S84 
adds to this work two tables, and fome 
_ ebfervations very proper to facilitate the 
tinderftanding of them. The firft table 
comprizes the new and old degrees, and 
their amount in myriameters, in ordinary 
leagues, and in marine leagues. The fe- 
cond is compofed like the firft, with the 
addition, however, of a particular column, 
Review of New Mufica! Publications, 
[May 3; 
containing the difference of Jength to be 
found between each degree of longitudes 
from one degree of latitude to the next 
following one. The calculations are eftaz 
bliflied. on the original metre, which if 
will be eafy to reduce te the reCtified me- 
tre. ; 
REVIEW OF NEW MUSICAL PUBLICATIONS. 
—— TE > 
Tivo Sonatas for the Piano-forte, with Accom- 
panments for a Violin and Violcncello, ad 
libitum Compofed by D. Steibelt, Efg. 7s. 6d. 
R. Steibelt has difplayed in thefe 
Sonatas much of his well-known 
floridity and beauty of fancy. A few 
ef the pages, we are aware, will, by 
fome, be deemed a litle too wild and 
rambling ; but the moft faftidious con- 
noiffeur cannot but be pleafed with the 
originality of molt of the ideas, and the 
brilliant effec&t neceffarily refulting from 
them, if properly performed. The firft 
fonata comprizes three movements, the 
fecond two. They are all judicicufly di- 
veriified, and are not only attractive m 
themfelves, but derive an additional 
ftrength of effect from the propricty with 
which they are contratted. 
Six Englifh Ballads, with an Accompaniment 
for the Piano forte 3 compofed and injcribed to 
William Horfley, Mus. Bac. Oxon. by bis 
Pupil, F. F. Burrows. 63° | 
Speaking with that confideration due 
to early effort, we cannot but fay, that 
this firft publication of Mr. Burrows pro- 
mifes confiderable future fuccefs in bailad- 
compofition. The firft, third, and fou th 
melodies are pleafingly conceived, and be- 
fpeak much eafe and prettinefs of fancy. 
We, however, recommend it to Mr. Bur- 
rows, and to all young candidates for pro- 
feffional fame, to be more fcrupulous in 
their choice of words: ‘* When Damon 
languifhed at my feet ;” ‘* The gentle 
fwan, with graceful pride ;” and ** Wren 
Delia on the plain sppears ;°* have been 
formerly in the hands of fuch great mafters 
as to induce a comparifon too difadvanta- 
geoustoyouth, and inexperience, not to be 
aifisuoufly avoided by tho!é who would 
conciliate the indulgence of the public. 
A Sonata for the Grand and Square Piano-forte, 
with additional Keys; compsfed and dedi- 
cated io the Countefs of Stanhope, by Augufius 
Voigat. 4s. ; 
This is a Sonata of a florid ftyle, and 
much brilliancy.of execution. The paf- 
fages aré mafterly antl commodiotts for thé 
finger 3 and the general caft of the compres 
fition evinees an intimate knowledge of 
the effeéts to be produced on the piano- 
forte, by a tuneful and well-practifed 
hand. . The fubjeét of the rondo is not, 
perhaps, fo ftriking as we fhould have 
been led to expect from a compofer of Mr. 
Voight’s lively imagimation ; neither 1s it 
without the merit of originality j nor does 
the digrefive matter fail of that ftrength 
and confiftency of idea which pervades the 
whole of the firft movement. 
The ‘* Harmonious Tree 5’ exhibiting at ond 
View the Origin and Ufe of all the Chords em- 
ployed in Mufic. Dedicated to the Queen, dy 
J. Foe. 6s. 
We congratulate Mr. Joufie on the ex- 
cellent and uleful fruit produced by his 
Harmonious Tree. The idea is novel and 
ingenious, and the execution will be found 
clear and edifying by all ftudents in har~ 
mony. The fundamental chord is hap- 
pily typified by the fem of the tree ; out 
of which the fundamental major difcord, 
the fundamental minor difcord, and the 
various fevenths, naturally fpring; and 
which are appropriately depictured by 
the collateral branches. The whole figure, 
together with the explanations, fill a 
handfome fheet of fuper-royal; and while 
it gives, at a giance, one of the fulleft Angle 
views of the harmonic fyitem we have 
yet feen, it prefents to the cye a pleafing, 
picturefque, and well-definea object. 
Le Rameau Laas pour le Pians-forte 
ét lz Harpe, par MM. A. Bryan. 25. 
«Le Rameau Laurrier,”’ confifts of three 
movements, ingenioufly imagined, and 
fkilfully arranged. The firit, 2 March 
Villagcoife, is bold and fpirited, yet 
fmooth and familiar ; the fecond, an 
Aadante Pajforelle, is fmple, though ele- 
gantly tender; and the third, a Rondo 
a la Payfanne, pofiefles a ruftic eafe and 
fweetnels that: at once characterizes the 
movement 
