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... and is indeed a highly meritorious composition. Commencing with a passage for the flute in E minor, the imitative points ale so well sustained that, instead of a song with accompaniments it may in truth be called a Trio for voice, flute, and pianoforte. The introduction of the maj or key on the xrords " What tho' my life with ^Tintry cares be vext," is extremely happy. No. 5 is a good contra.lto song (again in the minor and major) the accompaniment to which is appropriately subdued; and No. 6 has an effective theme with a more important pianoforte part, which will require careful playing to realise the intended effect. We can scarcely doubt that this collection of songs will command an extensive sale * but for vocalists who may be led by our cursory notice to prefer any particular one, we may say that they are all published separately. Now eve vpoet the 7till cZescendeth. l3arcarolle, for tw° voices. The English words by H. W. Duleken, Ph.D. Composed by Camille Saint-Saens. THERE is perhaps no particular reason, from the derivation of the rord, tha.t a Barcarolle should be in 8 rhythm, but at all events we are so much accustomed to see them thus written, that we feel almost surprised when we find the one before us moving throughout in four crotchets in the bar. The composition is said to haUve been expressly intended for Madame Via.rdot Garcia and Signor Gardoni, and open3 with a long tenor solo, followed by one for the contralto, both of xvhich are extremely attractive. The voices afterwards move chiefly together in melodious phrases, the continuous triplet accompaniment against the even voice parts having an excellent efect. The original wrords, commencing " Le soir descend sur la colline," have been sympathetically translated by Dr. Duleken. Steszzio. An Italian Cavatina, for Tenor or Soprano voice, with Violoncello (acl tzbitltm). Composed by Giulio Roberti. THE violoncello part, which has much prominence in this song, will greatly lose of its eSect when playeEl by the left hand on the pianoforte-but the compositioll has sufficient merit to recommend itself, more especially to tenor singers even mrith a pianoforte accompaniment. Ill parts the melody seems to halt, but the phrases are extremely vocal; and if not quite as spont&neous as some other +rorks we have seen by the same composer, there can be little doubt that it :may be made highly effective by a vocalist who has dramatic feeling as well as vocal pomrel at command. The lengthening out of the word " Silenzio," from the part marked " piu lento," at the conclusion of the song, ^=ith the descent of the violoncello in octaves, pizzicstto, is a) point worth attention and we like also the effect of the voice ending on the fifth of the key-note chord. The composition is appropriately dedicated to Mr. W. H. Cummings, but it is not stated whether it has yet been heard in public. The Steae7Z1et. Part-Song forfourvoices (with Soprano or Tenor solo). Words by Frederick Pratt, Esq. Music by William J. Young. A MELODIOUS and carefully harmonised part-song, which without calling forth any special mark of eulogy, we call conscientiously recommend to Choral Societies desirous of increasing their store of available compositions of this class. The solo, in the subdominant, is some+srhat common-place and we think it a pity that Mr. Young does not tell us whether it is intended for a tellor or soprano voice. Surely the composer ought to know best whaJt he means, alld havillg once expressed his intention, esecutants are bound to abide by his decision. METZLEBS AND GO. Valse, pour Piano, sur l'opera de Gounod " Irene" (Reine de Saba), arrang6e par F. Burgmuller. THE arranger has here done the utmost justice to M. Gounod's tuneful themes, and has produced a piece lYhich cannot fail to please. The " Chceur des Sabitennes " makes an effective introduction to the Waltz, and the passages are written throughout so that much brilliancy may be gained by a small expenditure of labour. We should be glad to see operatic Fantasias always entrusted to such experienced hands. ASHDOWN AND PARRY. Allegretto Graztoso, for the Pianoforte. iBy T. -Mee Pattison. WE select Mr. Pattison's little sketch from a formidable pile of more pretentious music, because instead of an attempt scarcely as spontaneous as No. 4, which has a flute obbliyato effectively woven in with the pianoforte part, and is indeed a highly meritorious composition. Commencing with a passage for the flute in E minor, the imitative points ale so well sustained that, instead of a song with accompaniments it may in truth be called a Trio for voice, flute, and pianoforte. The introduction of the maj or key on the xrords " What tho' my life with ^Tintry cares be vext," is extremely happy. No. 5 is a good contra.lto song (again in the minor and major) the accompaniment to which is appropriately subdued; and No. 6 has an effective theme with a more important pianoforte part, which will require careful playing to realise the intended effect. We can scarcely doubt that this collection of songs will command an extensive sale * but for vocalists who may be led by our cursory notice to prefer any particular one, we may say that they are all published separately. Now eve vpoet the 7till cZescendeth. l3arcarolle, for tw° voices. The English words by H. W. Duleken, Ph.D. Composed by Camille Saint-Saens. THERE is perhaps no particular reason, from the derivation of the rord, tha.t a Barcarolle should be in 8 rhythm, but at all events we are so much accustomed to see them thus written, that we feel almost surprised when we find the one before us moving throughout in four crotchets in the bar. The composition is said to haUve been expressly intended for Madame Via.rdot Garcia and Signor Gardoni, and open3 with a long tenor solo, followed by one for the contralto, both of xvhich are extremely attractive. The voices afterwards move chiefly together in melodious phrases, the continuous triplet accompaniment against the even voice parts having an excellent efect. The original wrords, commencing " Le soir descend sur la colline," have been sympathetically translated by Dr. Duleken. Steszzio. An Italian Cavatina, for Tenor or Soprano voice, with Violoncello (acl tzbitltm). Composed by Giulio Roberti. THE violoncello part, which has much prominence in this song, will greatly lose of its eSect when playeEl by the left hand on the pianoforte-but the compositioll has sufficient merit to recommend itself, more especially to tenor singers even mrith a pianoforte accompaniment. Ill parts the melody seems to halt, but the phrases are extremely vocal; and if not quite as spont&neous as some other +rorks we have seen by the same composer, there can be little doubt that it :may be made highly effective by a vocalist who has dramatic feeling as well as vocal pomrel at command. The lengthening out of the word " Silenzio," from the part marked " piu lento," at the conclusion of the song, ^=ith the descent of the violoncello in octaves, pizzicstto, is a) point worth attention and we like also the effect of the voice ending on the fifth of the key-note chord. The composition is appropriately dedicated to Mr. W. H. Cummings, but it is not stated whether it has yet been heard in public. The Steae7Z1et. Part-Song forfourvoices (with Soprano or Tenor solo). Words by Frederick Pratt, Esq. Music by William J. Young. A MELODIOUS and carefully harmonised part-song, which without calling forth any special mark of eulogy, we call conscientiously recommend to Choral Societies desirous of increasing their store of available compositions of this class. The solo, in the subdominant, is some+srhat common-place and we think it a pity that Mr. Young does not tell us whether it is intended for a tellor or soprano voice. Surely the composer ought to know best whaJt he means, alld havillg once expressed his intention, esecutants are bound to abide by his decision. METZLEBS AND GO. Valse, pour Piano, sur l'opera de Gounod " Irene" (Reine de Saba), arrang6e par F. Burgmuller. THE arranger has here done the utmost justice to M. Gounod's tuneful themes, and has produced a piece lYhich cannot fail to please. The " Chceur des Sabitennes " makes an effective introduction to the Waltz, and the passages are written throughout so that much brilliancy may be gained by a small expenditure of labour. We should be glad to see operatic Fantasias always entrusted to such experienced hands. ASHDOWN AND PARRY. Allegretto Graztoso, for the Pianoforte. iBy T. -Mee Pattison. WE select Mr. Pattison's little sketch from a formidable pile of more pretentious music, because instead of an attempt scarcely as spontaneous as No. 4, which has a flute obbliyato effectively woven in with the pianoforte part, and is indeed a highly meritorious composition. Commencing with a passage for the flute in E minor, the imitative points ale so well sustained that, instead of a song with accompaniments it may in truth be called a Trio for voice, flute, and pianoforte. The introduction of the maj or key on the xrords " What tho' my life with ^Tintry cares be vext," is extremely happy. No. 5 is a good contra.lto song (again in the minor and major) the accompaniment to which is appropriately subdued; and No. 6 has an effective theme with a more important pianoforte part, which will require careful playing to realise the intended effect. We can scarcely doubt that this collection of songs will command an extensive sale * but for vocalists who may be led by our cursory notice to prefer any particular one, we may say that they are all published separately. Now eve vpoet the 7till cZescendeth. l3arcarolle, for tw° voices. The English words by H. W. Duleken, Ph.D. Composed by Camille Saint-Saens. THERE is perhaps no particular reason, from the derivation of the rord, tha.t a Barcarolle should be in 8 rhythm, but at all events we are so much accustomed to see them thus written, that we feel almost surprised when we find the one before us moving throughout in four crotchets in the bar. The composition is said to haUve been expressly intended for Madame Via.rdot Garcia and Signor Gardoni, and open3 with a long tenor solo, followed by one for the contralto, both of xvhich are extremely attractive. The voices afterwards move chiefly together in melodious phrases, the continuous triplet accompaniment against the even voice parts having an excellent efect. The original wrords, commencing " Le soir descend sur la colline," have been sympathetically translated by Dr. Duleken. Steszzio. An Italian Cavatina, for Tenor or Soprano voice, with Violoncello (acl tzbitltm). Composed by Giulio Roberti.