Review of the New Maufic. 
‘The Naval and Military Gentleman’s Com- 
“plete Mufical Compendium, arranged for 
the piano-forte, with an accomp2nyment 
for a flute or violin, or as duets for flutes 
and violins. Rolfe. 
Number I. of this military collection, 
contains the march in Evelina, a march 
in honour of the Britifh fcamen, a quick 
ftep and a march in honour of Admiral 
DuNCAN. With the firft article the 
public are already acquainted, and of the 
Others we are enabled to fpeak in com- 
mendatory terms; and if the lucceeding 
numbers are compiled with the fame at- 
tention and {kill, do not doubt of its be- 
ing found an acceptable , publication 
amongtt the gentlemen of the an my 
‘Twelve Divertifements, for the piano-forte 
and pedal harp, with an Accompaniment 
for two French horns and tamburino, ad 
libitum, compoled and dedicated to Mrs. 
EGerton, of Oulton, by 7. G. Ferrari, 
tos. 6d. op. xi. Longman and Broderip. 
It was with confiderable pleafure that 
we perufed this eleventh work of Mr. 
Ferrari. It is compofed ina ftyle high- 
ly i improving to the young practitioner, 
and a fri& attention has ‘been beftowed 
on the joint-effect of the primcipal with 
its accompaniments. The horns are 
employed with great judgment, and the 
introduGtion of the tamburino is novel 
and ftriking. At the end of the Bani 
cation we Pd an explanation of the 
terms and characters neceflary to be un- 
derftood by the performer on the tambu- 
rino ; fuch as the fingle travale, the dou- 
ble travale, the flamps, the iemi-flamps, 
the single parts, and the ba/s. 
An Overture, for the piano-forte, in com- 
memoration of his majefiy’s proceffion to 
St. Paul's, Seda and infcribed to his 
mayefty, by D. Steibelt: 35. ° 
‘Longman and Broderip. 
We have walked over the ground of 
the late thow with Mr. Steibelt, and find 
thar the compofer has attended to all the 
minutie of the ceremony with all the 
avidity. and curiofity of majefty itfelf. 
He fir wakes the king with “ the crow- 
ing of the cock,”* then falutes him. with 
« the chirping/of the birds”? at the dawn- 
ine of the joyful day, give him ‘ the 
arrival. of the military inm.town,” the 
parade of “ the French, Dutch, and 
Spanih colours,” and<* the entering St. 
Paul's.” | In thefe and other particulars, 
fo fat'as thejr defcriptions lic within the 
prov ince of found, the Rpone has fuc- 
ceeded ; cfpecially in the crowing of the 
cock, and the chir ping of the birds, the 
witations of which are frikingly, true, 
137 
ad evince a clear and lively conception: 
The triple quavers and flight of afcend- 
ing notes, in the movement given to the 
-church ceremony, we ‘do not confider as 
perfetly appofite to the occafion; nor 
do we think the finale calculated to fup= 
port the dignity of idea arifing from the 
previous movement, taken fr om Handel’ $ 
celebrated Coronation Anthem. 
No. II. of Guida Armonica; or, An Intro- 
duction to the General Knowledge of Mu- 
fic, Theoretical and Praétical, by T.Relfes 
4s. 6d. Longman oa Broderip, 
Of the firft number of this ufeful and 
ingenious work we fpoke in a former‘re- 
view, and find that the fecond number 
merits the centinuance of our approba- 
tion. ‘The whole plan is a. dii~ 
tinguifhed by its novelty, and the execu- 
tion on the minor feales, the harmonic 
circle, and the comparative view of the 
major and minor moods; the latter of 
which is placed in a'clearer light than in 
any tormer publication that we e have feen. 
But, although we agree with Mr. Relfe, 
that thefe fy! thems are only firiple deduc- 
tions from natural principles of refonance, 
yet we mui differ from him when 4“ 
-aflerts, that each o¢tave contains within - 
itfelf all the materials for producing the 
ftriking’and varied effects refulting from 
mufical harmony. It is true that the 
notes of any one octave reprefents the re- 
lative diftances of thofe of every other 5 
but fince the ogtaves tlaemfelves take dif- 
ferent {tations in the great fcale of founds, 
forming, as it were, different ftories in 
the fame fabric, ftories varying in their 
materials juft inafmuch as they differ in 
their locality, can they juftly be faid to be 
exactly replica tes of each other? Are the 
tones of the feveral oCiaves alike? Can 
the oftave which has double C for its 
loweft note, be compared in its materials 
with that which lies above © in alt? 
‘The ‘materials of each are arranged in 
the fame order, but are thofe materials 
the fame ? Can the effe&ts of one be com-= 
pared with thofe of the other? How then 
can the manifold effects refalting from 
the various powers and qualities of nu- 
merous octaves be produced by the tones 
of one? We know that the common opi- 
nion countenances that of Mr. Relies 
but numbers give no validity to error, 
and‘therefore we do not f{cruple to infift 
that the different oftaves have diftiné 
characters, and that it is from their di- 
verlity in ftation.and tone that the judi- 
cious and ingenious mufician derives 
half the powers of his arte 
¢é OF 
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