g 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.