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REVIEW OF NEW MUSICAL PUBLICATIONS. 

HREE fonatas for the piano-forte, with 
“** -accompasiments for a violin and violon- 
cello, ad libitum, compofed by F. #, Cramer. 
Ss. Longman and Bro !erip. 
We find in thefe fonatas confiderabie 
tafte and much uleful exercife for the 
practitioner. The ftyle, gencrally {peak- 
ing, is florid and fanciful, though, at 
the fame time, it often wants a due po- 
lich or finifhing. It 1s a fault too fre- 
quent in modern mufical produétions, 
even thofe of the firtt degree of genius, 
that they are crude and flight, and too 
hattily brought before the public. That 
maturity of thought and elaborate ele- 
gance, which by patient atrention is al- 
ways atthe command of the compoler, 
is feldom to be met with. Mr. Cra- 
MER’s prefent work fuggefts this ob- 
fervation. We find in it fufficient indi- 
cations of talents and of mufical fcience, 
but, at the fame time, evident marks of 
extempore and hafty compoiition. Hach 
of the pieces abounds in variety, and 1s 
fo friély fown with the fowers of me- 
jody, as to be qualified to gratify the 
ear, and to evince much fertility of ima- 
gination. 
«© God fave the King,” with Variations, com- 
pofed, and refpeétfully infcribed to Mifs 
WMorreil, by F fh Major. 2s. 
Culliford, Rolfe, and Barrow, 
We are compelled to proteft againft 
the introduétion of the fharp G, in the 
fourth bar, and the rifing of the bafs to 
the key-note, in patiing from the 
eleventh to the twelfth bar, in the third 
-yariation. From a falfity in the origi- 
nal melody of thofe,bars, even the beft 
bafs will be bad; but the prefent is, per- 
haps the mof aukward that could have 
been fele&ted.. The idea, however, of 
giving the air in its original key, minor, 
and relieving it with the relative major 
of that minor, was a matterly one, and 
ferves to introduce the fucceeding vari- 
ations with happy effect. 
‘Three Sonatas for the piano-forte, compofed by 
Henry Denman, op. 4. 88. Skillern, 
After a fedulous examination of Mir. 
D:inMman’s fourth opera, we find not 
only much to praife but fome things to 
cenfure. An agreeable vein of fancy 
runs through the feveral movements, 
and a thorough knowledge of the in- 
ftrument is cyinced throughout; but 
fome licences are taken which we ought 
not to pafs unnoticed. The fharp C, in 
the firftt bar of the rondo of the fecond 
fonata, clafhing with the natural C in 
the bafs, and the diffonance refulting 
} 
_ grave. 
from the half notes in contrary mo- 
tion, in the latter half of the fifty-ninth 
bar of the third fonata, are examples of 
the improper licence alluded to Li- 
berties fimilar to thefe are, we grant, too 
often affumed ; but no practice, however 
frequent, nor any precedent, however 
authoritative, is fufficient to juftify devi- 
tion from eftablithed laws of mutical 
-{cience, which are <ftablithed by nature. 
We would recommend Mr. DENMAN, 
and, all young compofers, to be cautious 
of making the eccentricities and caprices 
of efiablifhed matters the objects of their 
imitation. 
Three ‘ona:as for the piano-forte, with or 
without the additional: keys, and an Accom- 
paniment fora flute or viclin, compoied, and 
infcribed to the Princefs of Wales, by 
Folenh Muzzinghi, 78. 6d. Goulding. 
i hefe fonatas are ingenious and well 
ftudied. The firft piece is in B flat, 
major, and opens with a movement in 
3 {pirituofo, in which we find much ani- 
mation and fancy. The fecond is in F 
major, larghetto quali adagio, and 1s 
written with confiderable tatte. ‘Lhe 
third, which is an old and favorite a'r, 1s 
ingenioufly diverfified with original mat- 
ter. The fecond fonata is in D major; 
the firft{ movement, in §, vivace, is par- 
ticularly lively. The fecond is in A ma- 
jor, and confitts of a well-known Scotch 
air, in which Mr. MazzinGui has in- 
troduced fome judicious digreffions ; this 
_is fueceeded by the favorite air, as danced 
by Madame Hilligfberg, and in its pre- 
fent form and fituation it appears to great 
advantage. ‘The third piece is in A ma- 
jor ; 2 lively movement, in common time, 
is introduced by four bars in common time 
£ The fubjeét is particularly 
pleafing and novel, and the feveral di- 
greflions return to the fubje&t with un- 
common fweetnefs of efeét. The fe- 
cond movement is in the fourth of the 
original key, major, 2, larghetto, and 
2.4) g ’ i 
elegant in its ftyle. The concluding 
movement is formed from the pleafing 
and popular Seotch air of “ Corn Rigs 
are bonny,” which, with the ornaments 
and additions Mr. MazzinGuHrt has in- 
troduced, produces an effect highly en- 
ga-ing and interefting. 
“ In vain we fill the fparkling Bowl,” a fas 
vorite Anacreontic fong, fung by Mr. Bure 
rows, at Free-mafon’s Halli, compofed by 
F. B. Schroeder. 1s. 
Longman and Broderip. 
This little fportive produétion, tho’ 
not in the firft rank of excellence, pof- 
2 {eles 

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