cries. This natural intonation, in the hands of a musician, becomes the most sensible note of his art. The character by which it is expressed is of a

smaller size

than the other notes, and it may be said to rob the note it precedes of half its value. When used as a cadence note at the close of a piece, its duration is more lengthened, and by modern authors is written thus:

or

The touch note, or transient note of animation, is written in a similar way to the appogiatura, though its office is the very reverse of imparting smoothness and flexibility: it is

to give force and strength to the note to which it is prefixed, and is struck with such energy, that it may be said to be driven into the note to which it is attached. The touch note precedes most of the simple sounds that we hear, whether they proceed from sonorous bodies, or the voices of men and animals. The modern authors use it in forcible expressions; and in Beethoven, we find it prefixed to the same note.

These adjuncts may be doubled,

or varied in a thousand ways, from which an infinite variety of graces may be formed. The appogiatura, in an harmonic point of view, forms the highest class of discords: as in the following combination, every note of the scale is struck, of which the upper four resolve themselves as appogiatura notes into the common chord.

When so employed, the harmony may be said to be suspended; but when substantially or emphatically used, this combination is termed the chord of the 13th.

MADEMOISELLE SONTAG,

Musically speaking, is the first prima donna of the age. The height and clearness of her voice surpasses everything that has been heard. To the stage she is a valuable acquisition, as she can compass those difficulties with ease, which have cost others years of toil even to struggle through. It is

not in the nature of a cerulean voice, like Mlle. Sontag's, to move us with that passion which we feel from those of a deeper hue. Like the warblings of a bird, there is a silver tone of satisfaction, a sparkling joy, that shines in whatever she sings. Among voices it is a rarity to meet with one so elevated and so bright: such qualities enable the composer to take a range of effect in the upper octaves, which, unhappily for the art, none but a Sontag can perform. Her execution is of the most rapid kind; she performs Rode's Variations, written as a masterpiece for the violin, with a velocity and neatness exceeding that of the most finished fluteplayer. As an actress she is cold and lifeless compared with either Malibran or Pasta; but as a singer, she stands by the side of either with enviable greatness. Her pretty figure and engaging smiles have contributed to set off the lustre of her voice-blandishments which have diffused her fame throughout Europe. 'What!' exclaims the Berlin Gazette, 'what is to become of Berlin, during the ' absence of this idol? the goddess of song! the ' tenth muse of modern times! what is to become "of our conversaziones? how does the city lie des'olate! what mournful silence hovers over her ' walls !'*

Some of these extravaganzas were set down to the absurd conduct of the English nobleman, who was facetiously dubbed 'Lord Monday,' because he always followed Sontag (Sunday.)