little traits are distinguished both by feeling and originality, and demonstrate the power of genius to create beauties out of nothing. They will please by their elegance and simplicity, and will engage when heavier pieces may fatigue.

Mr. Chipp's Lesson proves that he has selected Mr. Bochsa as his model in style; its recommendation consists rather in brilliant execution than in passages of expression, but it is of a kind to become a general favourite.

The last in our list has more originality, though in other respects it is much in the same style of animated and showy effect,

Book 1, of twenty-four grand Studies for the Piano Forte, composed and fingered by Henry Herz. (N. B.) This Edition has been revised, and Passages for the Additional Keys arranged for Piano Fortes up to C, by Mr. Moscheles. Cocks and Co. Twenty-five new and characteristic Diversions, composed for the Piano Forter by J. B. Cramer. Cramer, Addison, and Beale. Book 2, of Preparatory Exercises for the Piano Forte, by Bruguier. Chappell and Co.

When great performers lay the result of their long and welltried experience before the public in the studies and exercises which they publish for the assistance of learners, we are naturally inclined to expect that they should expose to our view the degrees by which they have attained to eminence, and lead us on by the same steps; in this hope we are, however, often disappointed. But the reason is obvious, for it is difficult to conceive how high and gifted minds, which have long been accustomed to give free scope to the imagination, should be able so to curb it, as to present nothing either in conception or execution, through a long series of exercises (for long it must necessarily be) above the capacities of a learner. This difficulty prevents, however, so much benefit being reaped from the studies of our great pianists, as there would be if the series were commenced at an earlier point of instruction and continued in gradation. Exercises are almost universally of such a

character as to preclude the possibility of their being properly performed by any but far advanced performers, and of this description are the studies before us. They do not however possess very largely the usual kind of expedient-that of execution—but of style, and in so peculiar a manner as to fit them only for the purpose of initiating the scholar into the principal mysteries of the German school. The attributes of this school differ so entirely from those of any other, and it is now gaining ground to rapidly in this country, that such a work as the present will however prove of great utility. With regard to its merits, the names of its composer and reviser will vouch for its superiority. Originality can hardly be expected to belong to such a book, as its end is to illustrate various styles, and Mr. Herz appears to us to have followed a very judicious plan. Ordinary passages and ideas have no place in his pages, but he has apparently endeavoured to de velope all the peculiarities in contrast, strength, freedom, and science, which distinguish the manner of composition he himself adopts with such conspicuous success. His exercises are calculated to inculcate good ideas of constrast, to strengthen the touch, and to increase the stretch of the hand-but the fingering has hardly been sufficiently attended to, and it must be remembered that the present number at least is more calculated for practice in a certain style than for general purposes of execution.

Mr. Cramer, who has long published his masterly exercises for the piano forte, now appears again in a work of the same description, though neither on the same plan nor of the same superior character. It is almost impossible that such a master should write anything for the purposes of practice, and not unfold useful lessons in various ways, nevertheless the title of the present work is scarcely borne out by the contents, for the Diversions are neither new nor characteristic, except insofar as they are each distinguished by a descriptive appellation. They are written for the usual purposes that exercises generally are composed, and the greatest advantages which they offer to the scholar are, in the care which is bestowed on the fingering. But Mr. Cramer does not appear to have sufficiently considered the progression of this as well as other arts, and consequently the new difficulties that are at the present time introduced into piano forte playing. His Diversions consist of the same passages that are to be met with in many VOL. VII. NO. XXVII.-SEPT. 1825.

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of the exercise books of the last ten years, and surely, although the modern style of performance has its faults, it has also its beauties and its difficulties, which can only be overcome by well-conducted practice. Not even the slightest emanations however of genius ought to be treated with indifference or neglect, and though Mr. Cramer's Diversions are perhaps not altogether worthy of so great a man, yet they must be considered with the respect which is due to his eminence as a performer and to his experience as a master.

Of the first number of Mr. Bruguier's publication we had the pleasure of speaking in our last, and we do not hesitate to recommend the present in the same terms. Mr. B. has continued the same judicious plan, and his work does not fall off in any point from its former excellence.

Nymphs of the Forest, Glee for Four Voices, the Poetry by Drummond of Hawthornden, the Music by Wm. Horsley, Mus. Bac. Oxon. London. Birchall and Co.

I've lost a Heart sweet Lassie here, Glee for Four Voices, in the Scottish style; composed by Sir John Stevenson, Mus. Doc. London. Power.

These two glees are in very opposite styles, but both worthy recommendation. Mr. Horsley's is in that fine manner which time has mellowed, while ages have passed only to prove it sound. Flowing melody, rich harmony, and clear modulation, with so masterly a contexture of parts as to give them all importance, are the characteristics of the style of this glee. Its only fault is its brevity.

Sir John Stevenson's is lighter, but with the same ingredients, in different proportions. The melody is exceedingly pleasing, and there is also a general interest conveyed to all the parts. The English glee has certainly been falling away before the more voluptuous and dramatic Italian finale of late. When such compositions as these recall our regard to our national species of composition and awaken our powerful recollections, we think of the

change with sorrow; for though we could not only bear but delight in the fair rivalry of pieces which have so much to recommend them, we cannot endure to see music so dear to us, so nearly on the point of being lost; for if true and deep feeling and originality, joined to the common requisites of good composition, be recommendations, where are these qualities to be found if not in our partsongs?

Gentille Annette, arranged as a Rondo for the Piano Forte; by J. F. Burrowes.

Divertimento for the Piano Forte, from the March and favourite Airs in Semiramide; by Augustus Meves. Chappell and Co. The Vesper Hymn, with Introduction and Variations; by Samuel Poole.

March for the Piano Forte; by J. C. Nightingale. London. Longman and Bates.

The Waltz and Huntsmen's Chorus, arranged as a Divertimento for the Piano Forte! by G. Kiallmark.

Rosanthe, a Divertimento for the Piano Forte, on Bishop's Air of "Taste, oh taste, of this spicy wine;" by Thomas Valentine. Hot-Cross Buns, a Rondo for the Piano Forte; by H. Seine. Series of Airs, preceded by an Introductory Prelude, calculated to follow the Piano Forte Instruction; by T. A. Rawlings. Goulding, D'Almaine and Co.

We see so much from the hand of Mr. Burrowes that it would be difficult to decide whether he is most useful or most successful. His incessant fertility argues a great deal of both,* for if his works were not well received he would not be called upon to exert so much industry. We can scarcely conceive satisfaction so unalloyed as the consciousness of the pleasure conferred upon thousands which must attend the production of works so popular, for they are all of a class designed to please as well as instruct. Gentille Annette is precisely of this description-and if we mistake not

* No two works have had a more extensive circulation than his piano forte and his thorough base primers. A sixth edition of the first has recently appeared with some judicious emendations, and the latter has reached a fourth or fifth.

Mr. Burrowes has blended with his paraphrases upon this graceful melody, a musical narration of part of the story of “Little Red Riding Hood." The fourth and fifth pages contain the passages which we conceive to convey her journey through the wood, the appearance of the wolf, her screams, and finally her safe arrival at the cottage of her grandmother, when the theme is again taken up. Whether our suppositions be or be not correct, the lesson is as pretty as the best of such bagatelles.

Mr. Meves usually writes with taste and elegance; in his present lesson he adheres to this character, and has beside made a good choice in his airs.

Mr. Poole's, though easy for any but beginners, contains for them passages of good practice, and is an original and agreeable production.

Mr. Nightingale's march is very spirited, and the allegro is distinguished by taste and novelty.

Mr. Kiallmark, on his well-known but not less favourite subject, has constructed an easy but very pleasing piece.

Superiority is at all times meritorious, but particularly so where an agreeable character is imparted to that which usually excites but little attention. Mr. Valentine is extremely happy in the composition of easy pieces for beginners. His Rosanthe is an original lesson, and very worthy the notice of masters.

Mr. Seine, under a very novel title, has written a lesson of considerably more difficulty than the announcement would have led us to expect. It contains good practice, and some agreable melody.

This series of airs, from Mr. Rawlings, is a very new and pretty selection of melodies, easily and tastefully arranged and composed,