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... ntent at http://about.jstor.org/participate--jstor/individuals/early-journal--content. JSTOR is a digital library of academic journals, books, and primary source objects. JSTOR helps people discover, use, and build upon a wide range of content through a powerful research and teaching platform, and preserves this content for future generations. JSTOR is part of ITHAKA, a not--for--profit organization that also includes Ithaka S+R and Portico. For more information about JSTOR, please contact support@jstor.org. quasi tma Fantasia," as a. i' Fantasia, quasi lma Sonata." posers who are turning their attention to tlle .subject. Self-exaumination (that valuable faculty so collstantly em-Amongst the nanles of tllose who are identifF-ing ttlemployed by Mendelssohn), should be rigidly exercised ly all selves M ith this class of composition, we may conscienyoungcomposers; forovithoutit, thereisalwaysadanger tiously place that of Mr. Young, who if not almays that the applause of injudicious fliends may arrest them original, at least writes earnestlt7, and like a musician. at the Jerv commencenlent of t heir journey towards the Out of the fourteen part-songs sent to us for review it is Temple of Fame. impossilule to do more than select a few for speciai men-SSti9^S Flowels (FruAlingsbla?ten) Three PieceS for the tion-No-1, " I love the merry Spring-tirrle " iS3 .n Pianoi(}rte-STo. 1 Atlegretto, in F. (). 2 4^1aran-elegant and brigilt melody, hartnollized witil the SiIn-ti9bo in B flat-5 0-3> Allgre tto, ill I). By Niels W. plic.ity that the suliect requirese N0. 4, ; The Mountain Gade. Mald," may al;o be conlmended as an exceedingly efTeetive little composition, well written for the voices, and easy to \vEEN Mendelssehn declined to divulge the train Of silzy-w(^ especialls admire the harmony of the second thought which dictated some of llis '8 Songs without subject, to the words ; With sylph-like form." No o WNTords," he mas consistent, becallse lle had not partially 4 Come o'er the mountaln," No. 9, ; lSaily Revels," indicated it by any fanciful title; but it lnu,st l:)e lelllem-No. 12, -Ccme, let us be merrJ,T and gayv77 and No. 13 lvered that nhen he did gie a llame (as, forillstance, "Itl v Folest echoes," may be also reconlmended ^Tith cona Gondola.,") it was so definite that nobody could nlistake fidence to choral societies, as pleasing and meritorious it. Had he called one, for example, " IRetrospection, ' the exanlples of the simple choral four-part song. iclea exi,sting in his mind ulight have been reversed by malay who heard it performed-and thus in sinlply giing 13ear is n?l natzve vale. Song. By Jesse Minns. it to the N-orld without a title, he acted rigidly ;lpon his HERE is a £onE,r l)y tlle composer ot the Fonata NN e hae theory t-hat, save where the same feeling would l)e called just revieBed. Mr. :Minns shows feeling for me1od+, but forth from every listener, a composition should lDe sinlply the simplicity of llis theme is obscured by laboured acleft to [spealL for itseli: ']:he title given to the tllree companiments. Some of his instrunlental passage,s, too, pieces uncler review is, therefore, ill our opinion, eithe] too ale by no llaeans agreeal)ie; as, for instance, tlle arpegS,io defillite, or not defilaite enough. 44 Spring F lowers," al-of the chord of B flat for the light hand, in the 1ast bar thoutgh somenhat meaningless as applied to instIumental of page 3. is particularly unpleasant agaiIast the left hand nausic, may be accepted as a pleasing nanle for a liohtand part. If the lrselody hal been tnore quietln accolllpanied, graceful piece; but when the same title is a,issen to theefi-ect would have been tnaterially heighterled, but three compositions of difierent character and feeling, we tlle words have sadltt crippled the composer .s effo] ts, fo object to it.s applicabilittT at all except as a general headi1zg the greatest genius could scarcely has e felt inspired witl to three separatelT-llamed pieces. l\Iu,9ically, 3I1' Gade's such lines as: compositions, although exceedillgly sligllt in construction, ; 'he squilrel leaps from tree to trec, are infinitely ,superior to most of the light " drawing-room " AI1(1 S11e1LS lliS 11UtS (tt liberty." piece.s of the day. Sto. 1 is an elegant, legato nselod+T, xitll an accompallimellt in detached notes for the right , lland, and all estended arpeggio bass. Tlle harmonie,s ASHDO+VS AND 1ARRY. are simple, as they should be; and the few modulatiolls Ezzgeniv. l)I(lzurhAcr de Salon. that OCCUI' flow nattlrally throut,hout. We see no reasorl lVaybleak (Der TayesanDruch). Sollg without morcls, rh the piece should lave l)een mrritten in + instead of: * fiJr the Pianoforte. the effect of the long drawn out phrases is alway,s rathel Both composed 1)25r Fredericlv Lohr. distressing to the eye; and, il3.deed, the conlposer seems THE,9E pianoforte coll)lsositions are sirllple in collstructo have felt thi.s himself, for he has, as coolly as possible, tion tut they care well written, alad the passclges care written hi£i last two l)ars ln g. Ill B'o. 2, we have a effective. Tlle lVazu1eak' is constlucted on ca floxvirlg thenle the right hand. The seeond thenle i,s effectivelAr dis-in 6 rilythtll, carefully harrtlonized, and lying xvell under tributect betweell tlle tlYo hands; and, after a close upon theShand-,ut f"r the life of us, we cannot ullderstalld tile dominant harmony, tlae original melody is re-intro-why it should be called ;Dayl)reak." 51Vlly not (as we duced. '11his piece i.s well written; and, althollgh un-have said in a revie-v upon othel pieces ill our present cloultedly BIendels£ohnia1l both in melodyc3lld trec3tment, numl.)(r) ,simply call it >a < Song xvithout WOICis," azld +sill l)e certain to please even ca mised audience. No-3 is leC^4ve the music to be tested bf7 its o+n melits? Pura simple sulJect in 83 rhythm, perhaps rather more diffi-suing the trail} of ideas called forth by the composer cult, m consequence of the eDitenslon of {,lle arpegpos ln however n7e callnot but thinlu that the sun stluggles with the left hand but fully equal in lnerit to the two already cliieultv tllrough the clouds just before the re-entry of oXced. We can conscientiously recornmend these three the Slll)gect >R.t pae 4 .sketches as evidellcing not only sound musical linowledge, ' t lDut a refined aDnd cultivated mind. IIanove} Squctre. No. 11. September. Arabesq?le. Fol the Pianoforte. TH13 contents of the present number of this periodical Pqimeve7e (Pzimrose) Esquisse, pour Piano are somewilat better tllan usual. A graceful pian()folte Par Siegfiied Jacoby. piece, calleci ' Flower-de-Luce," by hilr. Walter Maefarren, is mole unconventional than we have l)een accus-THE first of these corzlpo ;ltionS, m A minor, is peculiar, tome<3 to see in these. pages -and a MazurlSa, -Le Soul ire," the opening subject contiiluall5dropping vlpon an aLppog-by Hellri Roubier, is lip,ht, pleasing alld melodious giCItu1 cz: giving, however, a quaint character to it SiE3nor Raledeggervs song, ; T1le Butterfly and the 1x'1ON-er,'; which we do not dislike. The second theme is elegant, is just the class of composition that sill raise the cllalacand especialty well harmonized; but we think it a pity ter of ; Hanover SqLuare ," and is well worthy of l)ulllicathat the portion of the accompant7ing arpeggios intended tion separately: the music is most 1lappily weddled to ior the left hand sllould not be indicated. The secolld t,lle poetry, and the accompaniment is a model of delicacy piece is a slmple song, Whlch nzay be nlade effective by alld rfinement throughout. We recommend this xong to a those pianists who kave studied the art of drawing the (prallo who can talze tlle upper A +ith ease ast llepasmelody away from tlle accompanireent ' ' * sage where thls note occurs tould be rtlarred lv beilg sun z Part-Songs for Four T4oices. Composed by William J. an octave lower. BTe should mention that Mr. (:ampbell Young. Clarke (whose name a.ppears as the translator of the ^ords TUE deInalld for part-music is so great ill the present of this song, from the Italian of E:rancesco dalI' Ollgaro) day that there can 1)e little wonderat the number of com-is in no degree responsible for the somewhat U1]5TIX1Pa-quasi tma Fantasia," as a. i' Fantasia, quasi lma Sonata." posers who are turning their attention to tlle .subject. Self-exaumination (that valuable faculty so collstantly em-Amongst the nanles of tllose who are identifF-ing ttlemployed by Mendelssohn), should be rigidly exercised ly all selves M ith this class of composition, we may conscienyoungcomposers; forovithoutit, thereisalwaysadanger tiously place that of Mr. Young, who if not almays that the applause of injudicious fliends may arrest them original, at least writes earnestlt7, and like a musician. at the Jerv commencenlent of t heir journey towards the Out of the fourteen part-songs sent to us for review it is Temple of Fame. impossilule to do more than select a few for speciai men-SSti9^S Flowels (FruAlingsbla?ten) Three PieceS for the tion-No-1, " I love the merry Spring-tirrle " iS3 .n Pianoi(}rte-STo. 1 sage where thls note occurs tould be rtlarred lv beilg sun z Part-Songs for Four T4oices. Composed by William J. an octave lower. BTe should mention that Mr. (:ampbell Young. Clarke (whose name a.ppears as the translator of the ^ords TUE deInalld for part-music is so great ill the present of this song, from the Italian of E:rancesco dalI' Ollgaro) day that there can 1)e little wonderat the number of com-is in no degree responsible for the somewhat U1]5TIX1Pa-550 550 550 550 550 550 550 TG