1825.] 
effect, and the constant alternation of the 
third and fifth on the tonic and dominant, 
though rather monotonous, produces an ef- 
fect both plaintive and original. 
“<The Mid-day Sun was bright on high.” 
Sung by Horn. 1s. 6d. 
This is undoubtedly the best and most 
original song in the piece. It opens with 
a soft waving movement-of the violins des- 
etiptive of the scene; with the poetical 
descriptive passage the music changes, but 
continues a soft legato pathetic movement, 
well adapted to the expression of the words, 
to the end of the andante. 
In the allegro, the vocal part is in the 
form of a recitative, interrupted occasion- 
ally by a bold passage in the bass: the 
whole of page 4 strikes us as a close imi- 
tation in style of the allegro in the tenor 
seena of the Freischiitz, the quick move- 
ment closes with a rapid iteration of the 
bass passage before-named, and an arpeggio; 
and a short strain from the original andante 
eloses the whole. 
“ Traitor, prepare to meet thy Doom.” 
Duett by Horn and Sapio. 2s. 
This duet is composed of two or three 
passages, repeated sometimes in the major, 
sometimes in the relative minor by the 
singers ; sometimes alternately, sometimes 
en duo; but, whatever may be the con- 
struetion, the effect upon the whole is bold 
and pleasing. = - 
“ Oh, be some signal Vengeance,” by Horn. 
Is. 6d. 
“ In Tunis’ fair City.” Sung by Miss Ste- 
phens. 1s. 6d. 
Both mediocre. We cannot understand 
why the first four lines of the ballad “ In- 
299 
Tunis’,”” should be in recitatiye, to which 
neither the style and metre of the poetry, 
nor the peculiar abilities of the performer, 
are adapted. : : 
* Oh, the Accents of Love.” Scena sung 
by Miss’ Graddon. Bishop. 2s. 
The arrangement of this song seems mo- 
delled after the chamber scena in the Freis- 
chiitz (than which nothing could be less in 
unison with the character of the story) ; 
first, detached recitatives accompanied, then 
a short largo recitative again, and aw allegro 
molto, very chromatic, to conclude. The 
modulation in the last movement on the 
words, ‘‘ For buried he lies with fathomless 
waters above,” is fine; at the bottom of 
page 5, g natural is made use of instead of 
f double-sharp, in the chord of the extreme 
sharp sixth. It is a pity that the com- 
poser, in arranging for the piano-forte, did 
not alter the form of the arpeggio violin 
accompaniments, which lay awkwardly un- 
der the hand in so rapid a movement. 
“ Yes, ’tis decreed, thou lovely Fair.” Sung 
by Sapio. 1s. 6d. 
This, for a stage, we may call the very 
essence of simplicity; there are not above 
Moxtury Mac. No. 407. 
T heatrical Review ; and Music. 
169 
six or eight bars of melody in it, repeated 
with some slight alterations. It is popular 
on the stage, from the energy of the singer, 
but, the air is not sufficiently elegant to 
make it a lasting favourite. 
“ The Bolt has burst.” Scena sung by Sa- 
pio. 2s. 6d. ; 
There are many pleasing passages in this 
song, but the want of connexion between 
the parts, injures it as a whole. Soldiers of 
Heaven is a very beautiful invocation in 
the choral style. Four trumpets with 
trombones, &c. isa most tremendous brazen 
band for one voice to contend with. We 
pity poor Sapio’s lungs. 
“ Here like the Gem.” Sung by Miss Ste- 
phens. 2s. 
This song is spoilt by the amazing num- 
ber of sforzandi interspersed, which, though 
a good orchestral effect, are detestable in 
the voice, when used too frequently. 
“ Say, have you loved?” Duet, Sapio and 
Stephens. 2s. 
In the pretty page style; rather plain- 
tive, but not equal To ITS ORIGINAL, 
“ Sunset.” Words from Lord Byron. W. 
Fitzpatrick. 2s.  Eavestaff. 
To do justice to Lord Byron’s words, 
requires a kindred soul—laying aside the 
difficulty of setting blank verse, we should 
recommend the composer not to attack that 
poet again ; there requires a peculiar tone, 
a sombre, yet elegant, cast of mind, an assi- 
milation in the music, in which the com- 
poser, though a young man of much talent, 
has not succeeded. The composition, in- 
dependent of the words, is very good. 
“ What is Prayer?” W. Horsley, Mus. Bac, 
Oxon. 2s. Birchall. 
There appears to be a general desire 
among composers, to vie in setting these 
truly beautiful words of Montgomery; we 
have seen no less than five different copies. 
In the present instance, Mr. Horsley 
has aimed at no effects; there is no fa- 
gade or pretension about it: perhaps, as 
a composition, we should give the prefe- 
rence to Holders; but there is a chaste, 
placid manner about. this; a true spirit of 
piety breathing in every line, which must 
delight, if not improve. Mr. H. has ma- 
naged, without racking his brains for origi- 
nality, to form an elegant song from slender 
materials ; the whole subject is only. sixteen 
bars in length, and is three times repeated 
in a. minor, once in a major key; but by vary-_ 
ing the style of the accompaniments and 
attending closely to the expression of the 
words, an appearance of variety is obtained. 
PIANO-FORTE, 
A Rondo, with an accompaniment of Piano~ 
forte. Dedicated to the Princess Augusta. 
Book I. Ditto Book IT. G. B, Herbert. 
5s. Goulding and Co. 
As those pieces are professedly com- 
posed for the use of young people, their 
Z extreme 
