rate its value in pronouncing it a classic work, likely to maintain a permanent reputation. Many of its pieces are pretty and melodious, and exhibit occasionally striking dramatic touches, especially the choruses. On this account they are well calculated for instrumental extracts of the present description, and the anonymous adapter of the number before us has performed his task with taste and judgment.

terms duet, trio, quartett, &c. are not, at least in instrumental music, deduced from the number of parts assigned to each instrument, but from the number of performers for which the piece is intended: otherwise we should have innumerable duets, trios, &c. for one performer on one pianoforte, on which instrument not only two hands are at all times brought into action, but three, four, and more distinct parts are often allotted to one player.

But enough of the title, the correctness or incorrectness of which is of secondary consideration. The object of the work will best appear from the author's own explanation:

5. Of Mr. Nüske's fantasia for the Spanish guitar we can only speak theoretically, our acquaintance with that instrument not being of a practical nature. There is a largo and andantino of considerable extent, and these are followed by six varia-"These quartetts are intended to tions upon "God save the King." form a study particularly designed The score of these is uncommonly to remove the great difficulty of playfull and complete, the same invaria- ing nicely in tune, by affording a bly embracing three, and even four, combination of sounds, that can be distinct parts, besides divisions and more accurately judged of by the amplifications of considerable rapi- student, than a melody, by which the dity and intricacy. An experienced ear is more easily deceived; they player is therefore indispensable to will likewise tend to form an exceldo justice to Mr. N.'s fantasia. lent position of the left-hand fingers, and to give a correct knowledge and command of the most general double stops on the instrument," &c. &c.

Mr. H.'s intentions in writing these duets-quartetts, we were going to say-are certainly laudable and judicious; and we feel no hesitation in declaring that he has successfully accomplished his object. He has furnished the student with a welldigested and very useful book for practice, especially as regards the

6. Six Quartetts for Two Violins! Two and two used to make four, but here, it seems, twice one is four. To be sure, as there is such a thing as killing two birds with one stone, it would follow, according to Cocker, that four might be hit with two. Mr. Howell literally has two strings to his bow, which exactly amounts to four strings for two bows; and this, at once, will let our readers into the secret of his publication, without attributing the mystery of its title to the neighbourhood of the Irish Chan-execution of double notes with the nel, from whence the work has reach- necessary facility and purity: in fact, ed us. Each violin has two parts, upon the aforesaid principle of havi.e. double notes, almost throughout;ing two strings to one bow, every and we thus certainly have four piece may be said to furnish a double parts, but still not quartetts; for the lesson, and the pupil, moreover, can