_O Loved and Lost._ Song. Written and composed by Lord Henry Somerset. Published in F and A. The former key suitable for basses and contraltos, and the latter key for sopranos and tenors.—Full of delicate sentiment and graceful treatment of what are sometimes rather trite expressions in melody. _At the Concert._ Humorous song. By Henry Pontet.—Will amuse, if it does not point an obvious moral to concert-goers, who attend those entertainments in the body, but in spirit (and conversation, alas!) are far, far away. _A June Song_, by Mary Carmichael, is, what it should be, suggestive of the “odour of hay:” “full of the scent and the glow and the passion of June,” as the pretty words tell us. HUTCHINGS AND CO. _The Wreck of the Hesperus_ is set by C. H. Lewis as a cantata for female voices, and merits the attention of ladies’ choirs. _The Long White Seam._ Song by Jean Ingelow. Set to music by Wilfred Bendall.—A song of more than average excellence by this rising composer. _The Evening Farewell._ A four-part song. Composed by Sir G. A. Macfarren, to words by his father.—Presenting nothing uncommon about it, this little part-song runs smoothly, and may be easily performed. Singers will enjoy the soft effect of the minor common chord on B flat, immediately following and, as it were, qualifying the major chord upon the same root. If proof were needed as to which should be in reality the relative minor to any major scale, the scale possessing the same signature to start with, but contradicting that signature in practice, or the scale having the same dominant and the same leading note, this little passage alone would decide us in favour of the latter. _Broken Heart_, _An Old Tale_, and _May Song_.—Piano pieces, good in their form, songs without words, but very suggestive of their titles, and carefully written, by John Urich. _Alla Tarantella._ Caprice for piano. By Joseph L. Roeckel.—Characteristic and well worked up to the necessary pitch of mad fury. _Danses Sclave._ Pianoforte duets. By J. C. Bridge, M.A., Mus.Doc.—Rather a mild notion of the impetuous Slavonic dance, with its strange accents and brusque uncouthness, combined with its many charming and sad quaintnesses. You should learn these duets, though; for even if they prove that a man writes best in accordance with his environment, they will also prove themselves interesting, pleasant tasks for young pianists.