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Full many a glorious morning from the 33rd Sonnet. The first half is very unlike the composer's usual manner, but in the second he soon gets back to his original style. The next number is a quintet with words from _The Two Gentlemen {154} of Verona_--
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Who is Sylvia? The melody of the first verse is by Ravenscroft (1714), that of the second by Morley (1595), and the whole is arranged by Sir Henry; so there is not much unity of style about it, though if well sung and unaccompanied it should be effective. The duet
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Orpheus with his lute, words by Fletcher, for Viola and Olivia, is really too bad; and with pleasure we turn to a quartet by Thomas Ford (1580) and D. Calcott (1766). It is called
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Come o'er the brook, Besse, to me. The first line is from _King Lear_, Act ii., Scene 6, but in the text it is
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not
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The rest of the lines are spurious. The first verse is by Ford, the second by Calcott, and the whole arranged by Bishop; but this time he has thrown in a harmonica part, the first that I have met with in this orchestration. The quartet and chorus at the end of the second act are by Bishop; the words, some of them from the second part of _Henry IV._, and some spurious. The whole finale is very pretentious and of no real musical value. In Act iii. we have the inevitable cavatina,
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Take all my loves, from the Sonnet No. 40, sung by Olivia. It is a most sugary song; only a few lines are taken, and repeated _ad nauseam_. The duet Olivia and Viola, called
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Cesario,