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BANNIAN Day, as performed with univerfal applaufe at the Theatre-Royal Haymarket. The Mufic by S. Arnold, Muf. D. Organist and Compofer to his Majefty. 8s. Longman and Co. Bannian Dayis an opera, which, throughout, is ftrongly featured with the ftyle of its ingenious compofer, and fcarcely in any refpect inferior to his best productions. The overture, which confifts of two movements, is fpirited, pleafing, and familiar, and, as here adapted for the piano-forte, forms an excellent exercife for that inftrument. Hope ftill greets me," fung by Mifs Leak, is a beautiful melody, partaking of the rondo in its construction; and "In my Club-Room fo great," fung by Mr. Fawcett, is replete with characteristic humour. With "Polly afks, can you deny," fung by Mrs. Bland, we are particularly pleafed. An affect ing tenderness pervades the whole air, which is happily heightened by the change of the time at the line, It is not to be proudly deckt." "O liften then, and filent feel," fung by Mifs Leak, is an air of the fame defcription; and brings us to the finale, the burden or theme of which is fo novel and exhilarating, as to produce a happy close to this very agreeable opera.

The Piano-Forte Magazine, or Complete and Elegant Library of Ancient and Modern Mufic, with elegant Piano-Fortes, gratis. Harrifon and Co. Paternofter row; each number, 2s 6d.

Of all the numerous plans of thefe popular and multifarious publishers, we do not recollect any that have been fo ftriking in their novelty, and fo comprehenfive in their view and utility, as that of their prefent undertaking. This work, which comes out in weekly numbers, fix of which have already made made their appearance, is to comprize five thousand pages of mufic, vocal and inftrumental, felected from the great mafters of all ages and nations, befides, fuch "new and capital productions as may yet appear." We are alfo told in the propofals, that Mcfrs. Harrifon and Co. will in roluce fome choice pofthu

mous works of the late Dr. Arne, and other firft-rate matters, which they have already purchafed." But the circumftance to be added to thefe, and which gives an abfolute novelty of character, as well as of title to the work, is, that notwithstanding the price of the numbers is almoft fifty per cent. under the common charge for the fame quantity of mufic, the publithers engage to furnifh every fubfcriber with an elegant and brillianttoned piano-forte, in all refpects equal to their fpecimen inftrument, which is far fuperior to many inftruments fold at twenty-five guineas."

The fix numbers already out, are fo judiciously felected, and fo correctly printed, that the only poffible difference of opinion in the public mind refpecting them, feems to us to be, that fome practitioners who have been used to the large-fized paper, may think the pages too fmall, while others may conceive them neater, and more convenient for performance.

Three Sonatas for the Piano-Forte or Harpfichord, with an Accompaniment to the firft for a Violoncello Obligato; to the second for a Ger man-flute, and to the third for a Violin, compofed by George Surr. 78. 6d. Op. 1. Culliford.

Mr. Surr, who gives the prefent work as his harmonic debut, has, confidered as a young compofer, produced in it traits of genius and of future fcientific excellence. Dawning talents, as we conceive, carry with them indifputable claims to criticfavour, and wherever we difcover them, we thall uniformly hold out a fostering hand.

The first fonata, which opens with a movement in common time, Allegro con Spirito, is conceived with boldnefs and fpirit throughout that first movement; the fecond in 3, difplays confiderable tafte and feeling; and the third, a rondo in 3, is pleafing in its fubject, and conducted with much addrefs. The accompaniment for the violoncello, appears to be written with a thorough knowledge of the inftrument, and is employed in many

partş

parts to great effect, particularly in the feventh, eighth, and ninth bars; from the twenty-fourth to the thirtieth, from the forty-fifth to the fifty-fecond, in the first part of the firft movement, and in the bars anfwering to them in the fecond part. The fecond fonata, though not without evident marks of ingenuity, is lefs excellent in its general style than the firft, and contains fome paffages not perfectly correct. The accompaniment in the fecond bar of the first movement, fhould, like that of the firft bar, have been in the harmony of the fundamental note, viz. F, D, B, F, not G, D, B, G; and in the feventh bar, we have two confecutive octaves between the bafs and the upper part. The fecond movement is more masterly, and with the fprightlinefs and novelty of the third, a rondo in g, we are much pleased. The firft movement of the third fonata, is lively and fpirited, but yet, we muft fay, fomewhat vapid. The fecond, a minuet, vivace, is flow. ing and natural in its fubject, and hap pily relieved by the trio in the fourth of the original key, and the concluding rondo is greatly, though not entirely, novel in its fubject.

Twelve Hymns, in Four Parts, the words from Lady Huntingdon's Collection, by John Frederic Hering. 55. Prefton and Son.

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The author of thefe hymns informs us, that they are defigned as well for public as private ufe, and are equally adapted for congregations or mufical focieties, and for a fingle voice, accompanied on the organ or piano-forte."

He alfo begs leave to fuggeft, that he flatters himself, they may be found peculiarly ufeful to young practitioners in thorough bafs, after they have attained the first principles of that art; efpecially where the air is to be retained, and the harmony to be added under it. In this view, he fubmits them to the judgment of mufical profeffors, and folicits their patronage and recommendation."

It is a circumftance worthy of remark, that there are fewer good compofitions of the prefent defcription, than of any other whatsoever; but whether the compofers of hymns are not infpired by the fubject of them, or by the ftyle in which rhyming poets generally acquit themfelves; or whether musicians of genius are not very prompt to employ their time in fuch exErcifes; however this may be, the mufical art has never lavished its "concord of fweet founds" upon hymns; and even

655

Whitefield and Wesley, in order to ravifh the ears of their elect and infpired congregations, were frequently compelled to avail themselves of the "devil's tunes."

The twelve hymns of Mr. Hering -(although no ftriking exception to this general obfervation) in a few places, poffefs a tolerable combination of parts, and fome paffages not deftitute of melody. We ought to do Mr. Hering the juftice to obferve, that his compofitions, with their little defects, are excelled but by very few of the fame kind, and that, therefore, those who are devotedly attached to hymns, will do well to purchase them.

Ten Volontaries, or Pieces, for the Organ, in an eafy and familiar ftyle, for the practice of juvenile performers, equally adapted for the church or chamber organ, with directions for the use of the tops, by Jonas Blewitt. 75. 6d. Culliford.

Work, obferves, very july, upon the Mr. Blewitt, in his preface to this fcarcity of organ mufic, fufficiently famiand its ufual deficiency in directions for liar for the practice of juvenile performers, the proper ufe of the fps, which are frequently entirely omitted. The want of thefe directions are certainly, to use his own words, "very embarrailing to young performers, who may often be liable to ufe improper fops, and from their want of experience how to blend and unite them properly, muft deftroy the effect of the beft mufic ever compofed for the organ."

The plan on which thefe volontaries are offered to the public is, we inuft allow, well calculated to anfwer their profeffed purpofe; proper directions for the flops are prefixed to each piece, and fome general and ufeful information for the management of them, as to their variations and mixture.

With refpect to the compofitions themfelves, we are much pleafed, after an attentive investigation, to be able to give a recommendatory account of them. They are, for the most part, given in a ftyle which evinces a thorough acquaintance with the inftrument for which he writes, as well as of a practical knowledge of what is proper to put into the hands of young performers. In a work of this kind, we do not look for much fcience; yet there are fome few paffages, which ferve as hints that Mr. Blewitt is a theoretic mufician, whilst he has given us many others which prove his liveliness of fancy, and ability of arrangement. In a word, abating fome

few

few puerilties, thefe volontaries are far above mediocrity, and not unfrequently remind us of the beauties of, Stanley. We cannot dismiss them without obferving, that there are feveral errata of the prefs, which, in a future edition, we hope to fee corrected.

Four Sonatas for the Pedal Harp. The three firft with an Accompaniment for the violin. The last with an Accompaniment for the pianoforte, by G. G. Ferrari. 6s. Op. 16. F. Linley, No. 45, Holborn.

The firft fonata of this fet, commences with a movement in Andantino, and to a very engaging melody, adds a moving bafs, in fe miquavers, which happily accords with the fimplicity of the ftyle. The fecond movement, a rondo in Alle2. gro Molio, is fmooth and familiar in its fubject, and agreeably relieved. The fecond piece opens with a paftoral movement in, with which, for its eafy and natural flow of air, we are much pleafed, as we alfo are with the fucceeding rondo, 'where we difcover a happy fprightlinefs of fancy, aided by the judgment of a mofter. The third and fourth compofitions we can fpeak of together, because, though not directly fimilar in their caft, they are equally excellent; the former being as confpicuous for its elegance, as the latter for its novelty and animation. The firft and fourth of thefe pieces are fo conftructed, that they may be performed on the pedal harp, or piano-forte, and will have a good effect on either.

With Mr. Ferrari's ftyle of compofition in general, we profefs ourselves to be admirers, and by no means out-ftep the bounds of juftice, when we fay that the merit of his prefent work, prominent as it may be, is but in conformity to that genius which his former productions prove him to poffefs.

A Second Set of Three Sonatas for the Piano

Forte or Harpsichord. Com ofed, and humbly dedicated (by permiflion) to Dr. Haydn, by T. Haigh, Op. 10. 7s. 6d. Culliford.

Mr. Haigh, in his prefent publication, offers to us much that is to be praifed, and fome things from which we cannot entirely withhold our difapprobation. The natural character of his mufic is obviously English, and if he were not tempted to an imitation of exotic beauties, he would no doubt give a fairer and more ample play to his imagination. This error, indeed, we have long lamented in our countrymen, and have had the pain of feeing many an English mufician of talent, fpoiled by a diverfion from what, perhaps, we may not improperly

term the conflitutional courfe of his genius. The compofitions of the late Dr. Worgan, as well as of feveral living mafters, whom we could name, will ferve as inftances of the fact; whilft thofe of Arne, and Dr. Boyce, afford happy exceptions.

The firft fonata confifts of two movements, the latter of which, an aria con variazione, is a palpable imitation of the favourite and popular air of Haydn, in A, and conducted through four variations, with much tafte and management. The fecond piece, which opens with an excellent Adagio in 4, contains 66 a celebrated Air by Afioli, adapted as a rondo," the added variations to which, by Mr. Haigh, are elaborate and elegant. The third fonata has for its fecond movement, a March à la Militaire, in which we find much characteristic ftyle, while the third and concluding movement, which is a fuperftructure raised on the bafis of the old and popular air, "O the Roast Beef of Old England," is variegated

and worked into an excellent exercife for

the piano-forte.

A Slow March and a Quick March, for a military band, harp, or piano-forte, both humbly dedicated, by W. W. Jones, to the earl of Radnor; by H. B. Schroeder.- Each price 15, Longman and Broderip.

Thefe marches, which form feparate articles, and which are printed in score, with a diftinct part for the piano-forte, or harp, poffefs much merit. Their style is truly martial, and the former is as confpicuous for its dignified folemnity, as the latter for its vigour and animation.

Mrs. Hamilton's elegant Strathfpey, adapted, with a new Bafs and Variations, for the pianoForte, by Thomas Cfellow, Organist of Bedford Chapel. 1s. 6d. Longman and Broderip.

This little air, by the addition of Mr. Coffellow's variations, forms an excellent leffon for the inftrument for which it is compofed. They are conceived with tafte, and fucceed each other with that progreffive difficulty of execution, which adds much both to the effect and utility of this fpecies of music.

The Sympathizing Sigh, compofed by 7. Ambrofe. Price is. E. Riley, Strand. The Sympathizing Sigh is a pleafing air, and not without confiderable merit in the important quality of expreffion. It has an Accompaniment, for the pianoforte, which is both cafy of execution, and improving to the effect.

*** Publishers of new Mufical Pieces, are e quefted to tranfmit copies of the fame as early as poffible.

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