now alive, and consequently present a commensurate diversity of style, directed to one leading object, and that perhaps amongst the highest aims of the art. Indeed there is more than even this promises; for we find a hymn from the pen of Mr. John Cramer, whose name we never recollect to have seen appended to any composition for the voice before. It is certainly not less curious than it is desirable to have the means of comparing thus closely the several powers of such men, brought as it were to a trial of strength which can be measured by the same standard. This constitutes the singularity of the book, while the variety in the manner and in the application of the talent will create its value. Many collections of the productions of eminent masters have been made, but we recollect no instance of so many combining upon a certain and definite plan.

There must of course be many degrees of excellence and beyond all question Dr. Crotch, for erudition, and Mr. Horsley, for purity and beauty of style, stand at the head. The motet by the former, and the anthem " O Lord from whom," which last powerfully reminds us of the solemn grandeur of Orlando Gibbons, are quite worthy of the name and reputation of the author of Palestine; while "Christ's passion" and "O LordGod," by Mr.Horsley, are no less beautiful instances of pathetic expression, drawn from the veriest simplicity. We esteem them to be master pieces, and infinitely worth the student's attention, the admiration of the scientific, and the regard of the untutored lover of devotional music. Mr. Novello and Mr. S. Wesley have each one piece eminently good. Messrs. Walmisley, Callcott, Evans, Jolly, and Goss are followers of the same school of sacred writing, and Mr. Attwood has not dishonoured his known character. Mr. Wm. Linley is also a worthy contributor. Concerning Mr. Shield, the veteran musician who has raised so high a name, we shall quote the Editor's words as the fittest compliment to his distinguihed merits.

"I shall certainly not be considered as making an invidious selection, in alluding more particularly to the obligations which Mr. Shield has laid me under, from whom it would obviously have been unreasonable to expect as much assistance as was voluntarily and cheerfully afforded. The number and variety of his contributions will, however, be received as evidence, that in

creasing years have not power to abate the zealous warmth with which he ever performed good offices, and their excellence gives an equally distinct proof of the vigorous condition of that refined intellectual ability, which has placed the name of Shield high in rank among the brightest and most estimable characters in the musical history of his age and country."

We cannot bestow the same commendation upon all we find in the book. Indeed new titles must be given to several of the hymns, if they are to be received amongst sacred works, and they should either be called sacred cantatas or canzonets; for though to a certain degree serious and solemn, they partake most of the construction of the species of composition by which name we have ventured to designate them. Mr. Bishop's and Mr. Smith's are in the manner of cantatas-Mr. Holder's of canzonets-the latter indeed are plainly modelled upon Haydn. Nor let us be thought, in thus speaking of them, to use disparaging terms. We recollect to have heard Haydn's exquisite canzonet, "To wander alone when the moon faintly beaming," appropriately set to words from Scripture by a man of a taste equally chastened and severe, the late Dr. Beckwith, of Norwich, Mr. Pettet's excellent master. A distinction however should be taken between the genuine ecclesiastical style of writing and this, which if it shall ever come to be admitted as a legitimate application of a lighter manner, must be held to be subordinate and derived from secular schools, and rather to vary than exalt. Secondary therefore it must always be to that fine, full, rich, flowing, pure, learned, and grave style of melody, harmony, and modulation, which was the original and must always be the most dignified, elevated, and just style of devotional music. In a collection of this kind however due allowance must be made for the several purposes the Editor contemplated. His object was the chamber as well as the church, the solace of the individual as well as the exaltation of the congregation.

Upon the whole then we are fully entitled to consider the book as an unique, and in many particulars an excellent concentration of distinguished talent. To the church it affords a new resource; and we know that many of its parts are in daily use in the Cathedral of Norwich and in other churches. To the amateur it affords abundant materials, for solo, duet, trio, and quartet will be found, and in such different parts of the voice as to give sufficient choice

for all. The wider the circulation the more efficient will be the intentions of the Editor and his friends, the composers and poets, who have with such praiseworthy kindness assisted to carry his design into effect. At the close of his preface Mr. Pettet expresses his "confident expectation of their useful tendency being fully and readily allowed," and we cordially join with him in the belief, as well as in the reason he assigns, with which we conclude our recommendation of his labours. He says:

"If then the study and practice of these compositions be found capable of heightening the fervour of religious feelings, and serve to strengthen those hopes, compared with which all worldly desires are vain and foolish, the reflection that I had promoted consequences so pleasing would be a richer harvest of reward than could possibly arise from a publication of stronger pretensions, in a less elevated sphere of art."

Mr. Pettet has lately, we understand, been appointed Composer Extraordinary to His Majesty.

Variations sur un Aria de l'Opera, La Semiramide riconosciuta, De Meyerbeer, composées pour le Piano, par J. de Masarnau. Euvre 2. London. Boosey and Co.

La Fosanica Fantasia, with Variations and Finale for the Piano Forte, on the Theme "Oh! come da quel di," by Rossini, composed by J. de Masarnau. Op. 3. Boosey and Co. Variations for the Piano Forte on a Spanish Song, "Madre la mia Madre, composed by J. de Masarnau. Op. 4. London. Monzani and Hill.

It is one of the most agreeable parts of our office to assist in bringing before the public the works of young and meritorious composers, and we conclude the above pieces are the first essays of M. Masarnau; they have undoubtedly many claims upon our notice on the score of merit, but they also contain very glaring defects, which if the composer be a man of real genius he will easily free himself from. Experience clearly shews that every master of eminence, whether he be a musician, painter, poet, or VOL. VIII. No. xxxii.-1826.

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actor, &c. has a style which is peculiarly his own, and it is a part of his greatness to have formed that style, and thence he lays claim to originality-but if in acquiring this original style he descends to quaintness, extravagance, or any peculiarity which greatly departs from the rules of nature and good taste, he becomes a mannerist, and thus tarnishes the lustre of his fame.

In the first piece named above, M. Masarnau appears to have put forth all his strength, and has proved that his talents are far above mediocrity. The introduction is singular perhaps, rather than original-it is decidedly clever, and although we do not like the discords with which he commences, we must allow, that if not agreeable they are effective. The employment of the left hand too is very good throughout, and if we may borrow an expression from another art, the whole introduction is conducted according to the principles of light and shadow-that is to say, there are great contrasts.

The subject of the variations is a graceful andantino, ending with a coda, which same coda concludes each variation. The first is characterised by great smoothness-the base is well managed, particularly in those passages which imitate the subject. The 2d variation a minor, is perhaps the best part of the composition; the left hand is employed with much effect-the arpeggio passages combined as they are with smoother phrases, aided by octaves scattered here and there, bespeak much contrivance and power in the composer. The chromatic passage

is uncommon. Variation 3d is apparently written to display a peculiar mode of execution, and may very fairly be called a tour de force.

The finale is lively and full of variety, and although none of the passages are new in themselves, they are combined with novelty and ingenuity.

We need not follow the composer throughout the next two pieces; we shall content ourselves with pointing out that which subjects him to the charge of mannerism, and which a very slight perusal will enable our readers to detect. In the introduction to op. 3, the tremando octave passages, with the application of the pianos and fortes, are so much alike as to give the two introductions the same character. The use of full cherds, frequently containing ten and seldom less than eight notes, is observable throughout the three pieces. All the variations have codas.Variation 1, in opera 3, is constructed like variation 3, opera 2, and the character of the three finales is the same. Still there is much in opera 3 to recommend it, and we must point out variations 2 and 4 as very good, particularly the latter, as it exhibits a somewhat novel application of the arpeggio.

A composer of variations at this time must find much difficulty in inventing a new passage; he can rarely do more than make a novel application of old forms; in this respect M. Masarnau has been successful, and we may recommend operas 2 and 3 as pieces well adapted to private parties, particularly as they are not long, and have much in them to please both the mere lover of music and the more accomplished amateur.