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TO CORRESPONDENTS.

We have received several articles after that part of our
Magazine which contains the correspondence with the
Editor was closed and printed. They shall however have
due regard, particularly N.-F. W. H. and T. C. C. Nor
is the hint of Precentor lost upon us.

Notwithstanding our endeavours in this number, we are

still in considerable arrears, but we promise to do our

utmost to acquit ourselves of the obligations we thus ac-

I. ELEMENTS of Vocal Science

II. Remarks on Instrumental Composers-(Beethoven)

III. Musical Proprietorship

IV. Haydn's Canzonett

V. On the Means of giving an Opera to the English

VI. On the Philosophy of Musical Composition, No. 4.

VII. Chladni's Life and Traite d'Acoustique

VIII. On the Construction of Operas

IX. Stodart's New Patent for the Piano Forte

1. Sacred Melodies.-A Collection of Psalms and Hymns, com-

posed, selected, and adapted for Divine Worship, by Thomas

Bennett, Organist of the Cathedral Church, and the Chapel

of St. John the Evangelist, Chichester.

2. A Collection of Old and New Psalm Tunes, with Figures for

the use of those who have studied Thorough Bass; contain-

ing, among others, those which are sung at St. James's, West-

minster; selected and composed by J. F. Burrowes.

3. National Psalmody.-A Collection of Tunes, with appropriate

Symphonies, set to a Course of Psalms, selected from the

New Version by the Rev. J. T. Barrett, M. A. for the ser-

vices of the United Churches of England and Ireland; appli-

cable to the proper Lessons, Epistles, and Gospels.-The

Music harmonized, arranged, and adapted by B. Jacob;

with original Compositions by him, and several of the most

eminent Professors. To which are added, Chants for the

Te Deum, Jubilate, and other parts of the Morning and

Evening Service, with the words at length.

4. The Seraph.-A Collection of Sacred Music, suitable to Public

or Private Devotion; consisting of the most celebrated Psalm

and Hymn Tunes; with selections from the works of Handel,

Haydn, Mozart, Pleyel, and favourite English and Italian

composers-adapted to words from Milton, Young, Watts,

Addison, Wesley, Merrick, Cowper, Henry Kirke White,

Dr. Collyer, &c. &c.-To which are added many Original

Pieces, composed and the whole arranged for four Voices,

with an Accompaniment for the Organ or Violoncello, by

XI. Reply to Mr. J. B. Cramer.

1. C. F. Abel's Adagios, in Score; and J. B. Cramer's Specimens,

in the Fugue Style

XII. New Duets.

1. The Sisters, a Duet for two Performers on one Piano Forte; by

by W. H. Cutler, Mus. Bac. Oxon.

2. Fra tante angoscie, arranged as a Duet for two Performers on

the Piano Forte; by Aug. Meves.

3. Piu dolci e placide, arranged as a Duet for two Performers on

the Piano Forte; by M. Moss.

4. Cruda sorte, arranged as a Duet for two Performers on the

Piano Forte; by M. Moss.

5. Winter's Overture to the Labyrinth, arranged as a Duet for

the Piano Forte, with Accompaniments for the Flute and

Violoncello, ad libitum; by S. F. Rimbault.

6. Handel's Chorusses, arranged as Duets for two Performers on

the Piano Forte; by J. F. Burrowes. Nos. 1, 2, 3, 4 ..... 221

XIII. A Series of Quadrille Rondos (to be completed in 12 Num-

bers), the Subjects to be taken from the most popular Quad-

rilles; arranged by eminent Authors

XIV. A Morning and Evening Service, consisting of Chants, Te Deum

Laudamus, Jubilate Deo, Kyrie Eleeson, Magnificat, and

Nunc Dimittis; also twenty Organ Melodies, adapted to se-

lected parts of the Psalms of Dayid, and two Anthems; by

Charles W. Hempel, Organist of St. Mary's, Truro

XV. Judah, a sacred Oratorio, in Score; written, composed, and

adapted to the Works of Haydn, Mozart, and Beethoven,

by William Gardiner

XVI. The Songs, Duets, and Glees, in Shakespeare's Play of Twelfth

Night; the Words selected entirely from Shakespeare's

Plays, Poems, and Sonnets; the Music composed, selected,

and arranged for the Voice and Piano Forte, by Henry R.

Bishop, Composer and Director of the Music to the Theatre

Royal, Covent Garden

XVII. Two Capriccios for the Piano Forte, by Muzio Clementi. Op. 47 237

XVIII. 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

XIX. New Ballads

1. How sweet is the Hour; a Ballad, composed by George Goss.

2. O! came ye o'er the barren Moor; by George Goss.

3. A Nosegay once of varied Flowers; a Ballad, by Lewis Leoni Lee.

4. Dear Harp of sweet Erin; by Barnard Lee.

5. Mio Alma, Farewell; by John Emdin, Esq.

6. No dearer Moments e'er can flow; by John Barnett.

7. Take, oh! take those Lips away; a Song, by Pio Cianchettini 247

1. Ever true; a Duet, composed by John Emdin, Esq.

2. In Celia's Face; a Duet, composed by S. Webbe, jun.

XXI. Sixteen select Movements, in Score, from the classical Compo-

sitions of the ancient and modern Schools; for the Use of

Students in musical Composition; arranged with brief Re-

marks, Explanation, and an Appendix, by J. Marsh, Esq. 250

XXII. 1. Three Sonatinas, composed for the Piano Forte, by Joseph De

2. Montpelier, a Rondo for the Piano Forte, by William Fish.

3. Merch Megan, a favourite Welch Air, with Variations for the

Piano Forte, by Philip Knapton.

4. An old favourite Air, with Variations for the Piano Forte, by

W. H. Cutler, Mus. Bac. Oxon.

5. Thema, con Variazioni, by C. S. Cobham..

6. Fantasia, for the Piano Forte, on Di Tanti Palpiti; by Pio

XXIII. La Gazza Ladra, Melodramma in due atti; Die Diebesche

elsfer, von J. Rossini ...

XXIV. The Revival of Artaxerxes at Drury-Lane

I. On the Encouragement of English Musical Talent

II. Musical Proprietorship

III. Elements of Vocal Science

IV. On the Music of our Churches

V. Chladni on Acoustics

VI. Maelzel's Metronome

VII. On Organs ...

VIII. Mr. Collard's Patent

IX. The Terpodion

X. Messrs. Mori, Spohr, and Kiesewetter

XI. The New Musical Fund

XII. The Royal Patent Hand Moulds

XIII. A Dramatic Fairy Scene; the Words by Charles Hallett, Esq.

the Music composed by Tommaso Rovedino

XIV. Cramer's New Variations on Mozart's favourite Air, "Deh

prendi un dolce amplesso"

1. Fantasia, in which is introduced a favourite Air Russe, with en-

tirely new Variations for the Piano Forte; by J. B. Cramer 341

XV. A Dramatic Divertimento, in which is introduced Mozart's fa-

vourite Air of Gente qui é L'Uccellatore, and the grand March

from the Opera of Il Flauto Magico; composed by Augustus

1. My Lodging is on the cold Ground; a favourite Air, with Vari-

ations for the Piano Forte; composed by Augustus Meves 344

XVI. In Infancy our Hopes and Fears, an Air, by Dr. Arne; ar-

ranged and varied as a Divertisement, for the Piano Forte,

1. Le Garçcon Volage; arranged with Variations, for the Piano

Forte, by J. M Murdie, Mus. Bac. Oxon.

2. 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

3. The Silesian Waltz, composed with Variations, for the Piano

Forte; by Samuel Webbe

4. A Paraphrase upon Dr. Arne's celebrated song, "The Soldier

tir'd of War's Alarms," composed with an introduction, by

5. Chanson Russe variée pour le Piano Forte, par John Field .. 346

XVII. New Ballads

1

XVIII. The Nightingale; a Ballad, composed by C. M. Sola

1. O, that I could recall the Day; a Ballad; the Music by Wes-

ley Doyle, Esq.

2. I know you false, I know you vain; the Music by Wesley

3. An Invitation; written by Shakespeare; the Music by Wal-

4. O, smile not thus; composed by Charles Smith

5. The Miller's Daughter; an original English Air; the Words

by W. F. Collard; the Symphonies and Accompaniments by

6. 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

XIX. Select Pieces from Himmel's favourite Opera of Fanchon, ar.

ranged as Duets for two Performers on the Piano Forte, by

V. Novello, Organist to the Portuguese Embassy.-Books

1. Hope told a flattering Tale; arranged for two Performers on

the Piano Forte, by W. Bennett

2. Cease your Funning; arranged for two Performers on the

Piano Forte, by W. Bennett

XX. Introduction and an Italian Air, with Variations for the Piano

Forte and Flute or Violin; composed by Pio Cianchettini

1. Variations for the Piano Forte and Flute Obligato on the fa-

vourite Cavatina, "Di tanti palpiti; composed by H. Köhler 352

XXI. A Selection of Irish Melodies, with Symphonies and Accompa-

niments by Henry R. Bishop, and characteristic Words by

-Thomas Moore, Esq.-8th Number

XXII. Introduction, Fugue, and Canons; a Duet for two Performers

on one Piano Forte; composed by J. Logier...

XXIII. Pastorale Fantasie, and Variations upon the favourite French

Air, "Dans un delire extreme," for two Performers on the

Piano Forte and Harp; composed by C. N. Bochsa

1. L'Alliance, grand trio Concertante, for the Piano Forte, Harp,

and Flute; composed by N. Ch. Bochsa

XXIV. New Duets

XXVI. Laura; a Song, with an Accompaniment for the Piano Forte,

Horn, Flute, Violincello, and Double Bass, (ad libitum);

composed by Wm. Horsley, Mus. Bac. Oxon.

XXVII. New Imitations of eminent Composers, in Fourteen Variations

for the Piano Forte on a favourite Air of Rossini's; com-

posed by T. Latour, Pianiste to his Majesty

XXVIII. New Ballads

XXIX. A Grand Sonata; composed by Charles Neate; (opera 2.)

1. A Military Air, with Introduction and Coda; composed by

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