806) 
ceding evening, entrance of the v# in the 
moon at 85.18’ 45”,9, medium time. 
At Breffiau, Profeflor Fungnite: en- 
trance, fir conta& 22h has be 5 true 
time, fecond contact, 225 21’ 46535 ap- 
pearance of a ftreak of light, 22521’ 47", 5. 
—Exit, firft interior contaét, 55 40 41" 
ae of the drop, 55 40’ 33’.53 laft 
contadt, 5° 43’ 367.—Mr. Fr. Hofmann, 
Prok&for ta Divinity, obferved the firft 
contact at2z22 20' 4575 be fecond, ‘a2h gp 
515 exif, firft contaét, 5" 39’ Cae the 
Mr. Charles 
yaft 5° 42’ 6” true time. 
Literary and Philofophical Intelligence. 
; [ December, 
Fungnitz : interior conta, 22 19’ 29”, 6 ; 
firft contact at the exit, 5, 40° 48,33 ‘tig 
Jaft 5" 43° 29” true time, 
At Ingolfiadt, M. Gabriel Kuogler, Pro- 
feffor of Natural Philofophy and Aftrono- 
my, entrance, interior contaét, 21% 59° 
2334 true time. On the preceding day, 
M. K. obferved the wig of the ftarve 
in the moon at 85 21/19”,2 medium time. 
During the cbfervation, the ftar feverak 
times fuddenly difappeared, and again as 
fuddenly became vifible.. 

REVIEW OF NEW MUSICAL PUBLICATIONS. , 
AE Bird-Catcher, or Catch as Catch can, a 
concife Paftcral Burletta, pes es at Sad- 
Jers Wells. Compofed by V. D. Cleve. 35. 
Fodfoll. 
«¢ The Bird-Catcher’’ comprifes a vari- 
- ety of pleafing ballads, preceded by an 
overture, in which the compofer, by the 
judicious introduction and employment of 
the wind-inftruments, has produced fome 
“novel and ftriking effeéts. The fugue 
forms a refpeétable fpecimen of fcience, 
-and the rondo is well imagined. No. z. 
‘The opening movement of the burletta is 
a pretty imitation of the aerial fongfters, 
and gives the notes of the cuckow with 
beauty and accuracy. No.2. Of Traps 
and Tricks,” is pleafingly fancied ; and 
No. 3. ‘* Buy my nice young Water- 
Creffes,’’ is familiar and attraétive. No. 
4. 1S 2 pantomimical movement, in which 
Mr. Cleve has with tolerable fuccefs imi- 
tated the motion of a boat, with the found 
of the oars, and dafhing cf the water. 
No. 5. ‘* Since thus my honeft Mind (ve 
told,”* isa trio, in which the fortifimo fym- 
phonies are fo managed, as to produce an 
excellent effect. No. 6. “* Joe’Snatch is 
my Name,” the words of which are by 
T. Dibdin, is a humourous air ; and 
No. 7. 6 What’s thisI hear?” is a well- 
accompanied recitative. No. 8. ‘* My 
jovely Nan, I’m not the Man,” forms a 
pleafant comic dialogue;. and No. 9. 
“« The Gudgeon now feels,” is a good 
bravura. The finale is wel] conceived, 
and with much happinefs of effect revives 
the fubjeét of the rondo in the- over- 
ture. 
Pbree Sonatas for the PianoForte; the Third 
for Two Performers on One Infirument. Com- 
byed by A. Quintia Buce. 65, Hodfolt. 
‘truly original ; 
_and fancy in thefe duets. 
’ Wehave perufed thefe fonatas with much 
pleafure. .An engaging novelty of -ftyle 
pervades the work, and the real matter is 
difcoverable in every page. We muft, 
however, confefs ourfelves at a lofs to con- 
ceive why Mr. Buée has chofen to difre- 
gard an eftabliflied rule, by opening his firft 
piece in one key, and concluding it in an- 
other. We cannot fubfcribe aur appro- 
bation either to the licence or the effect. 
The third fonata, written for two per- 
formers on one inftrument, is particularly 
excellent. | The fubjeét of its firft move- 
ment is {trikingly {pirited, and the con- 
ftruftion of the parts is truly ingenious. 
The fecond movement forms a pleafing re- 
lief to the firft, and the alternate introduc- 
tion of “ca ira,’ and ‘* God fave the 
King,” forms a mufical dialogue, at once 
political and humovrous. ‘The idea is 
and, independent of the 
uncommon merit evinced in the harmonic 
conftruétion of the whole fonata, does 
great credit to the tafte and invention of 
the ingenious compofer, 
Three Concertante Duets for Two Violins 3 in- 
feribed to William Skinner, E/g. of the Tem- 
ple, byJ. Sanderfon. 8s. Thomp/on. 
Mr. Sanderfon has difplayed much tafte 
The {prightly, 3 
animating ca(t of the more bold, prominent 
paflages are happily relieved by the foft, 
fombre touches with which he has varie- 
gated the feveral movements. ‘The zave 
paris blend and flow together throughout, 
ina ftyle which difcovers confiderable qua- 
lification for this fpecies of compofition; 
and the mufie is, in general, of a defcrip- 
tion to be highly i improving to young prac- 
titionergon the violin. 
a | Numbers 
, \ 
