1798.] 
ations upon what may be termed the 
ground air, run with great fweetnefs and 
fluency, and without deferting the fub- - 
ject, produce a variegated ang florid ef- 
fect. 
The Suffex Fencibles, a march, with fix new 
country dances, arranged for the piano-forte. 
Is. Preffon. 
The Suffex Fencibles is a lively move- 
ment in L. 6, } allegro. By our view of 
it, in its prefent form, we fhonld judge 
that it potfeffes great merit in the {core. 
The paffages marked to be given by the 
trumpets, horns, and oétave flutes, are 
particularly adapted to the genius of thofe 
- inftruments, and exhibit much intimacy 
with the bead. 
Tom and Dolly ; a cantata, written by Peter 
_ Pindar," E/g. compofed by Theodore Smith. 
s 
‘Though we cannot greatly praife this 
production in the aggregate, we yet 
think fonae parts of it are conceived in'a 
ftyle much above mediocrity, and that a 
fubject lefs vulgar would have drawn 
ftronger marks of genius from the com- 
poler. ‘That there is fome degree of 
humour, we are tree to acknowledge, but 
the melodies want originality, and the 
concilenefs of the words are not compen- 
fated by that force of effect, that lively 
impreflion and furprife which alone can 
render fuch a mean caft of writing ad- 
miflible among hearers, with any preten- 
tions to tafte. The laft air but one, 
«¢ Dear Thomas, I pity thy love,”’ is by 
much the beft part of the compofition, 
and evinces a refinement of conception 
greatly above the taik of {etting to mufic 
words fo wretchedly low as thofe of Tom 
and Dolly. 
Quintetto for the piano-forte, violin, flute tenor, 
and violoncello, compafed and dedicated to Wil- 
liam Ottley, E/fg. by M. P. King. 45. | 
Goulding. 
Mr. KING has evidently exerted him- 
felf in the compdfition of thefe fonatas. 
A certain -air of elaboratenefs runs 
throughout them, and heightens the ef- 
fect of that ingenuity which difcovers it- 
felf in many parts of the work. The dif- 
pofition of the paffages is judicious, the 
execution almoft throughout very improv- 
ing to the practitioner, and the accom- 
paniments are arranged with the {kill of a 
real mafter. Though each of the feveral 
inftruments are principal in turn, their 
notes being given in the piano- forte part, 
in fmall characters, the pieces are per- 
feétly practicable with the latter inttru- 
ment only, and are capable of much ef- 
feét, without thofe parts which feem to 
form the accompaniments. 
Review of the New Mujic. 
135 
A Mufical Grammar 3 or the Ten Parts of 
Speech, campofed by Mr. Carey. The words 
by Georze S. Carey. 2s. Goulding. 
The idea of converting the grammati- 
cal rules into a mufical exercife, whether 
it originated in the poet or compofer, was 
a very happy one, and is a powerful 
“recommendation to the prefent work. 
Molt of the airs, confidering the dryne{s 
of the taik of accommodating melody to 
fuch a fubjeét, are hit off with much fuc- 
cefs, while due employment is found for 
both the hands. The recitatives form a 
pleafing relief to the airs, the accompa- 
niment is managed with addrefs, and the 
whole affumes a refpeétable and laudable 
ftyle. 7 . 
A Firft Set of Six Duertos, three for two violins, 
and three for twe German fiutes, or violins, 
compojed in an ealy fiyle for the ufe of beginuersy 
y Thomas Wright, 55. Goulding. 
hefe duets are fhort, and in their 
ftyle perfectly anfwerable to the title page. 
Indeed, though very pleafing, and far 
from uninterefting, they are fo extremel 
familiar, as to be calculated for the im- 
provement of the youngelt beginners. 
The rondeaus of the firft and fecond piece, 
and the whole of the third, form the 
fuperior parts of the publication; and the 
canon in the eighth below, is both in- 
genious and attractive. 
Tbe Vine; or the Origin of Mirth, a Bacchana- 
Lan Song, written and compofed by J. Moulds. 
IS. Prefion. 
This little air is chara&terized by.much 
{pirit, and fome degree of novelty. The 
violin part which accompanies it is con- 
ftructed with judgement, but the bafs is 
not always well chofen, nor do the paf- 
fages flow into each other with that eafe 
and nature which is the firft quality of 
good melodies. 
Eight Songs, four Duets, with an Accompani- 
ment for the piano-forte, or pedal harp, dedi- 
cated ‘o Mrs. Auftin, by J. A. Stevenfon, 
M2.) nos: 6d: _ Longinan and Broderip. 
An uncommon degree of fancy, tafte, 
and expreflion, are difplayed in. thefe 
fongs. Among the numerous compofi- 
tions of this fpecies, fo few take a really 
refpectable rank, that we naturally feel 
an increafe of pieafure from the great com- 
parative merit with which we are ftruck. 
The firlt fong, ‘* Love to madneéfs,”’ is 
ftrongly expreffive, and a fweetly plain- 
tive effect. refults from the tender ftyle of 
the fecond, ‘* Marian’s Complaint. 
The melody of the third, entitled «* Sum- 
‘© mer,’” is conceived with great tafte, 
and the accompaniment, particularly at 
the repetition of the word ‘ frolics,”’ is 
happily managed. ‘The fucceeding fong, 
‘s The 
> 
