62 
are enforced with examples, fo numerous, 
and fo particularly appropriate and happy, 
as at once to fanétion his doétrine and 
evince a judgment regulated and matured 
by an extenfive acquaintance with the 
works of the beft compofers and theoreti, 
cal authors, both foreign and Englith. 
S¢ Hence, avaunt, ye Foes of Mirth!” fung at 
the Public Concerts. Compofed by LC. Niel- 
fon. 15. Rolfe. 
This ballad, we are obliged to fay, con- 
fifts of little more than an awkward af- 
femblage of common-place ideas. It 
confequently forms no melody of cha- 
ra€ter or meaning. In a woid, the whole 
is infipid and empty ; bufy without being 
fpirited, and volatile without being gay. 
Three Sonatas for the Piano-forte (with or with- 
out the additional Keys) with an Accompani- 
ment for a Violin or Flute; in which are in- 
traduced fome favourite German Aus. Com- 
pofed anddedicated to Mifs Charlotte Wrottefley, 
by J. L. Hoberecht. 7s. 
Goulding, Phipps and D? Almaine. 
Thefe fonatas are written in a finifhed, 
yet familiar, fyle. The paflages, for the 
moft part, lie remarkably weil for the 
hand, and are greatly calculated to im- 
prove the finger. The firft piece is a 
$* Sonata 4 la Militaire,’” and comprifes 
three movements, the latter of which af- 
fumes the form of a rondo, and is pleafingly 
imagined. The fecond fonata is mott 
agreeably various and fanciful. The in- 
troduétion of the pathetic ** Germain Air,” 
relieved as it 1s by the beautiful rondo in 
2-4 allegretto, is replete with effect, and 
evinces the tafte of the compofer. The 
third piece, after a lively and fomewhat 
brilliant movement in 6-8, introduces 
another ‘* German air,’ the melody of 
which ferves as a theme to five excellent 
variations. With the fubjcét of the tuc- 
ceeding rondo we are not particularly 
firuck ; but the digreffions are admirably 
managed, and conclude the work in a 
ftyle much io the credit of the compofer. 
No. 7 of Guida Armonica ; or, Introduéion to 
the general Knowledge of Mufic, Theoretical 
| and Pradiical, in two Parts; the firft Part, 
confifting of Sonatas, Airs, and other Pieces, 
Sor ihe Piano-forte, with the neceffary In- 
fruGions for Hingering and Expreffion. The 
fecond Part, contaizing Effays on the feveral 
‘Branches of the Sciences; oy J. Relfe. qs. 6d. 
$0 Skillern. 
The prefent number of this uleful 
work, afer a fonata, conifting of four 
movements, prefents to the mufical fu- 
dent fome neceflary hints refpeéting the 
sntervals, per fed and imperfed, major and 
Review of New Mufical Publications. 
[ Auguft 1, 
minor, lays down the progreffion of har- 
monies from fimple to compound, and 
gives achart of all the original harmonies 
ufed in compofition, with the fignatures 
or their roots and inverfions. We have 
long fince furnithed our readers with the 
{cope and tendency of this work, accom- 
panied with our high opinion of its uti- 
lity and claim to public notice; we now, 
therefore, have only to fay that the exe- 
cution continues to keep pace with the 
excellency of the plan, and that much in- 
difpenfable information may be reccived 
from its ftudious perufal. 
‘* My Heart with Foy is thrilling,” a Duetto; 
with an Accompaniment for the Piano-forte, 
Written by Mr, Rannie. Compofed and dedia 
cated to Mis Eliza Shene, by John Rosy 
Organift of St. Paul’s, Aberdeen. Is. 
Longman, Clementi, and Co. 
The confiruétion of this duetto is ex- 
tremely inartificial, almoft wholly con. 
fitting of ‘birds. However, excepting an 
inharmonic paflage in the firft bar of the 
third page, and which is repeated in the 
ninth bar of the fame page, it is tolerably 
free from theoretical defeét, and by its 
melody is calculated to pleafe the unfcien, 
tific hearer. 
Three Duetts, Concertants, for two Violins. 
Compofed, and dedicated to Mr. and Mrs. 
Chinnery, by J. B. Viotti. 7s. 6d. 
Longman, Clementi, and Co. 
Mr.aViorti has difplayed the real maf, 
ter in the conttru€tion of thele duetts. The 
parts blend and entwine with much art 
and contrivance, and the ideas are in ge- 
eral novel aod playful. The firft piece 
opens with a fhort itroduzione adante, 
which is followed by a movement in com- 
mon time, of much animation and viyacity. 
The adante fimplice, which fucceeds it, 
is tender and elegant, and the concluding 
movement conceived with fpirit. The 
fecond duett commences with a bold and 
energetic movement in L minor, charm- 
ingly relieved by the fucceeding andanie 
in the major; and the minueitto which 
concludes the work is elegant, fanciful, and 
impreffive. 
$¢ Mary's Tomb,” a favourite new Ballad. 
Compofed by Mr. Fifin. The Words by Geor 
Saville Carey, rs. 
Longman, Clementi, and Co. 
‘© In Mary’s Tomb,’ we find neither 
melody, fentiment, nor rhymth; and the 
only propriety we difcover in the bafs is, 
that it accords with the infipidity and un. 
fcientific contruction of the treble. -The 
words, though not of the firit order of 
merit. 
