310 FINE ARTS. 



point of the ecclesiastical composers is rich in melodies simultane- 

 ously progressing and leading to one common end ; it has been re- 

 served for modern times to produce graceful melodies which the ac- 

 companiment only serves to sustain and relieve. It is the combina- 

 tion of the two styles which constitutes the charm of Mozart's writ- 

 ing. He begins with a theme accompanied with the simplest har- 

 monies, but his fertile fancy soon suggests other melodies fascinating 

 as the first, with which they are artfully interwoven, and which 

 lead him naturally and gracefully into the most distant keys. Now 

 they are bedecked with all the luxuriance of modern ornament ; 

 now subside into choi'al-like gravity. Does any one thought seem 

 to usurp precedence, others speedily assert their claim to admiration- 

 Above all, whether he revels in chromatic intricacy, whether his 

 mood be plaintive or joyous, he is ever easy, natural, and uncon- 

 strained. Every note bears the impress of flowing from the heart; 

 nothing is laboured, nothing constrained. 



Of the compositions before us, beautiful as they all are, our space 

 only permits us to notice three. No. 2 in Bi' consists of a largo, an 

 allegro and audantc, and an allegretto, each excellent in their way ; 

 but the andante, with its mysterious modulations, is our favourite : 

 tiie violin part (obligato) is admirable, and within the compass of a 

 moderate performer. We know of no greater inducement for ama- 

 teurs to cultivate this wonderful instrument than the enjoyment 

 which, in domestic performance, they may give and receive by con- 

 tributing their share to the production of these charming composi- 

 tions. No. 3 is a fantasia and sonata, both in C minor, and in the 

 sombre and plaintive style peculiar to their author. Familiar as we 

 have long been with these compositions, every successive perusal 

 developes new beauties. No. 14, a rondo in A, is a complete no- 

 velty to us ; it is not to be found in our foreign edition (Simrock, 

 at Bonn), and we believe it has never before been published. 

 Sparkling, gay, and brilliant, it forms a striking contrast to the 

 work just noticed, and serves still farther to illustrate the extraor- 

 dinary versatility of the composer. The mechanical difficulties 

 which it contains will easily be surmounted by any one who has 

 played Cramer's studio. 



We must now reluctantly conclude our notice, but not, however, 

 without sincerely thanking the spirited publishers and the talented 

 ai'ranger for the pleasure they have afforded us. Messrs. Coventry 

 and Hollier will be immortalised in the annals of musical art, by 

 having dared to outstrip public opinion in the publication of Sebas- 

 tian Bach's sublime organ studies. They have now increased their 

 claims on our gratitude by jiresenting to the world, in an elegant 

 form, the chefs d'ceiivres of one of the greatest of piano-forte com- 

 posers. That their eflbrts may be repaid by success, and that these 

 enchanting works may find a place on every piano and resound in 

 every drawing-room in the land, must be the sincere wish of all 

 true friends of music. 



