a 
56 
many fimilar excellencies are oppofed and 
counter-balanced by a general flightne%s 
of texture, paucity of contrivance, and un- 
dignified confiruction in the chcruffes, and 
a puerile watery fweetnefs. in the airs, 
which, though t frequently renders them 
fomewhat pleafing when confidered as a 
colle€tion of independent paffages, pro- 
duces no one predominating effect upon 
the mind; gives no fixed and determined 
character; argues no power of creation. 
Another grand defe€t in this oratorio is, 
that the accompaniments, not the voices, 
are too frequently the principals ; the band 
does not play to the vocal performers, but 
they rather fing to the band; and the 
piece taken tn the aggregate, is More pro- 
perly an iz/fruzmental, thana vocal compo- 
fition. On the whole, though we are 
among the warmeft admirers of Haydn, 
and think his fymphonies, quartetts, fona- 
tas, &c. the very firft of modern produc- 
tions, we cannot admit that the oratorio of 
Creation is qualified to add to the laurels 
which his inftrument-works have long 
fince fo juftly earned. 
Two, Sonatas for the Piano-forte.  Compofed and 
dedicated tow Mijs Louija De Lally, by J. 
- Tewkibury,Pupilof F. L. Dufek. 6s. 
eae r at _Prefion. 
Thefe fonatas, the firt of which 
confifts of three movements, including the 
popular air of the Mariners, with varia- 
tions, and the fecond of which confifts of 
two movements, are written in a ftyle much 
above that of the generality of modern 
piano-forte mufic. Many of the paflages 
Wifcover confiderable and attentive mutical 
“reading, as wellas a refpeCtable portion of 
natural tafteand fancy. Almott every bar 
Of the fecond fonata evinces the compofer 
“not to be unacquainted with fome of the 
moft important fecrets of good comrpofi- 
tion, and affures us that a clofe continu- 
ance of ftudy will quickly rank bim with 
the firft mufical authors of the prefent day. 
Sacred Mufic; dedicatcd to the Right Hon. Earl 
of Malmefbury, in taco Volumes, confifting of a 
Selection of the moft admired Pieces of vocal 
Maufic fromthe Te Deum, Fuoilate, Anthety 
and Milton's Hymns, adapted to fone of the 
cboiceft Mujic of the greatef Italian and other 
foreign Compofers, Fomelli, Pergolejes Peres, 
Martini, Berelliy Scolari, Gc. Ge. By the 
date James Harris, 7. — Arranged and Pub- 
lifbed by Jofeph Corte, Gentleman of bis Ma- 
jefty’s Chapel, and Organift of the Cathedral i 
Sabfbury. ‘_ Riley. 
? ‘This colle&tion of vocal mufic, which 
confifts of twenty-one articles, comprifes 
fome of the moft attractive and truly ex- 
Review of New Mufical Publiéations. 
of Febaay, 
cellent compofitions of the refnective mef- 
ters announced in the title-page; and the 
pieces are in general adapted with a pro- 
priety and happinefs of effet, which e- 
vinces the late Mr. Harris to have been 
an amateur of polifhed tafte and cultivated 
judgment, while the feveral recitatives from 
his pen equally prove his ingenuity and 
fcience. Among the moft ftriking of the 
adaptations are, ‘* Ye with fongs and cho- 
ral {ymphonies,”’ to an air of Vinci, ** Foun- 
tains,and ye that warble,’’ to an exquifite 
melody of Scolari, ‘‘ Ye birds that fing- 
ing up to heav’n-gate afcend,”’ toa ftrain’ 
of Perez, ‘* My tears have been my meat,”” 
to acharming at of Haffe, and ** Turn 
thee, O Lord, again,”’ to a beautiful me- 
lody of Taffo. If fome other of the pieces 
do not exprefs the words with equal force 
and felicity, thofe only will be furprifed 
who do not know the difficulty of apply- 
ing exotic mufe to domeftic poetry, and 
of linking together in the expreffion of the 
fame fentiment, words and notes not cri- 
ginally defigned by the author or compofer 
to appear in the fame page. i 
A New Year's Gift, for the firft Year in the 
nineteenth Century, being a Colleétion of Canzo- 
nets for one, two, three Voices. Compofed by 
Afr. Hook. 4s. ; 
Longman, Clementi, and Co. . 
Mr. Hook’s New. Year's Gift confifts of 
The Invitation, a canzonet for two voices, 
Ora Moor, for one voice, Rural Delights, 
for ewo voices, The Death of the Stag, for 
two voices, Fair Oberon, for one voice, 
and the Inwocation, for three voices. 
Thefe little compofitions are in Mr. 
Hook’s ufual ftyle of unaffeéted eafe and 
plealantnefs, nor-do they betray any de- 
cline of that lively fancy and freedom of 
idea which have fo long diftinguifhed his: 
vocal productions in general. 
Grand March, with an Introduétion and Pafto- 
vale. Compofed and Dedteated.to Mifs Rollef- 
tone, by J, V. Hammond. 2s. Prefion, 
Regarding this work as a firft public 
effort, we cannot but think it does much 
credit to Mr. Hammond’s {cience and tafte, 
The introdu€tory movement exhibits fome 
ingenious windings and evolutions of har- 
mony, but though we fee confiderable me- 
rit in the fecond movement, wwe are not of 
opinion that it comes properly under the 
appellation of a march; it wants compact~- 
ne{s, and a more decidedly martial charac- 
ter. The fucceeding pafiorale is melodi- 
oufly conceived, and befpeaks much cafe 
and freedom of fancy. 
i Sole 
