56 
; TO A FRIEND. 
On the Sight of a Ladys Portrait. 
H APPY the pencil that from time fhail 
fave, 
What Youth and Nature to thy Hannah gave ; 
And oft refleét as with a mirror’s art 
The image piftur’d on her lover’s heart : 
Wet happier talk the femblance to pourtray, 
OF Virtue rob’d in Wifdom’s bright array ; 
Review of New Mufical Publications. 
[ Feb. Ey 
Studious the fubjeé& tracing, fill to find 
Some undifcover’d beauties of the mind. 
Then te—my P—~—! a painter too : 
May years approve what young afteétion 
drew 5 : ee ey 
Till age’s fuber judgment well combine 
With love mature to aid the fair defign 5 
And paint in colours glowing from the life, 
What Senfe and Virtue give to grace a wife. 
ate Re 

REVIEW OF NEW MUSICAL PUBLICATIONS. 
s 
A Concife Introduction to the Art of Playing the 
Ficleacelloy including a fhort eafy Treatife on 
LMujic. To which is added, thirty Progreffive 
Leffins. By Jofeph Reinagle. %s. 
Goulding, Phipps, and D’ Almaine. 
Wre have perufed this didaétic publica- 
tion with much fatisfaétion. Seldom have 
we feen fo much information comprifed in 
the fame compafs. The author fuppofes 
his reader a fro in the art he is about to 
communicate, and omits nothing that is 
neceflary to be explained. After laying 
down the firft and general elements of mu- 
hic, he proceeds to ‘* the holding of the 
violoncello, the pofition of the hand, the 
holding the bow, the Gowing ;”’ and after 
a variety of exemplary exercifes for the 
pojitions, gives the fingering of the twenty- 
four fcales; leffons for the ufe of the 
thumb, elucidations of the chromatic and 
diatonic fcales, a table of pofitions, and a 
ditionary of the terms commonly ufed in 
mufic. All thefe particulars, and every 
requifite intelligence, are fo clearly ex- 
plained, and fo judicioufly arranged, as to 
infure much and f{peedy improvement to 
the young practitioner, and to authorize 
our recommending it to the perufal and 
ftudy of every one who wifhes to become 
accomplifhed on that manly and charming 
inftrumenc the violencello. 
Harmonia Sacra, being a Colle€tion of anthems, 
from the beft and moft approved authors, an- 
cient and modern, Selected and arranged by 
john Page of St. Paul’s Cathedral. 
This refpeétable and elegant affemblage 
of cathedral compofitions has, at length, 
reached its ninetieth and laft number. 
Aciter feduloufly perufing the work, from 
the anthem-of P. Arnold, with which it 
commences, to that of Mr. Bufby, by 
which it is concluded, we have the plea- 
fure to find ourielves authorized in faying, 
that it forms the noble& and molt complete 
bedy of church mufic hitherto publithed 
im this country ; and while it ferves to per- 

petuate the fame of the great mafters 
from whofe labours it is compiled, reflects 
much honour on Mr. Page’s tafte and 
judgment. 
<6 Roy's Wife of Alldivalloch,” ‘a favourite. 
Scotch airy arranged as a rondo for ihe piapo- 
forte, by V. Haigh. 1s. Relfe- 
‘< Roy’s Wife of Alldivalloch,” as ar- 
ranged by Mr. Haigh, forms one of the 
prettieft rondos and improving exerciles 
tor the piano-forte that we have ever neard. 
‘The paflages, though familiar to the fin- 
ger, call it into ufeful aétion, ‘and gratify 
the ear with much vivacity of effect. 
Three Sonatas for the Piano-forte, with Accompa- 
niments for a Violin and Violoncello, ad libitum: 
Compofed, and dedicated to’ Fobn Cleaver 
Banks, Efq. by Mugio Clementi. 8s. 
Prefion and Sons. 
Mr. Clementi has written thefe pieces 
with an-eafe of execution, and familiarity 
of ftyle and effect; which do not frequently 
form the chara&teriftics of his mufie. The 
paflages are at once calculated to give grace 
to the found and gratification to the ear. 
Each fonata is fo excellent in its kind, as 
to be capable of recommending the book ; 
and the chromatic intricacy, which general- 
ly diftinguifhes the pages of this ingenious 
-compofer, and frightens the juvenile prac- 
tioner, forms no feature of the predent . 
work. 
AL favourite Overture in Parts, for a large sr 
fall band 5 publifhed by fubjcriptiong for the 
ufe of country concerts. 4S. we 
Gouding, Phipps, and D* Almaine. 
This overture (compofed, as we under- 
ftand, by Mr. Marfh) is conftruéted for 
violins, flutes, hautboys, horns, a tenor, 
and bafs. It comprizes three movements, 
the firft’ cof which opens in a ftriking and 
fpirited ftyle; the fecond poffeffes much 
fweetnefs 3; and the third is bold and ani- 
mated. The parts are arranged with con- 
fiderable judgment, and the general effect 
evinces 
