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to be found in it, and it might really be taken for an ancient Scotch scale.

"There is nothing," says "DR. BURNEY" which gives a more marked character to melody than the constant omission of certain notes of the gamut. Supposing even that it were not known what notes the Greeks omitted in their enharmonic scale, it does not appear the less generally true that in composing the old Greek music, which PLATO, ARISTOTLE, and all authors, rank above more modern music, the first musicians delighted in breathing the diatonic progression, and in omitting certain notes of the melody; thus the style of the ancient Greek national airs, were probably much related to the ancient Scotch music, as it is clear that it bears much resemblance to Chinese music."

No nation has ever applied music to so many useful purposes as the Scotch, particularly in the highlands. It is well known how highly they are animated by the sound of their bagpipe. There is a modern instance of it which is nearly as strong, and perhaps more authentic than any of the most astonishing traits of ancient music. At the battle of Quebec, in 1760, while the English troops were retiring in disorder, the General complained to a superior officer in the regiment of the Scotch Frasers, of the bad conduct of his corps. Sir, replied the officer with warmth, you did very unwisely in forbidding the pipers to play this morning. Nothing encourages the highlanders on the day of battle so much, and even now it might be useful. The experiment was tried, and as soon as they heard their national music they returned and gaily formed the rear guard.

The modern Highlanders, like the ancient Greeks, sing during every sort of labour. The songs in use in the Hebrides and the Western coasts are usually short and plaintive, particularly dur. ing those labours where many persons are employed together, as in milking cows, keeping sheep, weaving cloth, grinding corn with hand mills, mowing grass, and reaping corn. At Raasay Doctor Johnson observed the women cutting the corn while the men tied it into sheaves, the strokes of the reap-hook were marked by the time of the reapers' song, which they sung together. The men have also their songs for rowing; they mark the time with the oars in the same manner as the women with the instruments used in their various employments. When the same airs are sung in their hours of repose they mark the time by the movement of

a napkin held by all who sing. There is one who conducts the others, but at a certain place in the air he stops to take breath. The others then continue and finish the song, adding to it a chorus of words and syllables which in general have no meaning.

They are passionately fond of hearing the bagpipe during their repasts, and a traveller who visits a highland chief is generally regaled by national airs while he is at table.

There is something peculiar in the musie of the inhabitants of St. Kilda, although their only instrument is one of the most contemptible existing, that is to say, the jew's harp or the harp without pedals. The muses of St. Kilda are as simple as its inhabitants. At the end of their fishing season, when the winter provisions of this little republic are deposited in safety in a house destined for this purpose, called Tigh-a-barrha, they all assemble there, as in the most spacious of their possessions, and hold a solemn assembly; they sing with expressions of joy and gratitude one of their best airs, of which the words are nearly as follows: "What more can we desire? there is an abundant provision of fish, of all kinds (they here name all the fish) kept for us in the Tigh-a-barrha." This rude song is the expression of the joy of a simple and laborious people, and which shews the measure of happiness which may suffice to mankind in such a state.

It is extremely difficult to procure these ancient airs in their primitive simplicity. Often among several copies, all written by persons of the country, there are not two exactly alike; and it is not always easy to recognise that which is most correct. Some original airs may have been considerably altered to adapt them to the harp, others have been corrected by modern musicians, who have more frequently spoiled than perfected them.

A very curious collection of national songs has been given to the world by MR. HOGG, the Ettrick Shepherd. He complains of the mixture which he found in obtaining the airs from the people of the country, but the M.S. collections with which he was favoured having generally the names of the tunes, solved much of the difficulty; but this exhibits a strong proof of the degenerate state of the national airs.

We must now come to MR. BURROWES's publication. The themes he has chosen are (we recapitulate the two first to make the series complete)—

1. Kenmure's on and awa.

2. The Blue Bell of Scotland.

3. Auld Robin Gray.

4. Auld Lang Syne.
5. The White Cockade.
6. Charlie is my Darling.
7. The Highland Laddie.
8. Saw ye my Father.
9. Tweed Side.

10. Maggie Lauder.

11. Shepherds I have lost my Love.

12. The Auld Wife ayont the Fire.

MR. BURROWES has selected his airs judiciously, and the entire set forms a considerable body of practice and amusement. Where he has erred has been in extending his work too much. There are seventy-two variations, and to make these really various, considering the expedition necessarily used in completing the series, would imply a draft upon talent and ingenuity far beyond the powers of most men. Thus we find near resemblances in some of the numbers-for example, Var. 1 of No. 2, and Var. 2 in No. 10, are so alike that the subject constitutes almost the sole difference. Again the same remark applies to Var. 1 of No. 4, and Var. 1 of No. 12. The sixth number is the best, for, in addition to a beautiful theme, MR. B. has adopted our former suggestion, and made his variations assume the almost novel form of a march and quick step, both of which are so well executed, that they lead us to wish he had pursued the idea into more remote applications. The commencement of the introduction to No. 3, is obviously the fruit of some reminiscence of the opening of PERGOLESI's sublime song, set to the English words "O Lord have mercy upon me." We like to find these sort of classical allusions, and they always leave a desire to meet such recollections more frequently. If a scholar were desired to produce a latin ode, he would be thought to have executed his work in the most masterly manner, should his phraseology be drawn from the language of HORACE; and we do not see why the same conduct in regard to models should not apply to musical composition. A plagiarism is one thing, a quotation or the interspersion of classical phrases is another. The great objection against variations is their want of variety, and till set forms are rejected, (they are now completely worn out) the objection

will remain. MR. BURROWES has not quite avoided these, but nevertheless he has so placed even passages that are hacknied, as to render them very agreeable. His work may therefore be recommended as easy, amusing, beneficial to practice, popular, and effective.

Theme, with Variations, an Introduction and Finale for the Piano Forte; composed by Richard Sharp. London. Goulding, D'Almaine, Potter, and Co.

Il Giorno felice; a Divertimento for the Piano Forte; by T. A. Raw lings. London. The Royal Harmonic Intitution.

We imagine the first of these articles to be the maiden production of one of the very numerous branches of the musical family of the same prolific and respectable name, and it is highly creditable to this young professor. It possesses the first of requisites-melody; and it has also fancy, feeling, vivacity, and good taste. It is more chastened from the mere remplissage which too often fills the mind of very young composers, than most early works, while it ventures to break the fetters of example, with the modest and proper ambition of one desirous to carry his attempt beyond the common boundaries, yet not less anxious to escape the danger of too bold and venturous a range. Such appear to us to be the general characteristics of MR. R. SHARP's performance.

The introduction we consider as amongst the least striking parts of the lesson, while we think the theme simple and melodious and expressive. The second and the seventh variations are very good, and the finale is animated and imaginative. With such recommendations, this composition has a title to a loftier place than belongs to the million of the short-lived novelties of the day, which are now so multitudinous that they perish by the mere pressure and aggregation of their own numbers.

MR. RAWLINGS is a tried man, and has produced a good many very agreeable things. This is of the same standard. It exhibits traits of simplicity and taste; and although some of the variations

are too formal-too much after the common-place routine, yet they are none of them vulgar. The theme is particularly pleasing, and more novel than is usual.

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The Harmonious Blacksmith, a celebrated Air by Handel, with entirely new Variations composed by Ignace Moscheles. London. By the Royal Harmonic Institution.

Capriccio for the Piano Forte, composed by Ignace Moscheles. London. By the Royal Harmonic Institution.

Three Heroic Marches, for two Performers on the Piano Forte, composed by I. Moscheles. London. Chappell and Co.

Few players ever made so strong an impression at once, as MR. MOSCHELES at the Philharmonic Concert last season. So decided indeed was his performance, that the profession assented by acclamation to his extraordinary merit. He arrived so late in the season that he can be yet said to have been but little heard by the English public, whatever may be known of his excellence in the more contracted private circles where he played. At the Philharmonic he naturally selected such a composition as might enable him to bring into view as many of the highest qualities of a finished artist as possible. Neither had his own works been much circulated in this country. From these circumstances it would necessarily happen that his peculiar style-the transcript of his mind and the reflection of his powers— might yet be said to be only partially observed and known. The musical world will therefore turn their regard with more than ordinary curiosity towards the writings of so eminent a performer, in order to discover and appreciate the particular bent and elevation of his genius.

The Harmonious Blacksmith is a theme of far greater celebrity than most of those adopted by English composers. Why this lesson is so called we have never been able to learn or discover, although it has been a frequent subject of our enquiry. The only conjecture we can form is, that it takes its title from the harmonious construc

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