possess that fanciful ease and fluency which the great experience and good taste of Mr. M. lead us to expect as a matter of course in any thing that proceeds from his pen. The execution, also, is far from requiring extraordinary exertions.

*

The much-admired Scottish Air,
"Let us haste to Kelvin Grove,"
introduced in the Opera of" Guy
Mannering," arranged with Va-
riations for the Piano-forte, by
J. C. Nightingale, Organist of the
Foundling Hospital. Pr. 2s.
(Monro and May, Holborn Bars.)
Caraffa's celebrated Cavatina" Aure
Felice," from "La Cenerentola," ||
arranged with Variations for the
Piano-forte, by the same. Pr. 2s.
-(Monro and May.)

The variations upon both these themes are written in an easy familiar style, and yet with a selectness in point of ideas and treatment, which will distinguish them from the routine productions of this class, so plentifully dispensed to the public.

We should prefer the variations upon the Scotch air, as exhibiting more ease and fluency, perhaps even gracefulness of diction, than those upon Caraffa's cavatina. The cause of this difference, we doubt not, lies in the nature of the themes, and more particularly of their harmonic structure. Caraffa's, with all its fascinating originality, exhibits some heterodox progressions, such as C, 3, 5; D, 3, 5, &c. which, when we first heard the air sung by Signor Torri, proved rather indigestible to our delicate scholastic organs, and which indeed, as we observed in a former Number, some conscientious variationer disdained following, substituting at once the more current C, 3,5; G, 7, &c. But one gets used

to these things in time, and at last
thinks them extremely neat. It is
these questionable harmonies which,
when they come to be amplified
by variation, prove troublesome and
awkward in the management. This
difficulty appears to us to have
been felt in some of the variations,
No. 2. for instance; and where the
authentic harmony is less adhered to,
as in No. 4. less inconvenience is
experienced, and the variation comes
out more round and satisfactory.
The waltz, No. 5. is in good style;
and in the march which follows, as
well as in the coda, Mr. N. has been
very
very successful.

Having already encroached upon our limits, we must be brief in our notice of the Scotch theme. Most of the variations, eight in number, are of decided interest. The style of No. 3. is fresh and select: the demisemiquaver passages in No. 4. are melodized with uncommon ease and fluency: the waltz, No. 5. proceeds pleasingly, at least the first part; the second is less smooth: the little morceau of march, No. 6. is quite as it should be: the triplets (No. 7.) well picked and assorted; and the eighth variation terminates the whole with effective energy.

What enhances the value of these variations, is the ease with which they may be executed. They are quite within the reach of a good pupil of a twelvemonth's standing.

VOCAL COMPOSITIONS.

Vocal Anthology, or the Flowers of
Song. Part VII. Pr. 6s.-(Gale,
Bruton-street.)

The contents of this number are,
a celebrated Madrigal by Orlando
Gibbons; two Scottish Melodies;
Rossini's "Oh mattutini Albori;" a

should always induce publishers to add, above the stave, an easier ver

beautiful Motett ("Rorate Coeli") by the Abbé Vogler (to the biographical notice of whom we have to add,|| sion, so as to render the song more generally accessible.

that he died at Darmstadt in 1814);
Haydn's well-known Canzonet, "She
never told her love" (a perfect musi-
cal cabinet picture); a Song by Rei-
chardt; another by Carl Maria von
Weber, the author of the celebrated
opera "Der Freyschütz" (the mag-
nus Apollo of modern German mu-
sic); and an original French Song by
Mr. Cather, of decided merit, tole-
rably, but not throughout, correct in
point of French prosody.
"Ah qual concento," Romance from
the Opera "Tebaldo e Isolina,"
composed by Morlachi. Pr. 2s.-
(Boosey and Co.)

pre

"In quel modesto Asilo," Duetto Notturno per Soprano e Tenore, composto, e dedicato a Mlla. A. Beresford, da Valno. Castelli. Pr. 2s.-(Boosey and Co.)

A vein of sympathizing tenderness distinguishes this duet favourably. The first strain proceeds in select melodic combinations, not without some originality. In the 7th bar (p. 1,) we should have preferred contrary motion in the accompaniment; and if there is to be Gb in the second crotchet, we should have minorized the first too, by substituting C b for C. In the second page, some hard progressions present themselves in the two places where the soprano has "sospirerà." But the duet, as a whole, cannot fail to interest the

amateur.

Pr.

A new musical acquaintance, and an important one, as far as the name goes. Morlacchi, born at Perugia in 1784, and now, we believe, Maestro di Capella at Dresden, has numerous partisans in Italy, who fer him to Rossini. It would be preposterous in us to form our estimate of his merits from the first song that has met our eye. Rossini has written many which are worse, and many greatly superior. Thus much we can aver for the present, that this romance presents great freshness, delicacy, and elegance of musical diction, without absolute novelty of thought. The idea of allotting to the voice a series of interrupted sentences in recitative, while the instruments proceed with a regular and continued subject, and eventually only to assign that subject to the singer too, is of the happiest effect. Some reminiscences from Weigel's "Schweitzer familie” (Swiss of first-rate beauty, been ever joined family) are not to be mistaken. But to an English text?

Selection of Songs, Duets, &c. from
the most admired German Operas,
with English Words by Thomas
Campbell, Esq. No. III.
1s. 6d. (Boosey and Co.)
This number contains an air of
Beethoven with an English text by
Mr. M'Gregor Logan. Beethoven
has composed some most charming
songs, and some of very inferior me-
rit. The present hardly belongs to
the first class; indeed without the war-
ranty of the respectable publishers,
we should hesitate to ascribe it to so
great a master. Have his "Herz
mein Herz," his "Kennst du das
Land," not to mention several others

the composition as a whole is fasci-"'Tis not the beam of a languishing nating. It has vocal passages of difficult execution; a circumstance which

eye," a Ballad, sung by Mr. Braham at the Theatre Royal Drury

Lane, composed by N. C. Bochsa. || select, and impressive. Much more -Pr. 1s. 6d.-(Chappell and Co.) might have been made of that part A pretty little song, of graceful || of the text. melody and simple yet effective accompaniment. Every thing is in good taste and keeping.

"The Sea-Boy's Call," Canzonet, composed for, and dedicated to, Miss Ann Shuttleworth, by G. Kiallmark. Pr. 2s.- (Chappell and Co.)

HARP.

"La Chasse au Renard," a characteristic Fantasia for the Harp, composed for, and dedicated to, Miss H. E. Warneford, by N. Bochsa. Pr. 4s.-(Chappell and Co.)

The Fox-Chase of Mr. B. is a highly characteristic and so very entertaining a composition, that, we make sure, it would have great suc

"Send round the rosy cup," a favourite Song sung by Mr. Coulden at the London Concerts, &c.; written by Mr. J. E. Gifford; composed by J. Monro.-(Monrocess under an adaptation for the piand May, High-Holborn Bars.) "Can I forget," the admired Ballad written by D. O'Meara, Esq. sung by Mr. Pyne at the Theatre Royal Covent Garden, &c. composed by J. Davy. Pr. 1s. 6d. (Monro and May.)

Without entering upon any comparison, which would greatly depend upon particular taste, we briefly notice the above three songs as possessing claims, nearly equal, to the amateur's favour.

In Mr. Kiallmark's, the Siciliana is peculiarly attractive, and the expression at "Spring up, good breeze," extremely happy.

Mr. Monro's anacreontic effusion has an agreeable, lively, and symmetrical melody; all is devised with taste and propriety.

ano-forte, which would require little substantial alteration. The whole of the incidents of the sporting expedition from " Daybreak" to the "Death" (which latter, by the way, is left to conjecture, but easily recognised), are appropriately and very intelligibly depicted; and the composition, independently of its descriptive interest, possesses decided musical merit.

"Cruda Sorte," the celebrated Terzetto in "Ricciardo e Zoraide," by Rossini, arranged for the Harp and Piano-forte, expressly for the Right Hon. Lady Caroline Bentinck, by Cipriani Potter. Pr. 4s.(Boosey and Co.)

Mr. P. no doubt had his reasons for allotting the brunt of action to the piano-forte, and indulging the "Can I forget," by Mr. Davy, is harp with a very reduced portion of rather high for common voices. The execution. The latter instrument in motivo, and the whole of the first fact is here but one of accompanivocal page, are tastefully devised, but ment. With this reserve (perhaps a we should not have given to the welcome one to many harpists), we are whole of the four commencing bars warranted in bestowing unqualified the tonic harmony. From "That encomiums upon the arrangement; it loves to soften others' woe," our opi- is most rich and effective. nion is less favourable. The musi" Grand Russian March" for the cal diction is not sufficiently clear, Harp, composed, and dedicated