will undoubtedly make its way, like others of his lighter productions, by its delicacy, taste, and spirit.

Mr. Ries' March is so original as even to partake in some degree of the eccentricity of the German model, Beethoven, and to those who can appreciate the style, we recommend the March as highly characteristic.

Mr. Ling's composition consists of a pretty air, with easy and attractive variations, and Mr. Little's is a good arrangement, but we think he might have selected a subject of less monotony and more suitable to his purpose.

1

Le Pas de Pologne, Introduction and Polacca for the Piano Forte, by J. F Burrowes. London. Chappell.

La Rosiere Divertimento, for the Piano Forte, by J. F. Burrowes. London. Latour.

Le Pas de Polichinelle, danced by Mons. Masurier, arranged with an Introduction and Variations for the Piano Forte; by G. Kiallmark. London. Clementi and Co.

Bachelor's Fare, composed and arranged as a Rondo for the Piano Forte, by J. H. Little. London. Power.

Mr. Burrowes' Polacca is very sweet, and is not without a claim to originality, and is in his usual flowing and easy style; the divertimento is of the same character, and we hardly know to which belongs the largest share of attraction, but we doubt not that they will both meet with the approbation so generally bestowed on this popular writer's publications.

The other two on our list are both on humourous subjects, and are treated, particularly the last, with quaintness and simplicity.

115

Withdraw not yet those Lips and Fingers; Canzonet; the Words by Thos. Campbell, Esq. the Music by John Barnett. London. Boosey and Co.

The Lover to his Mistress; Canzonet; the Words by Thos. Campbell, Esq. the Music by John Barnett. London. Boosey and Co. How beautiful is Night; the Words from Thalaba; the Music by John Barnett. London. Power.

Non temer; Canzonet; composta di Giovanni Barnett. London. Birchall and Co.

The words of the two first songs, which are dedicated to the Duchess of Hamilton and the Countess St. Antonio, amateurs of the most distinguished rank and ability in this or any country, have been most unmercifully ridiculed-rather perhaps because than notwithstanding, they are the production of Mr. Campbell. But in truth the lines are as unworthy that poet as words nearly allied to nonsense and a determined affectation of passion can make them. Of the music we cannot speak much more highly. We wish, for Mr. Barnett's sake, to whom his previous and general merits induce us to wish nothing but good, that he had wisely committed these hasty productions to the flames. They prove that his head is full of melodious 'passages, but the strains are nothing above the common, either in structure or combination.

How beautiful is night" aspires to the poetical garb which music delights to wear, and does sometimes wear very gracefully. But Mr. Barnett, as it seems to us, has not succeeded so well as usual in his imaginative style. The melody, however sweet, is all like that of the former ballads-very, very common in its phrases, and though it is not difficult to apprehend that the tremando accompaniment is intended to picture the tremulous light of the starry firmament, or that the equal beat of the quavers in the "Molto maestoso e ben marcato" is designed to mark the steady course of

"the wand'ring moon,

"Riding near her highest noon;"

of again, that the repetition of the two demisemiquavers, with the rest between, means to convey the girdling of the sky-though all

these things are obvious, we suspect they will be taken as conceits, not illustrations-first because they have been used till they are worn out, and lastly, because they are not well managed. The truth is, this young composer gives his thoughts to the world with too little consideration; he suffers his zeal to outrun his discretion-a fault very customary and very pardonable to youth→→ but it is one which may, we venture to tell him, be dangerous to the reputation which he has already earned, and which we should be most sorry to see tarnished. In the same spirit of kindly admonition, we say that "Giovanni” had better return to plain John, as being by far most natural and becoming.

The Battle of Hohenlinden; the Words by Thomas Campbell, Esq. the Music by Charles E. Horn. London. Power.

Go little fragrant blooming Rose; Ballad, composed by Charles E. Horn. London. Power.

I've been roaming; a Cavatina, by Charles E. Horn. London. Welsh and Hawes.

We did not expect to see Mr. Campbell's powerfully descriptive poem, for there is as much true feeling in these strong lines as there is of frigid force in those we have just noticed from the same hand-we did not expect, we say, to see a second composition to these words, after the very felicitous adaptation by Mr. Charles Smith, of Liverpool. We must believe that Mr. Horn, to whose prevailing good taste we are ready to do justice, could not have heard Mr. Smith's composition, or he would never have put forth a piece so inferior in every respect. It is not impossible, we are quite aware, to write a second adaptation of the same words, of equal if not superior merit to a former and esteemed production, though the instances are few; but Mr. Horn's is a failure, and that it is so, we need only to refer him to Mr. Smith's, to prove. Mr. H. has adopted the form of the cantata, and commences with a recitative, which, though weak, is the best part of the song. The last movement, an andante, which comprehends

* See Musical Magazine and Review, vol. 2, page 214..

three stanzas of as totally different sentiment as can be contrasted together, will demonstrate with how little care the composer has studied the expression. The music indeed differs not a whit from the thousands of plaintive ballads that daily issue from the shops. It is nothing beyond his own "Go little blooming fragrant rose," which rises just to the rank of an ordinary song.

"I've been roaming," we are happy to say, is much more fancifully imagined. It is really light, airy, and tasteful, and by the help of Madame Vestris has become one of the most popular songs of the day. It is one of those easy yet playful strains of melody which comes unbidden, and we will defy the hearer to get rid of it for hours and days. If it be not soon parodied, we shall think that Matthews, Liston, and Harley, are no more-which Momus forefend!

Appendix to Nicholson's Preceptive Lessons, consisting of an entirely new course of Exercises or Capriccios for the Flute, with a Piano Forte Accompaniment; the whole fingered with the greatest care according to the Author's mode of practice, and peculiarly adapted for the study and improvement of every Amateur who is ambitious of excelling on the Instrument. London. Nicholson, 12, Caroline-street, Bedford-square. Clementi and Co. Lindsay.

The world is pretty nearly agreed in a dislike of long titles to books, as much perhaps as a matter of taste as from a belief that a work which is deemed to require so much prefatory recommendation is not likely to possess intrinsic merit-upon the principle that "good wine needs no bush." Mr. Nicholson's appendix is however an exception, for that there has seldom appeared a work of more intrinsic excellence, not only our own judgment allows, but the universal admission of flute players demonstrates. In the long article upon the flute, which forms a part of our present number, Mr. Nicholson's ability has been discussed so completely, that it abridges and almost supersedes our present task-we may also refer to our former disquisition when his "Preceptive Lessons''* first appeared. No analysis of the appendix appears to be requisite. It contains in fact fresh and beautiful exemplifications of the author's principles applied to practice, and we may * Vol. 5, page 82.

VOL. VIII, NO. Xxix.-1826.

safely adopt and confirm his own words, by assuring amateurs of the instrument, that they will "not merely be attended with pleasure, but be found highly conducive to improvement." They are indeed the additions which time and experience have accumulated, and no one hears Mr. Nicholson in public without the conviction that time and experience do not pass by him, but do indeed augment the fine qualities of his performance, as well as his taste and judgment in composition.

The Sisters; Duet, composed by T. Cooke.

Love's Wrangle, a Madrigal for three Voices, composed by Sir John Stevenson, Mus. Doc.

The Rose and the Lily; Trio, by Sir John Stevenson, Mus. Doc. London. All by Power.

Mr. Cooke's duet aims exactly at what it reaches to please the general ear. Every one who hears it will say it is a pleasing composition-the voices have alternate leads and then "conspire," as Dr. Crotch's fine motett has it.*

"Love's wrangle" is a lively piece, in imitation of the ancient manner, and "the Rose and the Lily," a trio, "alla moderna." Both are pretty, and may, we think be made as effective as such light and agreeable trifles can be.

O doubt not my Love; a Ballad in the old English Style; the the Music by Sir John Stevenson. London. Power.

My Mistress is the Sea; the Music by Alexander D. Roche. London. Power.

Say what can hapless Woman do; a Ballad; the Music by E.Solis. London. Clementi and Co.

I love but thee; Ballad, by Thomas Moore, Esq. the subject of the Air from a French Melody, composed by Pio Cianchettini. London. Power.

There are people in this world of controversy who dispute that there is such a thing as old English style, in spite of Alley Croker,

* We are glad of any opportunity to recall to recollection this noble production of genius, "Methinks I hear the full celestial choir," which has departed with poor Bartleman.