The celebrated Glee, " Come all noble souls,” arranged as a Divertimento for the Piano Forte, with an Accompaniment (ad lib.) for the Flute, by T. A. Rawlings.

Melange on favourite Airs from Das Opferferst, for the Piano Forte, by G. Kialmark,

English Dipertimento for the Piano Forte, with an Accompaniment for the Flute, by F. J. Klose.

L'Image "Pelite Recreation" for the Piano Forte, by F. J. Klose.

The Lily, a Divertimento for the Piano Forle, on a favourite Italian Air by F. Lanza,

All by S. Chappell.

Sonata for the Piano Forte, containing a National Swiss Melody, with an Accompaniment for the Flute, by G. F. Moritz, Wessel and Stoddart.

"Rondeaux a la Masquerade," descriptive of the characters and diversions of a Masked Ball; the Music, consisting of Popular Airs, arranged for the Piano Forte, by J. de Pinna. Nos. 1

and 2.

Popular London Cries, adapted as characteristic Rondos for the Piano Forte, by J. de Pinna. J. de Pinna,

Alas! for the English glee, it is falling fast into disuse, and he who preserves it in any shape deserves praise. We have often had occasion to remark the good taste which distinguishes Mr. Rawlings' lessons, and we consider it to be still further displayed by the steadiness with which he adheres to old and deservedly favourite airs, trusting to their intrinsic worth to make its impression, instead of adding to the numbers who pitch upon the hacknied tunes of fashion to insert in their compositions. His divertimento is easy, but characteristic and agreeable.

Mr. Kialmark's melange is a spirited lesson on two of the gayest and most attractive airs from the opera.

Mr. Klose's are lessons for beginners, and of course have but little pretension, but they are well adapted to the purpose for which they are composed. "The Lily," in which is introduced “Oh cara memoria," is extremely pretty. The air is treated with

a certain elegance that is perfectly congenial with its character, and we do not doubt that the lesson will please.

Mr. Moritz's sonata is in a style that is not often cultivated at the present day. It contains no execution, but it is capable of considerable effect, from the room that is given throughout for expression, from the agreeable and soothing character of its melody. We are inclined to think that if great composers were acquainted with the whole extent of their popularity, it would be a real evil to them. What would Meyerbeer do were he to see his magnificent march from the Crociato, by which the Gambati raised their fame two seasons ago at the King's Theatre, made to describe "Maskers assembling" and "Gow's band!" and poor Weber too, his "Jager chor," torn from the immortal" Der Freyschutz," to be rattled on the piano forte by some hopeful student, as descriptive of "Sportsmen assembling!"

The Cries of London are much more in character, and make a much better rondo..

Questo mio cor dolente, Romanza, composed, with an Accompaniment for the Spanish Guitar, by P. Verini.

Bolero for One or Two Voices, composed, with an Accompaniment for the Spanish Guitar, by P. Verini.

Six Italian Ariettes, with an easy Accompaniment for the Spanish Guitar; Ferdinand Carulli. In two Books.

All by Boosey and Co.

Philomele, Recueil d'Airs, Italiens, Francais, Espagnol, et Allemands, arrangés avec Accompagnemens progressives de Guitare, par G. H. Derwort; 23 Nos. Wessel and Stoddart.

Every day teems with new productions, and amongst this immense accumulation, we have long ceased even to hope for novelty, except where it emanates from some transcendant genius. Under these circumstances we are content, in the class of compositions to which those before us belong, if we can find agreeable melody, and no absolute plagiarism. These are the principal features in Mr. Carulli's ariettes. They fall upon the ear like

strains we have been accustomed to hear, but nevertheless they are pleasing, and will prove a good acquisition to the unambi

tious amateur.

Mr. Verini's are more original, especially the bolero.

Mr. Derwort's plan is an excellent one. He has brought to notice in a new shape, not only beautiful airs, but such as from their character are particularly suited to the guitar, and they are published in such a form that the easy may be selected, if preferred, or any that may suit the taste of the purchaser, as they are to be had in separate numbers,

The Gloria Patri, Chorus from Handel, Graun, and Jubilate, composed in the year 1713, for the Peace of Utrecht. in parts. Hark death throws its portals open, Chorus composed for the funeral of Frederic the Second of Prussia, by Himmel. This chorus is now printed for the first time with English words. In parts. Glory praise and adoration, Motet, composed by Mozart. In parts. The arm of the Lord, Chorus, composed by Haydn-Introduced into the oratorio of Judah, composed and compiled by W. Gardi ner, Esq. In parts.

York. Edited and published for the use of the Yorkshire Musical Festivals, by Philip Knapton, and to be had at Bainbridge's 35, Holborn Hill, London.

These publications which we take only as a sample of many others, sprung out of the York Festival-a sort of musical machinery to supersede labour and expense, and to insure precision in these vast establishments for the aid of charity, the diffusion of science and art and delight. After the meeting in 1824 the Committee were at the pains to draw up and circulate proposals for printing complete copies of the parts of almost all the sacred portions usually performed at Oratorios or Festivals, if a sufficient sub. scription should be raised, and Mr. Knapton undertook to edit them.

"It was calculated," says the scheme, "that (making a moderate allowance for any alterations and additions which may be suggested,) the engraving of the list will require about three

thousand four hundred plates, viz. two thousand four hundred plates for the parts of the vocal and stringed instruments; and one thousand plates for the parts of the wind instruments; every plate making one page; and that for a band of two hundred performers, an average of eight copies of each of the stringed instruments and chorus parts, and about two copies of each of the wind instrument parts would be required.

"This average is made on the principle, that two hundred performers may be considered as distributed under the following heads and proportions:

Hence it appears

24

166 Stringed instruments and chorus would require 64 copies, or an average of 8 copies of each of the 8 parts.

24

Wind instruments and chorus would require 64 copies, about 2 ditto, of each of the 9 parts. To which add about 10 Principal Vocal Performers, &c.

200

"The Committee caused a minute estimate to be made of the expense. The result is, that in case a subscription for an average of about one hundred copies from each plate can be obtained, the subscribers may be supplied at the rate of 14d. per page-making the entire cost, for a band of two hundred performers distributed as above, 1327. 10s. but as it is not to be expected that so many

copies of the wind instrument parts will be wanted, the expense of these will be proportionately increased; therefore it is probable that the entire expense may be 1507. or 1607. and so in proportion for bands of any number, viz. about 751. or 801. for every hundred performers."

The advantages are obviously cheapness, a saving of hire, the substitution of excellent and clear printed copies for manuscripts the prevention of transporting parts from place, and the power thus bestowed of facilitating the practice of Choral Societies. The quantity of different pieces in the list is so large that we cannot afford space for enumeration, but it will be sufficient to make known that they comprehend every thing of note that has been hitherto done at Festivals, and it is of no less obvious that the plan is capable of being carried to any extent.

We know not how far the support of the Committees has been given to this very useful proposal, but some experience in the Management of Meetings assures us, that it presents so important and improvement that it can hardly fail to be adopted wherever are required. It behoves us only to add that the latter are capitally executed and printed upon stout and good paper, while the well known accuracy and ability of Mr. Knaptor are adequate pledges for their being correctly executed.

O sing, Zelinda, sing to me;

The gift of Love, an admired canzonetta―the music by W. Kirby. Softly, softly blow ye breeses, ballad composed by Richard Light. When brightest rays are beaming, written and composed by C. Cummins,

Since not confined to lips that compass, song by Richard Sharp.— London. Chapell.

I

gave my love a budding rose, a cavatina composed by Michael W. Balfe. London. Boosey.

We know not whether Mr. James Hook of Vauxhall memory be yet gathered to his fathers, but if not that gentle minded composer must delight to see his spirit again florishing in Mr. W. Kirby, whose simple simplicity outgoes even the simplest of his