Wit Love requently noticed, and goby commended, the indusབྷིཎྞཱ ན sad attention of the Compiler of ths Annual Selection; and the last year has been particularly fruitful in short but ingenious productions adapted to his plan. One in verse, and another in prose, shall be transcribed. "LITERARY ECONOMY. BOOKWORMS-HOW TO KILL. [From the Morning Chronicle, Dec. 17.] There is a sort of busy worm, That will the fairest books deform, By gnawing holes throughout them; Alike through every leaf they go, Yet of its merits nought they know, Nor care they aught about them. Their tasteless tooth will tear and taint The poet, patriot, sage, or saint, Nor sparing wit nor learning. 'Tis bread to the poor vermin. Yet why should Sons of Science These puny, rankling reptiles dread? "Tis but to let their works be read, Then bid the worms defiance. MARTINUS SCRIBLERUS SECUNDUS. West Felton, Salop, Dec. 8th, 1813. REMARKABLE PERSONAGE DECEASED. [From the British Press, Jan. 4.] "Died, on Friday night, at 12 o'clock, of a rapid decline, and without the aid of the faculty, that celebrated personage, whose name will be eternized by the Poet, and recorded by the Historian, THE YEAR 1813. During his short but eventful existence, he beheld the destruction of a greater number of human beings in the field of battle, than any of his predecessors; but he had the happiness, before his dissolution, to confer plenty on millions, and to promise a return of peace to those nations so long afflicted with war: yet such is the ingratitude of mankind, that his public services will soon be forgotten." 23. A New Spanish Grammar, designed for every Class of Learners, but especially for such as are their own Instruc tors. In Two Parts: Part I. An Easy Introduction to the Elements of the Spanish Language. Part II. The Rules of Etymology and Syntax fully exemplified; with occasional Notes and Observations. And an Appendix, containing an useful Vocabulary, Dialogues with Numerical References to the Rules in the Grammar, a few Specimens of Commercial Documents, an Explanation of the Rules and Princi ples of Spanish Poetry, and some Rules for Derivation. By L. J. A. M'Henry, a Native of Spain. 12mo. pp. 324. Sherwood and Co. IN the Preface to this useful Work, the Author thinks it necessary thus to account for "the appearance of another Spanish Grammar, especially at a time when the number has recently been so much augmented by new editions as well as fresh productions." "It has been a matter of frequent complaint, that there is no EnglishSpanish Grammar capable of affording the necessary assistance to those persons who are obliged to be their own instructors; for although several of the Grammars in circulation possess great merit, yet most of them are written under the disadvantages which inevitably arise from an Author's attempting to explain in a language with which he is but very imperfectly acquainted. The present Work, therefore, is respectfully submitted to the candid notice of the Publick, with the humble hope, that it will be found less exceptionable in several particulars, than some of its predecessors; its author being a Native of Spain, in which country he had the advantage of a liberal education, and having, by a residence of several years in England, acquired a considerable knowledge of the pronunciation, genius, idiom, and general structure, of the English language." After all, he modestly concludes, will, it is hoped, evince that the Author "A perusal of the Table of Contents has some little claim on the notice of the Publick. He trusts that the inaccu racies or misconceptions of a foreigner will be treated with some degree of lenity; and that, as he has exerted his best efforts to elucidate the principles and rules of the language, not, he would hope, without some success, his failures will not excite illiberal animadversion, but that the sincerity of the will may in some respects tend to compensate for occasional blemishes in the deed." Among other articles of the Appen. dix are, "A concise and useful Vocabulary of the most necessary Words." "Useful Familiar Dialogues ;" and "Specimens of Commercial Documents." REVIEW OF NEW MUSICAL PUBLICATIONS. "All rules in musick, deduced from any other principle than effect on the ear, are absurd.-Discords seem to have originated from appogiaturas, or embellishznents of a treble part: sevenths resolved into sixths are appogiaturas; as are the basses carrying seconds. The fourth made a discord by the fifth, at a close, is the first that appears in the most antient counterpoint that has been preserved." 5. A new Theory of Musical Harmony, according to a complete and natural system of that Science; by Augustus Frederick Christopher Kolimann, Organist of His Majesty's German Chapel at St. James's, London. Bulmer and Co. fol. pp. 84, and 36 Plates of Musick, 17. 11s. 6d. 1806, HAVING promised some account of this Author's Theory, we select his principal work in preference to others of more recent dale, that the learner, who would study after this industrious master, may kuow where to begin with most advantage. About 18 years ago Mr. K. published his first theoretical work, entitled an Essay on Musical Harmony, founded on the system of Kirnberger, which he considered the best that was known at that period. Having since discovered cases in which that system was income plete or imperfect, he has improved on his first essay, and the result is the present treatise. It is divided into seventeen chapters, each of which is sub-divided into sections more numerous perhaps than necessary. One plague of this author's writings is, the frequent reference from one section to another where nothing is gained for the trouble,-something like the profitless jaunts of April-day. Chapter I. treats on Systems; II. on the musical scale; III. on a musical mode; IV. on intervals essential and accidental; V. on the use of intervals in harmony and melody; VI. on chords -essential and accidental, concords and discords; VII. on the fundamental concord (Do, mi, sol) and its two inversions; VIII. on the fundamental discord (sol, si, re, fa,) and its three inversions; IX. on accidental chords -by suspension and “interruption;" X. confutation of chords by supposition,-chords of the 9th, 11th, and 13th; XI. on fundamental progres sion; XII. on modulation-natural and abrupt; XIII. on simple counterpoint; XIV. on double counterpoint; XV.on imitation and variation; XVI. on time and rhythm, XVII. conclu DR. BURNEY. sion on the simplicity, completeness, and the discovery of the proposed system. The foregoing is what the author denominates the grammatical part of musick: the other part, which he would call the rhetorical-or doctrine of musical pieces, will be found in his Essay on Practical Composition (1799). According to this theorist, there are no more than two essential, fundamental chords, and all the "accidental varieties" that can intervene or occur may be reduced to suspensions and interruptions of some of their notes. He employs the term suspension, because it is generally adopted; meaning, a retarding syncopation, or a transient note, introduced in the accented time of an essential note of a chord, which suspends or defers that essential note: he proposes the term interruption as the most suitable opposite to suspension,-meaning by it an anticipated syncopation, or a transient note, introduced in the unaccented time (or latter portion) of any essential note, interrupting that essential note before it has lasted the full time of its chord. “But, as in all cases a suspension is an accidental note before is respective essential one, and an interruption one after. it; the former may also be called fore-notes, and the latter after-notes, according to the German vorhuli and nachschlag, though these latter terms have hitherto been used in a more limited sense than that in whic I propose them.-Though it is more simple to let suspensions or interrup, tions take away half the time of their respective essential notes, as in most examples in this work, they may also take away any greater or lesser part, or even one whole time of a note, if it takes up two or more succeeding times; yet they ought not to take away a whole essential note, as that would render the accidental note essential," p. 82. "Rules: 1. Any part (any sound) of the fundamentai concord or discord, and their inversions, may be suspended or interrupted, either either singly, or two or three parts at degree of the diatonic scale; but it once; and by the note below, as well may proceed to a fundamental conas the note above: 2. suspensions take cord only by a consonant progression, place in the accented time, and must and not by a dissonant progression of be resolved into the suspended essen- ascending or descending a second or tial notes, above or below, in the un- seventh. Rule II. The fundamental accented time of the same fundamen- discord may descend a 5th (or ascend tal harmony; but when the suspended a 4th) to a fundamental concord or note is repeated in the same part of discord, or also ascend but one degree the next chord, the resolution may to those chords; but it cannot probe deferred to that repetition of it, perly take any other fundamental and thus take place in the accented progressions, in natural modulation. time of the next fundamental chord: The progressions to and from inverted 3. interruptions take place in the un- chords must be regular according to accented time of an essential chord, the fundamental ones from which they and are resolved in the accented time arise." He allows a triad and a chord of the next; but when the essential of the seventh to every degree of a note which shall be interrupted is a major and minor scale, with such repetition of a note in the same part third, fifth, and seventh, as are furof the preceding chord, its interrup- nished by the notes of the given scale. tion may take away the whole note, The fundamental bass of a composiand appear even in the accented time tion consists of only the roots of the of its respective chord," p. 35. A essential chords; and these roots great number of accidental chords are should succeed each other according produced by the intermixture of sus- to the preceding rules, in Mr. Kollpensions and interruptions; and these mann's theory. In explaining the accidental require the same number of scale, he has injudiciously introduced parts as their respective essential ratios, evidently with no very clear chords. The reader is now possessed conception of the term ratio. Much of this author's peculiar method of of his theory may be found in Grétry, explaining discords, instead of dividing who reduces all harmony to one chord. them, like English theorists, into dis- The term "interruption" (interromcords of addition, of suspension, of pimento) is used by Penna, in Li Pritransition, of syncopation, &c. Ano- mi Alberi Musicale, p. 165, (1696), ther circumstance in which he differs 4to. Bologna. Mr. K. is an advocate from them, is, in allowing the imper- for the equal temperament of the fect triad (Si, re, fa,) exactly the scale of keyed instruments, as being same treatment as the major and mi- most suitable to his theory of harnor triads without so doing, he mony. See our vol. LXXXIII. Part thinks many of the greatest beauties II. pp. 459, 354. of modulation would be lost. By modulation he means a succession of chords, with or without change of key or mode; in this respect agreeing with Dr. Pepusch. The five sounds which, on our keyed instruments, are placed between the whole tones, or rather which divide the whole tones of the diatonic scale, he terms the accidental sharp or flat extremities of the natural intervals; and allows them to be used, in a progression, between two sounds which are a tone distant, or instead of the first of those two sounds. He not very happily names them "chromatic means." All that need be added to this concise view of his principles of composition are the rules for the succession of essential chords. "Rule I. The fundamental concord may proceed to a fundamental discord, on the same or on any other : 6. The Melody of the Hundredth Psalm, with Examples and Directions for a Hundred different Harmonies, in Four Parts; composed and respectfully dedi cated to the Hon. Miss Charlotte Onslow, by A. F. C. Kollmann. pp. 10. 3s. Opera IX. AS our limits do not admit of ex amples in notes, the present small publication will supply any deficiency in our preceding article, and fully enable the reader to comprehend the Author's system, at small expence. From many of the specimens, one might infer, that harmony and noise are synonymous. +++ We are much obliged to ZERO; but his kind Offer is not at all in our way, as Traders. SELECT SELECT POETRY. A SONG OF THE SEA-FAIRIES. By LORD THURLOW. WE tread upon the golden sand, When the waves are rolling in, And the Porpuss comes to land, And to leap he doth begin, Snorting to the fishy air: Prepare, prepare, Good House-wives, keep your fires bright, Riding at her highest noon, string, IRREGULAR. WAKE, harp of Modred! thy sonorous [peers,Sing of thy Prince and his renown'd ComHarp, that erst sang of Arthur, Britain's King, And the brave feats of men of elder years. Cadwallo's Lyre, awake! And with thy tuneful notes the lay inspire; Let thy full verse the welkin shake, And give new themes to the Pierian quire, For see Moscowa's Emperor comes No captive nations in his train With horror press the peaceful plain; No sighing fair ones their lost honour wail, But Unity combines with sweet accord To hail him Russia's meritorious lord, And with his clemency adorns the taie; His trophies speak the mildness of his soul, Well-pleas'd the meek to raise, th' afflict ed to console. union bind? Yet solid Peace shall never crown this Till further from his eagle-height this beast be huri'd, And cold that blood-stain'd hand, which aim'd to rule the world. OXFORD! thy moss-grown venerable tow'rs, The Muses' seat, thy academic bow'rs Welcome the good, the loyal, and the brave, [his pow'r; Those who have rescued Europe from Ev'n Isis opes her clear translucent wave In this heart-cheering, peaceful, happy hour; [more And rapid Cherwell contemplates no Those who on Science classic pages pore, Save where some maniac sits all alone: For lo! to meet the Princes all are 7 Seeks out his true love in his heart's best True as the pole When first his heart she stole, [sea. And bade him, for her sake, attempt the briny Now give to Wellington th' immortal song; Sing a new Arthur in yet louder strains, To whom loud Pæans do of right belong For fair Vimeira's, Talavera's plains. Still first for many a deed of bold emprize To win the guerdon of immortal fame, To seek the glories of a deathless name, And snatch bright Valour from her native skies. To his high sense of loyal Truth we owe See Gallia's squadrons atVittoria yield, Or stung with envy,routed quit the field; Foul Usurpation sicken'd in that hour When Britain's flag wav'd from Rodrigo's tow'r ; Lo! Fancy images the slain, As shone in Moore, who at Corunna died. Once more for Fred'rick we 'll bespeak 'Twas Prussia's King [the lay: That stay'd at Leipsic the Usurper's course, On that dread day When charge succeeding charge, and horse opposing horse, [wing; Fear to the dastard Emperor lent its For Blucher led the Van, Horse to horse, and man to mau. Hark! where the trumpet sounds the brisk retreat, [eye; Revenge gleam'd forth from ev'ry A day that Mollendorf and Brunswick cost, And speak of glories past, Of days well-fought and enemies aghast : Yet if a brighter fame, a fairer star, Shme at the close of this ensanguin'd war, 'Tis Clemency, that lights the hallow'd flame, And breathes on future days th' untarnish'd Hero's name. Chaunt a slow dirge to the illustrious Or spangle the wide plains of victory; For not a dew-drop but can lend a grace, Clear as a diamond, to the Patriot's face. Away! to Egypt's sandy plain, Record an Abercrombie slain, On Dresden's heights in accents slow Tune the sad harp to fall'n Moreau ! Weep for the Hero of the Nile, And raise his monumental pile; These taught the brave in Glory's path to tread. Hence from the mansions of the dead, Where now th' uncoffin'd brave securely rest, [crest, Shall ev'ry Warrior lift his martial At the loud bidding of Fame's trumpet rise, [skies. And join the laurel'd Nelson in his kindred Bedford, June CHARLES ABBOT, D. D. 1814. |