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SONATA for the PIANO-FORTE, Composed by L. V. BEETHOVEN. Op. 110. (Clementi & Co., Cheapside.) BEETHOVEN'S compositions more and more assume the character of studied eccentricity. He does not write much now, but most of what he produces is so impenetrably obscure in design, and so full of unaccountable and often repulsive harmonies, that he puzzles the critic as much as he perplexes the performer. Nevertheless, in whatever comes from his pen may be seen occasional gleams of that splendid genius which shone so bright in his earlier works, and the present Sonata may be adduced in proof, for though much of it is outré and capricious, yet it has many points wherein the author appears arrayed in some of his most pleasing attributes. For instance, how melodious and expressive the four opening bars!

Cantabile.

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DIVERTIMENTO for the PIANO-FORTE, Composed by G. E. GRIFFIN. (Printed for the Author, Northum berland-street.)

THIS is the first new work by Mr. Griffin that has come under our view since we entered upon our critical office. We receive it with pleasure, for as the author has a rich fund of musical ideas to draw upon, and does not exhaust his means by writing too much, there is always a vigour and freshness in his productions, which invariably announce the experienced master and sound musician.

The present Divertimento is an elegant composition : it begins with a very spirited and fanciful movement, introductory to a Larghetto," an English air" of great beauty, and rather familiar to us, though we cannot recall the words to which it is set. We insert a few bars of the melody, to enable such of our readers, as have better memories than ourselves, to assign a name to it.

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The second, third, and fourth bars are also in the Scotish ballad of Auld Robin Gray, but in which of the two the right of primogeniture is vested, we are at a loss to say. A Pastoral Rondo in six-eight time, of seven pages, completes this divertimento, the subject of which, though not uncommon, is ably treated, and it passes on, through various modulations, to the end without flagging. Like all Mr. Griffin's music, this piece lays well under the hand, and whoever plays his favourite March, may venture to undertake the present work.

POT-POURRI for the PIANO-FORTE, the Themes from Rossini's Operas, Composed by CIPRIANI POTTER, No. 2. (Chappel and Co., 50, New Bond-street.) THIS is a clever melange, composed of popular subjects from L'Otello, La Donna del Lago, and Il Turco in Italia. The materials are judiciously chosen, not only

which, after the interruption of a short Arioso, appears in because they are intrinsically good, but as being, in their this inverted form,-

&c.

The management of these points evinces no little ingenuity and labour, but the result is not equal to the effect produced from this species of composition by the ancient masters; for, with about three or four exceptions, modern fugues cannot bear any comparison with those of the 17th and 18th centuries. It is dangerous to tread

original state, exceedingly well calculated for piano-forte performance. They are ably blended, and the effect of the whole is brilliant and enlivening. But Mr. Potter has not yet learnt to stoop from the heights of science to the useful art of smoothing down difficulties; he is too fond of crowding together notes in very inconvenient situations, and every now and then he introduces a passage that the majority of performers, and not bad ones,-find awkward and teasing, but which, by a slight alteration, might have been rendered easy, without any sacrifice on the part of the composer. Indeed those passages that are the least commodious for the hand and

for fingering, are commonly also the least productive of effect. The very first page of this pot-pourri, or, more correctly, the Introduction to it,-will serve to exemplify our observation, which we offer to the attention of Mr. Potter, because, considering him as a very distinguished musician, we wish to see his productions more widely circulated.

LA PROMESSA, a RONDO for the PIANO-FORTE, Composed by J. A. MORALT. (Royal Harmonic Institution, Argyll Rooms.)

MR. MORALT is not a voluminous author, but all that we have seen of his composition shews a correct judgment and good taste. He is not very adventurous in search of new modulations, nor does he labour to produce what shall at once strike by its originality; but he writes like one who has a thorough knowledge of the instrument for which he composes, and never is chargeable with deficiency in elegance and expression.

This Rondo is in the impressive key of A flat; the principal subject of it is a little in the style of a motivo by Beethoven, and is comprised in twenty-four bars, the last eight of which are a repetition of the first part. The secondary subject is full of musical feeling, beginning thus,

and both are pursued, in a shewy but not difficult manner, through nine very pleasing pages, that will gratify all who perform them, and may be made an improving lesson for practice for good players of the second class.

1. IL ZEFFIRETTO, INTRODUCTION alla Marcia, and MOZART'S FAVORITE AIR, “Sull' Aria,” newly arranged for the PIANO-FORTE, with an Accompaniment for Flute, ad libitum, by T. A. RAWLINGS. No. 7. (Royal Harmonic Institution, Regent-street.)

2. L'AMANTE, INTRODUCTION, ALLEGRETTO à la Villageoise, with the favourite air" Sul Margine d'un Rio," newly arranged, with Variations for the PIANOFORTE, with an Accompaniment for the Flute, ad libitum, by T. A. RAWLINGS. (Published by the same.) No. 1, is the beautiful duet from Mozart's Nozze di Figaro, transcribed with very little alteration from the original, and therefore necessarily good; for Mr. Rawlings is too staunch and experienced a musician to allow himself much latitude in such a case, and has adhered to the author with becoming fidelity. This, by the way, is what, in Paternoster-row, would be called downright book-making: the Introduction is something of an excuse, to be sure, but it is one of those apologies that will not avail much, if often repeated.

No. 2, gives the adapter more right to print his name in the most conspicuous character, for he has written three variations to the very popular and delightful air, "Sul Margine," generally supposed to be by Paisiello.

Though in adding these, he has not, we presume, strained his inventive faculty to its utmost point, for they are like a thousand other things of the same sort. But to find out any thing new in the form of a variation, would be to work a miracle, therefore we acquit Mr. R. on this score. Both of his divertimentos are short, a merit which secures our unqualified praise; and though as critics we may smile at such publications, yet, considerdo to supply the incessant demand for something new, and ing the way in which music is studied by the many, they satisfy the craving appetite of those who only seek for nominal novelty, without concerning themselves much about its reality.

INTRODUCTION and VARIATIONS to the celebrated SWISS AIR, "Steh nur auf, schöner Schweitzerbub," for the PIANO-FORTE, composed und dedicated to H. R. H. THE DUCHESS OF KENT, by F. HOFFMANN.. (Wessel and Stodart, Soho Square.)

THE introduction is a charming composition, full of taste, and free from all affectation. The air is simple, but exceedingly beautiful, and the variations have surprised us by a something like newness in them, which we almost despaired of ever finding again in variations. They also possess no small share of elegance and brilliancy, and will enable a tolerable proficient to display and please at the same time. This publication is not unworthy of the Royal Personage to whom it is dedicated, who is not only an unaffected admirer, but a competent judge of what is really good in music.

1. LE TROUBADOUR DU TAGE, a favourite French Romance, with Variations for the PIANO-FORTE, by JAMES CALKIN. No. 1. (Clementi and Co.)

2. CELUI QUI SUT, French Romance, with Variations for the PIANO-FORTE, by the same. No. 2. (Published by the same.)

3. CE QUE JE DESIRE, French Romance, with Variations for the PIANO-FORTE, by the same. No. 3. (Published by the same.).

THESE are popular French airs undoubtedly, but we cannot exactly guess why, for though there is a certain degree of smoothness in them, amounting almost to prettiness, yet not one of the three has any remarkable feature. Perhaps their simplicity and unpretending character may have recommended them to notice: possibly they are the productions of composers with commanding names, or are sung by some favourite performer: in fact, we wish to make out the reason they are so much admired, and cannot thoroughly satisfy ourselves.

Mr. Calkin's variations are in the true spirit of resistance to innovation;-a variation alla Marcia, and another alla Polacca; triplets of quavers and of semiquavers; adagios and codas, &c. But he has written no passages that are irrelevant to the general character of each piece, nor is he chargeable with one instance of false taste. He has not produced any effects that are very original, but at the same time he has introduced nothing to offend the most fastidious ear. All three pieces are well adapted to the instrument, are easy, and will please those who are not very eager after recherché modulations and positive novelty.

1. THE COUNTRY BUMPKIN, a favourite Air, for PIANO-FORTE, FLUTE, and VIOLONCELLO, by C. F. ELEY. (Clementi and Co., and the Author, Tavistockplace.)

2. "C'EST L'AMOUR," arranged as a RONDO for the PIANO-FORTE, by W. H. CUTLER, Mus. Bac. Oxon. Op. 39. (Clementi and Co.)

3. RONDO BRILLANT, on an admired air of Rossini, arranged for the PIANO-FORTE, by W. T. LING. (Gow and Son, 162, Regent Street.)

THE Country Bumpkin sends us back at once to the time of our grandmothers, who used to delight in dancing, or rather swimming, along to this tune. There must have been something very captivating in the figure, for the air itself has not many charms for modern ears: indeed there is a bluntness, not to say vulgarity, about it, to which the title suits exactly; and this appropriateness seems to us to be now its chief merit. We cannot help regretting that a man of Mr. Eley's talents should have employed his time upon such a theme, for we fear that he has bestowed it upon an unproductive, ungrateful subject.

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"C'est l'Amour," is an animated, pretty air, let it pear in what form it may; but it certainly is not likely to gain any increase of popularity from the mode in which it is now published.

The Rondo Brillant is founded on one of Rossini's most characteristic airs, which, in a more simple form, would have made a very sprightly piece for the pianoforte. Mr. Ling entertained a very different opinion, and has not only given a great deal of labour to it himself, but has so arranged it as to call for an equal quantity of labour from those who perform it. The added passages do not lay well under the hand, and are extremely awkward for fingering. Besides which, other difficulties are mixed up in it, that have nothing in them to compensate for the trouble which it would cost a great majority of performers in overcoming them. Compositions that are intended for superior players, should be made up of superior matter: where no great effort of genius or invention is manifested, facility at least should be studied, which is always a recommendation to the multitude.

1. THE SCOTTISH AIR, "Let us haste to Kelvin Grove," introduced by Mr. Braham in Guy Mannering, with Variations for the PIANO-FORTE, by J. Č. NIGHTINGALE, Organist of the Foundling. (Monro and May, 11, Holborn Bars.)

2. MOZART'S FAVOURITE AIR, "Life let us cherish," with New Variations for the PIANO-FORTE, by M. MAYBRICK. (Royal Harmonic Institution.)

3. AN INTRODUCTION AND RONDO for the PIANOFORTE, by JOHN HOPKINSON. (Royal Harmonic Institution.)

No. 1. is the beautiful air published in the third number of the Harmonicon. Mr. Nightingale has written six variations to it, which are very nearly akin to most other variations but the piece is modest in length, and moderate in price, and though not a brilliant production, is free from fault, unless want of newness be one.

Mr. Maybrick shews some courage in attempting "new variations" to Life let us cherish; but nothing is to be achieved without a little enterprise. He has announced rather too much, and does not appear to have taken an

accurate measure of his inventive powers. We trace some very distant resemblance in this publication to a part of Woelfel's variations on the same theme; we also discover in it a few oversights in respect to composition, that are very inimical to established rule and musical effect.

No. 3. Contains a pleasing, and indeed, an elegant air, though it is not conducted in such a way as to lead us to imagine that an experienced composer produced it. The introduction wants rhythm, and shews no general design; the ascent of the diminished fifth in the sixth bar, is not to be justified upon any principle; nor is the following passage to be understood:

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unless it be an error, both in the manuscript and in the plate. The D, E, F, in the treble ought to be each a note lower, and the в natural and a flat in the base, should be B flat, and G.

1. The CELEBRATED CHORUSSES from HANDEL'S ORATORIOS, arranged for the ORGAN or PIANOFORTE, by J. C. NIGHTINGALE, Organist of the Foundling Hospital. Book I. (Halliday and Co., 23, Bishopsgate Street.)

2. HAYDN'S CELEBRATED CHORUSSES from the CREATION, for ditto, by the same. (Published by the same.)

3. "Cum Sancto Spiritu," GRAND CHORUS from MOZART'S MASS, No. 7, arranged as a duet for the ORGAN, or PIANO-FORTE, by J. M. Mc. MURDIE, Mus. Bac. Oxon. Organist of the Philanthropic Society's Chapel. (Boosey and Co. Holles Street.)

4. HANDEL'S OVERTURES, arranged for the ORGAN or PIANO-FORTE, by THOS. KILLICK, organist of Gravesend. (Clementi and Co.)

THE first of these works contains six chorusses;-For unto us, and Lift up your heads, from the Messiah; To thee Cherubim, and O Lord, in Thee have I trusted, from the Dettingen Te Deum; How excellent thy name O Lord, from Saul, and Then shall they know, from Samson. A better selection could not have been made, and they are adapted with as much judgment as they are selected. There are passages in For unto us,-long divisions of thirds and of sixths, in semiquavers,-which cannot be rendered easy, without injury to the effect. Except these, all the chorusses that now appear may be performed by any person with a sufficiently strong hand, though he have not much power of execution.

No. 2, comprises, The praise of God; Awake the Harp; The Heavens are telling; Achieved is the glorious work, and Sing the Lord, all from the Creation. Although these are as well chosen as the former, yet they do not offer the same facilities to the performer; they require not only a large, powerful hand but considerable nimbleness of finger. They are arranged with ability, but it appears to us, that some of the parts might have been a little

thinned, so as to have rendered these excellent pieces | 2. SONG, "When it is the time of Night," Sung by more generally practicable.

The fine fugue from Mozart's Mass is well adapted as a duet by Mr. Mc. Murdie, and will make a very good study for either organ or piano-forte players. The upper part requires a performer of some experience in this learned sort of music, but we recommend it to all, as likely to improve both the hand and the judgment.

We are sorry to see Mr. Killick's unpretending, but very judicious arrangement of Handel's overtures, proceed so slowly, for it is a good work, and will be found exceedingly useful. The present number contains the overture to Esther, which is well known to most people, from being annually performed in St. Paul's Cathedral, at the Anniversary of the Sons of Clergy.

1. TWELVE WALTZES, for the PIANO-FORTE, by MAYSEDER. (Boosey and Co., Holles Street.) 2. FOUR GRAND WALTZES for the PIANO-FORTE, dedicated to the Princess Feodore, of Leiningen, by FR. HOFFMANN. (Wessel and Stodart, Soho Square.) 3. ZELMIRA WALTZES, arranged as DUETS for two Performers on the PIANO-FORTE, after Rossini's most favourite motivos, by H. PAYER. (Boosey and Co., Holles Street.)

MAYSEDER'S twelve waltzes are full of that gaiety which is his characteristic; they are very pretty, and well adapted to piano-forte players in general.

No. 2, by Mr. Hoffmann are delightful waltzes, and have great merit as musical compositions, the first in particular, which is very clever and effective. Indeed all the four are written in a superior style, and are worthy

the notice of the true amateur.

The Zelmira Waltzes, are, some of them at least, from the opera of that name. They are arranged with care, and are well suited either to the ball-room, or as agreeable duettinos for juvenile performers.

A COLLECTION of ADMIRED ITALIAN, FRENCH, GERMAN, SPANISH, and ENGLISH SONGS, with a progressive accompaniment for the SPANISH GUITAR, by G. H. DERWORT. Nos. 1 to 13. (Gow and Son, 162, Regent Street.)

THIS is really a very good publication for an instrument that every day is becoming more and more fashionable. The airs are selected with discrimination from amongst those that are most popular in the principal cities of Europe, to which accompaniments,-in most cases, two to each air, are written, so as to suit persons more and less advanced on the Spanish guitar. Amongst the airs are, "C'est une larme;" Le Carnaval de Venise, with English words adapted to it; "Partant pour la Syrie;" "The boatie rows;" an air by Mozart, from Le Serail, &c. The manner in which these are engraved and printed, and the excellent quality of the paper, demand particular notice. At a time when the price of music is so high, the least that can be done is to publish it in a superior manner; a practice which is not always adhered to.

MUSIC IN THE MERRY WIVES OF WINDSOR.

1. SONG, "With thee fair summer's joy appears," Sung by MR. BRAHAM. Arranged by T. Welsh. (Royal Harmonic Institution.)

MADAME VESTRIS; composed by CHARLES E. HORN. (Published by the same.)

3. SONG, "Crabbed age and youth," Sung by MISS (Published STEPHENS; composed by C. E. HORN. by the same.)

4. SONG, "Blow, blow, thou winter's wind," Sung by MR. BRAHAM. (Payne and Hopkins, 69, Cornhill.)

5. DUETT, "Love like a shadow flies," Sung by Miss POVEY and MR. BRAHAM; composed by JOHN PARRY. (Goulding, D'Almaine, and Co. SohoSquare.)

6. SONG, "It was a Lordling's daughter," Sung by MADAME VESTRIS; selected and arranged by C. E. Horn. (Harmonic Institution.)

7. SONG, "Even as the sun," Sung by MISS STEPHENS; composed by C. E. HORN. (Published by the same.)

S. CANTATA, "A lover's eyes can gaze," Sung by MR. BRAHAM; composed by JOHN PARRY. (Goulding, D'Almaine, and Co.)

UNDER the head DRAMA will be found our general opinion of this play in its metamorphosed state: we now have to notice such part of the music as is published.

No. 1, is the Welsh air, Ar hyd y nos, to which the present words are well suited. We shall print it with

the same in our next number.

No. 2, has great merit: it is a good deal in the old style, and very much in character with the play. It begins in E minor, and passes, in a very agreeable manner, into the relative major. Though some of the passages are not new, yet they are well put together, and produce a pleasing whole.

No. 3, is exceedingly pretty and well set. In good truth, the composer who is not inspired by such words, should betake himself to some other occupation. We particularly admire the expression of the sentiment contained in the following two bars :

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But the "Youth, I do adore thee!" is not equal to the passionate notes in Steevens's charming glee.

No. 4, is Dr. Arne's beautiful ballad; but what has it to do with The merry Wives of Windsor?

The duet, No. 5, is rather pretty, and has some air in it; though the cadenza is exceedingly puerile, and John Bull-ish. But he who assigned such words to Anne Page and Fenton could not have previously read them; at least, with discriminative judgment.

We know not the composer of No. 6, but are sure that Mr. Horn might easily have selected a better song, from any collection in his possession. The words are most injudiciously chosen.

No. 7, which is meant for the aria d'abilita,--the shewsong for the first lady,--is a complete failure; though, out of respect to the delightful songstress who throws the shield of her popularity over it, the public applaud it. The way in which these words are selected and set, will hardly be credited four out of the six lines are from the first stanza of Shakspeare's Venus and Adonis, and the other two are taken from a distant part of the poem, there not being the slightest connection between the former and the latter. In setting these verses, Mr. Horn has actually brought the first and second, and fifth and sixth lines together, so as not to produce even a semblance of meaning! For, "rose-cheek'd Adonis," he gives us, "Rose check'd Adonis ;" and the first word in the following line,

Even as the sun, with purple-coloured face,

is studiously split into two syllables,—E-ven.

No. 8, is a bravura for the tenor. The author calls it a cantata, which is a misnomer: it is a recitative and air. The music is passable; as music, but in relation to the words, it is very faulty. The word "Gods," for instance, has first a long note given to it, and immediately afterwards, a pause, by both of which the sense is entirely changed, the words are separated exactly at the point where their junction is peremptorily required. We should be glad to know to whom the substitution of the word "echo" for "drowsy," is to be imputed. As "reecho," and "resound" are not in the printed book of the songs, we suppose that for this alteration we are indebted to the sagacity of the composer. Really it should be the duty of some person in the theatre to see that an author is not thus mangled and sacrificed.

1. THE FAIRY'S SONG; words by W. F. COLLARD; Music by J. G. GRAEFF. (Clementi and Co.)

2. SONNET TO BENEVOLENCE, written by Dr. DRENNAN; the music by SAMUEL WEBBE. (Clementi and Co.)

FOREIGN MUSICAL REPORT.

VIENNA. A new opera appeared here, in the Kärnthnerthor Theatre, entitled Euphemie von Avogara, the music by Riolte. The story of the piece is full of absurdities, and the composer sunk under the heavy weight of the dull materials with which he was cruelly oppressed. This is the more to be regretted, as there were many parts which bespoke the hand of a master, particnlarly a rondo by Euphemie, and a scene of much energy and effect between the two heros of the piece. The principal operas Inganno Felice, the latter was but coldly received; it is one of of the season, have been Il Flauto Magico, and Rossini's the author's juvenile productions, and not marked with any characteristic excellencies. But the great attraction of the season, has been M. v. Weber's Euryanthe, which was given here for the first time. The whole, particularly the chorusses, was received with loud and enthusiastic applause, and four times during the evening, the composer was called upon the stage to receive the homage of the public. It had the additional advantage of being admirably supported throughout.

A new romantic piece has been produced at the Leopoldstadt theatre, entitled Der Leopard und der Hund, (The Leopard and the Hound,) the music by Riotte. The part of the Leopard was performed by the famous representative of the brute creation, M. Mayerhofer, who is said to be engaged for a series of similar brute characters. However, on the present occasion the palm was borne away from him by his worthy pupil, a poodle in naturâ, who mauls his master with the best feigned whom the galleries were thronged, applauded even to the echo. rage in the world, so that all the patrons of his kin and kind, with

The admired Moschelles, after an absence of four years has visited this city again. His stay, however, was short, as his professional engagements claim his presence in England. He gave a concert which was numerously attended, on which occasion he performed a fantasia, in which he displayed the fection of art. most surprising powers, joined to the highest elegance and perfection of art. The applause was unanimous, and it seemed the universal opinion, that the progress he had made during his absence, was beyond the most sanguine expectations.

Salicri, the composer, is so seriously indisposed, that great doubts are entertained of his recovery. Age shows its weakening effects upon the body as well as upon the mind; the general lot of humanity. Senectus ipsa est morbus.

BERLIN. We are happy to see that the bounty of the King of Prussia has been well bestowed, and that the two brothers Ebner, of whom we gave some particulars in page 199 of the Harmonicon of last year, have so well corresponded to the exadmitted as members of the Chapel Royal at Berlin.

3. BALLAD, "Sweet choice of my heart," written by W. F. COLLARD Esq. composed by J. C. CLIFTON. (Cle-pectations formed of their early promise, that they have been menti and Co.)

No. 1 is a good song, and composed with a design that has resulted from a careful perusal of the words, and a full comprehension of their meaning. The symphony, and all the accompaniment, except the jingling semiquavers, assist the sense and the melody, and are strictly in character. We cannot pass this without remarking upon the poetry,-for so it really deserves to be termed, the imagery of it is fanciful, and the verse harmonious. No. 2 is an elegant song, set with good sense, and from the pen of a real musician. It is rather distinguishable for taste than novelty, but a work of taste always gives pleasure, though it may not excite a stronger feeling. The words are beautiful.

No. 3 is also more marked by a chaste, agreeable melody, and a judicious accompaniment, than by originality. It is published in C for a low voice, and also in E flat, its original key, for those who can reach G without difficulty.

The only novelty here during the last season, was the opera of Dido, which was given on occasion of the anniversary of the birthday of the crown prince. The music is by Bernard Klein, a composer not unknown to the public, but whose compositions are marked with more depth of feeling, than purity of harmony and clearness of ideas.

LEIPSIC. In the concerts given at this place, the great object of attraction has been the celebrated Madame Cornega, pupil of Salieri, and from the theatre San Carlo at Naples. Nothing could exceed the admiration she excited by the wonderful powers of her voice, especially in a scene and air by Pucitta, a bolero of Caraffa, and variations for the violin by Rode. The latter were rapturously encored, and the audience were still more delighted and surprised, when she gave them in a quicker measure and yet with the same spirit and distinctness. It was a matter of general astonishment, that the human organ was capable of effecting such wonders, and had sufficient flexibility to rival the most difficult of instruments. But while the many wondered, the judicious few could not but lament this abuse of talents that

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