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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. After lvhich we have a concluding symphony of some But of the two we prefer tho second; although there i8 length on apedale, with harp-like arpeggios, and a series a stliking similarity between them, neceFitated by tho of descending harmonies of the most original kind, resemblance of the words, 4' Come unto Him, all ye who bringing the work to a conclusion in a dignified and labour; your Lord will give you rest and peace,comfort stately manner. That worshippers in our Cathedra,l for all your sorrows; ye weary, lIe will give you rest for ohurches would be benefited by the use of such music as your souls. () turn from the pleasures of sins, and behold this,-vfhich speaks direct to the heart, in language nct your Lord on His (:ross, who dies for the Sins of the world tikely to be misundersteodS-there can be little doubt It Come unto Ilim all ye who labour, He will receive you 1s equally certam that the greater part of the concerted iEle will refre6h you, He will g,ive rest to your Souls." It music sungin such places, appeals neither to the underseems difficult to imagine words more sliited to the etanding nor the feelings-neither to the head nor the reqwrements of worship. Compare these with the ridi heart-of those who worship there: consequently the perculous selections sometimes made b5t our allthem writers formance of music, which is only of interest to the musical in which we pray to be delivered " out of the harlds of the 2,ntiquarian, severs the thread of their devotion, and heathen!" orthat"peacenxaybeuponIerael;"or,again instead of stimulating their better feelings, aetually prowhen we have neither praise, prayer, nor narrative, as in duces a void. If there be a precedent in the entire range the Anthem, " How goodly are thy tents, O Jacob. and of Cathedral mujsic, for the introduction of such a work a9 thy tabernacles, () Israel." lt seems absolutely astonishing this Motett into our services, we should find it in Greene's when we consider what strange things are put into our Anthem "God is our hope." Surely when thiswork IPouths"inqliiresandplaceewheretheysing"anthemS. was first introduced, the excitement must have been If we were e2rpected to use such unsliitable and inat)proimmense; and we cannot help thinking also that some priats words in the shape of hymns, we 6hould consider it amount of opposition rtlust have been made by the antian outrage on common sense. How many times have we quarians of that date, for anything more dramatic in beenexpectedto joininspiritinthe6timulatingnarrative fotm, more novel in conception, or more marked in its 4 EIe gave them hailstones for raih," which seems to be a intense desire to push the illustration of the ideas constock I)iece in sonle of our Catiledralchurches, principally tained in the words to the ferthest limit, had hardly been because it is a dashing chorus, and utterly beys.nd seen at that time. And though this is one of the principal the powers of a cathedral staff. But such absurdities instances of the liberal use of dramatic form and colouring must sooner or later come to the ground * arld then we nlay in church Inusic, it is by no means the onlY one; for from hope to see the duty of selecting music placed in the Pelham Humphreys, down to our own day, there has handg of competent professional persons, who will be held hardly been a period when it was not more or less used; responsible for all that is performed. And working therefore, lvhy anythlng written in that form at the harmoniou91ywiththettl should be thePrecentor,or Dean present time should be stigmatized as operatic, it is who M ould accepto the responsibility involved in the choice difficult to make out. At ally rate, with the strong devoof words alone. Then also we possibly mas find cathedlbal tional feelirlg, always apparent in M. Gounods sacred Inl}SiC touching our hearts and stimulating our devotion, music, it is irtlpossible, affi any fairness, to lay to his instead of panderingto the antiquariantastexofunmusical charge a want of deep religious expression, and in this persons. Motett least of all. The wtords supplied by the Vicar of St. Andrew's, Wells-street are in e-ery wav adulirable. Zarantelle. For the Pianoforte. By William J. Young. time of Handel of an essentially operatic composer having b foun(1 e ' *g ' * y easy piee, h h v. 11 of saGred devotion. It istrll thPe [Yinndg Vvnhvicghleat de.pXd toUches illdieccattevd bbYyPtlhUI8t8svho ean command thevaried D0n Giovanni also created tkle Requiem and tlle hand n nlmor, andants soatenuto, leads to a vivace Eiubgeet in NWvhoilcdh^8traArdtrNeoanuwviu APVdBat atdhded the Ave Vert8 to thd composstion, and this ss followed by a theme in the sub-Gounod is another. oullnant. After thi8 the birds re-appear, and warble in rhe two cotllpogitionS now under notice offr proof of graceful pa88ages to the end. Although perhap ficarcely thi8 Anything more sacred in effect or more widely equal to some other pianofortewOrkswe have 3een byth di¢erent from the archaic curiosities which do duty fr Same cOmposerX thls " Improvisation will well. repay the anthems in many of our cathedrals can hardly be imagined. , g pas g A11 worn out traditionshave been dispenseduth. The Aveu d'Amour. Melodie pour Piano. Par Charles counterpoint is of the simplest form-note agai"st note. Deliou2r. There is not a shadow of fugal point or piece of imitation A PLAIsTns melody i9 here given to the left hand from the beginning to the end of either. Ther are the throughout, accompanied with quavers in ths right hand result of pure inspiration, unf.ttered in the sliglteHt Themodulation8areexceedinglyeffective.andlhetheme degree by that pedantr) which, when unduly indulged in, has sufficient interest to counteract the monotony of the becomes the curse of Art. Silnple and most touching accompanilIlent the concluding phrase, lengthened out are tlle words, 64 All ye who weep, O come unto Ale I upon the key-note harmony, being peculiarly graceful. svill comfort you. ^11 ye who suffer, O come to M^, * I. If this ; Romance Bans paroles " be not played with the will console you. All ye who mourn, O come to Me * I requisite expres6ion, it is certainly not for want of explicit am 5 our Peace. All ye who die, O come to Me for ife directions, such indi¢ations as 4 Augmentez," " Xetenez," eternal ;" and it is not too much to say that the music is Elargiseez," and * Avec noblesse," deciding 1he com-*54 . m evety way worthy of the word3. poser's intention beyond the posfiibility of a doub$.