Price 6s. (Sainsbury and Co. and twelve original English songs? Salisbury square.) THE above number of the Vocal Anthology is stated by the publisher to close the work for the present; an expectation of a second volume of the same size, to be added in the ensuing year, being held out in the notice to the subscribers. and when we add, that the authors of these are Haydn, Handel, Mo zart, Beethoven, Himmel, Rossini, Sacchini, Cherubini, Conversi, Boy eldieu, Purcell, S. Webb, Storace, Jackson, &c. and that none but superior productions of these writers have been admitted, it will not be The contents of this number are difficult to form an estimate of the as follow: English No. 1. Five times by the taper's light (Glee), STORAGE. Since first I saw your face (Madrigal), FORD. 3. Al mio pregar t'arrendi German... 4. Placido è il mar (Chorus), Original. 7. Concealment, Cather. This selection, to say the least of it, is not inferior to the contents of any of the preceding numbers, almost every one of the pieces being of a classic stamp. Mr. Cather's contribution also possesses very promi nent features of merit: towards the conclusion, it smacks a little of obsolete forms; but the general vein of chaste feeling, its dignified simplicity, and the superior harmonic treatment, cannot fail to captivate the ear of good taste. The canzonet by Mozart is exquisite, and the author of the English translation has judiciously sobered down the glowing amatory import of the German text. The work, thus completed, forms a collection of vocal treasures unequalled in quality as well as quantity by any publication of the same extent and price. Besides thirty-six English and Scotch pieces, there are as many of the Italian and German school, nine or ten French and Swiss, f merit of the work. The proprietors have so amply fulfilled the pledge they gave at the outset, that any doubts respecting the success of their undertaking would almost be a stig ma on British taste in music. We are much mistaken, if the Vocal An thology will not remain in request for years to come; and we sincerely hope the encouragement of the pub lic will warrant the publishers in pre senting us the second volume, which they have in contemplation. ti tadt Six easy Pieces for the Piano-forte, composed, for the Use of his Puq pils, by T. N. Hummel of Vienab Op. 52. Price 2s. 6d. (H.T. Banister, 109, Goswell-street.)pai Among the six pieces, there is a prelude of one line and a dance of sixteen bars: the extent of the re mainder, however, is more considerable; but be the quantity whats it may, the value of this little book is indisputable; and it were to be wish ed that composers of Mr. Hummel's talent would more frequently condescend to devote some of their time to pieces of this description, for the junior classes of performers. Such a practice would soon secure us from the trash of insipid pretenders, which only tends to vitiate the musical taste of the rising generation. Easy as these lessons may be for pupils of some little proficiency, they are pot calculated for absolute beginners. staff, Great Russell-street, Bloom'sbury.) Although" the white Cockade" presents a very suitable theme for a rondo, the subject has, by frequent handling, been worn so threadbare, that we wonder Mr. Nixon has made it his choice in the present instance. At the same time we have scarcely a right to object to the selection, considering the great merit of the superstructure. The divertimento, if we may so call it, is somewhat long, but Mr. Nixon has thrown into it so much variety, good melodic treatment, and combination, that the interest is kept such a fund of superior harmonic up to the last. We have once or twice before had an opportunity of speaking favourably of this gentleman's musical talents, and our good The left hand is occasionally actively employed, and some of the modulations deviate considerably from the hackneyed forms familiar to most incipient players. A trifling degree of study, however, will be sufficient to master all this; and the credit of being able to execute compositions bearing so eminent a name, ought to, and will no doubt, form an additional motive for the pupil's best exertions. An easy Duet for two Performers on the Piano-forte, composed by C. M. de Weber. No. I. Op. 3. Price 2s.-(H. J. Banister.) Ditto ditto. No. II. Op. 3. Pr. 1s. The two duets, taken together, fill but three pages for each part, and the second duet has all the appearance of being a fragment from some larger work of the great German opinion is much augmented by this composer, whose fame seems to en- publication. Mr. Nixon's abilities as danger the celebrity of the favourite a performer have lately come under of the modern Italian school. Short, our observation, and the gratification however, as these duets are, they pro- we experienced was somewhat minclaim the hand of a master in his art; gled with surprise, that such skill and they combine beautiful melody, taste- knowledge in the art had not renderful diction, and classic harmonic ared his name more conspicuous in the rangement; in short, to us they ap- profession; a circumstance which we pear quite delightful. As to their can only ascribe to the unassuming facility, a term which at all times is modesty with which he appreciates comparative, we here too think it his acquirements. proper to add, that the correctness of this designation will probably be acknowledged by such performers. only as have made some progress on the instrument. The bass part in particular is strongly cast, especially in the second duet, which is far beyond the reach of mere beginners. A Divertimento for the Piano-forte, in which is introduced "the white Cockade," composed, and dedicated to Mr. John Lord, jun. by H. G. Nixon, Organist to the Bavarian Embassy. Pr. 4s.-(W. Eave The much-admired Air of Rous seau's Dream, with Variations for i the Flute, and an Accompaniment. for the Piano-forte, composed, and dedicated to Charles Robinson, Esq. by W. Bark, Professor of the Flute. Price 4s.-(Monzani and Hill, 28, Regent-street.) 1 In these variations the piano-forte acts as mere accompaniment, the melody, passages, and other amplifications being exclusively assigned! to the flute. The variations are six in number; they are evidently writ |