Six Two-part Songs for Female 'Voices, with Accompaniment of the
Piano- forte. Composed by FELIX MENDELSSOHN BARTHOLDY. Op. 63. THE approach of Christmas makes us as naturally look for elegant melodies among the decorations of that festive season in the drawing- room, as, in an humbler sphere, the bright red berry and polished holly- leaf. We feel that we shall be doing good service, therefore, to musical families, by directing them to a stock of melodies well suited to such an occasion, when nothing very formal, profound, or classical is required ; but unpretending off-hand tunes, that may unite the voices of sisters and friends, either singly or with doubled parts; in which the poetry shall be dashed with genuine sentiment, and both poetry and music combined with taste, so as to interrupt elegant conversation with something better, and perchance give it a new theme afterwards. The novel form of these Duets or Two-part Songs has given us peculiar gratification. It is well known that there is nothing in musical learning and in the classical designs of the art with which MENDELSSOHN is not thoroughly familiar ; and had he been pedant instead of poet, he might possibly not have committed the heresy of commencing his duets with both voices together, album fashion, as he has done in the present work ; but given us the dux or theme in the tonic, and the answer in the fifth of the key, secun- dum artem. But that would have been to encumber himself with modes and forms, that destroy the freedom, the novelty, and poetical senti- ment, of which he was in search. Apollo, therefore, has suddenly alighted among the album-composers, to their great surprise, showing them what genius can do to elevate their own art :
"Like Maia's son, he stood and shook his plumes; That heavenly fragrance filled the circuit wide." Such is the true effect of the atmosphere of genius, in whatever form of the beautiful in art it may deign to visit us. Bat there is another quality in the elegant drawingroom music before us, which, in addition to the unaffected and simple manner of employing the voices, imparts novelty to the work : this is, the independent and most important pianoforte accompaniment—no note of which can be spared—in some instances it is the principal part, and then, with happy effect, is itself accompanied by the voices. Altogether, lighter and prettier things, more perfectly brought within the sphere of good taste, it has never been our chance to meet.
The collection, published with English land German words, com- mences with a pretty lyric of H. HEINE, " I would that my love could silently flow in a single word." This song will please much by its ten- derness and elegance. The movement is allegretto in E 9-8—therefore rather lively ; and the style mingles playfulness with sweet expression. The answers of the voices and the cadences are in the highest taste.
" The Passage-bird's Farewell," by HOMIAN TON FALLIRSLEBYA
G minor 2-4, has a quaint and plaintive character, which may perhaps make it at first less generally appreciated than its companions. But, like other good things, it will win upon the ear by custom. The piano here forms a remarkable and beautiful mixture with the voices ; and at the cadence the voices make a bold harmony of the seventh,—which, how- ever it may astonish at first, is perfectly correct and of sound musical authority.
" Greeting," by J. VON EICIIENDORFF, in E flat 3-4, is introduced by two bars redolent of Rim and BEETHOVEN. This charming move- ment (our especial favourite of the whole set) is so imbued with melan- choly and tenderness, that, to one of Jacques's musical humour, it would be no difficult matter to sit and listen to it for the evening together. With less of inventive distinction about it than the rest, it is more ex- quisite for its combination, character, and sentiment. The pedal and inverted pedal harmonies, which are found in the accompaniment, will delight the musician ; but most especially a stroke of genius in the con- cluding symphony, which ascends into a discord of the 9-7 and resolves on the fifth of the key. All that is in a song so uncommonplace, and demonstrates the most perfect elegance of taste.
" Autumn Song," by KLINGEHANN, an allegro agitato in F sharp minor, expresses sorrow at the decay of the year. It is quite in the modern German style ; full of motion, yet of a mournful desolate cha- racter. The change to the major at " Wert ye a dream," with the fine organ-suspensions of the accompaniment, is exceedingly beautiful. A VoMslied to an exquisite lyric by BURNS, "O wert thou in the cauld blast," is, we believe, an original Scottish melody, here presented as simply as its character requires or as thirds and sixths can make it. The extreme simplicity of this song contrasts well with some of the more classical reminiscences displayed here and there in the others : but no hearer, whether educated in music or not, can resist the heartfelt pathos of the words thus delivered.
" The Maybells (German lilies of the valley) and the Flowers " is a merry escapade, in G major 2-4, in which the accompanyist will find the left-hand thumb enployed in a very lively syncopation for pages in succession. This accompaniment is essentially German and Mendels- sohnian. " The ilIaybells " is altogether so light and sprightly, that it forms a very gay and characteristic termination to the whole.
There is no concert-room character about this work, and yet there is in no degree a sacrifice of high artistic taste. It is drawingroom music on correct principles, opposed to mawkish sentimentalism and a false melodramatic pathos. We see here no lovers in ostrich-feathers on moonlit lakes extending their arms to women in balconies; no sym- pathies are excited in behalf of the mutual passion of a Whiskerandos and Tilburina. The tender ardours and sentiment of the poetry and music belong to the romantic experience of ordinary life, and are such as a sensible and tasteful auditory need not be ashamed to listen to or to recognize.
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