FINE ARTS. 



311 



A SliuVo for the Organ, exemplified in a series of exercises in the 

 strict and free styles, intended as voluntaries for the use of orga- 

 nists. By Samuel Wesley. No. 1. London : D'Almaine & 

 Co., Soho- square. 



To call that a " studio for the organ" which any one capable of 

 performing Bach's works for that instrument could play at first 

 sight, is, to say the least of it, an amusing piece of self-conceit. 

 Such, however, is the case with the present Studio, in which, if 

 there is notliing for even an ordinary performer to study, there is 

 still less for the scientific musician to admire. An introduction, 

 consisting of passages exceedingly simple and not very new ; and a 

 fugue such as any one acquainted with the rules of composition 

 might produce by the dozen without any remarkable stretch of 

 thought, and as any one who has got over the first mechanical diffi- 

 culties could play at sight : such is the composition of the first 

 number of this studio by the "English Sebastian Bach." Unless 

 what is to follow be infinitely more worthy of admiration and of 

 study, how woefully have the public been deceived by those who 

 have — we cannot conceive for what reason — endeavoured to raise 

 the reputation of this composer so greatly above its just level ! 



Three Romances for the Pianoforte. Composed by William Stem- 

 dale Bennett. 



Three Musical Sketches for the Pianoforte, entitled the Lake, the 

 Mill-stream, and the Fountain. By the same. London : Co- 

 ventry & Hollier. 



These are the only works of this young composer that we have 

 as yet seen, and they make us desire a further acquaintance with 

 the products of his genius. The character of both is nearly the 

 same — romantic and tasteful, perhaps even poetical, without any 

 particular display either of originality or force of thought. Sketches, 

 as a title, appears to us inappropriate. They are rather highly-po- 

 lished miniatures, betraying something of labour in their composi- 

 tion, and hence, perhaps, wanting in that vigour and breadth of 

 effect which should distinguish the sketches of the master. Mini- 

 atures or sketches, however, they are pleasing, and at the same time 

 give promise of higher achievements. 



L'arl de la Fugue. Par Jean Sebastien Bach. 'A Paris : chez 

 Richaut, Boulevard Poissonierc. 



We regret sincerely that it is out of our power to notice an Eng- 

 lish edition of this unique master-work, but none such, we shame 

 to say it, exists. As a practical treatise on the art of fugue it is 

 wortli all the theoretical that ever were written, and contains finer 

 specimens in this style than have ever been given to the world by 

 any other composer. Wc cannot do better than describe it in For- 



