position can be perfectly understood.* We therefore submit to the serious consideration of those who are so highly gifted in practice, the indispensable necessity there is for an endeavour to introduce a new and more available method of conveying the changes of expres sion they use, and more particularly, as we strongly suspect the licences they are accustomed to employ, come under the head of exceptions rather than of rules. Without paying more deference to the author of the Capriccios than he may justly demand, we venture to pronounce that there is no one now alive so capable as MR. CLEMENTI of this task; and we again as formerly + urge upon his consideration, the service he would render to his art, could he be induced to give the world a means of informing with his own spirit the now (comparatively) lifeless portraiture of strength and beauty.

* Upon this score we owe MR. KALKBRENNER an acknowledgment, which we here take occasion to make, and which we trust he will receive as freely as we offer it. In our first volume we spoke very disrespectfully of his Essais sur differentes Caracteres pour le Piano Forte.-We have since heard Mr. K. kimself perform these works, and we candidly admit that the printed copy did not, nor does not, nor cannot, convey the most remote idea of the composer's intentions or of the expression he gives them, which is as varied, as beautiful, and as powerful as can be conceived. This circumstance, however, marks not only the necessity for a more complete means of explication, but it may tend to shew that players of such uncommon attainments may very easily deceive themselves as to the merits of a passage by their powers of execution.They can exalt what should in itself seem to be of comparatively small estimation to a high rank by the brilliancy of their mere practical power. Here then arises a new distinction out of the prodigious polish to which art is now carried, since to appreciate the true meaning and value of a work, one must be possessed not only of all the elements of fine performance, but of the peculiar use and adaptation the composer himself makes of those elements. Such however must be the consequence of the vast intellectual progression and the minute division of labour restowed upon art, we of this age have lived to witness. And though we cannot, nor we would not if we could, stay the march of mind, we may yet perhaps almost lament that it has gone so far. + Vol. 1, page 530.

A Collection of Hymns and Psalm Tunes, sung in the Chapel of the Asylum for Female Orphans, composed, selected, and arranged, with an Accompaniment for the Organ or Piano Forte, by Wm. Horsley, Mus. Bac. Oxon. The profits of the work are applied to the funds of the Institution. London. Clementi and Co.

We have already exhausted nearly all we have to say upon the style of sacred compositions adapted to the ordinary service of our parish churches, in a preceding article of this number. We have however in the work before us an illustration of the principles there laid down, not only as applied to psalmody, the particular object of that enquiry, but also as they regard a species of writing which ascends a degree in the scale. For the construction of the Hymn admits of a freer expansion of thought and of the materials upon which the composer works. The limitations are neither so strict as to measure or to matter as in the psalm. More variety is indeed both allowed and expected. The capital requisite still however must be the austere chastity of mind that is alone able to apprehend how entirely in this mode of writing, the subject is indebted to simplicity for its highest and most perfect qualities. But to reach this true sublime, the manner must be also graceful, flowing, and dignified, (circumstances which are thoroughly consistent with our notion of simplicity,) and to this end the melodies chosen must be pure and elevated, the harmonies natural and rich, the transitions (generally speaking,) easy though various and effective. These attributes can only pertain to a vigorous understanding, whose wholesome taste is not alone unvitiated by acquired appetites, but supported by the continual contemplation of the solid grandeur, the sober magnificence, and the just expression of the great masters of ecclesiastical writing. Of the possession of so sound a mind, the compositions of MR. HORSLEY, in whatever manner they are written, have always given direct proof, and the present publication will, we think, establish not less satisfactorily the effects of such a direction of study as that we have just described.

We consider, we say, the hymn as one remove above the plainest kind of composition, the psalm-tune; and as rules are only authorities drawn from the models of those writers who, by universal consent,

are admitted to have reached the highest degrees of excellence, it may perhaps serve to illustrate the design of such compositions, if we endeavour to ascertain from those before us, which cannot be denied the rank of classical productions, the nature and qualities that ought to distinguish the species. Purity and unity of design are the first requisites by which we mean that nothing should be given to extraneous ornament, but the whole be made to depend upon the genuine attributes of fine expression-upon energetic, flowing and simple me lody-the intervals generally being close and smooth, the transitions few and natural, the time never greatly accelerated or indeed widely departing from that "even step and musing gait" which the sublimest of our poets attributes to the personification of our sublimest sentiments and affections. Whenever the passion rises to religious fervour and thanksgiving, or sinks to the sincerity of humble sorrow and impre cation, the same dignity should be preserved. Such emotions admit of no violence, but even the strongest are tempered by a certain consistent respect to object, place, and person. Hence the whole arrangement is clear, full, and fervent, but there is not a note without its meaning. Changes of time and measure are of course admissible with changes of sentiment-these serve as light and shadow; but whatever the transition, the repose (to speak the language of the sister art,) ought never to be in the least disturbed. Whenever passion requires to be heightened beyond the natural force of energetic melody and diction, the elevation is effected by harmony or by accompaniment; but such accessions must come in grave and learned dress. We observe that the melody is principally supported by sustained tones, and the intervals strengthened and connected by retardations, having the effect of long appogiaturas, which are seldom introduced without heightening the expression. Any passage approaching to a division is exceedingly rare, and admissible only to illustrate some peculiar effect. As the hymn is commonly intended for unisonous performance, the compass of ten notes is rarely exceeded, the modulation is natural, and by no means frequent or crowded, and the harmony rich and clear. In some instances a florid bass is introduced,

* In DR. ARNOLD'S Hymn, "O God how worlds on worlds proclaim," there is a felicitous example upon the words, "In ceaseless order move," (page 84,) but we think a slight recognition of the same passage upon the next page is faulty, though in perfect accordance with the art which composers avail themselves of, in recalling agreeable images, and in working upon them.

to bestow energy and motion with admirable utility. Such appear to our minds to be the general laws that govern this beautiful kind of writing; the study of which, we should imagine, would form a fine ground work for real grandeur in vocal expression, by inculcating at every step reliance on the elements of the great style alone.

The Collection consists of twenty-four Hyms, and the Appendix of twenty-four Psalm Tunes. Of the Hymns two are by DR. ARNOLD, one from PLEYEL-there is one from each of the following authors: Messrs. WALMISLEY, RILEY, BARTHELEMON, BURROWES, WEBBE, Jun. W. LINLEY, and Miss SAVAGE; six are selected and arranged by the Editor from anonymous sources, and eight are from his own hand. The Psalms are principally selected and arranged for two voices.

In this selection the old favourites, the Easter and Evening Hymns will of course be found, and in his adaptations Mr. HORSLEY avails himself of the known and admired air, Adeste fideles, with one or two others of almost equal celebrity. He has not been wanting in justice to his cotemporaries, for those he has inserted do great honour to the names we have already mentioned. We scarcely know which to prefer, as cach has its separate and appropriate beauties. Come faith divine and MR. LINLEY'S appear to us to be in the most modern manner, while MR. WALMISLEY, MR. WEBBE, and MR. BURROWES have almost equal claims. Indeed as a whole we hardly ever met with a work so generally near the standard of excellence. We can make only one objection, which is to the style of the Hallelujah in BARTHELEMON's "Eternal source of every joy." It is novel, and as it appears to us weak in effect, failing chiefly in account of its dance-like (though not ungraceful) motion.

MR. HORSLEY's own compositions and the parts appended are certainly very beautiful, because very simple, melodious, and cnriched by clear harmonies in the same sound taste. Yet his chief merit above his companions, in this publication, resides in the necessary station of command and responsibility he takes, for we must repeat the style is remarkably sustained and equal throughout. MR. H. and his friends will therefore enjoy the satisfaction of having justly contributed to a production in which they maintain the cha racter of brothers, alike devoted to the common objects of their la

See MR. HORSLEY'S Hymn "In early years," page 80, and again p. 19.

bours; and when science thus ministers to charity, it is a temper and a praise well fitted to the good work. We trust the noble institution, for whose benefit and advancement the book is published, will derive some pecuniary advantage from so excellent a performance, and, in our earnest wish to forward this object, we cannot urge a better or a sounder argument than to recommend the Hymns as an admirable solace to those pious, minds who employ music as the vehicle or the assistant of devotion, and as the amusement of their serious moments, at the same time that the introduction of second parts adapts them to the domestic practice of music. Nothing can be more suited to extend the range of devout satisfactions then MR. HORSLEY'S ASYLUM HYMNS, while the purchaser will have the additional satisfaction of knowing that he is contributing an almз to one of the most excellent of our multiplied charities.

How sweet is the Hour; a ballad, composed by George Goss. London. Phillips and Mayhew.

O! came ye o'er the barren Moor; by George Goss. London. Phillips and Mayhew.

A Nosegay once of varied Flowers; a ballad, by Lewis Leoni Lee. London. Phillips and Mayhew.

Dear Harp of sweet Erin; by Barnard Lee. London. Phillips and Mayhew.

Mio Alma, Farewell; by John Emdin, Esq. London. Phillips and Mayhew.

No dearer Moments ere can flow; by John Barnett. London. For the Author.

Take, oh! take those Lips away; a song, by Pio Cianchettini. London. Mitchell.

We here present our readers with the titles of an unconnected series of Ballads and Songs, rising from a degree below mediocrity to an elevation considerably above that region of indifference. All ages, sexes, and conditions now sing; it is therefore perhaps necessary to