inferior in its style. The march is brilliantly arranged, and the last page of the piece is original. We observe in this lesson a passage new both to harp music and to Mr. Bochsa. It consists of demisemiquavers in repetition, in a descending series. This passage is not of very long standing even in piano forte music-on the harp we should think it would be effective. Mr. Dussek's lessons are simple, pretty, and on universally favourite airs-a short but not less sure recommendation to the generality of performers. An Explanation of Musical Intervals and of the Major and Minor Scales, with a Series of Exercises for the Piano Forte, by Wm. Horsley, Mus. Bac. Oxon. The Second Edition, considerably enlarged and improved. London. Chappell and Co. In those arts where it is necessary to form the hand as soon as possible to the mechanical parts of execution which in every stage appear the prime powers, though they are in fact merely subordinates to the mind, in such arts, it is usual to begin the practice before the theory can be apprehended by the pupil. But there can be so little doubt, that practice would be so much lightened and advanced by a knowledge of principles and of what those principles lead up to-there can be so little doubt, we say, that execution must be facilitated by a clear understanding of what the end of practice is, that so soon as the mind is capable of comprehending them, the study of principles should be begun. It is upon this philosophical ground, that Mr. Horsley, whose just celebrity is widely established by his writings, has constructed the book before us. In his preface he tells us, that the demand for the first edition, "which was intended chiefly for the use of his own pupils," has induced him "to revise it diligently, and endeavour to present it to the public in a state which shall leave nothing more to be required with regard to the subjects of which it treats." These subjects are, first, the theory and relations of intervals and of the scales-with exercises upon them. An appendix contains short but excellent remarks on the formation of the hand, touch, and VOL. VII. NO. XXVIII.-DEC. 1825. . 3 A some of the constituent parts of execution, supported by exercises judiciously constructed to forward these results. The value of this valuable book of rudiments is to be found in the condensation which the depth of the learned author's observations, the severity of his taste, and his experience in teaching, all assist in giving to his productions. The student may be quite sure that Mr. H. has the soundest reasons for whatever he ventures to recommend, while the clear and terse manner in which he conveys both his verbal and musical instructions is the warrant for their having been long considered and thoroughly digested and arranged. He proceeds upon the principle that a solid superstructure is only to be raised upon solid foundations, and therefore he does not attempt to deceive his scholars by representing the art of playing as a purely mechanical operation which is to be attained by a given quantity of mechanical exercise; but he expressly says that "no method, no contrivance, will ever make up for a want of thought and care; and they who are weak enough to believe otherwise, will find themselves grievously disappointed." He looks also to the practice and example of those great masters, Clementi and Cramer. Agreeing with him entirely, and perceiving how much of excellent matter his book contains, we recommend it to all who wish to understand what they are about, while imbibing the elements of an art, which is too often held to be no more than agility of finger. ARRANGEMENTS. Two new numbers of Gow and Son's selection of Beethoven's piano forte music have appeared;-" See the conquering Hero comes," with an accompaniment for the violoncello; and "The manly Heart," with an accompaniment for flute and violoncello. These lessons have been long established in the favour of all their composer's admirers. They need no further recommendation than their title. An interesting publication, by Messrs. Ewer and Johanning, has lately appeared. It consists of seven numbers of a collection of favourite Marches, Waltzes, and Polonaises, in their original form, for the piano forte. Mr. Cramer has commenced a very useful arrangement of Mozart's Concertos for the piano forte, with accompaniments for the violin, flute, and violoncello. The first only is published. Cramer, Addison, and Beale. Overture to " Der Freyschutz," arranged for two flutes, by W. Bark. Ewer and Co. Overture to " Tarrare," arranged for the piano forte, with accompaniments for flute or violin. (ad lib.) Ewer and Co. Spohr's Overture to "Jessonda," arranged for the piano forte. Ewer and Co. Select Airs from Spohr's "Jessonda," for two performers on the piano forte. Book 1. Boosey and Co. Overture and Airs from "Preciosa," arranged as duets for two flutes. Ewer and Co. No. 10 of "Les Belles Fleurs," for piano forte and flute, by Sola and Bruguier. Chappell and Co. Book 18 of Airs from Rossini's operas, "La Donna del Lago," for harp and piano forte, with flute and violoncello accompaniments. (ad lib.) by N. C. Bochsa. Chappell and Co. The Overture and select Airs from "Il Crociato," arranged for two performers on the piano forte, by T. Attwood. Three Books. Clementi and Co. Rossini's Overture to "La Cenerentola," arranged for the harp and piano forte, with flute and violoncello accompaniments. (ad lib.) by G. Holst. Clementi and Co. Rossini's Overture to "La Gazza Ladra," arranged for the harp and piano forte, with flute and violoncello accompaniments. (ad lib.) by G. Holst. Clementi and Co. No. 9 of Chipp's National and Popular Airs, for the harp. Power. |