3795. | 
parts to great effect, particularly in the 
feventh, eighth, and ninth bars; from 
the twenty-fourth to the thirtieth, from 
the forty-fifth to the fifty-fecond, in the 
firft part of the firft movement, and in 
the bars anfwering to them in the fecond 
part. The fecond fonata, though not 
without evident marks ‘of ingenuity, is 
lefs excellent in its general ftyle than the 
firf, and contains fome paflages not per~ 
fectly correct. The accompaniment in 
the fecond bar of the firft movement, 
fhould, like that of the firft bar, have 
been in the harmony of the fundzinental 
Note, viz. By DB i not’ G, D, B, G: 
and in the feventh. bar, we have two 
confccutive oGfaves between the bafs and 
the upper part. The fecond movement ig 
more mafterly, and’iwith the {prightlinefs 
and novelty of the third, arondo in 5, we 
are much pleafed. The firft movement 
of the third fonata, is lively and {pirited, 
but yet, we muft ‘fay, fomewhat vapid. 
The fecond, a minuet, 2 vivace, is flow- 
ing and natural in its-fubjeét, and hap- 
pily relieved by ‘the éréo in the fourth of 
the original éey, and the concluding rondo 
is greatly, though not entirely, novel in 
its fubjeét. sie Ce 
Twelve Hymns, in Four Parts, the words 
from Lacy Huntingdon’s Collection, by ‘Fohn 
Frederi¢ Hering. 53. WPrefion and Son, 
The author of theft hymns informs us, 
that they“ are defiened as well for pub- 
lic as private ufe, and are cqually adapted 
for cotigregations or muficat focieties, and 
for a fingle voice,’ accompanied on the 
organ or piano-forte.”’ 
He alfo “ begs leave to fuggeft, that 
he flatters himtelf,.they may be found 
peculiarly ufeful to young praétitioners 
in thorough bafs, after they have attained 
the firft principles of that art; efpecially 
Where the air is to be retained, and the 
harmony to be ‘added under it. Jn this 
view, he fubmits them tothe judgment 
of mufical profeffors,’ and folicits~ their 
patronage and recommendation.” * 
It is'a circumftance worthy of remark, 
that there are fewer good compofitions of 
the prefent defcription, than of any other 
whatfoever; but whether the compofers 
of hymns are not infpired by the fubjeét 
of them, or by the ityle in which rhym- 
ing poets generally acquit themfelves; or 
Whether muficians of genius are not very 
prompt to employ their time in fuch ex- 
ercites ; however this may be, the mufi- 
eal art has never lavithed its ‘concord of 
tweet founds’ upon hymns; and even 
Review of New Mujic. 
Whitefield and Wefley, in order toravifh 
the ears of their cleé? and mfpired con- 
gregations, were frequently compelled to 
avail themfelves of the ‘ ceaul’s tunes.” 
The twelve hymns of Mr. Hering (al- 
though no ftriking exception to this gene- 
ral obfervation) in a few places, poffefs a 
tolerable combination of parts, and fome 
paffages not deftitute of melody, We 
ought to do Mr. Hering the jutftice to 
obferve, that his compofitions, with their 
little defeéts, are excelled but by very few 
of the fame kind, and that, therefore, 
thofe who are devotedly attached to 
hymns, will do well to purchafe them. 
Ten Volontaries, or Pieces, for the Organ, in 
aneaty and familiar ftyle, for the praétice of ju- 
venile performers, equally adapted for the church 
or chamber organ, with dirc&ions for the ufe 
of the ttops, by onas Blewitt. 78. 6d. Culliford. 
Mr. Blewitt, in his.ereface to: this 
Work, obferves, very julily, upon the 
fcarcity of organ mufic, fufhciently fami- 
liar for the practice of juvenile performers, 
and its ufual deficiency in directions for 
the proper ufe of the /? ps, which are fre- 
quently entirely omitted. The want of 
thefe directions are certainly, to ufe his 
own words, ‘very embarrafling to young _ 
performers, who may often be liable to 
ufe improper /fops, and from their want 
of experience how to blend and unite 
them properly, muft deftroy the effe& of 
the beft mufic ever compofed for the 
organ.” 
The plan on which thefe volohtaries 
are offered to the public is, we mnfi al- 
low, well calculated to aniwer their pro- 
feffed purpofe ; proper dire€tions for the 
Jiops are prefixed to each piece, and fome 
general and ufeful information for the 
management of them, as to their varia- 
tions and mixture. : 
With refpeéct tothe compofitions them ~ 
felves, we are much pleafed, after an 
attentive inveftigation, to be able to give 
a recommendatory account of them. 
They are, for the moft part, given ing 
ftyle which evinces a thorough acquaint— 
ance with the inftrument for which he 
writes, as well as of a practical know- 
ledge of what is proper to put into the 
hands of young performers. In a work 
af this kindy we do not look for much’ 
feience; yet there are fome few paffaces, 
which ferve as hints that Mr, Blewitt 
is a theoretic mufician, whilf&t he has 
given us many others which prove his 
livelinefs of fancy, and ability of ar- 
rangement. In a word, abating fome 
IES ease oat : few 
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