1801.7 
lington, and muft fay, that we are nota 
little aftonifhed at cheir nicety and faith- 
fulnefs. Of the arduoufnels of the tafk 
of giving permanency to fuch rapid and 
tranfient founds we are well aware. Only 
prof fcience, the moft acute ear, and 
an un@mmon power of retention, could 
execute fuch an undertaking. 
Clementi’s Introduftion to the drt of Playing on 
the Piano-forte ; containing the Elements of 
Mujfic, Preliminary Notions on Fingering, 
with Examples, and fifty fingered Leffons in 
the Majer and Minor Keys, moflly in ufe 
with Compyers of the firft Rank. 10s. 
Clementi and Co. 
iowever we may be delighted with the 
efforts of men of real genius, we are, per- 
haps, never-more indebted to their labours 
than when they ftoop to the humble but 
amiable tafk of throwing new light on the 
tracks of fcience, and of giving, by their 
fuperior arrangement and addrefs, an eafe 
and {mootinefs to the progrefs ‘of the 
pupil, at once alluring and encouraging. 
Mr. Clement's prefent work amply in- 
titles him to the commendation implied by 
this remark, and places him high among 
the public promoters of improvement in 
the art of playing the piano-forte. 
We not only agree with this great 
maiter, that ‘to produce the BisT EF- 
FECT by the EaSi£sT MEANS, is the true 
balis of good fingering,’” but are inclined 
to extend his rule to every art whatever, 
and do not {cruple to affert, that-he has, 
by the juft and luminous order of his 
precepts, and the excellence and perti- 
nency of his examples, fo .clearly,demon- 
firated the ea/fie/t means of producing the 
beft efed, that to read his work is to ac- 
quire the knowledge fougnt for; and to 
practife hy its rules is to enfure that free 
and graceful execution which alone can 
bring that knowledge into effective opera- 
tion. 
Al Ductt, for two Performers on one Piano- 
forte, compofed by A. Betts. 45. 
- Goulding. Phipps, and D? Almaine. 
This due:t is comprized in four move- 
ments, the firft of which, by its time and 
ftyle, forms an excellent introduction to 
the larter three. : ! 
The fecond movement is characterized by’ 
.a glowing caft of iancy, and the third is 
both neat and graceiul inthe turn of its 
paflages. The tubjeét of the fucceeding 
rondo, though not remarkably original, 
is pleafant and animated. ‘The two paris 
are, generally fpeaking, fkilfully blended, 
and produce an ¢ffect which evinces a fa- 
miliar knowledge of the charaéter and 
Monrury Mac, No, 80, 
* 
Review of New Mufical Publications. 
429 
powers of the inftrument for which the 
compofition is written. : 
The Peace of t801, a new Emblematical Sonata 
for the Piano-forte or Harp, interfperfed with 
Jeveral celebrated Airs, appropriate to this 
great Occafion, compofed by Handel, Arne, 
and Hak. 25. 6d. Kita ah Riley. 
This little gccafonal compilation con- 
tains, among other things, ‘¢ The Sol- 
dier Tir’d of War’s Alarms,’ from. Ars 
taxerxes, and ‘“O Lovely Peace!’’ from 
Fudas Maccabeus. ‘Che other parts of the 
werk confift of well chofen materials, and 
the whole forms an analagous and im- 
proving exercifefor the piano-forte. The 
tnfirumental cafi given by the Editor to 
Dr. Arne’s celebrated bravura is a bold 
licence, but certainly does credit to-his: 
fancy, and, with ptano-forte performers, 
will add to the vaiue of the publication. 
Three Pieces, arranged for the Piano-forte, com 
pyed by W. A, Mozart. 4s. Longmans 
‘Wedo not profefs ourlelves to be friends 
to book-making in gencral: but when a 
compilation is of a nature to induce ap- 
plication and promote improvement, we 
deem it intitled to our recommendation. 
The three prefent pieces are fo many 
pleafing rondo}. They are fele&ted with 
judgment, and 
practice profitable to the young pupil. 
“ Pma Folly Roving Tar,” a favourite Song, 
compofed by Wm. Reeve. 5. 
r Goulding, Phipps, and..D Almaine. 
The only praile we can give this fong 
is, that the vulgarity of.the mélody cor- 
refponds with the fubje& of the words. 
From the burthen ‘¢ Pith away, that’s your 
play,” our mufical readers will be enabled 
,to judge of the ftyle of the whole. 
6¢ The Banks of the Nore,” a Pathetic Ballad 5 
the Subje& of the Words raken from an Idea, 
by the Author of the Horldss The Mufie 
compofed by Theodore Sw:ith. 1s. 
Goulding, Phipps, and D’ Almaine. 
This gentleman, who long fince ac- 
quired fo much reputation by his excellent 
piano-forte duetts, has done himfelf mach 
honour by his prefent little effort 
ftyle of the melody is ftrikingly confonant 
with the general fentiment of the words, 
and the expreffion, with fome few ex- 
ceptions, is juft and forcible. The two 
Jatt bars but one of the fymphony we muft, 
however, remark, would have been bets 
‘ter omitted, as not futficiently of a colour 
with the, previous part; and at the words 
s¢ Ah, Rape Girl!’ the notes, to exprefs 
4: 
the 
juted for the piano-forte - 
ina ftyle which"cannot but render their 
The | 
\ 
