24I 24I 24I 24I mind this would be impossible-but, throughout, the music reveals qualities of directness and homeliness which may fairly be styled English. Dr. Parry is rendering good service in choosing good words. In this Album there are two poems by the " Cavalier Lyrist," Richard Lovelaceone by Thomas Lovell Beddoes, nephew of Maria Edgeworth; one by Sir J. Suckling, the easy, graceful ballad writer of the seventeenth century, who is said to have divided his time betwixt gallantry and verse-makingand one by William Walsh, a poet praised by both Dryden and Pope. Was William, by the way, a brother of John Walsh, the father of Handel's publisher ? And from among modern poets our composer has selected Mr. Julian Sturgis, who is represented by his "Through the ivory gate." This choice of poems deserves to be emphasizedhow much, only those will understand whose task it is to read through the sentimental, silly, and sometimes vulgar words of many modern songs. Dr. Parry seems, indeed determined to raise the standard of English song. In his first set of English Lyrics were to be found the names of Sir Philip Sidney, Scott, and Shelley, while for the secorld set Shakespeare was laid under contribution. Of this third set, No. I, " To Lucasta, on going to the wars " (Lovelace), has a flowing melody; and though the structure of the song be simple, there are many touches which reveal ars celcrre artem. No. 2, " If thou wouldst ease thine heart " (Beddoes), opens with a short symphony, in which a plaintive little phrase seems to tell " of love and all its smart." The middle section is worked up to a fine climax, which renders the quiet close still more effective. No. 3, 4' To Althea from prison " (Lovelace), is exceedingly attractive-the melody has national character, and the accompaniment is clever yet quite unlaboured. No. 4, "Why so pale and wan " (Suckling), is a little gem; it seems, indeed, a trifle that could have been written down without an eSort. Sometimes composers have moments of inspiration, and a song appears with Minerva-like suddenness-frequently, however, the simpler the music the greater the effort which it has cost. No. 5 is an expressive setting of $ Through the ivory gate " (Sturgis) * and No. 6, " Of all the torments " (Walsh), is a good sturdy song, though, perhaps, not the best of the set. M(lrche Solennelle. Pianoforte Solo and Duet. Ma?^che Militaire. Pianoforte Solo and Duet. Valse Scherso. Pianoforte Solo. By P. Tschaikowsky. [Novello, Ewer and Co.] OF making of marches there is no end * but of the many few achieve popularity. Certain marches seem to enjoy peculiar favour; it will suffice to name Mendelssohn's 4' Wedding," Beethoven's " Eroica," and Chopin's " Funeral " March. For this, of course, there are good reasons; in spite of Puszch's advice, people still continue to marry, and death is still " the quiet haven " of great menthe pieces named, therefore, are in continual demand. Rhythm and form are, to a certain extent, conventional and to write a march of striking originality is by no mean...
