Stanley Lucas and Co.

O, hur vidgas ej ditt brÖst. Liebe, liebe. Two Lieder. By Maude V. White.—The first, from the Swedish, has also an English set of words; the setting of the second is in German only, being a translation into that language from the Hungarian.—There is a dreamy charm pervading both of these little ballads, which will be best appreciated by truly musical and well-educated singers.

Two Locks of Hair. Song to Longfellow's poetry. By Sabine E. Barwell.—Very simple. The music is dedicated to Charles Santley, our great baritone singer.

Alone with thee. Song by Gilbert R. Betjemann. Compass E to F sharp.—An ambitious song, full of striking modulations and really dramatic effects. The accompaniments are charming.

Ivy Green. A good song for basses or baritones. The words by Charles Dickens, the music by Arthur C. Stericker.—Plenty of go about it, and quite the song for strong, manly voices.

Wandering Wishes. Poetry by Lady Charlotte Elliot (from "Medusa" and other poems). Music by Robert B. Addison.—A very poetical setting of a very fanciful poem.

Our Darling. Ballad by Robert Reece, with music by Berthold Tours.—This justly favourite composer has written the simplest, most touching, and melodious music to a very touching and sad story. It is a compliment to this ballad to recommend it to all who wish for a good cry. It has this advantage over the maudlin griefs of the discontented folk to whom we have called attention in previous notices, that the poor bereaved parents who miss their little darling from the chair in which he used to listen to their fairy stories and tales of distant lands over the sea, are content to regard him as at rest in the heavenly country, and in the angels' care. After all, if you do get the song, your tears will be happy ones.

Edwin Ashdown.

Inez. Zamora. Two Spanish dances for the pianoforte by Michael Watson.—The first is a Habanera, and is redolent of Carmen and Spanish want of energy. It is more characteristic than the second, although that is a very good reproduction of the typical peasant dance of all districts of the Peninsula.

Daphne. Valse brillante. Celadon. Gavotte. Two drawing-room pieces of more than ordinary merit by J. H. Wallis.—Fairly easy to learn, and effective when learnt.

May-Dew. By Sir Sterndale Bennett; transcribed for the pianoforte by Jules Brissac.—We complained a few months back of someone having converted this lovely song into a part-song; we can only say of the present transformation, that when the voice part is at work all goes fairly well, and from a piano point of view represents the original; but the two bars of symphony before the first and second verses of the song are stripped of all their original life, and a very mangled substitute is offered.

London Music Publishing Co.

The Broken Strings of a Mandoline. Words and music by Edith Frances Prideaux.—The story of a little Italian street-player. The compass is for sopranos; the melody is simple and not very original.

Sketches in Dance Rhythms. 1. Waltz; 2. Minuet; 3. Tarantella. By Erskine Allon.—We have before alluded to these sketches, of which Mr. Allon has composed such excellent examples. We prefer No. 1 of the present series, but do not consider these to be equal to former numbers.

Weekes and Co.

Abendlied. Im Rosenbusch. Two songs by J. H. le Breton Girdlestone; the words, by Hoffman von Fallersleben, being translated into English by Dr. Baskerville.—Most interesting little songs, and sure to give pleasure by their sweet simplicity.

Andante. Varied for the pianoforte, and composed by Henry A. Toase. A very quiet, harmless production. Only three variations, and those not so much of the andante as of its accompaniment.

J. and J. Hopkinson.

Intermezzo and Minuet for Pianoforte. By George A. Lovell.—Two very nicely-written little pieces. The minuet is especially attractive.

Barcarole for Pianoforte. By Carl Hause.—A good drawing-room piece. The middle movement in F minor makes an effective contrast to the first part.

Hutchings and Romer.

The Little Sweep. Song. Written and composed by James C. Beazley, R.A.M.—There is no such title as R.A.M. A.R.A.M. and M.R.A.M. we know, but we must protest against this unlawful use of the name of our oldest academy of music. The song is a stirring and dramatic account of how a lost child was recovered by his mother. It is to be declaimed by a contralto.

Hutchings and Co.

The Christian's Armour. Oratorio. By Joseph L. Roeckel; the text compiled by Mrs. Alexander Roberts from Ephesians vi.; interspersed with hymns from several sources.—A useful work for services of song or chapel festivities. There is a sameness about the work, and it suggests a weary feeling towards the close. The choruses are mostly rather weak chorale. Occasionally an evidently fugal subject is announced, which is never destined to form the subject for a fugue. However, the story is well put together, the music is quite easy, and many choirs, unable to conquer greater difficulties, will feel at home in this so-called "oratorio."

Six Morceaux de Salon. Pour violin, avec accompagnement de piano. Par Guido Papini. Op. 66.—The author of "La MÉcanisme du jeune Violiniste" has given us in these little pieces a charming addition to the rÉpertoire of the amateur violinist. Specially tender and expressive is No. 4. The piano shares with the violin both the difficulties and the interests of each of the morceaux.

Victoria Gavotte. For piano. By Tito Mattei.—A capital piano piece. We presume from the title that this is Signor Mattei's contribution to the Jubilee Commemoration.

Robert Cocks and Co.

Gladys. Rustic Dance. Composed for the pianoforte by Howard Talbot.—A bright, telling piece. It would be very useful as an entr'acte in your Christmas charades.

For Old Sake's Sake. Song for contraltos. By Behrend.

W. Morley and Co.

Watching the Embers. Song. Composed by Ciro Pinsuti to Weatherly's words.—With a pretty refrain, but for the most part made up of a series of common phrases. It is to be obtained in B flat, C, and D minors.

Childie. Song. By Behrend. Published in keys to suit all voices.—The song is very similar to all his others. An old lady advising a child to die young.

The Biter Bit. Song. Words and music by Henry Pontet.—A warning to any who would marry for money, and not for love. In learning the above three songs I am sure that singers will be as much distracted as I have been by little squares like lottery coupons announcing that somebody else's song cost £250. If this statement could appear elsewhere—say on separate slips—the songs would be more pleasant to read.

Henry Klein.

The Land of Song. Song for tenors and sopranos by that clever composer, Franz Leideritz. Not so original as "Flowers from Home," the memory of which still delights us.

Orsborn and Tuckwood.

Sailing Across the Sea. Song. By Vernon Rey.—Prettily told and easy to learn.

Merry Melodies. A series of duets for two violins for schools and classes, arranged by Arthur Graham. We see from the title-page that there are to be arrangements of the works of eminent composers, but the names are not given.

W. J. Willcocks and Co.

Offertoire and Fugue in B flat. Grand Offertoire, founded upon subjects in Schumann's Quintet, op. 44.—These are two finely-written organ solos by George F. Vincent. Valuable additions to our stock of English organ music.

Marriott and Williams.

Twenty Miles to London Town. Song. Written and composed by Gerald M. Lane.—Mr. Lane is more fortunate in his music than in his words. The ballad—for genuine English ballad it is—is of the "Bailiff's Daughter of Islington" type, and is published in F, G, and A.

Captor and Captive. A song of Araby. By Edwin J. Quance.—A good stirring song for baritones.

Bowerman and Co.

DeuxiÈme Nocturne pour Piano. Par G. J. Rubini.—An unpretending piano piece of the Gustave Lange type.