Bua 
Review of New Mufical Publications. 
TJjan. I, 
‘Martini; Mozart, the Bache; [Haydn’and 6 Survey, ay Laura; yonder “Roke? A Can= 
feveral other claffical compofers, and at 
once manifeft a highly-cuitivated ‘tafte, 
‘great practical experience,’ and an-exten- 
five acquaintance with the works of the * 
great German muficians. 
the Harmony of Fernfalem, being a Colleétion of 
_ of One Hundred and Six. Pfalms and Hynnis 
za Score. Harmonized by Fohu Alcock, Doéor 
in Mufic. 8s. Clementi and Co. 
The melodies of thefe Pfalms and 
Hymns are by Alcock, Brown, ‘Calah, 
Flackton, Handel, Harrington, Heigh- 
ington, Hewitt, Jackfon, Madan, Marth, 
Mather, Riley, Selby, Simms, and other 
matters of refpe&ability; and the whole 
are (elected by Francis Roome, book(eller 
in Derby, The work occupies one hun- 
dred and twenty pages, and the lovers of 
church mufic wall find in them many ex- 
cellent {pecimens of what is called ** the 
good old pfalmody.”” . Every piece is har- 
monized tor favourites (foprano, alto, tenor 
and daft) which will give an additional 
value to the yolumes with chapel anc 
country chorifters. ; 
Fair Aurora,. prithee fiays? and ** For Thee 
L Lizes-my Dearef.”  Lwo fawourite: Duets 
an the Opera of Artaxerses, with all the Vas 
Fiations, Graces aad Embellifbments introduced 
by Mrs. Billington and Mrs. D4ountain, at 
the Theatre Reyal, Drury, Lane. With an 
Accompaniment for the Piano-forte, newly ar- 
ranged from ibe Orizinal Score by Dr. Bufby. 
e. Longman. 
To thefe who are ambitious to fing 
isu ; 
witk real tafle and elegance, thefe duets 
will prove a valuable acquifition. “Ex- 
ample, as wel] in mufic as in other-polite - 
arts, frequently accomplifnes more than 
precept, and ai more direS&t mede Of in 
struCtion was never adepted than that of 
prefenting to the: evg thole reGned, and 
trantient evolutions of founds with which 
every one is delighted, but which only the 
moft acute and cultivated can retain. 
Ain) Aithem ‘of Libankieiving for Peace, Cum- 
Pied by Thomas Wricht. 25. 
Goulding, Phipps ard D’ Almaine. 
his occafional Anthem: comiprizes four 
chorufles, a‘femi-chorus, and three verfe- 
movements.” Of the compofition in general 
we cannot {peak in hich terms. (°Mri 
Wright, in aiming ‘at a familiar fimpli- 
eity,. has degenerated into meannefs: 
‘The paxts are not always adjufted ina 
way that befpeaks much knowledge in 
combinatioz; nor does the melody bear any 
marks of a ftrong or original fancy. In 
a word, the motive is 
iuany Inartificials 
vo 
‘ 
‘manner. 
swith a {moothnefs which indicates a fami- 
Bonet, with an Accompaniment for the Piano- 
fortes Compofed and’ dedicated ta-Mufs Cru- 
deity, by i Foka, Rofs, of Akerdecn... Ys« 
eeryprt OSE : a sider _ Prefton, 
This canzonet is chara€terized by a de- 
licacy of expreflion, and eafy gentiliry of 
The melody througiiout flows 
ae 
liar, acquaintance with the true ftyle of 
ballad ‘compofition, and the accompani-~ 
ment is greatly calculated to heighten and 
improve the general effect. 
Lhe favourite Air of the Blue Beil of Scotland, 
with Variations for the Harp or Piano-fortey 
by T.. Rebinfon, of Dublin, 1s. @d, 
Goulding, Phipps and D’ Almaine. 
We have not for a long time feen any 
variations which adhere more ftriétly to 
the hema than thofe which Mr, Robinfon 
has given to this popular little ballad. 
They are eight in number, and form a 
gradual climax of. execution. The paf- 
tages are for the chief part well difpofed 
for the hand, and admirably calculated to 
improve the juvenile practitioner. 
Payer ell to Glenowen. ‘A Glee far Three Voices, 
and the Piano-forte. Compojed by F. Pratt. 
2s. 6d. Kahin aero ey ae Preffon. 
This glee, the words of which are from 
the.pen of. rhe late Mrs. Robinfon, exhi- 
bits ftriking traits of fancy and improve= 
able talent, “The melody is in many in- 
ftances beth novel and pleafing 3 and the 
parts are put together in a ftyle which, if 
it does not argue mature Judement or pro- 
found fcience, evinces a reipectable de- 
gree.of harmonical knowledge, and proves 
that Mr. Pract (who we :underftand is 
organift of King’s College, and St.Mary's 
Courch, Cambridge) may, with a little 
turther. fudy and experience, become a 
compofer of deferved eftimation. _ 
Overture to Harlequin Amulet. Compofed and 
“adapted for the Pigp- forte, by Thomas Shaw. 
25. Caulfield. 
We have perufed this overture with 
contiderable pleafure. The conftruftion 
of the firft-or introductory movements 
evinces confiderabie fcience, and the fe- 
cond is animated. and original... The un- 
expected affumption of the majare towards 
the clofe of the fecond moventent is ftrik- 
ing in its effect, and the concluding ronda 
comprizes an attractive fubject, relieved © 
by .well-fancied and judicious digreffions. — 
We muft however beg to remind the ins - 
genious author, that im apafling from the 
_ twelfth to the thirteenth bar, an evolution 
between the notes of the upper and under ,; 
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