_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.
_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.
_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.
_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.
_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_.