+ 
16C0.] 
‘intermixed. The gavotto, after the plan- 
"ter joins the lover’s hands, is airy and new, 
and moft agreeably diverfified by the intro- 
duStion of the horns at the preparation for 
afhocting party. ‘* The fhooting party 
difcovered,”’ and the following movement, 
are lively and attraétive 5 the quick march 
at the exhibting the proclamation, is in a 
ityle both free and enegertic, and the finale 
to the firft act, opened by Mrs. Mountain, 
is pleafingly variegated both ini's time and 
paflages. ‘* My Cruel Love,” fung by Mis. 
Mountain, is afweetly fimple little baliad, 
aod the fucceeding movement ‘rom Haydn 
is judicioufly introduced. With the light 
charaéteriftical ityle of ‘* A lady in fair Se- 
ville city,” funz by Mifs De Camp we are 
extremely pleated. “The allegro move- 
ment, when Jack padlocks the door, is 
agreeable and appropriate; and the wiwace 
after Rola burtis the rope, is chearful and 
fimple. The movement, when Jack wakes 
in a fury, is highly dramatic; and the pa/- 
orale, when Jack is difcovered on the top 
of the rock, is {mooth and flowing: the 
ly analogous to the fcene; and the fizale, 
tounded om a movement in the Battle of 
Prague, is felected with that judginent in 
effeét which fo firongiy marks the sout- 
enfemble of this well imagined and defery- 
edly popular produ€iion, \ 
the modern Italian Methed of Singihg, with a 
y grleanigh preg reffive Examples, and thirty fix 
dclfeggi, by Siy, D.G Afri. rc} 6d. 
Broderip and Wilkinfon. 

Ld 
This is one of the beft publicitions on 
the fubject of finging that has hitherto ap. 
peared in this country. Befides the /o/- 
Feggi, or voice exercifes, which gre fo con- 
firuéted as to lead the puoil fdrward by 
the moft eafy and imperceptible degrees, we 
find copious directions for forming the voice, 
acquiring the crefcendo diminuendo (hake, 
and other graces and qualifications necef- 
fary to the finging with tafte, execution, and 
expreffion. But among the variousrules, 
which confit of no fewer than twenty-one, 
no one is more important to the practitioner 
than the ninth, in which the ingenious au- 
thor lays it down as a law ‘* never to 
force the voice, in order to extend its com- 
pals in the voce di petio upwards ; but 1a- 
ther to cultivate the voce di teffa in what is 
called falfetto, in order to join it well and 
imperceptibly to the woce di petto, for fear 
of incurring the difagreeable habit of fing- 
ing in the throat, or through the nofe,— 
unpardonable faults in a finger.”” Thefe 
faults indeed are fuch powerful drawhacks 
that no excellencics can counterbalance or 
Review of New Mufical Publications. 
oa! 
compenfate for them, and all the other 
rules contained in this judicious and ufe- 
ful publication will be tiudied ‘o little ef- 
fect; if this important one be neglected. 
A Colle&ion of celebrated Airs, with V. ariations, 
for the Harp. 7s 6d. Broderip and Wilkinfon. 
Thefe airs, which are worked into three 
numbers or pieces, form fome of the moft 
elegant and ulcful exercifes for the inftru- 
ment for which they are profeffedly arran- 
ged, thathave for a long time come under 
our infpe@tion, The firft in the colle&tion 
is La Pipe de Tabac, which, after a fhowy 
variation leads us to an Air du Barbier de 
Seville, from which we pafs to the Vaud- 
wille de Figaro, with a well managed vari. 
ation, the theme of which is chiefly fuf- 
tained by the bafs. A qwaltz, anallegret- 
fo, and a romance, together with the re- 
newal of the air with which the piece 
opens, form the remainder of No, I. and 
produce a conclufon of the moit excellent 
effect. -No. II. confifts of a romance in 
two-fourths, with ten variations, in which 
combat between Jack and Quathee is high. - 
we fing fome very brilliant and improving 
execution. No. I1f. commences witha 
pleating theme in two-fourths anzdanie, 
with ten variations, tollowed by a lively 
and esgaging movement in fix-eighths a/- 
legretto, judicioully relieved and variegated 
wiih florid and ttriking digreflions. We 
cannut quit this article without obferving, 
that, taken in the aggregate, it forms 4 
mot admirable colle@tion of harp mufc in 
the way of fonatas, and is highly worthy 
of our bef recommendation. 
Lhe Stormin Harve. The Idea taken from Mr. 
Weftalls Drawing on that Subj eé&. Compofed 
and inferibed to Mifs Coarlorie Allix, by S. F. 
Riméaalt. 3s. Thompfon. 
The ‘* Storm in Harveft” confits of 
four movements, all of which we find judi- 
cioufly adapted to the feveral parts of the 
fubject they are meant to exprefs.. The 
fiift movement in common tine, allegro, 
is natural, eafy, and pleafant, and the fe- 
cond, which is a Sreiliana, in the minor 
of the origiaal key, 18 chalte and fombre in 
its ityle, and introduces the approaching 
tempelt with a powerful effect, which is 
fill heightened, and brought to its acme 
in the preceding movement. “The accom- 
paniment for the piano-forte is asranged 
with judgement and fpirit, and adds much 
to the excellence of the compolition. 
Three Duets for two Performers on the Piano-forte. 
Compafed by WA, Mozart. 105. 6d. 
Broderip and Wilkinfor. 
he finifhed and florid ftyle of the’ 
ductts 
