which may 
casually strike us as we turn over the 
leaves. In the first, “‘ Love, Music and 
Time,” (the last quaver in the first bar of 
the allegretto), the accompaniment should 
follow the voice; last bar, same page, a 
new way of avoiding octaves; last bar but 
one, ditto; the treble chord forms a glo- 
rious cacophony with the voice and bass. 
Page 8, last bar, fifths. Page 16, first 
bar, ef alicubi, an arpeggio chord of G, 
while the voices change to the dominant 
7; the composer may possibly consider 
the 7 as a passing chord, but it is too dis- 
agreeable to be allowed. Page 15, the 
yocal and instrumental bass should take 
the C together at the pause.—“ Hope and 
Memory,” one of the most pleasing of the 
set, is destroyed by an unlucky passage 
whieh occurs eleven times, and which the 
composer has given in a manner perfectly 
noyel, we believe, and likely to remain ex- 
clusively his own, viz. that which occurs in 
bars 5 and 7 of the symphony; and after- 
wards, in the song, where we have two 9-7 
on two consecutive basses, and a 4-2 un- 
resolved.- ‘‘ Oh, for that Strain,” is de- 
cidedly the best and most perfect in the 
set. Bars 4 and 5, page 32, in the har- 
monizing of the same air, we should hope, 
are a misprint. We have named a sufi- 
cient number of faults, and those not errors 
of the engraver, perfectly to authorize our 
reprehension ; there are many which we 
have not noticed ; and we must assure Mr. 
W., that to edit a work of this kind with 
any sort of credit, requires more than a 
good ear, or a moderate quantity of intui- 
tive talent, both of which we are happy 
to concede to him. We should recom- 
mend, if he continues the numbers, to have 
them revised by some steady musician be- 
fore she brings them out, that he may not 
incur another philippic. 
‘ What is Love ?” Song ; the Poetry by 
Miss Barber ; composed by J. Barnet. 2s. 
C. B. Cramer and Co.—This composition 
does the highest credit to the composer, 
who is rapidly rising in the opinion of the 
scientific class of musicians ; if he con- 
tinue writing songs of this superior cast, 
he must be a general fayourite. The air, 
which is of an irregular nature, is well 
adapted to the “words; the accompani- 
ment is fine; at the words “ it is a flower,” 
there, is a marching bass that reminds us 
of, Mozart. The general style is plain- 
tive,;,and the harmonies frequently recall 
to,our recollection a canzonet of Hum- 
mel’s, “ Myra Farewell.’—In the first 
pagey between the second and third bass, 
third Jine, the bass should have descended 
to C.instead of A. 
Theatrical Review and. Music. 
45] 
** Follow to the Elfin Bowers?’ Dueti» 
do. do.—We understand that this duet 
was originally composed to Shakspeare’s 
poetry, “ As it fell upon a day :” ifso, it 
has been fortunate in a happy adaptation 
of new words, for they certainly appear 
as if written for each other. The general 
style of this piece is too scientific for 
general sale; it abounds with passages of 
imitation and syncopated notes : the latter 
are introduced in several passages with 
great effect. There are some hard hits 
in the second vocal part, first page, which 
would have been better avoided, as would a 
natural and flat, at the same time, in the 
symphony: we allow it is a passmg note ; 
but the effect is bad, and might be easily 
obviated. ; 
‘© When should Ladies listen?” Ballad 
Sung by Mad. Vestris. C.F. Horn. 2s. 
W. Horn.—A truly elegant little song, 
perhaps one of Mr. Horn’s best ; the_style 
is simple and natural. The old passage 
in the last page is admirably introduced : 
we have copied the title in affixing Ves- 
tris’s name to it; but we cannot think she 
has yet sung it, or it would have been 
more known. 
The Lord's Prayer versified and set to 
Music, by A. Voigt. 2s. Lindsay. Preserve 
us from such versifying !—The music is set 
for one or four voices : the harmonies are 
good; but there is nothing very strik- 
ing. 
“ Command me not to Leave thee.” Sung 
by Braham. J. Parry. 1s. 6d. Goulding 
and D’ Almaine.—We do not generally ad- 
mire Mr. Parry’s compositions, but, for a 
simple theatrical ballad, we think this ex- 
tremely pleasing ; it is, in our opinion, the 
best he has written, not excepting “‘ Loye’s 
a Tyrant.” 
“ When the Sails are Furled.” Ballad sung 
by Miss Boden, in the Pirate. Herbert. 1s. 6d. 
Goulding and Co.—A pleasing little me- 
lody—extremely simple in its construc- 
tion: the two A’s in the second line, 
second page, are, of course, a typographical 
mistake. 
“ Ah, did I Swear to Love thee not ?’’ Bal- 
lad sung by Melrose. W. West. 1s. 6d. 
Evans:—We cannot say much for the ori- 
ginality Of this melody; but it is pleasing 
and easy-' There are a number of mistakes 
in the bass of the accompaniment; but 
they appear many of them to proceed from 
the engraver, and we have no doubt will 
be immediately rectified. 
“ Tasked of my Harp.” From the Tales 
of the Crusaders. -G. B. Herbert. 2s. 
Goulding and D’ Almaine.—Had Mr: Her- 
bert ransacked half Christendom for 
words completely unmusical, he could not 
haye succeeded better; they form an ob- 
stacle which we doubt if any composer 
could overcome, so as to succeed mode- 
rately well; and we really think the 
Pens ae music go hand-in-hand. 
METEOROLOGICAL 
