· of two: one is The New Testament, and the other your new novel.'-'This retort completely silenced Mr. Novelist, I assure you.'-' No doubt,' I rejoined, for a very neat retort it is: indeed I have only one slight fault to find with your whole story, and that is, in the first place, this retort was never made by Reynolds; and, in the second place, Reynolds never dined with Dr. Parr.'-'Indeed, sir!' said my amazed companion, and pray who told you so?'-' Reynolds himself, who at this moment has the lieutenant on the printed circular, as a ground of exemption from service-Lame and a coward.'-' Certainly,' he continued, very candid, and not in the least similar to Falstaff or Bessus. My father, however,' he went on, has seen the said dramatist (Reynolds), and he says that he talks much better than he writes. In my opinion, certainly, this is no very difficult task, as any gentleman here, who, like myself, has had the misfortune to witness the representation of any of his innumerable fiveact farces, will also, I am sure, willing-pleasure personally to assure you of ly testify. I have seen many of of them,' I replied, and judging by the specimens of dialogue they offer, I should imagine that the author could not even possess so much conversational talent as you are pleased to allow him.'-'I beg your pardon, rejoined my companion: "my father once met him at Dr. Parr's, where the conversation turning on the Hebrew language, Reynolds, among the rest, proceeded to give his opinion; when he was suddenly interrupted by the author of a confused and failing novel, then lately published, who jeeringly cried, Come, come, Mr. Dramatist, you know nothing of this matter-no, not even one of the names of the few Hebrew books now the truth of his assertion.' Owing to the darkness of the night I could not perceive the alteration of his countenance, for that there must have been a very striking one I infer from the striking change in his conversation. From this moment he became extravagantly and ridiculously civil, helping me most prodigiously at supper, superintending the removal of my luggage from one coach to another, raising and lowering the window at a hint or even a gesture; in short, during the remainder of the journey, I had an active and zealous servant free of all expense. And this is not the first, nor will it be the last time, that an author has gained as much by censure as by panegyric. in existence.'-' Don't I?' rejoined || Any thing but obscurity!" the playwright, 'I know the names MUSICAL REVIEW. A Companion to the Piano-forte || B.'s Piano-forte Primer, forms a comPrimer, containing the Rudiments of Fingering, &c. with Remarks on the Mode of Practising in general, intended to assist the Student in the absence of the Master, by J. F. Burrowes. Op. 14. Pr. 10s. 6d. (Goulding and Co.) THE present work, joined to Mr. plete body of instruction on that instrument; the former containing the theoretical branch, while "the Companion" is exclusively appropriated to execution. Treatises of the latter description have appeared frequently of late, and several of them have been commented upon in our critiques. Their contents are so similar, that a || portant an object, and put him into the right path for ulterior investigation. Even so little as six or eight pages devoted to this chapter would go a great way. When we reflect on the mass of musical publications of regret not to see a few sheets ex- detail, in the present instance, appears to us scarcely necessary. Every species of digital and manual drill, and of passages on record in classical works, is illustrated by the necessary exercises, accompanied with direc-incessantly put forth, it is a matter tions for their proper performance. In this respect, Mr. B.'s book possesses decided advantages, from the great number and variety of examples (439 in all), and the aptitude, as well as the perspicuity, of the didac- | tic portions of the work. The instructions given "on the mode of practising" in general are very valuable, however brief. The chapter "Of Expression," as in most treatises, is confined to the due observance and proper execution of the marks affixed by the composer; and the nature of this kind of works may, perhaps, be pleaded as a justification for not transgressing these limits, narrow as they are. The written directions of the composer can embrace but a small part of what we would comprehend under the term of expression, and much of which we conceive to be capable of positive illustration by means of short examples. Expression, in our sense of the term, consists in properly representing the musical sense of a period, giving it its due musical utterance, its declamation, as it were, with reference to accent, variation of force, general meaning, and feeling. Mr. Klose's book (9 pp.) sets out with stating the general rules, and their exceptions, for fingering all the major and minor scales. These rules are next exemplified by an exhibition of the scales themselves, accompanied with short observations; and last of all, a table is given of the signatures of the major keys, as well as of the minor keys on the same note, and of the relative minor keys. of each major key, duly arranged for the purpose of a general view and comparison. As all this is done with proper care and perspicuity, Upon this subject, scarcely any the book cannot fail to be useful. thing has, as yet, been said in books Grande Sonate à quatre mains pour of instruction; and, although a great le Piano-forte, dediée à Monsr. deal, no doubt, must be left to the Onslow, par Fred. Kalkbrenner. taste and feeling of the performer, Op. 76. Pr. 10s. 6d.-(Clementi we are convinced that even so much and Co. Chappell and Latour.) as can be positively exemplified would It is not often that, in these times, be of infinite use to the student, were a composer for the piano-forte venit only to call his attention to so im-tures upon a work of such extent as the present sonata, which contains 4. 5. Opera of " Crociato in Egitto," composed by Meyerbeer; arranged for the Piano-forte, with an Accompaniment for the Flute, by F. J. Klose. Pr. 3s. 6d.--(Chappell and Co.) Favourite Airs selected from Meyerbeer's celebrated Opera, "Il Crociato in Egitto," arranged as a Divertimento for the Pianoforte, with an Accompaniment for the Flute, by J. Purkis. Pr. 3s.(Hodsoll, High Holborn.) 1s. 6d.; Nos. 58. and 59. pr. 2s. 6d. each. -(Hodsoll, High Holborn.) Petit Rondo for the Piano-forte, composed by S. F. Rimbault. Pr. 1s.-(Hodsoll.) Mozart's celebrated Grand Symphony, adapted for the Piano-forte, with Accompaniments for a Flute, Violin, and Violoncello, ad libitum, by S. F. Rimbault. Pr. 6s.; without Accompaniments, 4s.-(Hodsoll.) 6. "Oh! merry row the bonnie bark,” with an Introduction and Variations for the Piano-forte, composed by G. Kiallmark. Pr. 3s.-(Goulding and Co. Soho-square.) and with that maturity of composi-3. Hodsoll's Collection of Duets. No. 57. pr. torial knowledge and experience for which Mr. K.'s works are generally remarkable. But we are free to own, the quantum of sterling original melody is comparatively small. There is less to touch the heart than to employ the head and fingers. Under the hands of two good performers, this sonata will be found highly effective; for the two parts are interwoven into each other with great skill, and with an obvious view, nay, we may well add, with an evident certainty, of their conjoint result. -- (Latour, 1. Mr. Klose's collection has three fine airs from the Crociato-“ Vedi il legno," the charming chorus and dance, "Cara Mano," so justly admired for its elegant simplicity, and La Rosière, a Divertimento for the Piano-forte, composed by J. F." Giovinetto Cavalier," which, in vaBurrowes. Pr. 3s. rious shapes, has occupied our critiBond-street.) cal pen more than a dozen times. These tunes Mr. K. has arranged very neatly and effectively, yet so as to require no great skill of execution; and there is moreover a good flute part to them. This divertimento we feel warranted in introducing to the notice of amateurs of moderate proficiency, with strong recommendations. We meet, it is true, with various ideas not altogether original (the Crociato, among others, has not remained unremembered); but there is a captivating ease and elegance of style and treatment, an absence from any affectation of learned profundity, and yet a due portion of science, displayed in La Rosière, which, we doubt not, will please all parties, including even the adepts in the art. Every thing is clear and good. ARRANGEMENTS, VARIATIONS, &c. LA Selection of favourite Airs from the 2. The favourite airs selected by Mr. Purkis from the Crociato are" Giovinetto Cavalier" (of course!); the march, "Queste destre;" "Cari oggetti ;" and "Ah questo è l'ultimo." The several subjects have been strung together under various transpositions of keys, in a manner similar to that adopted in Mr. P.'s previous operatic divertimentos, to which this selection may be considered as forming an additional link in the chain, full as interesting and unclogged by difficulties as any of its predecessors. 3. 4. 5. The contents of the three above-mentioned numbers of Mr. Hodsoll's Collection of familiar Duets are as follows: No. 57. the waltz from poor Weber's Freyschütz; No. 58. three airs from Salieri's Tarare; No. 59. Rossini's "Una voce poco fà." The arrangement of all three is by our indefatigable friend, Mr. Rimbault, who has done the needful with great propriety and in a workmanlike manner. It is curious to observe the vast difference of style between what was considered good music forty years ago (Salieri's), and indeed is so still, and the two airs of Weber and Rossini. It is scarcely necessary to add, that the árrangement is perfectly easy. Our No. 4. also by Mr. Rimbault, is a rondo of very slight materials and texture, obviously intended for juniors, and proper enough for that purpose. No. 5. is a well-known symphony of Mozart's in B b, with the beautiful andante in three flats, the eighth in the series of Mozart's Symphonies published by Mr. Hodsoll. The adaptation by Mr. Rimbault is, as usual, very meritorious and complete. VOCAL MUSIC. 1. "Alas! he's gone," a Moral Song, composed by E. Solis. Pr. 1s. 6d. (Horn, Borough-road.) 2. "Oh! sweet was the hour,” a Canzonet, written, and adapted to a favourite Italian Air, by W. Ball. Pr. 1s. 6d.―(Chappell, Bond-street.) 3. "O beauteous river," written, and adapted to a favourite French Air, by W. Ball. Pr. Is. 6d. (Chappell.) 4. "Rising in her holiest lustre,” written, aud adapted to the favourite French Air, “Te bien aimer," by W. Ball. Pr. 1s.-(Chappell.) 1. The poetry of Mr. Solis's moral song is so so; and the first line of the second stanza is so materially defective, that it cannot be sung to the melody. As to the latter, it affords, amidst some minor objections, sufficient grounds for exhortation to continued lyric exertion. The circumstance of the vocal periods having but three bars, uncommon as it is, presents no ground of objection here, due metrical symmetry of periods being preserved. In the melody itself, a greater degree of unity of character and of tonic would have been desirable. The signature is D minor, and the vocal portion occupies just four lines; but in this short space four different tonics are brought into action, D minor, F major, C major, and A minor, besides resolving dominants, sevenths, &c. of different kinds and shapes. Here, therefore, the harmony is too varied and chequered, considering the compass of the air, No. 6. The introduction to Mr. Kiallmark's variations upon this Scotch theme is satisfactory. Of the variations themselves we cannot say much, either in the way of praise or blame. There is nothing very strik-and-what thus was scarcely avoiding in any of them, except perhaps the end of var. 4. which is showy. In the finale, pages 8 and 10, some fair ideas occur to attract a certain quantum of attention. But upon the whole, the publication cannot have cost much trouble to its author. able-the transitions from one harmony to another are sometimes too sudden. Setting aside the above objection, which, in fact, is finding fault with having too much of a good thing, we are free to say, that a high degree of tasteful conception, and, occasionally, strong touches of deep feeling, are observable in this composition. One would almost think the composer, in bewailing the loss of a promising boy, had been influenced by stronger impressions than those which a mere effort of his art could excite. 2. 3. 4. The numerous foreign melodies of Mr. Ball's adaptation, which we have noticed on different occasions, appeared to us invariably selected with taste and judgment. Those referred to under the above numbers, have already been brought before our readers in other shapes, and they are all extremely attractive. The two French airs, in particular, are simply sweet, and altogether truly fascinating. The accompaniments, although presenting no strong features of interest, are sufficient and proper. The poetry is fair enough upon the whole; but there are words here and there which do not adapt themselves kindly to the original melody. HARP, GUITAR, VIOLIN. 1. First Duet for the Piano-forte and Harp, arranged and composed by J. Mazzinghi. Pr. 4s.-(Goulding and Co.) 1. Mr. Mazzinghi's duet for the piano-forte and harp consists of the theme "nel cuor piu non mi sento," with variations and digressions of divers kinds, shared alternately by both instruments, and requiring a certain degree of executive dexterity. Under the latter condition, the duet will be found highly effective, and as interesting as the universal currency of the theme for these forty years and more will admit of. 2. Of Mr. Bochsa's second mélange from the Crociato, we have only to say, that it contains four or five very fine airs from the opera, arranged with great taste for the harp; not very difficult, yet in a style so as to demand some experience and practical knowledge. 3. The third number of Mr. Bochsa's dramatic scenes from Italian operas contains the grand military chorus in La Donna del Lago, together with the andante sung by Roderick Dhu; the arrangement for the harp, piano-forte, flute, and violoncello is rich and most effective, even without the aid of the two lastmentioned instruments. It would be difficult to point out a more brilliant and interesting adaptation of this 2. Second Petit Mélange for the Harp, on favourite Airs from "Il Crociato in Egitto," composed by N. C. Bochsa, Pr. 4s. kind. (Chappell.) 3. No. 3. of Dramatic Scenes from Italian latest and most admired Italian, French, 6. Six Quartetts for two Violins, by T. Howell. Pr. 7s. 6d.-(T. Howell, Bristol.) 4. Messrs. Boosey and Co. have commenced their selection of Soirées Dramatiques for the Harp, with a real novelty; the first number containing four or five pieces from the new opera, La Dame Blanche, by Boieldieu, which has caused great sensation in France, and is now performing with enthusiastic applause, not only in Paris, but in most of the great theatres in the provinces. The music certainly has considerable merit, and is, we conceive, superior to our own dramatic compositions of the present day; but the French over |