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REVIEW OF NEW MUSICAL PUBLICATIONS, 
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An Introduction to the Art of Playing onthe Piano- 
forte, with an Appendiz, contaming Techatcal 
Terms, andg few Exercises, by G. E. Williams. 
ros. 6d. 
TENHIS didactic publication is in two 
parts. The first treats of the cha- 
racters; the second contain$S examples 
and exercises, fullowed by an appendix 
of technical terms, with their explana- 
tions. 
The author, in his prefatory remarks, 
nforms us that the present work owes its 
birth to the necessity he has constantly 
felt, in a long course of practice, of a si- 
milar assistance to the master : that taking 
the advantage of preceding authors, ke 
has not only adopted their improvements, 
but superadded others of his own; and 
their great utility in his private circle of 
instruction, now induces. him to make 
them public. 
This is Mr. Williams’s apology for in- 
truding his work upon the musical world. 
The apology 1s common with theoretical 
authors, but the manner in which Mr. ° 
Willams has executed his intention of 
assisting the teacher, and benefiting the 
pupil, is by no means so. The clear and 
regular order in which he has laid down 
his elementary rules, the fullness and 
perspicuity displayed in the explanatory 
observations, and the judicious examples 
and progressive exercises, give a superior 
rank to the work, and justify us in saying 
‘that it merits the particular attention 
both of masters and of scholars, and 
does the greatest credit-to Mr. Williams's 
gualifications asa professional teacher. 
6°] es Plaisirs del’ Esperancer;’’ a Divertimento for 
the Piano-forle. Composed and dedicaied to Miss 
dngrgm, by J. Giidon, 25. 
This pleasing exercise for the piano- 
forte consists of three movements. They 
are at once excellent in themselves, and 
judiciously disposed. The concluding 
rondo, in six quavers, presto @ /a ballet, 
is particularly attractive In its subject 
conceived with taste, and conducte 
with judgment, 
$£ Ob L come, Ob ! come, my Fair One;”’ a favourite 
Song, with an Accompaniment for ihe Pigno- 
forte. Composed by William Slapp. 15. 
To deny this tittle: song a moderate 
portion of merit would be unjust—to 
allow it-any thing more would be exceed- 
jng itsdeserts. The melody is connected 
and easy, but common-place, and the 
accompaniment wholly consists of an ob- 
vious arpeggio, not always of the best 
formation, and certainly very dull in its 
effect, 
Second Petit Passe-Temps, dla Militaire, fa 
the Piano-forte. Par L. Von Esch, 25.6d. 
This piece consists of four movements ; 
the first is a march, the second a maes. 
toso in common time, the third a mode. 
rato in common time, and the fourth an 
allegretto in common time: but though 
the movements are all conceived in the 
Same measure, they are so happily di- 
versified in their style, that none of their 
respective merits are Jost on the ear; 
neither satiety nor monotony results from 
the uniform division of the ideas, nor, 
indeed, is that uniformity any way sensi< 
bly felt. - 
*° The Rose that weeps with Morning Dew ;” 
sung by Mr. Barileman, set to Music by George 
Nicks. 15. 6d. a etre 
Mr. Nicks has taken the words of the 
present song from Mrs. Radcliffe’s Ro- 
mance of the Forest. The simplicity and 
easy flow of the nelody please us much. 
The poetry is natural and unaffected, and 
the music is analogous and expressive. — 
' €* Paddy Carey’s Fortune, or Irish Promotion s?* 
a favourite comic Song, sung by Mr. Webb, at 
the Theatre Royal, Covent Garden, written by 
Mr. Cherry, composed by J, Whitaker. 13.64, 
Mr. Whitaker has thrown much of the 
eis comica into the music of this song, 
and as much of the genuine cast of Irish 
melody as can, perhaps, in reason be ex- 
pected from an English composer. In 
this style of vocal composition, its merits 
are certainly prominent, : Nad 
§€ Blythe were ibe Hours ;’? afavourite Song,s : 
by a h4 Ashe, atthe Bath fev fii a 
Mr. Rauzzini, the words by William Bennet, 
sg. 18.6, aoe 
‘This ballad commences with a false 
accent in the melody: the general cast 
of which is, however, by no’ meaus une 
worthy of the taste and imagination of the 
late ingenious composer; nor will the pro- 
duction, though a trifle, pass unnoticed 
by the lovers of simple ballad music. 
Dr. Haydn's celebrated Air and Chorus “* A new 
created World,’ from The Creation ; adapted for 
two performers on the Piano-forie, with an Ac 
compamnment for a Flute or Violinand Violoncello, 
by J. Maxzinght, esq. 4s. ©" 
Mr. Mazzinghi’s disposition of the 
parts of this chorus in the arrangement 
he has here made of it, will make every 
admirer of piano-forte duets glad that 
he has undertaken the task, The ge- 
ci a 
