mark applies forcibly to the present || mony of bar 4, var. 1. would have arrangement, which is excellent, and been susceptible of improvement. has, moreover, the essential advan- 5. Mr. Lee's rondo, founded upon tage of metronomic timeing. The the air of “ Le petit Tambour," is pieces comprised in the two books principally for the fute, the pianoare as follows:

forte part being almost entirely mat

ter of accompaniment. Much of the Book I. « Giovinetto Cavalier"-" I doni al'Elmireno"_“ Soave immagine"-" Ah di

ideas and passages which have renRodi s'oporivo i prodi.”

dered Mayseder's treatment of this Book IL “ Udite or alto arcano"'" Va, li theme so popular and celebrated, gia varcasti indegno"_" Non sai qual' in

and in which our Mori has often decanto" -" Il brando invitto''-" Cari og

lighted the English public, are

| brought into play here; and what Highly commendable as is this se- with additional matter well suited to lection, as far as it goes, we cannot the flute, and calculated for effective conceive why Mr. B. like most of and brilliant display on that instruhis colleagues who have arranged the ment, Mr. L. has produced a sort of “ Crociato," has omitted the panto- | concerto-movement of very interestmimic overture; a composition not ing materials, which deserves the noonly of great beauty and originality, | tice of advanced Aute-players, albut particularly well calculated for though it presents no demands upon transfer to the piano-forte. | first-rate skill on that instrument.

3. The first book of Mr. Loder's 6. The “ Vesper Hymn," which operatic arrangements for piano-forte forms the subject of Mr. Poole's laand flute, contains a scene from Ros-bour, is a very simple Russian melosini's Otello, " Ah, si, per voi gia dy, eminently fit for amplified desesento," in three successive movements. lopment. The introduction is so so; The score has been extracted with and the early portion of the variagreat judgment and taste, the har- tions does not present any particular mony faithfully and powerfully con- feature of attraction ; but Mr. P.'s densed, and the assistance of the labour gains in interest as it proflute rendered conspicuously effec- ceeds. The two variations, both of tive. It is, in fact, an obbligato part. which bear the No. 4. are in very All is so well done, that it would be good style, particularly the last of difficult to suggest any improvements them, which is in the manner of a powith regard to future numbers. lacca, and although not exclusively

4. Mr. Valentine's variations on made up of materials absolutely ori“ Portrait Charmant” are written in ginal, is altogether very attractive. a neat unassuming style, and we like of the 5th variation, an allegretto }, them all the better for their limited we are also warranted in speaking number; four in all. The semiqua- | with approbation. 'Upon the whole, vered amplifications of var. 2. and the publication is well suited for practhe good running bass accompani- tice, and by no means intricate. ment in var. 3. call for distinct no

VOCAL. tice. The transformation of the theme 1. Melodies of various Nations, with into time (var. 4.) has likewise the Symphonies and Accompaniments, merit of tasteful ingenuity. The har. by Henry R. Bishop; the Words

by Thomas H. Bayly, Esq. Vol. ii. il 11. “ Oh! no! we never mention her.”Pr. 15s.-(Goulding and Co.)

French

| 12. “ There came from the wars on a jet2. “My own dear maid," a Ballad 1 black steed."-Welch.

(written by H.S. Van Dyk, Esq.), Of these, Nos. 5. 6.' 8. 11. are as sung by Mr. Sapio at the T'he harmonized as glees or duets. atre Royal Drury-lane and No- Among a collection of such varied bility's Concerts, composed by T. materials, it is natural, not only that A. Rawlings. Pr. 25.-(Cramer some of the pieces will carry the and Co.)

palın over others, but that opinions 3. “ Fair little creature of to-day," will vary according to diversity of

Words addressed to the Day-Fly; taste. We shall therefore leave the the Music by D. M. M'Carthy. I question of preference to the indivi

Pr. 1s. 60.-(Chappell and Co.) dual liking of amateurs, as there is 4. “ Your heart and lute are all the wherewith to give ample satisfaction

store;" an Answer to Moore's ce to all parties; and we do not feel lebrated Song of " My heart and called upon to institute a critical inlute;" written by a Lady; the Mu- | quiry into melodies, professedly colsic by F. W. Crouch. Pr. 2s.- | lected from more or less remote au(Chappell and Co.)

thentic sources. Our more immedi1. The third volume of Messrs. ate province concerns Mr. Bishop's Goulding and Co.'s collection of na. || labour in devising the accompanitional inelodies, with symphonies and ments and symphonies; and in this accompaniments from Mr. Bishop's respect we have met in the latter able pen, yields in no way to its pre- || with specimens of inventive freedom decessors, which have already been and originality, which, although now submitted to the notice of our read- and then bordering upon the ultra ers. The typographical appearance | recherché, gave us, upon the whole, of the book is fully as inviting, and very great pleasure. In the accomthe contents, poetical and melodic, I paniments too, skilful combinations as well as the arrangement devised of harmony, and great variety, as by Mr. B. demand our approbation. well as richness, of instrumental supThe songs now brought forward are port, and a thorough feeling of the as follow:

character and spirit of the airs, are

distinguishing features of recommen1. “ She never blamed him.” — Hindoo

dation. 2. “ When the eye of beauty closes."'

2. Mr. Rawlings' ballad, “ My Venetiun.

own dear maid,” is no doubt a cre3. “ In halls of pride."- Greek.

ditable vocal composition, regular 4. “ Go! may'st thou be happy."- Bava

and agreeable enough in melody, and rian. 5. “ You think I am unfeeling."-Indian. || very satisfactory in point of harmo6. “ I have sent back ev'ry token."-Ita nic support: but we see no particu

lar passage which can make any pre7. “ There's music and mirth on the ocean.” -Spanish.

tensions to novelty; and, so far as 8. “ Weep not around me." - German. our experience has reached, we cer9. “ I'll sing to thee the fondest lays." tainly think that Mr. R. excels more Scotch.

in instrumental works than in his vo10. “ Hark! hark! I hear a distant drum." || -Troubadour Air.

#cal efforts. In the last line of p. 2,

stanee.

lian.

the melody does not run parallel with || any attempt at extraneous flights, the sense and proper declamation of yet select and chaste; and the acthe text, owing to the strong pause companiment raised thereon, alafter “ to think” in the line “ Whose though somewhat too uniform in radiant glances seem to speak, to structure, is very efficient. think, to breathe of bliss." In or

HARP-MUSIC. der to connect these three verbs into 1. The celebrated March of the Enone musical phrase, we should, in peror Alexander, with an Introstead of repeating “ to breathe," | duction and Variations for the have been disposed to repeat “ to Harp and Piano-forte, composed speak.” The musical phrase, in such by N.C. Bochsa. Pr. 6s.-(Chapcase, would have been,

pell and Co.) “ Whose radiant glances seem to speak, || 2. First Set of Bagatelles for the To speak, to think, lo breathe of bliss.” Harp; composed by N.C. Bochsa.

3. The melody, in time, which Pr. 45.—(Chappell and Co.) Mr. M‘Carthy has set for the “ Ad- | 3. Selection of Chorusses, arranged dress to the Day-Fly," is quite to our as Duets for the Harp and Piamind. There is none of the hack no - forte, with Accompaniments neyed ballad-drawl and prosing; the (ad libitum) for Flute and Vioair proceeds blithly and fresh, in loncello, by J. F. Burrowes. No. unison with the mignonet fairy-like X. pr. 2s. 6d.; No. XI. pr. 4s. text; there is all the requisite rhyth. -(Chappell and Co.) mical symmetry of periods, and due 1. Mr. Bochsa's variations on the connection between the successive theme which goes by the names of phrases. In the line, “ And in a "The Emperor Alexander's March" blue-bell take repose,” it would have | and “ The Fall of Paris” are written been more in the spirit of the air to in the grand genre; showy, striking, begin the bar with “ And," instead full of spirit and bustling activity; of making it a leading note. The and consequently as brilliant and efrefrain, “ So fair thy form," is pretty.fective as so able and experienced Some young folks have been delight- a pen can possibly render composied with this song, and very often tions of this description. There is a their liking is not a bad standard to slow movement for introduction, then judge by.

follows the theme with five variations, 4. The text made in answer to a lento of great merit comes next, Mr. Moore's “ My heart and lute," and this is succeeded by a dashing is not only very creditable to the fair allegro, both these movements breath. author, but has the rare merit of ing the spirit of the subject. The two easy cantability; and the music of instruments are concertante throughMr. Crouch has given us great satis- | out, and neither can complain of faction. We could not possibly wish want of occupation; but the piano the words set better than they are. | forte part is more strongly cast, and The melody is particularly flowing demands a good player; while the and natural, without being common- | harp-part, upon the whole, may safeplace; there is taste and good style | ly be consigned to a less advanced in every musical sentence: the rhythm performer. is perfect; the harmony free from 2. The first set of Mr. Bochsa's

“ Bagatelles" is sure to find a hearty | opinion which we gave on that valuwelcome with harp-amateurs of some able treatise might, almost word for little advancement in practice; for word, be applied to the present code beginners they are not calculated. \ of instructions for the violin, which They may be said to fill a medium is so truly excellent in every respect, station between plain elementary les-that we should feel no hesitation in sons and compositions of the higher | recommending its adoption in preferorder; and such an intermediate pro-ence to any guide of the same bulk vision for harp-students, and indeed and price we are acquainted with. for the piano-forte, as well as almost In speaking of Mr. Howell's Guide every other instrument, is precisely for the Piano-forte, we said, among a desideratum. The contents of this other remarks, a "fixed plan pervades book, besides some brief introduc- the whole of the author's labour. tions, are, 1. a march with varia. When he gives a rule or definition, tions; 2. a sweet andante; 3. a Hun- he also gives an example to elucidate garian rondo; 4. another andante, of his text; and even the numerous very attractive workmanship. There lessons which form a considerable is much good melody and style in all portion of the work are nothing but these pieces.

progressive examples, purposely dle3. The 10th number of Mr. Bur-vised to illustrate his system. We rowes' Chorusses, arranged for the are fully sensible of the labour reharp and piano-forte, contains the quired in producing such a work, chorus, “ Venus laughing," from every bar of which is the author's Händel's “ Theodora;" and No. 11. own composition; and we as cordially consists of Haydn's magnificent cho- I agree with his opinion, that these rus, " The Heavens are telling.” It | lessons are infinitely more useful and is almost superfluous to make any proper than an olio of favourite tunes, comments upon adaptations proceed frequently strung together without ing from Mr. B.'s pen. Much as sufficient attention to their progresthat pen yields, it is sure to give en- || sive difficulties. Here every lesson tire satisfaction in labours of this has its defined object, which object, description; and the duets before us moreover, is satisfactorily indicated afford further and ample evidence and explained, and the learner is sysof the correctness of this assertion. tematically led from one peculiarity

THEORETICAL WORKS. of executive practice to one of a Original Instructions for the Violin, higher degree in the scale of profi

illustrated by Precepts and Ex- ciency," &c. All this is so entirely amples, composed expressly for applicable to Mr. H.'s book on the this Work, and, by permission, de- violin, that we could only resort to dicated to Nicholas Mori, Esq. a change of expressions in conveying by T. Howell. Pr. 10s. 6d. --(How-our opinion. ell, Bristol.)

As regards the advice and instrucIt is about nine years since wetions peculiar to the violin, Mr. H.'s submitted to our readers an account work shews, not only that he is masof a book of instructions for the pi- ter of his subject, but that his pen is ano-forte by the same author. The guided by a clear and methodical inVol. VI. No, XXXVI.

3 B

tellect. More might have been said || that his labour will contribute its on bowing, the very soul of the art; | mite in rescuing the queen of musical but what has been stated is so true instruments from the neglect which and excellent, as to substance, that he so feelingly and so truly deplores. it cannot be read too often by the Howell's Musical Arithmetic, being pupil.

an Auxiliary to the usual Methods With regard to the new tail-piece ll of teaching the Time-Table. Pr. invented by Mr. Howell, we are not | 1s.-(Howell, Bristol.) insensible to some of the advantages To render the learner familiar pointed out; but we must put it to with the value of notes, Mr. H. sets practical test before we can take up- examples of addition and subtracon ourselves to adopt it for our own tion, consisting of crotchets, quavers, use, or recommend it to others. Con. semiquavers, &c. placed without any trivances somewhat similar have been staff under each other, and the pu. applied to Monsieur Chanot's instru- pil is required to find out the sum toments, and to the new violins invent- tal, and express such total in one ed by Monsieur Savart, of which a | longer note, under the example. A full account was given in the Repo- similar proceeding is adopted in subsitory of Arts a few years ago. traction; and even rests are " made

In concluding, we shall only express | examples of.” The idea is ingenious a hope, that the pains taken and the and useful, and its exemplification zeal displayed by Mr. H. will meet well worth the moderate price of one with the reward they deserve; and Il shilling.

FASHIONS.

LONDON FASHIONS. MORNING DRESS. 1 of pink and white gros de Naples, Dress of lavender-colour gros de meet in a point behind, extend in a Naples: the corsage made rather slanting direction to the shoulders, high, and shaped at the back; the cross in front, with long ends loose fulness regulated at the top by three from the ceinture, which is the same narrow bands, or silk braid of the as the dress: the epaulette is trimsame colour: the sleeve full and long, med with a double row of pink and confined at the wrist with three or- || white quilled ribbon. naments of different lengths, narrow- The cap is made to correspond, 'ing towards the cuff. The skirt is being formed of pink and white and tastefully trimmed with four notched lilac gros de Naples, and a border rows of the same material as the of Grecian lace; two rouleaus extend dress, two of the rows pointing up- across the crown, composed of the wards, the others falling downwards, || three different colours; the hinderand a fluted band, encircled with a | inost has a bow of pink ribbon atrouleau, adorns the centre; beneath tached, the same as the strings. Liis a wadded hem. Epaulette braces, lac kid shoes.