rule is so general it may be received as a maxim, that in proportion to the spirit and beauty of the melody chosen as a theme will be the impression made upon the hearer by the variations. The examples of this truth are so many, that we need scarcely cite any one in particular-ROSSINI's Di tanti palpiti, however now so popular in so many shapes will suffice. MR. WILSON has sought originality in some of his variations, in others he has been content with set forms to which however he has aimed at adding as much diversity as a good deal of employment for both hands could bestow. The second appears to us to have considerable merit, and the fourth a gracefulness that recommends it beyond the rest. He has, probably unconsciously, fallen into some similitude to the well-known Sal Margine d'un rio. The fifth is an exercise for the left hand, and the whole is terminated by a singular sort of coda. MR. WILSON, from a gene ral inspection of his works, appears to us to be an improving composer, but his thoughts want concentration, and his designs and execution obviously lack that regularity which springs from and is only to be acquired by the long and earnest study of really great

masters.

MR. KNAPTON's air is as good and no better than the general heap of such things. We have more than once had the gratification to speak very highly (but not more highly than they deserve) of some of his vocal compositions. All that we have seen of his writings for the piano forte, induce us to think his strength lies in setting words. There he excels most of the present day. In composing for instruments he is lost in the multitude of mediocrity.

We esteem MR. HAIGH's production chiefly on account of the melody, lightness, and method. It is not so quaint as MR. WILson's, nor so common place as MR. KNAPTON'S. It neither tasks the eye nor the hand with difficulties, while it pleases the car by its melodious simplicity.

Duet, for two Performers on the Piano Forte, on the favourite French, Air, Au clair de la lune; composed by T. Latour, Pianiste to his Majesty. London. Chappell and Co.

Divertimento, for two Performers on one Piano Forte, with an Accompaniment for the Flute, (ad lib.); composed by T. Skarratt. London. Clementi and Co.

A Duet, for two Performers on the Piano Forte; adapted from Rossini's Opera of Il Barbiere di Siviglia, by W. Watts. London. Birchall and Co.

Di Tanti Palpiti; arranged for two Performers on the Piano Forte, by W. Bennett. London. Power.

MR. LATOUR's duet is upon an agreeable theme, and takes the character of an air with variations. The first is a series of imitations between two performers, well and effectively managed, the second more common place. The third, in march time, is a bold and good exercise for the bass. The fourth is a very quaint and pleasant movement, the fifth brilliant, considering the intentional simplicity of its structure, the sixth the most original, and altogether the best. A seventh, in the form of a Bolero, concludes the lesson. As a whole, we conceive it to be addressed to the purpose of inciting young players, to which it is well adapted.

MR. SKARRATT's is more in the nature of a regular composition, adopting a theme and working upon it-that theme is a march of a bold but not very brilliant character. Portions of the subject are well worked into a trio, an intermezzo, and an allegro. They are easy, melodious, and effective. The passages arise naturally, and connect themselves by simple relations, and the duet is altogether pleasing.

MR. WATTS has arranged his selections very judiciously, which are from the first chorus, the first song, Ecco ridente in cielo, and the parts immediately following, as far as our recollection serves us. The melodies of ROSSINI are so peculiarly calculated to excite the fancy and impress themselves on the memory by their marked accentuation and their lively spirit, that the mind is continually carried along. MR. WATTS has availed himself of passages of this description, and consequently cannot fail to interest.

Di tanti palpiti, though heard for the thousandth time and in as many shapes, is still beautiful and still interesting. MR. BENNETT'S arrangement is full and rich, and his variations very brilliant. Of the four we consider this duct as the most attractive, in consequence of the captivation of the melody, and the bright and glittering forms into which MR. BENNETT has cast his work. The connecting cadenzas are something old-fashioned and common place.

The Groves of Pomona, a grand Scena, sung by Mr. Braham at the London Concerts. The words from Thomson's Seasons, the music composed by Muster Barnet. London. Clementi and Co.

A grand scena-Mr. Braham, Thomson's words and Master Barnet's music.- The first impression from this associated chain was, that a boy who could venture to task his infant strength to such purposes, could be a boy of no ordinary ambition, and the second, derived from a cursory glance at the song itself, was that his daring is supported by a share of ability beyond the customary capacity of extreme youth. The scena is in the key of C, and opens with a somewhat protracted and descriptive symphony that leads to a recitative. There are strong marks of imagination throughout this introductory part, but more in the intervening symphonies than in the voice part, the sense of which is disguised by breaks. Swift chases from the sky the short-lived twilight, is, for instance, interrupted by two picturesque ritornels coming after the words swift and sky. These, however, are the unreflecting impulses of fancy, and constitute perhaps the most promising symptoms of future excellence. Semper vellem quod ampu tem is a classical maxim which when it can be justly applied, as we think it may in this instance, is to be considered as high if not the highest praise. There is also a pretty rapid but direct modulation, through relative keys from E to A, and back to C. Then the relative flat keys succeed, the recitative closes in G, and the song begins in C. The air is an agreeable andante, changing to an adagio, which is again quickened, and the close is in the original time. This arrangement is dramatic, and affords scope for expression. The accom

VOL. III. NO. IX.

paniment partakes of the generally imaginative turn of the entire piece, and sustains and enlivens the air.

We do not happen to know the age of this young aspirant, nor indeed any of the particulars concerning him, but he is decidedly a boy of enterprize and talent; and as we promised at the outset of our work to encourage the advances of merit, we avail ourselves willingly of this opportunity to point out to all those who are disposed to give effect to such a wish, an object and a means; and we trust, through stangers alike to his name and his person, that MASTER BARNETT will feel the benefit of our cordial recommendation.

Operatic Airs, Nos. 3, 4, and 5. London. Goulding and Co. Clementi and Co. Chappell and Co.

We noticed the commencement of this work in a former article,* and we again recur to it in consequence of the excellence of the numbers in continuation.

No. 3 is by MR. LATOUR, and he has chosen CARAFFA's beautiful song introduced into La Cenerentola, by SIGNOR TORRI, Fra tante angoscie. This theme is more full of expression than they probably will believe who have only heard it sung. MR. LATOUR has treated it with singular judgment and elegance. He has added very little, but contrived to place the most striking and finished passages of the air continually in view, and to repeat them in such keys and in such generally favourable lights as to impress the mind of the hearer strongly with their perfection. His principal addition is a chain of triplets, which diversify and give a brilliant conclusion to the piece. We are particularly struck with the lightness and grace of the entire lesson.

The next, by MR. RIES, is amongst the happiest of his compositions in this kind. The intro-luction is highly interesting though the notes are few. The air-BISHOP's Stay, pry'thee stay, is simply pretty, and although MR. RIES has worked upon it in the hacknied

* Vol 2, Page 342.

form of variations, yet he has given to most of them novelty, richness, and beauty.

The second is admirable, and the sixth scarcely inferior-indeed

they are all good.

MR. CIPRIANI POTTER, in No. 5, has adopted the same course, not however with the same success. We prefer his introduction, which contains small parts of his subject, interspersed with great feeling; and this movement is altogether fuli of sentiment. The. subject-poor STORACE's Carpet Weaver, one of the sweetest he ever composed, receives, as it seems to us, a character of sadness well suited to its expression by being lowered. The original being in C and this in D has reduced the pitch seven instead of elevating it one note. The variations are generally too much in the old forms, but the third is well fancied and curious; the fifth too is expressive; and the eighth and ninth somewhat above the common tone of variations.

The Mountain Col, a Glee for Three Voices; by W. Richards. London. Power.

Three Times Three, a convivial Glee for Three Voices, with Chorus ; the Words by W. F. Collard, the Music by Sir J. Stevenson, Mus. Doc. London. Clementi and Co.

The first of these compositions (for two sopranos and a bass) is dramatic in its form and general style-it combines description and personification, and becomes necessarily picturesque and declamatory as to its music. We should liken it to that class of literary productions which has lately been designated by the term ambitious, by which is understood a style of pretension rather shewy than solid. If it be an early effort of a young man, it does not augur ill; if that of a more practised composer, it is not in the best taste. We have elsewhere remarked upon the dearth of glees for two trebles and a bass, since which we have met with MR. HORSLEY'S collection of six, and though some of his earliest productions, (op. 3) they are chaste and elegant in a high degree, presenting a pure model for such writings, and we embrace this opportunity to point them out to those