478 
Thompfon’s complete Mufeum for the German 
Flute. 5s. Thompjon. 
This publication contains a familiar 
explanation of the firft principles of 
mufic; the graces, double-tonguing, and 
correct fcales and inftrugtions tor the pa- 
tent and other flutes, with additional 
keys. We alfo find a uleful collection 
ef ealy and favorite airs, and fome well- 
chofen duettinos in various keys, from 
Pleyel, Haydn, Hoffimeifier, De Vienne, 
Hook, Krafinfky, Cambini, and other 
eminent mafters. We are enabled, afzer 
a thorough perufal of the work, to re- 
commend it to the notice of all young 
practitioners on the German flute, con- 
fident that they will derive much neceflary 
information from the preceptive part of 
the book, and confiderable promt from 
the practical felections. 
€¢ Sleep ft or wak fi thou, Folly Shepherd.” A 
Glee jor three Voices. The words from Shakj- 
peare. The muficby M. P. Kirg. ts. 6d. 
: Goulding ard Co. 
We have frequently had occafion to 
apply the terms of praife to Mr. King’s 
initrumental productions, but cannot 
adopt the fame language while {peaking 
of his prefent vocal attempt. Marks 
of natural talent difcover themfelves in 
feveral places; but the whole is accom- 
anied with that awkwardnefs and ab- 
dence of addrefs which evince the want of 
hab# and experience in this {pecies of 
compofition. Thefe remarks, however, 
fhould not difcourage Mr. K. from future 
efforts, fince we do nct doubt but further 
practice will diminifh, if not do away, 
thefe obje€tions, and enable him to exhibit 
his genius with due advantage. 
«< Ob, hear a heplefs Orphan's Prayr,” a bal- 
lad, with an accompaniment for the Piano- 
Forte, compofed by W. Bingley, of St. Peter's 
Collego, Cambridge. 1s. Prefion. 
<¢ Oh, hear a haplefs Orphan’s pray’r,”’ 
prefents a pleafingly fimpie melody, and 
conveys the fentiments o: the words with 
an impreflive force. “Phe bais, we muft 
fay, might in fome inftances have been 
etter chofen ; and the air would, per- 
haps, have been {til} more interefting, had 
not modulation been wholly negleéted. 
6¢ The Horfe and the Wiaow,” Jung at the The- 
atre-Royal, Covent-Garden, by Mr. John- 
ftone. | The words by V. Dibden, the mufic 
compofed by J. Moorehead. 
Longman, Clenertiy and Co. 
What litle of melody Mr. Morehead 
has beftowed on Mr. Dibdin’s tong, (for 
the whole is comprifed in eight bars) 1s 
tolerably fanciful and charaéteriftic.— 
The verfes are tinged with a true vein of 
humour; and, in the hands of Mr: John- 
ftone, are pregnant with theatrical effect. 
Review of New MMéufical Piblieaions. 
[July 
Nawal Triumphs, an beroie fong in honor of the gal= 
lant officers and brave tars of Old England. The 
mific compofed by DAr. Yates. 1s. Rickman. 
This little air, though it has not of 
any diftinguifhed merit, poffeffes fome re- 
commendatory qualities. The bafs is, for 
the moit part, unfkilfully chofen, and the 
melody deficient in novelty ; yet we muft 
fay, that the paffages fucceed each other, 
with a natural eafe, and are, charaéteriftic 
of the fubjeét of the words. 
Three Ducts for the Piano-Forte, compofed and 
dedicated te Mrs. Overend, by J. G. Graeff, 
7s. 6d. Longman, Clementi, and Co. 
Mr. Graeff has, in his. prefent work, 
furnifhed juvenile pra&itiocners on the 
piano-forte with a colleétion of agreeable 
and improving exercifes. The feveral 
movements, while they are progreflive in 
execution, are calculated to relieve each 
other, and rife in their effe&t. The ftyle 
is fimple, yet artifical ; and while nature 
dictates the ideas, feience regulates the 
difpofition and enriches the harmony. 
6 Ally Croaker,” with variations for the Piano- 
Forte or Harpfichord, compofed by Dr. Arnold. 
1s. 6d. Skillern, 
Dr. Arnold has exercifed his fancy with 
much fuccefs in thefe variations. ‘This 
old and popular air, is, we muft confefs, 
particularly calculated for the ufe he has 
here made of it; and we muft alfo con- 
feis, that he has, in every refpeé, availed 
himfelf of the advantage. ‘The publica- 
tion comprifes fix variations: the firft 
two of which are in the fame time as the 
theme; the third, fourth, and fifth in 2; 
and the frxth in common time. The 
original melody is fcrupuloufly made the 
ground-work of every part of the do€tor’s 
fuperftruécture ;tand Ally Croaker,jthrough 
all the ingenious defcant with which it 
is here prefented to the public, continu- 
‘ally plays upon and claims the recogni- 
tion of the ear. 
‘¢ What has art with Love to do?” a new fong, 
fung at the Nobility’s Concerts. Compofed dy L. 
C. Nielfon. Is. Kolfe. 
This is a pleafing little ballad. The 
air is eafy and natural, and the fympheny 
and bafs difplay both tafte and judgment. 
Innocent Aimufentent, a Moral Song, for the ufe 
of Children, written by Dr. Watts, azd com- 
pofed by J. Ambrofe. Is, Riley. 
‘Lhe melody of this little produétion is 
charaéteriftically fimple ; and, like the 
words, calculated to attraé& and engage 
juvenile attention. The fong Mr. Am- 
brofe has here feleéted is, ¢* Abroad in the 
meadows to fee the young jambs.”" We 
underitand that it is his defign to proceed 
with thefe pretty infantile. exercifes; and 
that others will fpeedily be brought for- 
ward by the fame publifher. . 


