62 
modates itfelf to the ftyle of the words 
with peculiar felicity. 
The original mufic in Macbeth, compofed b 
g $ f Ma 
Matthew Locke, arranged from the fcore, - 
and adapted for the piano-forte, by B. 
Facobi. 48. Liniey. 
We have long wifhed ‘that fome in- 
telligent mufician would undertake the 
prefent work. This excellent mufic of 
Locke has always attraéted the admi- 
yation of the public; but its beauties, 
from the form in which it had been 
printed, were inacceffible, except to the 
fcientine performer. In this. defirable 
talk, Mr. Jacobi has acquitted himfelf 
with great fuccefs. Some littl awk- 
wardnefles, we are well aware, will ever 
attend the compreffion of cores into two 
ftaves; but as dew of thefe as we could 
reafonably expeét, obtrude themfelves in 
the prefent undertakiag. 
Three Quartettos for a flute, violin, and violon- 
ceilo, compofed and dedicated to Dr. Haydn, 
by his late pupil, 7. G. Graeff. 8s. 
Linley. 
Mr. Graeff in thefe quartettos does 
= L 
honour to his mafter. The genius of 
the inftruments for which they are writ- 
ten, are well confulted, and their com- 
bined effect ftudied with fuccels. A 
refpectable degree of {cience, as well as 
-confiderable freedom of imagination, 
pervade the whole work, and recommend 
"itto ‘public notice. We are particularly 
pleafed with the frft and third move- 
ments cf the firft quartetto ; the fubject 
of the latter cf which (a rondeau) is 
original and firiking. The firft move- 
ment of the fecond is rich im its ftyle, 
and the whole of the third is attra€tive 
and mafterly ; efpecially the firft move- 
ment, which ranks w'th fome of the 
beft inftrumental mufic of the prefent 
times: 
New Guida di Mufica; or, a complete book of 
inftruétions for the piano-forte, on an entiie: 
“new plan: to which 1s added, forty. progref- 
five leffons, in various keys, compofed by the 
late Francis Sharp. 8s.  Prefton and Son. 
The exercifes given in this publication 
are fo imple, fo progreifive, and agree- 
able, as to imprefs us witha very fa- 
vourable opinion of the author, as a mu- 
fical tutor. We are only forry that he 
has not been more liberal as td the quax- 
tity of previous information. The pupil 
is introduced to the practice fomewhat 
immaturely. Somearticles of inftruétion 
are omitted, which certainly ought to 
precede pradiice ; and are, indeed, of 
fuch pofitive receffity, that no pupil can 
properly fit down to the inftrument 
Review of New Mufics 
[Jar 
without them. We particularly lament 
the total abfence of obfervations on “me, 
the grand qualification of mufical tuition, 
and without which, every other will be 
totally inefiicient. 
“ The Tar’s Sheet Anchor,” and “ When many 
beams the fky adorn,”’ two favourite ballads, 
the former fung by Mr. Sedgwick,-and the 
latter by Mafter Walfh, in the Charity Bov, 
compofed by Mr. Reeve. 1s. each, 
Longman and Broderip. 
The mufic of the «‘ Charity Boy,” 
though, not inthe grofs, of fufficient ex- 
cellence to fupport the piece, ftill exhi- 
bits fome few traits of talent ; of whiclr 
the prefent ballads are admiffible in- 
fiances. Both of them poffefs chararter, 
and are pleafing in their melodies. 
«T’Amour & Piyche ;” the favourite grand 
ballet performed at the King’s Theatre, 
Hay-market, compofed by 7. Mazzinghi. 
7s. 6d. Longman and Broderip. 
L'Amour © Pfyche (or Cupid and 
Pfyche) is divided into three aéts, to 
the firft of which Mr. Mazzinghi has 
prefixed a formal overture, in two move- 
ments, while the fecond and third com- 
mence with fhort introduétory fympho- 
nies. The feveral movements in each 
act are marked by numbers; by thefe 
numbers we fhall poimc out the moft 
firiking. of them: after the overture, 
which is afpirited and mafterly com- 
pofition, No. 2, firft attraéts our atten= 
tion :—this is a rondeau in 2, with an 
engaging fubje&, heightened by paffages 
of judicious and agreeable relief. No. 
5 is an elegant axdantino in 2:—No. 7, 
an a/icgro in 3, is ftrikingly novel in its 
effect ; and No. 8, an apgifaio in common 
time, Is calculated to convey with con- 
fiderable force the fenfations alluded to 
by the word prefixed to it: trepidation 
and alarm accompany every bar, and 
evince the genius of the compofer for 
fcenic mufic.. No. 1, inthe fecond a&y. 
is adance for the furies, and is admira- 
ly conceived, as to charaéteriftic effect, 
and at the fame time eminently fcien= 
tific: the occafional /enfos are beauti- 
fully introduced, and greatly enforce the . 
general furor of the movement. No. 3, 
a f{prightly movement in .§ allegro, 
is gay without frivolity, and regular 
without being formal. The fymphony 
by which the third act is introduced, is 
fhort, but affumes confequence from its 
merit. No. 1, 2, 5, 8, and 9, which’ is 
the finale, difplay a great degree of fan- 
cy, much maftery of execution, and 
thorough knowledge of ftage effect. 
STATE. 
