1799-] 
the chorus of priefts and priefteffes in the 
fame fcene, is taken from Sacchini; the 
chorvs, ** To thee be praife, O glorious 
fun,”’ is from the pages of Cherubini ; 
and the march, preceding the glee, is by 
Mr. Shaw. Of the melodies by Mr. 
Kelly, «‘ Fly away time,”’ and ‘© Yes, 
be mercilefs, thou tempe(t dire,”” are the 
mott pleafing: while, among the felected 
compofitions, “* Thou parent light,” 
from Sacchini, and the march from Gluck, 
poffefs the greateft degree of attraction. 
We cannot difmifs this article without 
obferving, that Mr. Kelly in his own 
mufic is not always fufficiently vigilant 
to avoid the violation of certain laws of 
harmony, nor, in every inftance, fo hap- 
py as we might wifh in his adaptations. 
The general caft of an air may be calcu- 
lated to exprefs the prevailing fentiment of 
the words to which it is applied, and yet 
require fome degree of tafte, delicacy, 
and addrefs in the compiler, to fit it to its 
new language and fituation, to fall in 
with the accents, and give the particular 
points of the author. Mr. Kelly, by at- 
tending to thefe hints, will certainly im- 
prove both as a compoler and feleétor. 
An Effay on Mufical Harmony, accarding to the 
Nature of that feience, and the principles of 
the greatef? mufical authors, by Auguftus Fre- 
deric Chriftopher Kollman, organif? of bis 
Majefty’s German Chapel, St. Fames’s. Dale. 
Our readers will recolle&, that our for- 
mer remarks on this ingenious and exten- 
five work, extended to the end of the ninth 
chapter, in which the author leads the mu- 
fical ftudent to the confideration of ca- 
dences perfect and impertect, interrupted 
and uninterrupted. Inthe tenth, he em- 
braces the fubjeét of modulation ; and 
treats this abitrufe province of the {cience 
much at large. Modulation, both natural 
and abrupt, as produced by paffing from 
major to minor, from minor to major, 
or by the introduétion of enharmonic 
changes, is fatisfactorily explained. In 
the tenth chapter he enters upon the con- 
fideration of time: and, after giving a 
general explanation of the terms ufed by 
muficians to expreis the particular cha- 
racter of each movement, he {peaks with 
a matterly intelligibility on meafure, both 
fimple and compound : and, in the fuc- 
ceeding chapter, takes up, as in its natu- 
ral courle, the fubject of rhythm, or that 
periodical order in mufical compofition 
which anfwers to number in profe, and 
metre in poetry. Chapters thirteen and 
fourteen treat of fimple and double coun- 
terpoint ; and contain many ufeful re- 
Review of New Mufical Publications. 
477 
marks on the counterpoint on the tenth, or 
third ; the twelth, or fifth, the double . 
counterpoints of the ninth, eleventh, and 
thirteenth, and on double counterpoint, re- 
verfe, retrograde, and reverfe retrograde, 
Thele topics, fo interefting to the real 
purfuers of {cience, are fucceeded by ufe- 
ful obfervations on imitation, in all its 
different kinds and effects ; and on’ varia~ 
tion, as it regards the fame harmony and 
melody, different harmonies to the fame 
melody, and different melodies to the fame 
harmony. After many ingenious and 
novel obfervations on fancy, both free and 
limited, Mr. Kollman enters upon his 
eighteenth and concluding chapter of his 
firt volume, in which he fpeaks with 
much learning and perfpicuity of the 
“€ antient ecclefiaftical modes.’’ Here he 
explains how every fcale deicends on the 
fame keys backwards ; furnifhes the 
reader with the antient names of the va- 
rious {cales and modes, and invettigates 
and proves the ufe of the antient eccle- 
fiaftical modes in modern compofition.— 
Our readers will percéive, by the multi- 
farious and ufeful fubjeéts which the pre- 
fent volume comprizes, how much may 
be expected from the fecond; and that the 
{pace we mean to devote to remarks oa 
the fubfequent parts of a work fo im- 
portant to the ftudious part of the mufi- 
cal world, will not be unprofitably oc- 
cupied. 
The Old Clothefmian, a Comic Opera, as performed 
at the Theatre-Royal, Covent-Garden, com- 
pofed by Thomas Attwood. 6s. Dale. 
Goulding, Phipps, and D’ Almaine. 
Mr. Attwood, in the publication of 
this opera, has thought proper, we know 
not why, to fupprefs the overture. The 
work, nevertheleis, occupies thirty-three 
pages, and contains feveral charming airs. 
«© Emblems of Frailty,” {ung by Mrs. 
Atkins, is beautifully delicate through- 
out; and ‘“¢ With rapture on its wing,” 
fung by Mr. Incledon, is elegantly con- 
ceived. With the fimplicity of ** Adieu, 
Oh! ye bowers,”’ fung by Mrs. Atkins, 
we are particularly pleafed ; but cannot 
fay that we difcover anv marks of the 
fame ingenious hand in the fucceeding 
glee; it lacks both air and contrivance. 
‘© The Wedding Day,’’ fung by Mr, 
Knight, is prettily imagined, and exhi- 
bits both judgment and fancy in its ac- 
companiment. The fucceeding duet, 
fung by Mrs. Atkins and Mr. Incledon, 
is a tolerable compofition; and the round 
which forms the finale of the piece is 
above mediocrity. 
Thanpion s 
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