form, (triplets) but gets rid of the vulgarity incident to such graceless uniformities in a way we cannot quite explain. The coda is extremely well diversified, and is both expressive and masterly, and thus the lesson concludes.

If MR. MEVES does not rise to high esteem, the fault is not in his genius. We have had other opportunities to speak very favourably (as they deserve) of this gentleman's writings, and we are more than ever satisfied, that he possesses a fine taste and a cultivated and rich imagination. We may indeed say of him, without incurring the charge of an ironical interpretation, to which the extravagance of the day might expose us in nine cases out of ten-" nihil tetigit quod non ornavit."

In Infancy our Hopes and Fears, an Air, by Dr. Arne; arranged and varied as a Divertisement, for the Piano Forte, by M. P. King. London. Birchall and Co.

Le Garçon Volage; arranged with variations, for the Piano Forte, by J. M'Murdie, Mus. Bac. Oxon. London. Clementi and Co. Peace be around Thee, arranged with Variations for the Harp or Piano Forte, with an (ad. lib.) Accompaniment for the Flute; by F L. Hummell. London. Power.

The Silesian Waltz, composed with Variations, for the Piano Forte: by Samuel Webbe. London. Clementi and Co.

A Paraphrase upon Dr. Arne's celebrated song, "The Soldier tir'd of War's Alarms," composed with an introduction, by Samuel Webbe. London. Clementi and Co.

Chanson Russe variée pour le Piano Forte, par John Field. A Londres. Clementi and Co.

These compositions are nearly all of that middle nature, to which nothing deservedly good or bad can be attached. If designed to multiply variety and offer new stimulus to students, they reach their purpose, for many of them afford very good practice. The first is undistinguished, except in its two last variations, which are certainly above the rest. The object of this lesson probably is, to combine

shew with facility, and it does so. Le Garçon Volage, better known as "Come, chase that starting Tear away," is somewhat more complicated, and rather higher in the scale. "Peace be around Thee" is better adapted for the harp than the piano forte, and is a pretty lesson for that instrument, as well as duet with the flute, for which the part is simple and easy.

MR. WEBBE's two compositions ascend another degree or two. The Silesian Waltz will afford good practice, and is above the generality of airs with variations, in the latter parts especially. The Paraphrase presents the most curious piece of scrambling combination we ever remember to have seen. It consists of some of the parts of the air, and these are so strangely commixed with those expanded, and put together with so little order, that we were never so completely convinced as now of the original poverty of The Soldier tired.MR. WEBBE should have entitled his piece, " An Exposition of the loose structure of The Soldier Tir'd."

The Chanson Russe is very singular. The air strikes us as too vulgar for improvement, and MR. FIELD, in embracing a subject which may be popular where he resides, (St. Petersburgh) has brought his own taste into some question. This is the most difficult of the whole, principally, however, on account of its singularity.

Light as the Shadows of Evening; the Music by Sir John Stevenson, Mus. Doc. London. Power.

Yes, it is Love. Words and Music by I. Clifton. London. Power. The Orphan Boy; a Ballad, composed by Charles Smith. London

Power.

Lady, the Silver Moon shines bright; composed by John Barnett. London. Clementi and Co.

Oh, listen to your Lover, Polacca, composed by Charles E. Horn. London. Power.

These songs have little in common, except their mediocrity. Yet they all proceed from authors of some distinction. SIR JOHN STEVENSON'S has slight traces of his power of melody, but his general

grace is wanting to this new lullaby. MR. CLIFTON's is just pretty, and MR. SMITH'S must bear the same characteristic. MR. BARNETT'S has better traits, but the accent is wrong almost throughout. MR. BARNETT has not observed, or not attended to the fact, that the first line begins with a Trochee, the second with an Iambic. The first line commences the bar with a just accentuation, but the second syllable of the second line should fall upon the beginning of the bar, in order to preserve the same truth of emphasis. A similar error will be found at different lines, the metre allowing such license. The accompaniment gives a lightness to this air, which does not belong to the rest.

MR. HORN's is a song of more pretension. It was probably written for Miss WILSON, who sings it in "Love in a Village." The style is dramatic, and even its opening symphony is gaudy and common place. This operates against the theme perhaps, the first few bars of which reminded us of STORACE'S "No more my fears alarming;" but, alas, there was soon a heavy declension. Most of the succeeding passages are of the easiest kind that can be put together, yet at the same time they wear a semblance of difficulty—as witness the do, re, mi division in the third staff of the fourth page—and again that at the top of page six. The accompanied cadenza at the end is perfect playhouse. This song was however shewy upon the stage, and well received in the opera, and is really well adapted to singers who wish to make the most of the very rudiments of execution and set off slight acquirements and an extensive compass, to the best advantage amongst those who know no better. These were the ends to which the composer's ingenuity was probably tasked, and we give him full credit for having fulfilled his commission with ability. With him there is no fault to be found.

The Nightingale; a Ballad; composed by C. M. Sola. London.

Power.

O, that I could recall the Day; a Ballad; the Music by Wesley Doyle, Esq. London. (For the Author.) Chappell and Co.

I know you false, I know you vain; the Music by Wesley Doyle, Esq. London. (For the Author.) Chappell and Co.

An Invitation; written by Shakespeare; the Music by Walter Turnbull. London. Power.

O, smile not thus; composed by Charles Smith. London. Power.
The Miller's Daughter; an original English, Air; the Words by W.
F. Collard; the Symphonies and Accompaniments by J. C. Clifton.
London. Clementi and Co.
Lorenzo to Jessica; an original English Air; the Words from a Scene
in the Merchant of Venice; by W. F. Collard; the Symphonies and
Accompaniments by J. C. Clifton. London. Clementi and Co.

These songs are all of a higher order of merit than the former. batch, though their degrees are different, but we have arranged them as nearly as possible according as they rise in the scale, from the first to the last.

MR. SOLA's is a pleasing and light melody, with some little exc cution that may serve to introduce more in the shape of ornament, if the singer have the power to place it judiciously.

MR. DOYLE's, are much in his general manner-simple in con struction and strong in effect, melodious and full of feelingThere is, however, in I know you false, the same error in the accent we have remarked in MR. BARNETT'S. The syllable, I, receives an erroneous emphasis. The emphatic word is know, which is rendered secondary by its position as well as by its shorter duration.

The invitation is SHAKESPEAR's "Come live with me and be my dear," and it is agreeably set by Ma. TURNBULL. Words nearly resembling these have been used by MR. WEBBE, in his beautiful glee "Come live with me and be my love," and MR. TURNBULL has adopted the first of the solos upon the words "A Belt of Struw and Ioy Buds," as the first member of his melody, intentionally we preNor do we see any objection to this. It has often struck us,

sume.

that entire musical phrases might be taken to illustrate or enliven by association, as phrases or passages from classical authors, on account of their possessing intrinsic strength or beauty, are incorporated into literary composition; but a character equivalent to the inverted commas, which are the marks of quotation, should be contrived to preclude the charge of plagiarism, where the passage so applied is of sufficient length to render their being appended necessary. The rest of the melody assorts well with the words, and the whole breathes an air of freshness that is delightful to our sense of adaptation.

MR. CHARLES SMITH's ballad is above the common style, and pleases much on account of its melody, more from its peculiar rythm and most for its strong feeling. It is indeed a beautiful ballad.

From the rest we would separate the two last, as they are adaptations.-The Miller's Daughter is the Air of "The Dusty Miller," which has so long been employed as a quick dance, that we hardly knew it again in its better form of a pathetic ballad. This however affords another proof of the power of time over melody and expression, for a vulgar dance tune is certainly here transformed (maugre old associations) into a sweet and plaintive song.

Lorenzo to Jessica is a paraphrase of a part of the beautiful scene in the Merchant of Venice.

"How sweet the moonlight sleeps upon the bank,"

adapted to the air, "Light o'Love," which SHAKESPEARE is said to have been fond of, and which he has made Beatrice tell us, "Goes without a burden." It is certainly very sweet and simple. The accompaniment too is judiciously written, and the modulation adds to the expressiveness. Any of these songs will afford novelty, and will not offend good taste.