This is made into a beautiful cantabile prayer, with very simple accompaniments, and purely vocal.

"Mourn thou poor heart" is a short but expressive cavatina for Reiza, in F minor. In this there is no execution-there are no difficult or unvocal distances-all is smooth, flowing, and pathetic. The accompaniment is of the same character.

A rondo for Sir Huon, ("I revel in joy and hope again”) is designed to convey the rapture of unbounded satisfaction, but the song is over-wrought, and the passages are consequently stiff and not very graceful. There is a good deal of mannerism, particularly in the accompaniments, and it is too long.

The next is the scene of Sir Huon's temptation, when amidst the luxurious softness of the haram he is beset by the attendants of Roshana, who dance around and enwreath him with flowers. The strains they sing are voluptuous and bewitching. The solos for the knight, in which he breaks away from their allurements, are powerful and effective, but deformed by the mannerism of a too frequent use of chromatics, and of a tremando accompaniment. The choral parts are however those which absorb the attention.

In the last scene Sir Huon and Reiza are bound to the stake, and are surrounded by black slaves bearing torches, when suddenly Sherasmin blows the magic horn, which sets them all dancing. The chorus sung by the slaves is very ingenious; it is in D major, and begins by a few piano notes from the horn, which gradually swell into a chorus, and one of which the whole melody consists of five notes-but its simplicity bestows its effect, and we must further add, that the analogy before observed in the two chorusses of black slaves in the first and second acts is preserved in the present. It changes at length into a quartet for the four principal characters, on the same subject. Oberon appears, and takes his farewell in a short but characteristic recitative and air, and having transported the principal dramatis personæ to the hall of Charlemagne, he vanishes. This scene is splendid; a spirited march, part of which is in the overture, opens it; one of the best recitatives in the whole piece obtains Charlemagne's pardon for Sir Huon, and the opera closes by a finale of great brilliancy, the originality of which is derived from the base, which forms the support and ground-work of the whole, and is of a very decided character.

Such is the imperfect analysis of the last considerable work of Carl Maria Von Weber. We readily admit that it is and must be imperfect, because in the first place it is impracticable fully to comprehend the effects of the score from the study of any arrangement, and next because Weber's compositions, and this perhaps more than any, are to be judged as musical rather by the instrumental combinations than by any other part, and as philosophical by their position and adaptation to the scene and the passion. In truth, the first time we heard the opera, we abandoned the singers and listened almost entirely to the orchestra, for it could not escape the most casual observer, that it was there he had "placed the statue." In these combinations there is originality force, and effect. The expressiveness of the whole so much depends upon them, that the opera múst be heard to be understood, and as we have before said, must be understood to be relished. But while we give the highest credit to the deep thought which the composer has bestowed upon his work, and the science that reigns throughout, we cannot conceal from ourselves that there is not enough of melody to render it popular, or even greatly pleasing. It is for the few. There is also no small quantity of mannerism. He too frequently forgets, in the search after the philosopical and the sublime, the relative powers of his agents-the voice, which in spite of all the science of the scientific, the hearts of a mixed audience pronounce to be the first and chiefest, is too much disregarded and often totally overpowed, to make way for the band, the wind instruments especially, and the noisy over the more harmonious. The compensation must however be sought and will be found by those who love instrumental effects, in the depth, originality, and force of his conceptions in the employment of the orchestra, in the ingenuity, contrivance, and connection throughout—in short, in the invention and adaptation of what we may call the musical machinery of such operas as Der Freischutz and Oberon-the latter being perhaps the most vocal of the two. We nevertheless are compelled to believe that the world will be disappointed—the more so from the previous and possibly exaggerated encomiums on Der Freischutz.

Before we had concluded this article, Death had taken Weber from us. Our opportunities of seeing and conversing with him * This is eminently the case in Sir Iluon's song in the first act.

had not been many, but they were frequent enough and sufficient to make us acquainted with the purity of his mind, with his quiet, ingenuous, and philosophical temper, with his acute power of perception, his strong but mild and rational judgments, and above all with his intense love of his art, which he prosecuted less for the honour and emolument it brings than for itself. He disdained to lower its noble purposes, and wrote with a view to the fame which is bestowed only after the longest and the closest investigation of the merits of the claimant, not to that which is the hasty tribute of the moment of gratification. Peace he to his ashes!

Scherzo and Russian Rondo for the Piano Forte, composed by J. N. Hummel. No. 1. Op. 107.

La Contemplazione and Brilliant Rondo for the Piano Forte, composed by J. N. Hummel. No.2. Op. 107.

Aria con Variazione, and Hungarian Rondo for the Piano Forte, composed by J. N. Hummel.

London. Clementi, Collard, and Collard.

We have seldom seen the traits of the acquirements of science and of natural endowment more completely united than in the pieces before us, and thence we may conclude that the author's style of performance partakes largely of these qualities, namely, mechanical power, and the sensibility which feels and inspires feeling.

In the first piece, the scherzo movement exhibits the man of science; it is formed upon a subject of two bars, and occupies three pages. The exquisite art of the musician is blended with a vivacity and brilliancy that cannot fail to delight. The subject, as may be seen in the example, is of a kind to strike on the ear and

to be easily followed through its various and incessant changes. The subject of the Russian rondo is either a national air, or an VOL. VIII. NO. XXIX.-1826.

original melody formed after the manner of the music of that country. We cannot admire the peculiar manner, but this is a mere question of taste, and the whole movement is so full of melody that we can hardly dispute upon the nature of the selection, We may recommend this lesson, not only on account of its intrinsic excellence, but also for its general usefulness; for while its merit is undoubted, it is neither beyond the acquirements nor the comprehension of the amateur performer.

The second is a composition of a still higher character. The first movement, as its title imports, is devoted to expression.Melody is the vehicle through which the master has conveyed his ideas, and this is of that tranquil and soothing kind which best represents "holy contemplation." Although science is visible in every bar, there is none of the affectation which but too frequently attends upon it. The composer is content to delight, without seeking after original and far-fetched combinations. It is somewhat singular, that we find a passage exactly similar to one in Haydn's beautiful canzonet, "She never told her love."

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We are inclined to believe that Mr. Hummel expressly borrowed the strain, in order to strengthen himself by so powerful a recollection. The second movement forms a strong contrast to the first, from its brilliancy and spirit. The whole piece contains ample materials for the player.

The third lesson is in another style, but equally good.— The variations to an air which begins not unlike “Ah perdona” are elegant and fanciful; they preserve the melody without fatiguing the ear, and are totally devoid of that mannerism which is the resource of poverty of invention. The Hungarian rondo

is more full of character than almost any thing of the kind we remember, and there is a spirit and vivacity in it which are quite captivating.

In all these compositions melody reigns triumphant-this is the charm; and while we own the power of this attribute of genius, most gladly do we pay due homage to the science by which it is exalted and ennobled.

Fantasia and grand Variations on the Jager Chorus, by J. Cohan. Liverpool. Yaniewitz and Weiss.

Llwyn On, or the Ash Grove, with Variations for the Piano Forte, by Signor Ramon Carnicier. London. Birchall and Co.

Mr. Cohan's fantasia is on a subject of apparently never-failing popularity, which is for this reason, as well as its own intrinsic worth, one of attraction to most, but especially to young composers. It has before been treated by great masters with such brilliant effect, that it is perhaps a bold attempt to present it again to the public under such an aspiring form as the present, and is only to be justified by the success which Mr. Cohan has to a certain degree obtained. The faults of his composition are those of a young writer, and mostly on the right side, for they are those of a warm imagination, filled with a favourite subject and unrestrained by the cooler hand of experience and moderation. Thus the fantasia is too long and perhaps too studiously difficult. He is however in a good school. There is originality and fancy in the construction of his passages, and the whole of the left hand part, though redundant, is good, whilst the introduction, some of the variations, and the movement in time, display both fancy and ingenuity. It is in fact evident that the lesson is produced by no common mind, but Mr. Cohan must not allow his better judgment to be overcome by too great an admiration for the present style of executive performance.-To use a well-known proverb, "All is not gold that glitters ;" and his are talents not to be abused.

Signor Carnicier's variations on a well-known air are light and pleasing, without embracing much difficulty. The introduction is original.