362 New Music and Drama. [Nov. 1. 
ness or variety of the harmonical con¬ 
struction. The impression, however, 
which we receive from our view of the 
whole of this publication, is not such 
as ought to give pain or discouragement 
to Mr. Jarvis as a composer of church 
music. The province in which he has 
here exercised his talents, is too intricate 
and difficult to involve in disgrace a 
moderate degree of success; and we 
hope that the only effect of these re¬ 
marks will be to induce his further and 
more strenuous exertions in the same 
arduous walk of composition. 
Numbers 1,2, 3, 4, of Williams's Sacred 
Melodies. The words chiefly taken from 
the Psalms of David, the Airs selected 
and adapted by T. Williams; tke 
whole arranged for the Piano Forte, 
Harp, or Organ , by Mr. John Davy, 
and other eminent Professors. 3s. 6 ch 
each number. 
Of this useful work, the four num¬ 
bers now lying on our table are all 
that have yet appeared. The publish¬ 
er’s principal objects in this work (as 
we collect from his preface to his first 
number) are to furnish an appropriate 
Sunday evening’s entertainment for 
private families—to rescue the beauties 
of sacred poetry from neglect—and to 
combine some of the'finest specimens of 
ancient melody with the best of the mo¬ 
dern lyrics. This design, as far as file 
undertaking has proceeded, Mr. W il- 
liams has accomplished; and therefore 
we have pronounced it a useful work. 
The pages before us are occupied with 
well-selected melodies; and when the 
reader, in addition to knowing that the 
publication is conducted by Mr. Davy, 
learns that a considerable portion of 
the poetry comes from the muse of Mr. 
O’Meara, he will form a favourable 
opinion of the execution of the work. 
A part of the plan consists of the occa¬ 
sional harmonization of the airs, for 
two or three voices, which will materi¬ 
ally contribute to the value of the com¬ 
pilation, and the general merit of the 
publication will not, we think, fail to 
recommend it to the favourable notice 
of the lovers of sacred music. 
A Familiar Duett for Flutes, composed 
and dedicated to Mr. Robert Taylor, 
by C. N. Weiss. 3s. 
This duett, besides that it presents 
to the auditor a variety of ingenious, 
and in a great degree, novel passages, 
evinces by the general cast of its con¬ 
struction, a respectable portion of sci¬ 
ence, and no trivial talent in its em¬ 
ployment. The two parts are blended 
with a skill that renders their conjunc¬ 
tion very effective, and demonstrates 
much adroitness in this species of com¬ 
position. 
44 01i y blame me not, that pleasure's 
dreamy" a Ballad adapted to a favorite 
Melody by Mozart , by Mr. C. N. Smith ; 
the words by Mr. C. Sehvin . Is. 6d. 
To the melody applied by Mr. Smith 
to Mr. Selwyn’s words (which, by the 
way, are written with feeling and spirit) 
he lias added a new piano-forteaccompa- 
niment, and introductory and conclud¬ 
ing symphonies. The adaptation is 
appropriate, and the subordinate mat¬ 
ter is not unworthy of its principal. 
As a pleasing trifle (and Mozart him¬ 
self could not intend this morceau me- 
lodieux for any more) this air, in com¬ 
bination with Mr. S.’s poetry, will rank 
among the favourites of the day. 
44 Oh, come to the bark ,’’ a Ballad written 
by Harry Stce Van Dykey esq. and 
adapted to a celebrated Waltz, with an 
accompaniment for the Piano Forte, by 
Mr. John Barnett. 2 s. 
The air given to the words of this 
ballad is judiciously, because appropri¬ 
ately applied. Of Mr. Barnett’s accom¬ 
paniment we can with justice say, that 
it is variously and ingeniously con¬ 
ceived. The alternate chords distri¬ 
buted between the right and left hands, 
are impressive in their effect, and the 
semitonic intervals in the intermediate 
symphonies afford to the ear a diversity 
that awakens attention and adds to the 
general interest of the melody. 
A Fugitive Piece, intended for Sunday 
Practice. The words by Mrs. Barbauld; 
the Music by Mr. W. Smith. 1.?. 6c?. 
This composition is written for four 
voices ( canto , alto , tenor and bass,) and 
is designed for the use of choirs and pri¬ 
vate parties. In the melody, we must 
be allowed to say, no very attractive 
beauty presents itself to our notice, and 
the harmonic construction is neither 
enriched by any well-supported points, 
nor embodied with the address ot a 
skilful contrapuntist. The aggregate 
effect, however, is by no means un- 
pleasing; and in the present state ol 
choral composition, Mr. Smith’s pro¬ 
duction will not be despised by the 
generality of its hearers. 
44 Tom Moore" the icords by Lord Byron; 
the Music composed by T. Williams. Is. 
The air of this ballad is simple, pret¬ 
ty. and adapted to the sense of the 
words, such as it is. The melody is really 
music; hut the verse can scarcely be 
called poetry; and we could have wish¬ 
ed that Mr. Williams’s t alen ts had been 
better employed than in setting lyrics 
so unworthy of their author. 
DRAMA. 
