MUSIC.
Polish Melodies. The Poetry and Music by J. AUGUSTINE WADE, Esq. Mr. WADE unites in his own person the talents of a poet and a musi- cian, in a manner to which we do not know any parallel. Moons has made melodies for his verses ; but we believe his musical skill did not go the length of making basses to them. WADE is remarkable, not merely for original and expressive airs, but for his:powers as a harmonist, and the facility with which he makes use of all the resources of coun- terpoint. In the manner of harmonizing his vocal parts, as well ash's instrumental accompaniments, he continually shows himself to be an expert and learned musician. It is as a musician, we think, that he is chiefly to be considered ; though he is no mean poet. In his poetry, we have sometimes been a little out of patience with his passion for flowers and his love of the moon ; but, in the present work, the nobleness of MS subject has inspired him to assume a more masculine tone than is usual with him. His song, "The Polish Serenade," is both tender and heroic; and his "Who are the free ?" is one of the most thrilling war-songs we have ever heard. It is worthy to be a compai
nion to 'Bunives "Battle of Bannookburn." The music is altoge- 'ther admirable; simple in the extreme, yet full of energy. It is
• one of those things with which BRAHMA could make an audience
• crazy with enthusiasm. The music to the "Polish Serenade" begins, • whether from accident or design, with the two first bars of the famous 'Waltz of Count Oonsext; but at all-events, the effect of the reminiscence Is favourable. The" Polish War-Song" is a very fine terzetto, the chief part of it in the form of a round, very ingeniously constructed. The "Maniac's Song" and the "Rainbow Song" are those that we least like. There is an attempt to produce novelty by abrupt and startling modu- lations; transitions which would have very good effect in a long compo- sition, where there was room to bring them about smoothly, but which, when crammed within the compass of a ballad air, become harsh and disagreeable. This we have always held to be the besetting sin of the modern German music of this class. It oftea deforms the romances of Weeen. himself. Many Ultra-Germans, we know, think differently; but we cannot help that.
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