"O Pescator dell' onda," a Venetian Canzonet, arranged for the Harp and Piano-forte, and dedicated to Mrs. Pearson, by F. Latour.Pr. 4s. To prevent any misunderstanding, the author of this duet states on the title-page, that he is not related to Mr. T. Latour, but hopes trial, and judge of their merits accordingly. This demand is both just and modest: we shall consci it. The theme Mr. F. Latour has chosen, combines the advantages of singular eloquence and simplicity. The variations, eight in number, and even in sculpture, the sex has produced instances, not of first-rate eminence, but of highly respectable attainments. In composition, alone, not one female production has outlived the estimation with which the indulgence of a contracted circle of friends may have honoured it. This consideration, joined to softer feelings of kind-the public will give his works a fair ness towards the sharers of our pleasures and woes, must at once disarm the critic's pen, when he meets with an occasional attemptentiously endeavour to comply with of a fair harmonist. With these impressions we opened Mrs. Henley's ballad, and thus viewing it, we pronounce it respectable. There is regularity and symmetrical keep-are obligate for both instruments, ing in the parts; the melody pos- which throughout act concertante: sesses a considerable degree of they are not written with any great tender expression, and judgment display of science; there is nothing has been exercised in allotting to a in the shape of modulation to be portion of the text a subject in the met with in any of them; we perrelative minor key. The accom- ceive not even the usual diversity paniment, likewise, appears upon of a minore. Hence the gourmands the whole satisfactory, especially || en fait de musique may perhaps fanfor a female production. We met with no striking impropriety, save and except bar 2, p. 3. Here the A seems to have led the fair composer to suppose, that the harmony leaned towards the dominant (Bb); and, in consequence, a passing transition has been adopted (Eb; Eb, 2, 4 ; D, 6; Eb). This is a mistake: the melody (in Eb ) is, G; G, Ab, A ; Bb, C, Bb, Bb, Ab, G; F (the first and last of these notes being of half a bar's length, the others quavers). In this case, G, Ab, A, are nothing more than a chromatic ascent, which required mere thirds for accompaniment. A similar remark, with some variation, applies to the like passage, p. 1, 1. 3. Here the A ought not to have been made natural at all. cy too great a degree of sameness in the harmony, which chiefly dwells on the tonic or dominant. But these observations apart, we are free to say, that what has been done, evinces both taste and correct principles of harmony. The variations are pleasing; the active passages are devised with considerable neatness and fluency, and may be mastered on both instruments without any great difficulty. In short, we consider this production as a very promising probationary effort, and we shall be glad to see further specimens of Mr. F. Latour's Muse, particularly if they should exhibit a little more harmonic seasoning. In the 5th var. for the harp, the time is misprinted, instead of 3. "My Lodging is on the cold Ground," || well done. We had almost forgot Scotch Air, with Variations for the Harp, composed, and dedicated to Miss Power, by W. H. Steil. Pr. 2s. 6d. ten the introduction: it is an impressive movement, and partakes, in some degree, of the spirit of the theme which it precedes. Kalkbrenner's first Fantasia, in which is introduced the favourite Air" Il pleut Berger," arranged as a Duet for two Performers on the Pianoforte, and respectfully inscribed to Miss Wheeble and Miss F. Wheeble, by J. W. Holder, Mus. Bac. Oxon. Pr. 4s. To make a duet of that which another composer has written for one performer on the same instrument, appears to us so humble an undertaking, that we felt rather surprised at Mr. Holder's determining upon it. The task, however, has been executed in a manner to give the original author every reason to be satisfied with it; and we will add, the labour intended for one, has Considering the increasing number of themes with variations that issue from the musical presses of this country and the Continent, we must presume this species of composition to be more acceptable to the public in general, than to our individual taste. We like them well enough occasionally, but the truth is, we have been satiated with their superabundance. A theme with variations appears to us, to resemble a statue of the human form, chiseled with antique simplicity, but successively dressed up in various fanciful and often grotesque costumes. In saying thus much, generally, on the prevailing practice, we beg to be understood as meaning nothing in disparage-been so divided among two players, ment of Mr. Steil's labour be- that much of the difficulty of the fore us: on the contrary, as his original score has been removed, name is, if we are not mistaken, and thus the fantasia rendered acfor the first time on our record, it cessible to less matured proficienis our wish to be courteous; and cy. This duet will be found replete this desire we happily can accom-with effect, especially if the seplish without infringing upon cri-cond fall into the hands of a steady tical justice. This gentleman's variations are not of the higher order of musical writing, fraught with deep thought and scientific harmony; but they are conceived in an easy and very agreeable style, and offer no peculiar intricacies for the harp. The first variation is lightsome and fluent; the same may be said of the second. In the third, the melody has been assigned to the bass in a very proper manner. The march (var. 5.) likewise has our approbation; and the concluding quick movement appears to us timeist, whose left hand is not unaccustomed to an occasional display of activity. La Belle Circassienne, Air, with Introduction and Variations for the Piano-forte, composed, and dedicated to Miss Plestow, by J. F. Burrowes. Pr. 3s. Captivating as this title may prove, we cannot help considering it a little infra dig. for a production of Mr. Burrowes' Muse, were it even dedicated to his Excellency Abul Mirzah Chan. Indeed, this publication stands in no need of ti tular recommendation; it will make its way with those that know how to value good music. The theme is extremely elegant, and the variations exhibit that uncommon inventive facility, and that high degree of polished taste, which form the main characteristics of this author's compositions. To the snaps (alla scozzese) in the third variation we feel a reluctance, which may be personal fancy; but all the other variations have yielded us real pleasure, so that it may perhaps be thought unfair to distinguish any one by more particular notice. We cannot, however, refrain from calling the attention of our readers to the fourth variation, on account of the peculiar grace of expression with which it is written. The fifth also deserves a word or two; the bass part of it does Mr. B. great credit. The coda which concludes the sixth variation is in the best classic style; the transition to A b, and the egress from that key, form prominent features of interest, besides other ideas, which proclaim the experienced master in his art. Music like this should be given to the pupil whose taste and abilities it is intended to forward. A new and complete Introduction to the Art of Playing on the Pianoforte, wherein the first Principles of Music are fully considered, in a Series of Observations and Examples: to which is added a Variety of pleasing and instructive Lessons, selected from the Works of Mozart, Haydn, Pleyel, Arne, and other eminent Composers; arranged, for the Improvement of Pupils, in the most useful major and minor Keys, with Preludes: also Observations on the Art of Fingering, Vol. VIII. No. XLIV. with copious Examples, and a few Remarks on Musical Expression, &c. by J. Monro. Pr. 8s. In an elementary work on pianoforte playing, we can expect as little novelty as in a grammar of the Latin tongue. It must rest its recommendation on the methodic arrangement of its contents, and the perspicuity of the instruction which it professes to convey: it ought not, in these respects, to be inferior to any of its numerous predecessors, and we have a right to look for some striking feature or other, by which it may justify its appearance among the host of similar productions. Mr. Monro's book, in point of systematic arrangement and lucid treatment, yields to no other work of the same class; while, on the other hand, it distinguishes itself very advantageously from many of its rivals, by the apt illustration, through the means of copious examples, of every term or precept which it progressively brings under the notice of the pupil; and also by the reasonableness of its price, considering the abundance of matter contained in its numerous and closely printed pages. Among the chapters which appear to have been treated with special attention, that on time justly claims a prominent rank. Here nothing has been omitted which could tend to inculcate this most essential branch forcibly on the mind of the student, whose own fault it must be, if Mr. M.'s labour be not productive of the best result. We observe with satisfaction the rule given for playing triplets to equal notes (a rule unfortunately more honoured in the breach than in the observance, P even by masters themselves); but || ters. All of them make a random the examples given in illustration, use of these Italian terms. We if we understand them rightly, ap- could bring innumerable instances pear to us to swerve from the di- of the same composer employing rections which precede them; and the same term in movements of with the rule for playing triplets precisely the same measure, one with unequal notes, as well as with of which he intends being executhe examples subjoined, we do not ted as fast again as the other. This agree. Such passages should be chaos of confusion has been renplayed with geometrical precision, dered ludicrously manifest since as two violins would execute them. the invention of the Metronome, The chapters on fingering, and when, in addition to the Italian on expression, have our entire ap- terms, the time has also been markprobation. Some of the remarks ed metronomically. The Metroin the latter are extremely judi- nome alone can remove all uncercious. The dictionary of techni- tainty in this respect. cal terms is copious, and their de- Fantasia for the Piano-forte, in finitions are clear and concise. In regard to the time of Andantino, Mr. M., and some other authors of no mean repute, seem to us to labour under a mistake, when they conceive it to be slower than that of an Andante. It is (or at least ought to mean) quicker; for the same reason that Larghetto is quicker than Largo. The meaning of these diminutives will be best understood by the following compa rison: Allegro (lively). Andante, (rather slow). which is introduced Rossini's celebrated Air," Di tanti Palpiti," with Variations, composed, and dedicated to Miss A. Gautherot, by W. Henry Steil. Pr. 3s. The above air of the opera of Tancred is one of those happy few, that surprise us by their simplicity, and take instant hold of our musical feelings. We hum it in going home from the opera; it vibrates on our pillow; we remember it the next morning; it ends with becoming a haunting, troublesome companion. The boys in the street have caught the infection, but the rogues have not caught it correctly; they substitute old hacknied Andantino, diminished slowness; i. e. turns where their remembrance is quicker than andante. Largo, slow. Larghetto, diminished slowness; i. c. quicker than largo. at fault. They whistle murderously their own variations upon the adulterated theme. It next finds its way into the pipes of the ambulating organ.-New troubles again. The sad dog of a Savoyard went to a cheap shop to have his barrel set; or worse, set it himself. Now the This at least is what we conceive the terms ought to import etymologically. It would, however, be difficult, if not impossible, to col-harmony, too, is out of sorts. 0 lect their meaning by recurring to the compositions of the first mas Rossini, Rossini! couldst thou but hear thy fine, thy bold thought, thy point-blank burst into C major from not only evinces great taste, but A major, thy fine composition thus mainly breathes the spirit of the decomposed into a tame, lame, and succeeding theme. It has taken homespun harmony of A minor, possession of Mr. S. and he has with a killing seasoning of fifths made the best of it. If he had not, and octaves!!-Such has been the with such materials, it would have fate of the celebrated air on the been unpardonable, and we should Continent. It resounds from Pa- have been severe upon him for dislermo to St. Petersburg. In Eng-figuring and abusing our favourite. land it has not as yet gone through To say all in one word, Mr. Steil's all these metamorphoses. How-fantasia shews him in a very supeever, here is a beginning. Mr. Steil has made variations upon it, and very good ones too, and the introduction which he has devised rior light, and entitles him to the thanks of the advanced amateur on the piano-forte. CASE OF CAPTAIN NORRIS. J. A. Foster, Esq. British Envoy, Berlin. £. s. 10 10 IN aid of the benevolent purpose | of supporting the widow and four infant children of the late muchlamented Captain Norris of the Beaufoy packet (who was drowned on his passage from Cuxhaven, and the detail of which melancholy || A. Cox, Esq. Packet Agent, Harwich 10 0 event we gave in a former number), H. R. H. the Duke of Cambridge, £. s. H. S. H. Frederic the Landgrave of H. B. M. Postmaster-Gen, of Hanover Sundry Gentlemen at Hanover Messrs. Berend and Co. Hanover P. C. Labouchere, Esq. W. P. Hope, Esq. Mrs. Hope T. Hope, Esq. Mrs. Delmar B. A. Goldsmidt and Co. W. Haldemand, Esq. J. Osy, Esq. W. Knatchbull, Esq. T. Hodson, Esq. ditto, Helvoetsluys Captain Macdonaugh B. Hill, Esq. Keysen and Brothers 20 0 . 5 0 40 0 D. H. and J. A. Rucker T. Bromfield, Esq. Acton Mrs. Bromfield, ditto W. N. Rothschild, Esq. Jackson, Heyworth, and Hesket 10 O 10 0 10 0 55 5 5 5 0 5 0 |