ginal intention. They had suffered | passing over the dear creatures withthe world to obtrude its cares and its out mention! pleasures upon them; and had for- Reginald. There are ladies; and gotten the solemn purpose for which Rose Flammock, in The Betrothed, their order was instituted. It origi- with Edith Plantagenet, in The Crunated in 1118, when some pious and saders, are as beautiful creations as noble persons devoted themselves to ever emanated from the author's peu. the service of God in the presence | They are depicted in glowing lanof the Patriarch of Jerusalem; pro- | guage, and are in admirable keepmising to live in perpetual chastity, ing throughout. Nor are Emmeline obedience, and poverty, after the Berenger in the first, and the lovely manner of canons. Baldwin II. then Berengaria in the second tale, destiKing of Jerusalem, gave them an tute of interest. The latter in parapartment in his palace, which, be- || ticular has some fine ethereal quali. ing in the neighbourhood of the Tem- ties; she is like a beautiful sylph, ple, they derived from it their deno- which hovers near us, to charm our inination of Templars. The order wondering eyes, and then is no more by degrees extended itself to every seen. Christian state, and neglecting their The Vicar. The Hermit of Envow of poverty, they acquired im- gaddi, the half-insane Theodoric, is mense riches, and became so cor- also an excellent sketch. I should rupt and licentious, that at length, in suppose, by Engaddi, our author 1312, it was suppressed, and their means Engedi, or the fountain of the territories and revenues confiscated. goat, called also Hazazon Tamar, or The unfortunate brethren, however, the palm-tree city, from the great had not strict justice done them. number of palm-trees by which it A trial was certainly instituted, but was surrounded. This was a city of the accusations against them were so | Palestine, in the tribe of Judah contradictory, that they ought not to (Josh. xv. 62), situated on the sumhave prevailed. Philip the Fair of mit of a steep rock near the lake of France was their great enemy; and Sodom, three hundred furlongs from avarice, which led him to cast a Jerusalem, not far from Jericho and greedy eye on their immense posses- the mouth of the river Jordan. It sions, was probably one motive for was in a cave of the wilderness of his relentless persecution; whilst, Engedi that David had an opportuperhaps, revenge was another; as, nity of killing and of sparing the life in his quarrel with Pope Boniface of Saul, then in pursuit of him. VIII. the knights espoused the cause 1 Samuel xxiv. 1, 2, 3, &c. And of the latter, and furnished him with it seems to be the city of palm-trees money to carry on the war.

spoken of in the Book of Judges, ra· Basil Firedrake. Are there no la- ther than Jericho. dies in these Tales of the Crusa- | Counsellor Eitherside. Most proders? By my faith, you have no gal bably that is the place Sir Walter lantry amongst you if there be, and had in view, as the localities correought to be kept on an allowance of spond with it. I thank you for the hall a biscuit a day and no grog, for illustration; for I had forgotten the mention of Engedi, and had in vain pularity of the subject at the prelooked for Engaddi.

sent moment will be a sufficient ex

cuse for the length of this commuBut it is time to draw this article || nication. to a close; though our conversation

REGINALD HILDEBRAND. did not end here. The foregoing | ELMWOOD-HALL, forms, however, the most important July 14, 1825. part of it; and I trust that the po- ||

MUSICAL REVIEW. The number of musical publica- || being exempt from the fluctuating tions, which demand our notice at and revolving sway of fashion, it canthis prolific season, induces us to not create surprise, that this art comment on them collectively, under should, in its caprice, take a leaning different heads. Variations and ar- to what was admired by our grandrangements abound, as usual; while fathers: a similar fancy has for some original compositions are the least years shewn itself in the decoration numerous. Among the latter we of our rooms, furniture, and utensils, submit the following:

where simplicity and chasteness have Lighth grand Concerto for the Pi- yielded to the whimsical and unsym• ano-forte, with Accompaniments metrical forms and scrolls so univer

of a full Orchestra, composed, || sal a century ago and dedicated to the Most Noble. This by way of general illustraher Grace the Duchess of Hamil- tion, without implicating in the latton, by J. B. Cramer. Op. 70.|| ter comparison the concerto of Mr. Pr.8s.-(Boosey and Co.) Cramer, which, with all its ancient

An allegro, in D minor; a lar- || hues, presents as great a proportion ghetto, in D major; and a rondo, of interesting detail, bold flights of

in D minor. The predominance fancy, and striking combinations, as of the minor mood of itself imparts can justly be looked for in a compoto this concerto a certain degree of sition of this description. The length serious colouring, which is further | (upwards of thirty close pages) is deepened by the style in which it is considerable; but this objection is mainly written. Its very beginning much compensated by tutti of great is of canonic structure, and through extent and decided general interest. out the composition Mr. C. has more Rondeau mignon pour le Piano-forte, indulged in musical diction, treat composé par J. P. Pixis. Op. 77. ment, and formulas of former times, Pr. 3s.-(Boosey and Co.) than followed the style of modern Mr. Pixis is a favourite composer writers; unless, what we have had with the inhabitants of Vienna, occasion to remark of late, the most where he resides; and this fact alone modern style of composition im- must act as a passport every where plies an approximation to the man- else. His compositions, and the prener in vogue in the days of Corelli, sent rondo especially, combine the Händel, and the Bachs. Music not rare advantages of good melody.in. termixed with numerous indications ||

VARIATIONS. of sterling science; the hues of na- || 1. Introduction and Variations, with ture, set off by occasional colouring Flute Accompaniment, ad lib. on of deeper tints, producing a happy an admired Air composed by Mr. effect of light and shade; and al Shield, to whom they are inscribthough Mr. P. does not descend to ed, by T. A. Rawlings. Pr. 3s.matters trivial in point of execution, (Goulding and Co.) his productions seldom prove dis- 2. A Russian Pas redoublé, arrange couraging to a player of fair and rea- l ed with Variations for the Pianosonable attainments. This is cer- || forte, by Philip Knapton. Pr. tainly the case in the pretty rondo 38.-(Goulding and Co.) before us. It has some strong mo- || 3. The Heath Rose, a Prussian fadulatory touches (pp. 6 and 7); but vourite Air by Reichardt, with six there is much fascinating cantilena Variations for the Piano-forte sprinkled over the whole, and the | by E. Solis. Op. 6. Price 2s.6d. subject is conspicuous for naïveté and || --(Published by the Author.) cheerful humour.

4. The favourite Air,“ Sul margine T. Boosey and Co.'s Selection of d'un rio," with Variations for the

Airs, varied Rondos, fc. for Pia- ||| Piano-forte and Flute obligato, no and Violoncello, by the most by Charles Saust. Pr. 4s. admired foreign Composers. (Cocks and Co. Prince's - street, Book III. Pr. 35.-(Boosey and Hanover-square.) i Co.)

1. Mr. Shield's song of “ The A divertimento, op. 18, composed Thorn" is the subject chosen by Mr. by Mr. Cipriani Potter, whose name Rawlings. Although it is not altohas been admitted in the class of au-gether a favourable theme for vathors designated in the title-page. riation, Mr. R. has been successful It consists of an andantino and al- in his treatment. The three varialegretto, both in D major and time, tions and coda are imagined in very and principally in a style of an age good style; and the introduction is gone by. In the allegretto, indeed, appropriate and interesting. The the author tells us so himself by the amplification, which has crept into the superscription, " piutosto nello stilo theme, is premature; a theme ought antico." To an occasional trial of to be propounded in its simplest form. this kind there can be no objection, 2. Mr. Knapton's“ Pas redoublé," especially when the work is well in B b major, is preceded by a few done, as in the present case, where plain successive chords of no import. a considerable portion " nel buon Among the variations, which are of gusto moderno" is made to intervene simple structure and not numbered, occasionally. The piece, upon the two in G minor and Bb minor have whole, however, does not abound in attracted our attention. In the sixth clear and fresh melody; but we must page, a new subject in G major, allow it the merit of decided clever- little connected with the theme, is ness as to harmonic structure. The introduced, and pursued to a consivioloncello part is effectively and derable extent, and with becoming tastefully written, and is indispensa freedom. ble.

3. The air, by Reichardt, selected

by Mr. Solis, possesses great origi- || companiment for the Harp (ad nality, and is curious in its melodic | lib.), by D. Bruguier. Pr. 48.forms; but this circumstance, and (Goulding and Co.) especially its unrhythmical structure, | 4. The celebrated Snuff-Box Waltz, were rather unfavourable for Mr. for the Piano-forte, composed by S.'s purpose. We award therefore Mr. S. Pr. 2s.--(Monro and May.) the greater commendation in stating 5. Rossini's celebrated Cavatina, his variations to be both creditable “ Una voce poco fà," from the and pleasing. Var. 5. in four flats i Opera of “ Il Barbiere di Sivigbreathes much good taste; the presto lia;" arranged as a Duet for two (var. 6.) leading to the winding-up, Performers on the Piano-forte, is conceived in an effective style; by J. J. Harris. Pr. 2s. 6d. and all that follows, to the end, is (Monro and May.) very satisfactory.

16. Nicolo's admired Rondo, " Non, 4. Often as “ Sul margine” has je ne veux pas chanter;" arranged been treated in a similar manner, Mr. as a Duet for two Performers on Saust's variations are well deserving the Piano.forte, by J. J. Harris. the marked attention of the amateur. Pr. 55.- (Monro and May.) He has infused a peculiar graceful- 17. Rossini's popular Overture to ness of diction and amplification into “ La Gazza ladra;" newly adapt. every page of his labour, not except ed for the Piano-forte, with Acing the flute part, which is quite companiments for a Flute, Vioobligato, and, without presenting dif lin, and Violoncello (ad lib.), by ficulties, full of interest. In termi- S. F. Rimbault. Pr. 4s.-(W. nating the first period of the theme | Hodsoll.) by the dominant, Mr. S. appears to 8. Weber's celebrated Overture to us to have unnecessarily deviated “ Preciosa;" arranged for the from the authentic melody.

Piano-forte, with Accompaniments ARRANGEMENTS.

for a Flute, Violin, and Violon1. Amusemens de l'Opera, Selection | cello ( ad lib.), by S. F. Rimbault.

of the most admired Pieces from || Pr. 48.-(Hodsoll.) the latest foreign Operas and Bal- 9. Farourite Airs, selected from Welets; arranged for the Piano-forte, ber's" Preciosa;" arranged for the without the Words. No. 7. Pr. Piano-forte by S. Poole. Nos. 2s. 60.-(Boosey and Co.)

1. and 2. Pr. 2s. each.--(Hodsoll.) 2. Beethoven's Hallelujah Chorus, 10. Favourite Airs, selected from

from the Mount of Olives, being Weber's “ Preciosa;" arranged No. 9. of a Selection of Choruses, as a Divertimento for the Pianoarranged as Duets for the Harp forte, with Accompaniment for the and Piano-forte, with Accompani Flute, by John Purkis. Pr. 3s. ments ( ad lib.) for Flute and Vio -(Hodsoll.) loncello, by J. F. Burrowes. Pr. I 11. Twofavourite Airs,selected from 45.-(Chappell and Co.)

Weber's “ Der Freyschütz;" ar3. No.IV.Henry R. Bishop's Round, ranged for the Piano-forte by

“ When the wind blows," arrang Samuel Poole. No. 4. Pr. 2s. ed as a Duet for two Performers | -(Hodsoll.) on the Piano-forte, with an Ac- 12. Weber's celebrated Huntsman's Chorus and Waltz in “ Der Frey- || abundance of notes and embellishschütz;" arranged in a familiar ments, which require a light hand style for the Piano-forte by Sa- || and a brilliant smartness of touch. muel Poole. Pr. 1s.-(Hodsoll.) ! 5 and 6. Mr. Harris's “ Una voce 13. Weber's celebrated Huntsman's poco fà” merely represents the au

Chorus in “ Der Freyschütz;" || thentic air transposed from the key arranged as a Rondo for the Pi- || of E to the easier tonic F, in the ano-forte by S. F. Rimbault. Pr. | form of a duet, and arranged in an 2s.-(Hodsoll.)

agreeable and satisfactory manner. 14. Weber's celebrated Bridemaid's The numerous ornaments of Ros

Chorus in “ Der Freyschütz;" ar- sini demand considerable neatness ranged as a Rondo for the Piano and taste in the performance.-Niforte by S. F. Rimbault. Pr. 2s. colo's rondo is an elegant composi(Hodsoll.)

tion; and the duet which Mr. H. 1. Messrs. Boosey's seventh num- has made fron; it equally deserves ber of " Amusemens de l'Opera” our unqualified approbation. Its meincludes four or five pieces from lodic attraction, and the absence of Spohr's new opera of " Jessonda," executive difficulties, are sure to find very ably arranged for the piano- favour with the pupil.. forte. As this is the first time we 7. Mr. Rimbault's new and excelhave seen any of its music, it would lent arrangement of the overture to be presumption to offer a general “ La Gazza ladra” is every thing opinion on the merits of this opera, we could wish for, making allowance which has obtained great celebrity for the departure from the original in Germany. If the whole resem- key, E, which he has transposed a bled this small portion, we should whole tone lower, no doubt with a suspect the work to abound less in view to greater facility. We are no the charms of original and captivat- friends to these expedients; every ing melody, than in bold harmo tonic hasits peculiar character, which nies, scientific treatment, contrapun. is not lost even by alteration of pitch tal combinations, and rich orchestral in the tuning. Thus, in the present support.

instance, were the overture, to D as 2. The “ Hallelujah Chorus" in it is transposed, played on an instru“ The Mount of Olives" is so uni ment tuned a whole tone above the versally acknowledged to be a mas general standard, it would still not ter-piece of the fugued style of writ- sound as if in E, owing to the influing, that, in noticing Mr. Burrowes' lence of temperament. . arrangements, we only feel called || 8, 9, 10. " Preciosas" in various upon to do justice to the skill and shapes. As we have already spoken judgment displayed by that gentle of this music on former occasions, man in its compression.

we need only add here, that Mr. 3. Mr. Bruguier's adaptation of Rimbault's arrangement of the overBishop's round, “ When the wind ture (8) is not inferior to any that blows,” is in every respect satisfac- has come under our notice. Mr, tory and effective.

Poole's, two books (9) exhibit the 4. “ The Snuff-Box Waltz". is substance of the airs of the "Preciosa" really gracefully delicate; it presents in a form accessible to players of mo