poser's meaning and feelings and to do this will not be found to be an easy task cannot fail to rivet the attention, and earn the applause of the higher classes in musical civilization. They are excellent in their kind. Three characteristic Marches for Two Performers on the Pianoforte, composed by W. Plachy. Op. 9. Pr. 38.-(Boosey and Co.) Another new name, not previously known to us, apparently of the Vienna school, if we are to judge from the style. Messrs. Boosey and Co. are less abundant in their publications than most of their competitors, but what they give us is generally of so superior a stamp, that their name on the titlepage alone may be taken as a pledge of the value of the contents. This is the right course; it evinces taste and judgment, and a laudable view to respectability. 10 Mr. Plachy's marches are charming things. The first, in-Eb, is full of energy and original ideas; and the trio in four flats sweet in the extreme. The second, in C, although quite dissimilar to the first, abounds equally in decisive/martial thoughts, good melody, and manly and select harmony. In the latter respect we have specially to draw the student's attention to the trio, in which a considerable degree of fugued elaboration comes in with the best effect. The third and last march, a marcia funebre, is, of course, of a deeply solemn tenor, chromatically sombre, and on account of its tonic, E b minor, somewhat difficult. Beethoven's cele-brated funeral, march has rendered -it an arduous undertaking to excel in this species of composition; but our author's labour is not injured by La récollection of the stern beauty of Beethoven's production... In the two first marches, amidst their beauties of a higher order, such a dashing vein of military spirit pres vails, that, from what we have witnessed of his majesty's taste, we are sure King Riho Riho would be delighted with hearing them. When we saw him at the King's Theatre, accompanied by Queen Kamehamea and the Hon. Mr. Boky, the governor, with his interesting lady, none of the music of Tancredi produced a visible manifestation of the royal approbation, save and except the marches, the measure and rhythm of which his majesty involuntarily followed with complacent nods; there by shewing how deeply the percep tion of rhythm and measure is implanted in human nature under every zone.. Fantasia for the Piano-forte, in which is (are?) introduced three of Dibdin's popular Melodies, composed, and dedicated to Miss Barclay, by T. A. Rawlings. Pr. 3s. 6d.-(Goulding and Co. Sohosquare.) An adagio in Eb, 4, terminating in an allegro, forms the introduction, which is throughout conceived in a tasteful and classic style; the cantilenas in p. 2 are very pleasing (the two parts, perhaps, a little too much asunder), and the passages in the third page are distinguished by their peculiar neatness and fluency. In p. 4 we meet with the first Dibdinian melody, "Tom Bowling," supported by an harmonic arrangement far from Dibdinian; i. e. much more select and entwined than any which proceeded from the pen of poor Dibdin, who was quite satisfied when he had seasoned, his melodies with a thin sprinkling of bare chords. His harmonies, compared with the colouring approbation. If the number had been more limited, however, it would have been all the better. Among those which preferably attract at÷ tention, we may number var. 4. as particularly characteristic and striking; the legate thirds in No. 7. also are well imagined. The cantilena pervading No. 8. is pretty. No. 9. has a peculiar air of gentility. No. 13 possesses considerable brilliancy; and No. 14, whether from being the last of the long string, or from its intrinsic attraction, appeared to us the most interesting of any. AH are written in a style of ease, which renders them accessible to moderate abilities. bestowed by Mr. R. are like the viands of a suburban Sunday ordinary to the delicacies of a Palais Royal restaurateur. The digressions which Mr. R. has appended to this first theme are very satisfactory in themselves, but they partake in a slight degree of the character of the antecedent subject. The second melody is "The Sailor's Journal," first simply propounded, but with considerable harmonic addition, and afterwards submitted to variation and other digression of greater latitude, such as befits the nature of a fantasia. The third and last air is "The Soldier's Adieu," again harmonized with great taste, and subsequently amplified in the best style. In windIn wind-"Oh! my love's like the red rose," a ing up, Mr. R. with great propriety popular Scotch Air, with Variarehearses, as it were, his three themes, tions for the Piano-forte and Flute, and with these combined materials composed by S. F. Rimbault. Pr. effects a brilliant termination. The 2s.-(Hodsoll, High-Holborn.) whole of the fantasia does the au- The variations which Mr. R. has thor great credit; it is good music added to this simple and affecting throughout. Scotch melody are pleasing, and free An original Swiss Air, with Varia- || from any difficulties. They do not tions for the Piano-forte; com-rise beyond the conventional standposed, and dedicated to Miss Tow- ard of compositions of this class, nor er (Weald Hall), by J. W. Holder, sink to the level of absolute comMus. Bac, Oxon. Op. 78. Pr. 3s. monplace matter. The performer -(Goulding and Co.) has wherewith to be satisfied, and ensim-tertained indeed; and although the flute is meant to be an effective cooperator, it may, upon a pinch, be dispensed with. The air is one of melodious plicity and complete rhythmical symmetry, well calculated for variations; and Mr. H. must have considered it as such, for he has varied it in so many ways, that if the pupil will learn one variation every day, he will derive just a fortnight's practice from the book. Without commenting upon all the fourteen variations, we shall content ourselves with observing, generally, that as a whole they are entitled to very favourable no-tice, and four or five of them cannot fail to secure the amateur's special Handel's celebrated Overture to the "Occasional Oratorio," newly adapted for the Piano-forte, with Accompaniments for a Flute, Violin, and Violoncello (ad libitum), by S. F. Rimbault. Pr. 3s.; without Accompaniments, 2s.-(Hodsoll.) We have seen this overture in va rious shapes, but in none which af forded us greater satisfaction than A first Set of Brighton Quadrilles, composed and arranged for the Piano forte or Harp by E. Sandell, Musician to his Majesty's private Band, with new Figures set by E. G. Jackson. Pr. 3s.(Fitzwilliam, King-street, Soho.) Although the melodies do not exhibit great novelty, they are agreeable, and their character and construction are such as to render them very eligible for the ball-room. No. IV. appears to us the most attractive, and the most striking as to style; for several parts of these quadrilles bear considerable affinity of manner to each other. This, for instance, will be found to be the case in some pe the present adaptation, so far as the piano-forte part is concerned. It is full and effective, and the spirit of the original pervades the copy. With the accompaniments, too, we have no right to find fault, under the condition with which they are given, and which, indeed, is perhaps the more generally acceptable. But when we see two or three additional instruments brought to bear ad libitum, we can never help fancying what might have been done with such means if the parts had been written for as indispensable auxiliaries. Hodsoll's Collection of Duets for two Performers on one Piano-forte. No. LIV. Price 2s. Handel's "Harmonious Black-riods of No. III. and No. V. The smith," with five variations by Mr. S. Poole, which have given us much satisfaction. The score penned for the four hands is workmanlike and effective; the harmony is well dis-its three parts, and presents altoge tributed, with an attention to concertante treatment, and the style of the variations presents due diversity. book concludes with a waltz, the beginning of which strongly reminds us of one of Mozart's waltzes: it proceeds tastefully and smoothly through ther a favourable specimen of Mr. Sandell's musical pen. FINE ARTS. EXHIBITION OF THE BRITISH INSTITUTION. THE present Exhibition of the of the lesser Dutch and Flemish British Institution consists of a selec-painters of contemporaneous celetion from the works of the best mas-brity. Among these, some of the ters of the Italian, Spanish, Flemish, Murillos and Rembrandts are splenDutch, and English schools. His did examples of the powers of these Majesty, with his usual attention to great artists. the growth of the fine arts, has graciously contributed some very fine pictures from the royal collection. The old masters whose works are how exhibited, are, Titian, Raphael, Guido, Rubens, Salvator Rosa, Velasquez, Rembrandt, Murillo, Ostade, Teniers, Cuyp, Vandyke, and some There are few of the English school in this collection: among them are some good landscapes by Wilson and Gainsborough; some portraits by Sir Joshua Reynolds; the late Mr. West's sketch of Christ Rejected; and a few others by De Loutherbourg, Hogarth, and Romney. Mr. West's large picture of Christ heal- || seen too often by those who seek the attainment of excellence in art, or admire its most splendid examples. The noblemen and gentlemen who follow the illustrious example of his ing the Sick in the Temple is here exhibited for the second time: it was originally purchased by the British Institution. The principal pictures in the pre- Majesty, in contributing from their sent Exhibition have been repeated-respective private collections to the ly seen in preceding ones, both in the formation of this gallery, are entitled British Institution and elsewhere: to the gratitude of artists and the many of them, however, cannot be warm approbation of the public. FASHIONS. LONDON FASHIONS. PROMENADE DRESS. bends downwards: the crown is rather low, and has two large bows of lavender-colour gauze ribbon and two of yellow in front, with an intermixture of flowers. Cottage cap of net, with very full single border of Buckinghamshire lace, and a bunch of roses on the right side. The hair slightly parted on the forehead, and disposed in light curls. Gold chain and eye- glass. Primrose-colour gloves and shoes. OPERA DRESS. PELISSE of lavender-colour gros de Naples: the corsage made plain and close, displaying the beauty of the form; broad band of the same, edged with a double cording of satin, round the waist, which is rather long: the sleeves fuller than have been lately worn, and from the wrist nearly to the elbow, are three full puffings, confined with bands, and fastened by circular silk buttons: the epaulette is plain, being merely divided up the centre, and edged with a double cording of satin, which surrounds the whole of the pelisse and the trimmings: the bottom of the skirt has two broad rouleaus beneath a row of deep points, each finished with a silk button at top; the front|namented with detached pink satin ornamented to correspond. The triangular corded leaves: the sleeves trimming being placed longitudinally, are very short and full, confined and and the points united by the buttons, regulated midway by pink satin as usual, the trimming is very broad leaves, which form a kind of wreath at the bottom, lessens as it approach-round the arm, being so arranged as es the waist, and widens as it ex- to correspond with those on the bust: tends to the shoulders. Bonnet, ma- | nufactured from British grass, being a close imitation of the finest Leghorn; the brim broad, and standing || out, except in the front, where it Pink silk striped gossamer or gauze dress, the stripes having a narrow satin edge: the corsage à la blouse, and confined at the top with a narrow pink satin rouleau, or pink satin corded ceinture, fastened behind with hooks and eyes, beneath a rosette of triangular leaves. The skirt has a very full trimming of white tulle, tastefully decorated with pink |