the season of 1825.* We mention this work more particularly, because in it was introduced the single innovation upon Haydn's original plan, before alluded to, in the shape of a chorus, which formed a part of the fourth and last movement, as also in the symphony opening with an allegro, and having no minuet or trio. Beethoven was not generally considered to have succeeded in this attempt to unite the two opposite styles of vocal and instrumental music.

The fact is clear to the philosophic observer, that there must be a natural tendency in the mind to vocal music, as presenting definite ideas to the mind; consequently when instrumental is combined with vocal, the latter takes the lead as it were in the train of associations, the former falls from a principal to a subordinate, and the combination thus belongs to no class, and possesses no distinct character, or if any, becomes a chorus. It appears therefore that the symphony retains its original form unchanged, and that Beethoven has aided its advance towards perfection by strength and sublimity, whilst at the same time his own particular style is distinguished besides these attributes by originality, simplicity, beauty of melody and great power of description, which is alone displayed in that really stupendous work, his pastoral symphony.

The result of this investigation, to our apprehension, is that by a happy concurrence three minds more perfectly formed for the establishment of this magnificent invention, could not have succeeded each other, than those of Haydn, Mozart, and Beethoven. The first gave it form and substance, and ordained the laws by which it should move, adorning it at the same time by fine taste, perspicuity of design, and beautiful melody. The second added to the fine creations of his fancy by richness, warmth, and variety ; and the last has endowed it with sublimity of description and power. O for the artist who shall combine all these attributes, for what others can be added?

We must now turn to the publications which have given rise to these observations, and which reflect the highest honour on the great artists who have brought them before the public. Such tasks should never be be thought beneath the consideration of talent

* Sce vol. 7, page 80.

and science, for talent and science alone can complete them in the manner they deserve, and the present is a noble instance of the employment of the highest abilities-less for their own aggrandizement than for the honour of the art. We deem it scarcely necessary to add, that the arrangements are both in the highest style of excellence. Their perfect knowledge of the piano forte has enabled both masters to give not too much to embarrass the skilful performer in the slightest degree, whilst the richness and fullness of the compositions are impaired as little as it is possible in the reduction of of works for a whole orchestra, to an arrangement for three instruments. We shall only add, that it is the study of such works that forms the musician of true taste, and for this reason the library of those who wish to be considered such, should not be without Clementi's and Hummel's Arrangements of Mozart's and Beethoven's Symphonies.

"When shall we three meet again," an admired Air, composed by Mr. Horsley, arranged as a Rondo, with an introductory Prelude, by F. Ries. Op. 127. No. 2. London. Clementi and Co. "The streamlet," an admired Air, composed by Mr. Shield, arranged with Variations for the Piano Forte, by F. Ries. Op. 118. No. 3. London. Clementi and Co.

Mr. Ries has paid homage to the taste of the English by selecting two of the best airs of their most legitimate composers, as subjects for his fancy. This choice has been most happy, for he has at once gratified national pride, done honour to talent, and established (had that been needful) his own claims to that sensibility and invention which are the tests of genius. The air, “When shall we three meet again," is one of the most elegant, chaste, and expressive of our modern ballads, and worthy of the author of "Gentle lyre," and "By Celia's arbour." It is truly elevated in its sentiment, and in its very simplicity borders on the sublime. Mr. Ries in adapting it as a rondo had much to contend with, and

VOL. VIII. NO. XXIX.-1826.

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it is perhaps hardly fitted for such a purpose, but we cannot regret the attempt since it has succeeded so well.

The prelude, although it bears no resemblance to the air, prepares the ear for the simplicity and melancholy of the subject. An analysis of the piece could not be a just means of detailing its merits. The composer has taken the elegant simplicity of the air as his model; this is the characteristic of all the new matter, and whenever he introduces or works upon his subject, he preserves its original expression. As a proof we refer our readers to page 5, stave 2, as far as page 6, stave 2, where the flow of melody is beautifully varied, although one idea reigns throughout. The lesson is easy of execution from its simplicity of construction, yet it never descends or loses its interest.

"The streamlet" is arranged with variations, and here too Mr. Ries has followed up the expression of the air. They are five in number, and with the exception of the third (in A minor) are in that smooth flowing style which is dictated by the sentiment of the words of the subject. They are neither novel nor extraordinary in their construction, but "win their easy way" by the aid of graceful melody.

ان

Introduction and Rondo for the Piano Forte: the subject from Dr. Arnold's Air," When the hollow drum," composed by Thomas Adams. London. Clementi, Collard and Collard.

Introduction and brilliant Rondo, composed for the Piano Forte, by E. Solis. Op. 13. London. Clementi and Co.

The Wilderness Sylph, a Divertisement for the Piano Forte, by P. Antony Corri. London. Chappell.

Mr. Adams's rondo is somewhat in the old fashioned style, and consequently there is much in it that is solid and good, and a little that is awkward. Some parts would have been better suited to an organ voluntary, for although they are excellent in themselves, they do not assort with the lighter and more modern passages to

which they are attached-the piece is moreover a little too long. It contains however much that is instructive.

Mr. Solis's rondo can boast none of the excellence either of the ancient or modern school; its principal merit is its brevity. The Wilderness Sylph is a pretty easy lesson,

Third Air, with Variations for the Violin, with Accompaniments for an Orchestra or Piano Forte, by C. de Beriot; new Edition. Boosey and Co.

Whoever has heard M. de Beriot's performance on the violin will at once recollect his delicacy and grace, as well as his exquisite taste and feeling. These characteristics all belong to the composition before us. The air itself is one of the most original we ever heard. In the present state of instrumental performance, great powers of execution are necessary to him who would rise high in the public estimation. These M. de Beriot possesses, but his application of them is tempered by fine taste and judgment.— Thus it is with the variations to his air, they display both his facility in execution, and his exquisite refinement and expression, and as a study in both these styles, we recommend it to all those who feel a desire to excel.

"L'imagination du moment," Grand Fantasia for the Harp, on the Romance in Tebaldo ed Isolina, by N. C. Bochsa. Chappell. Sixth Divertimento for the Harp, by T. P. Meyer. Boosey and Co.

It may truly be said of Mr. Bochsa that he bestows new life on every thing that he selects as the foundation for his compositions, for he possesses an animation, brilliancy, and above all an apparently inexhaustible fund of invention, that renders every thing he touches interesting. Morlacchi's celebrated romance,

the canvass on which Velluti has painted with such vigour and effect, is here seen under a new form, but one which to the instrumental performer, speaks almost as intelligibly as in its original state it does to the singer. The romance itself being written for the harp, gives sufficient grounds for transforming it into a lesson for that instrument; but had we not seen Mr. Bochsa's we should never have believed the recitative capable of effect in any way but as a vocal composition. Mr. B. has however preserved all its pristine force and feeling, and has yet (by perfectly characteristic additions) given the mere vocal passages a sufficiently instrumental cast; added to this he has interwoven with it some of Velluti's most beautiful rifioriture with great ingenuity. The romance itself is treated with corresponding effect, though it does not require so much talent. The introduction of " Batti, Batti," is very ingenious, but we cannot think this an intended plagiarism on the part of Morlacchi, the feeling of the two airs is so opposite.

Mr. Meyer's Lesson is of a different kind, but its merits are considerable-it displays imagination, taste, and effect, and we do not doubt will obtain the general notice which it deserves.

Divertimento for the Piano Forte, on the Air "Oh leave me to my sorrow," by T. A. Rawlings.

Divertimento for the Piano Forte, on Bishop's Air of “Are you angry Mother," by T. A. Rawlings.

"Are you angry Mother," with Variations for the Piano Forte, by J. Kialmark.

La Moresca, Introduction and Rondo for the Piano Forte, by J. F. Burrowes. London. All by Goulding, D'Almaine, and Co. The March in the Ballet of Alfred Le Grand, with Variations for the Piano Forte, by Hieronymus Payer.

The Garland, a Duet for two performers on the Piano Forte, in which is introduced the Airs of "If o'er the cruel Tyrant Love," by T. A, Rawlings, London. Birchall and Co.

We have here given our readers a list of easy but really elegant compositions, such as are of a kind to encourage industry, and to