1797.) 
Three Sonatas for the Piano-Forte, with 
accompaniments fora Violin and Violohcello, 
compofed by i: B. Cramer, 78. 64. 
Prefton and Son. 
In this fourteenth opera of Mr. J. B. 
Cramer, we find much to commend, 
‘though we cannot clafs its merits ae 
thofe of fome of his former works. We 
meet with, fome brilliant. paflages, and 
think the feveral movements are contrafted 
with judgment; but are obliged to obferve 
that we do not difcover that novelty and 
- diftinétien of charaéter, which in our judg+-- 
ment form the firft traits of genius. But 
although the very ingenious author has 
not difplayed the full force of his inven- 
tion, he has fo far employed his judg- 
Ment and his f{cience, as at leaft to have 
produced a refpeétable and ufeful work. 
Each of the pieces, while it abounds with 
theoretical arrangement, offers to the 
practitioner an excellent and profitable 
exercife; and at once difplays the thorough 
mufician, and experienced practical pro- 
feffor. 
*< Go to the Devil, and fhake yourfelf,” a 
favorite Irifh Dance, arranged as a rondo for the 
Piano-Forte.. 1s. Longman and Brodédrip, 
We do not know to whofe talents the 
public are indebted for the form in which 
this celebrated Irifh air is here prefented 
to us, but-feel ourfelves juftified in allow- 
ing it a confiderable fhare of commenda- 
tion. The general conftruétion of the 
left-hand part, and the addrefs with which 
the theme is ornamented and prolonged, 
furnith ftriking proofs of the abilities of 
the prefent editor. In the fhape it here 
affumes, the melody, while it engages the 
ear, cannot but improve the hand of the 
practitioner. 
Duo pour Harpe & Piano, dédié 4 Mad. Le 
Noir, par 4. Boieldiew. 5s. Longman & Co, 
This duo comprizes two, movements, 
the firt in common time, the fecond 
in 3. The ftyle of the piece through- 
out! is fpirited, florid, and elegant. The- 
oretical propriety every where prevails, 
and together with the animation of 
fancy, which diftingnifhes the melody, 
produces a forcible cfté. The parts, 
which are feparately printed, are blended 
with much fill, and are fo conitrudied as 
Review of New Maufic. 
469 
to be capable of being performed together, 
or either without the other. 
Third Sett of Dr. Haydn's Six Italian and 
‘Englith Canzonettes, feleéted from his grand 
Overtures, with accompaniments for the 
Piano Forte or Hayp, by D. Corri. 7s. 6d. 
’ Corri and Duftelz, 
Tt is not often that we cam greatly com- 
mend publications of this defeription. 
The tafk of felefling and adapting fre- 
quently demands that tatte and’ thar judg- 
ment which difdain to be employed excépt 
in original compofition. The prefent 
work, however, affords an exception to 
our remark, and challenges our applaufe. 
The melodies are judicioutly chofen, both 
for their intrinfic beauty and accordance 
with the fentiments of the words to which 
they are here afhxed; and if they donot 
altogether form that compaét union and 
clofe link of charaéter which charaéterife 
the original productions of true genius, 
yet. the mélange of the mufic and the 
poetry is generally fo happy as to reach 
the effeét of the beft compofitions in their 
firft form and application. The moft 
{triking of the pieces are the firft, “ Viva, 
viva, amore,” the fecond, ‘* Lo difprezzo 
di Tirfi,” the fourth *‘ La Felicita,”” and 
the fifth, * Fileno.” 
‘© To Bacchus, dear Bacchus,’ a drinking 
fong, compofed by MZ. Ditterfdorf. 15. 
Longman and Broderip. 
We find in this fong much Bacchana- 
lian feftivity. A certain fimplicity and 
openne{s of melody forms its chara€teriftic 
feature, and qualifies it to exhilarate and 
- 
delight the true loyers of mirth and fo- 
ciality. . 
‘« Adefte Fideles”? the favourite Portugueze 
Hymn, on the Nativity, with an accompani- 
ment for the Piano Forte. 1s. Longman. 
This little produétion, fo highly appro- 
priate to the prefent happy feafon of the 
year, is remarkably fimple and attractive 
ja its melody. It confifts of four verfes, 
and the burden of the ftrain is harmonized 
for a canto, foprano, alte, tenore, and 
bajo. We could have wifhed that, for 
the convenience of female performers, the 
original words had been accompanied with 
an Engiiih tranflation. 
VARIETIES, 
