656 
Few puerilties, thefe volontaries are 
far above mediocrity, and not unfre- 
quently remind us ‘of the beautics of 
Stanley. We cannot difmifs them with- 
cut obferving, that there are feveral er- 
tata of the prefs, which, in a future 
edition, we hope to fee corrected. 
Four Sonatas for the Pedal Harp. The three 
frft with an Accompaniment for the violin. 
The laft with an Accon neaniment for the piano- 
forte, by G. G. Ferrari. 6s. Op. 16. F. Linley, 
No. a folk ori. 
Phe firft fonata of this fet, commences 
Ae a movement in 2 Azdaiztino, and to 
very engaging melody, adds a moving 
ne in fe miquaxers, which happily ac 
cords with the fimplicity of the Ae 
bhe fecond movement, a rondo in 3 Alie- 
is imocth and familiar in its 
dubjeét, and agreeably relieved. The 
piece opens with a paftoral move- 
ment in pS witn which, tor its eafy and 
fiow of air, we are much pleafed, 
te with the fucceeding rondo, 
where we difcover a happy fprighthnef{s 
of fancy, aided by) the judgment of a 
after, “The third and fourth compofi- 
tien’ we can {peak of togeth 2) becaufe, 
though not direétly Sade in their caft, 
the are equally excellent; the former 
g as confpicuous for its "elegance, as 
ch ae er for its novelty and animation. 
a he Gra 2 nd fourth of thefe pieces are 
rm ere ee they may be per- 
i on the pedal harp, or piano-forte, 
a 
formed oni 
and wall have goud efteét on either. 
Ms vith Mr. Ferrari’s ttyle of compofi- - 
general, we protefs onrk ch ‘es to 
be admirers, and by no means cut-ftep the 
bounds of qutice, when we fay that the 
merit of his prefent work, prominent as 
it may be, is but in conformity to ae 
genius which his former produétions 
Bye him to poffefs. 
A Second Set of Three Sonatas for the Piane- 
Foire or Harpiichord. Compofed, and humbly 
dedicated (by ote to Dr. Haydn, by 
T. Y. Haigh, Op. 7s. 6d. Culliford. 
Mr. Haigh, in his prefent publ ication, 
offers to us much that i to be pratfed, 
and fome aoe from which we cannet 
entirely withhold our ‘difappr cbation. 
‘Ehe, natural -charaéter of his music 1 
ebvicufly Engl/t, and if he were not 
tempted to an imitation of exotic beaviies, 
he would no doubt give a fairer and more 
ample iDiay to ne imagination. Ths 
errer, indeed. we have long lamented 
1 our countrymen, and have had the 
ain of feeing many an Enelifh mufician 
of talent, Gone d by a diventon! from 
what, perhaps, we may-not Lmproperly 
Review of New Mufic. 
4 
= 
_[Sept. 
term the con/ftiiutiona!l courfe of his ge~ 
mius. ‘The compofitions of the late Dr. 
Worgan,. as well as of feveral living 
matters, whom we could name, will ferve 
as infiances of the faét; whilft thofe of 
Arne, and Dr. Boyce, afford happy ex- 
ceptions. 
The fir& fonata confifts of two move- 
ments, the latrer of which, an ariacon. 
variaxione, is a palpable imitation of the 
favourite and popular air of Haydn, im 
A, and conduéted through four varia- 
tions, with much tafte and management. 
The fecond picce, which opens with an 
excellent Adagio in 4, contains “ a-cele- 
brated Air by Afioli, adapted as a ron= 
do,’ the added variations to which, by 
Mr. Haigh, are elaborate and elegant. 
‘Lhe third fonata has for tts fecond mcve- 
ment, a March a la Militaire, in which 
we find much charaéterittic ftyle, while 
the third and concluding movement, 
wilt is a fuperftructure raifed on the 
bafts of the old and po pular air, “‘ O rhe 
Roaft Becf of Gld England,” is variegated 
and worked imto an exce ent exercile for 
the piano-forte. 
A Slow March and a Quick March, for 2 
military band, harp, .or piano-forte, both 
humbly deaiencess by WW. Jones, to the earl 
of Rada ior; by H. B. Sckroeder.— Each price ts, 
Longman and Br oderip. 
Thefe marches, which form feparate 
‘articles, and w hich are Pope 2 in fcore, 
with a ditinét part for the piano-forte, or 
harp, pofigfs much merit. Their ftyle i is 
truly martial, and the former is as con- 
fmicuous for its dignified folemnity, as 
the latter for its vigour and animation. 
Mrs. Hamilton’s elegant Strathfpey, adapted 
with a new Bais and Variations, for the piano- 
Forte, by Themes Czfellow, Organift of Bed- 
ford Chapel. ss. 6d. Longman and Broderip. 
This little air, by the addition of Mr. 
Coftellow’s variations, forms an excellent 
feffon for the inftrument for which it is 
compofed. They are conceived with 
rafte, and fucceed cach other with that 
progreffive difficulty of execution, which 
adds much both to the effeét an nd utility 
ef this fpecics of mufic. 
The Sympathizing Sigh, compofed by %. 
een "7 BESeGns. E. Riley, Strand. 
The Sympathizing Sigh is a pleahng 
air, and not w hour confiderable merit 
in the impertant quality of exprejion. It 
has an Accompaniment, for the piano- 
forte, which is both eafy of execution, 
and improving to the eficét. 
*.* Publifhers of newo Mijical Pieces, are e 
“qucfted to tranfiit coftics of “rhe fame as early ae 
fjible, 
if ACCOUNT 
