The unfortunate gentleman returned || ponderance of his gold against taste to France, where he soon died of aand erudition, he spoke of his purbroken heart; and Solway Moss chase, and the disappointment of his avenged his cause upon the King of adversary, when they chanced to Scotland. It is well known that meet at a public dinner some time James died of sorrow for his defeat after. “ The harp of Orpheus will at Solway Moss.

not yield harmony to all that have

power to sweep the strings,” said TEA-MAKING.

the scholar.--"Do you mean to in

sult me, sir?” questioned the man of The Calinuc Tartars use much tea.

wealth. " Explain your words, or They boil it with salt and butter. In

give me other satisfaction.”—“ I Thibet, tea is prepared rather as a

| must tell a long story to explain my gruel, with flour, salt, and butter.

words," objected the scholar: but More tea is said to be consumed in

some of the company, who undere Morocco than in England. They

stood the allusion, and had no small receive it from Great Britain by way

pleasure in mortifying the favourite of Gibraltar ; and through the same

of Fortune, while others wished to channel are supplied with sugar.

hear a story, begged the gentleman They drink the infusion of tea very

might proceed. “Well, gentlemen, strong, and put sugar in the teapot.

I shall make my tale as short as I In the last century the Moors used

can; and as you have all no doubt tansey and mint to heighten the fla

heard of the wonderful musician vour of their tea. In the neigh

Orpheus, who was torn to pieces by bourhood of Fez there grows a plant

the Thracian Bacchanals, I need not called Kiff, said to exhilarate the spi.

repeat that part of the narration. rits, and fill the whole frame of man

The poets say, that the harp of Orwith delightful sensations, while the

pheus was thrown into the river most agreeableideasoccupy the mind.

Hebrus, with his head upon it, which The leaves are sometimes smoked as

head, severed from the body, sung a tobacco; but the usual preparation

doleful but melodious elegy on the is to boil the plant twelve hours with

fate of its late master; and the harp, a quantity of butter; then it is strained, and reserved to be either swal

made vocal by winds, accompanied

the accents with a solemn strain. The lowed in pills, mixed with sweet

Ægean sea wafted the mournful conmeats, or employed as seasoning for

cert to Lesbos, where the lyre was food.

hung up in the temple of Apollo,

and the head inhumed with honours THE HARP OF ORPHEUS.

due. Neanthus, the son of Pitta, A gentleman of small fortune, but cus, heard of this marvellous harp, rich in literary attainments, was dis which, in the time of Orpheus, bad appointed in the purchase of some moved rocks and trees, tamed wild scarce books at a sale, by a vain un beasts, and charmed the infernal lettered man bidding for them an ex- powers. Since the time of Orpheus travagant price; and not satisfied | no mortal had touched the instruwith displaying the successful pre- ment, because all were conscious they

Vol. VI. No. XXXIII.

could not use it; but Neanthus, re- || manful force, never doubting that lying upon his royalty and riches, the harmony he produced attracted imagined the possession to be very the animals; and he cursed the darkdesirable. He therefore bribed the ness which hindered a distinct view priest to resign it to him, and to hang of the rocks and trees waltzing to up one like it in the temple; as we his music, as they were wont to dance sometimes see a library filled with || when Orpheus struck his lyre. He wooden representatives of volumes, was soon fatally taught to repent his and they are as serviceable, perhaps, presumption; the dogs approached to the proprietors as printed pages: nearer and more near: however, they but this is a digression. Let us re- came not in the spirit of admiration. turn to Neanthus. I suppose the The discordant din seemed to them Lesbians, like the Turks of our day, the grunting of wild hogs, or the turned their dogs into the streets at howling of wolves; and as there was night, and they crowded around no light to shew the human figure Neanthus, when, ignorant of music, | of Pittacus, they seized him at all he took a golden key to tune the lyre, points, and he perished like Orpheus, and delighted with his own perform- harp in hand. ance, scraped upon the strings with ||

MUSICAL REVIEW. Grand March for the Piano-forte || in the form of a duet for one piano

and Harp, or two Piano-fortes, | forte, and we would recommend such · composed for, and dedicated to, | an arrangement to the publisher. · the Right Hon. the Ladies Pau- || No. I. Musical Sketch, in which is · let, by Frederick Kalkbrenner. I introduced an admired Scotch Air, · Pr. 38.-(Chappell and Co. New “ Wandering Willy,” dedicated to · Bond-street.)

the Righi Hon. Lady Cecil Tal· In this march Mr. K. has blended || bot, by Frederick Kalkbrenner. precision and energy of diction with || Op. 74. Pr. 45.-(Chappell and a striking degree of originality, both Co.) as to melody and harmonic treat- || In the introduction, allegro maes-ment. This is more particularly the toso F major, skilful hints at the case in the two first parts of the subject of the air are interwoven on march (G major). The trio, in C || several occasions, and some touches major, is of a more softened com- of deep extraneous modulation, as plexion; and on that account, as well well as of good contrapuntal contri,as from the contrast it bears to the vance, are judiciously and ably more forcible prior portion, sure to brought into play. The Scotch tune gain universal approbation. The is next propounded in a distinct and harp-part, although more employed | principal movement under the signain accompaniments than in active me- ture “Molto Adagio.” But it does lody, and far from being difficult, is || not clearly appear whether this slow powerfully effective. This march time is the prevailing one throughmight advantageously be exhibited." out; a circumstance we should much

doubt, the only directions given, be. || of the organ. To the zealous stusides the above “ Molto Adagio," | dent on that instrument, therefore, being, “ Tempo 1mo," p. 7 (before the labour of Mr. Adams may be reany change of time had been mark- | commended as a most valuable guide ed);"accelerando," p.9; and, again, towards attaining a true style of ex“Tempo 1 mo." p. 10. There is proba- ecution, and a high degree of classic bly some little omission in this respect. | taste and perfection in his pursuit., Be this as it may, the subjectis treated A familiar Voluntary on the Organ, with all the skill and taste to be expect composed by J. C. Nightingale, ed from Mr. K.'s pen, and with an un Organist to the Foundling Hoss fettered and genial freedom fully con- || pital. No. V. Pr. Is. 60.-(Mon; sonant to the modest title of “Sketch.” ro and May, Holborn-Bars.) . The digressions, including a consi Less complicated and highly derable portion of variation, succeed wrought than the foregoing piece of each other with new interest; and Mr. Adams', Mr. N.'s Voluntary, the piece abounds in diversified pas- while it is accessible to a larger cirsages of active, yet not intricate, ex. cle of performers, nevertheless preecution, which are eminently quali sents numerous tokens of the aufied to impart digital precision and thor's good taste and matured expebrilliancy.

rience in his calling. There are two Grand Organ Piece, composed, and slow movements and an allegro, all in respectfully dedicated to his the key of Eb, all distinguished by Friend, the Rev. John Vane, A.M. | good melodic diction and able harMinister of St. George Cam-monic treatment, and occasionally inberwell, by Thos. Adams, Organ- deed by passages of very clever conist of the Church. Pr. 5s.—(Hod- trapuntal texture. soll, High-Holborn.)

VOCAL. A larghetto C minor 12 pp. and || 1. Romanza,“ Giovinetto Cavalier." an allegretto C major $ 10 pp. Al nell' Opera" Il Crociato in Egitthough the price is rather high, and to,” del Meyerbeer. Pr. Is. 6d.a diminution of it would probably (Cocks and Co. Princes'- street, have increased the sale, yet if we are|| Hanover-square.) guided by the intrinsic worth of the 2. Ev'ning breath'd each soft decomposition, and the obvious care light,” translated from the Aria, and great talent to which it is in “ Giovinetto Cavalier,” fc.; the debted, there can be no doubt but Words by William Ball. Pr. Is. 6d, the true lovers of music of this de- --(Chappell and Co.) scription--if but their number were | 3. “Down in the quiet vale," a Canmore extensive!-will not regret the zonet, written and adapted to the terms upon which they can procure favourite Italian Air, “ Fra tante a work of such decided merit. It is angoscie,” arranged by W. Ball. a masterly specimen of contrapuntal Pr. 1s.-(Chappell and Co.) writing, consisting generally of tliree, 4. “ The Maiden's Dreain," written and even four, distinct parts, entwin- and adapted to a German Meloed into each other with consummate dy by Wm. Ball. Pr. Is. 60.skill, and with a profound knowledge (Chappell and Co.) of the great capabilities and effect No. 1. is the romance sung hy Mademoiselle Garcia in Meyerbeer's, ARRANGEMENTS, VARIATIONS, &c. grand opera, “ Il Crociato nell'Egit- 1. Melange on favourite Airs from to,” now performing at the King's | Meyerbeer's Opera," Il Crociato Theatre. This song has justly ac- in Egitto,” arranged for the Piaquired universal favour; it is invari- | no-forte by J. B. Cramer. Pr. ably encored, and were it not for | 3s. 60.-(J. B. Cramer, Addison, some highly decorative and delicate and Beale, 201, Regent-street.) embellishments, beyond the reach of 2. Impromptu on Meyerbeer's fauntutored organs, it would be as I vourite Air, “ Giovinetto Cavasure to resound through the streets lier," for the Piano-forte, arrangas some of the popular airs of the l ed by the same. Pr. 2s. 6d. “ Freyschütz." We recommend this ! (Cramer and Co.) little jewel to the notice of our vocal- | 3. Melange on favourite Airs from ists; with a reasonable degree of care Meyerbeer's Opera “ Il Crociato and attention, they will soon master in Egitto," composed, for the Pithe melody. The piano-forte accom ano-forte, by C. Pleyel. Pr. 4s.paniment is extremely well arranged.! (Cocks and Co.) · No. 2. is the same as the above, | 4. “ Giovinetto Cavalier," and the with an English text, very suitable Terzetto “ Tutto Armato," from to the tune, and a very satisfactory I “ Il Crociato in Egitto," for the accompaniment likewise; only that | Piano-forte, by Meyerbeer. Pr. 2s. the introductory and concluding sym- | -(Cocks and Co.) phonies have been doomed to the 5. The celebrated Hunting Song, excision of some five or six bars, too “ Old Towler," arranged, as a few to render curtailment worth the Rondo for the Piano-forte, by H. while, yet too many not to render the G. Nixon, Organist to the Bavaliberty a matter of regret.

rian Embassy. Pr. 38.-(Birchall Nos. 3. and 4. To Caraffa's very || and Co. 140, New Bond-street.) popular air, “ Fra tante angoscie," || 6. “ Erin's Legacy," a DivertimenMr. Ball has adapted an English to for the Piano-forte (founded text, which fits the melody very fairly, on favourite Irish Airs), composand proceeds with cantable smooth ed by T. A. Rawlings. No. I. Pr. ness. The harmony is not always 35.-- (Chappell and Co. New Bondfaithful to the authentic score: in the street.) fourth bar, for instance, Caraffa's 7. “My love, she's but a lassie yet," succession of fifths, which has prov- | a favourite Scotch Air, arranged ed a hard dose to several other for the Piano-forte by Thonias adapters, has here too been avoided. Valentine. Pr. 2s. 60.-(Chappell The German melody, No. 4. which I and Co.) is also well known, simply sweet, has 8. Spontini's celebrated Overture to received an English text of consider-il “ La Vestale," arranged, for two able poetic merit, tolerably anacre- Performers on the Piano-forte, by ontic to be sure, but in some instan-il J.J. Harris. Pr. 35.-(Chappell ces really elegant as to thought and 1 and Co.)

. . diction. We are very much pleased 9. The favourite Airs in Weber's with it, and consider the words quite Opera, “ Der (?) Preciosa," arrandeserving of being expressly set tol ged for the Harp and Piano-forte, music.

with Accompaniments for the Flute

and Violoncello (ad libitum), by in the authentic key (E6), in C, and N. C. Bochsa. Pr. 10s. 6.- in Ab, so as to combine into a truly (Chappell and Co.)

perfect whole of no great difficulty. 10. Divertimento for the Piano-forte, 3. 4. Mr. C. Pleyel's “ Melange,”

on the favourite Airs in Weber's and the “ Giovinetto Cavalier," pubOpera of “ Preciosa," composed lished by Messrs. Cocks and Co. are by Pio Cianchettini. Op. 11. Pr. iso similar in contents to the above,

3s:-(Chappell and Co.) and so intrinsically satisfactory, that 11. Weber's favourite Overture to the choice between the two pair may “ Abou Hassan," performed at possibly depend upon individual likthe Theatre Royal Drury-lane, ing. Mr. P.'s “ Melange," at all adapted for the Piano-forte, with events, is put together with much Accompaniments for a Flute, Vio taste, and with evident attention to lin, and Violoncello (ad lib.), by executive facility; and as to the S. F. Rimbault. Pr. 3s.; without | “Giovinetto," those that are for "the Accompaniments, 2s.-(W. Hod- truth and nothing but the truth" will soll, High-Holborn.)

find their veraciousness completely 12. A Selection of the most admired gratified by the publication of Messrs.

Quadrilles, with their proper Fi-C. and Co. which exhibits the whole gures, in French and English, as of the romance and terzett, not only danced at Almack's, the Argyll | in their authentic forn, as far as exRooms, and Nobility's Balls, ar- ||tract can go, but under a very pure ranged for the Piano-forte, Harp, l and effective harmonic arrangement. or Violin.-Set 9. Pr. 23.-(Hod. 5. Though the tune of“ Old Tow. soll.)

| ler" is of some standing, it is one of 1.2. Mr.J.B. Cramer's two books, the veteran Shield's happy vocal effounded on Meyerbeer's “ Crociato forts, and we do not recollect having in Egitto,” will form valuable addi- seen it employed in a mere instrutions to the amateur's stock of ope- mental shape for the piano-forte. ratic music for the piano-forte. In The rondo which Mr. Nixon has the" Melange," the melodies of“ Ite founded upon it, is written with much superbi," “ Non v'e per noi," “ Ras- taste, and shews that his abilities as a sicurata da suoi timori,"and the grand writer are not inferior to his skill as march and chorus, are successively a performer and his success as a introduced under the most captivat teacher. There is life and soul in ing harmonic treatment, and with the the piece, purity and selectness in addition of a variety of elegant di- the harmonic structure, and consigressive figures. The same critical | derable elegance in the passage-work. character is due to Mr. C.'s impromp. Without any decided intricacy, the tu on the sweet romance “ Giovinet- || composition nevertheless demands a to Cavalier” in that opera, including clean and active performer. the beautiful terzett, “ Tutto Arma- 6. “ Erin's Legacy," No. I. conto," into which the romance ultimate- tains an introductory slow movement, ly merges. There is not much new followed by the “ Exile of Erin," or digressive matter interwoven, but and an “ Original Irish Air," with the ideas of Meyerbeer are turned variations. Of the latter, the march, and handled in a delightful manner, || var. 2. and the finale, appeared to us