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ARTICLE

PAGE

I. English and Italian Tone

277

II. Answer to Speculator

281

III. Gran Gusto

285

IV. On the limited Choice of Public Singers as to Variety of Songs.. 288

V. Der Freischutz

293

VI. Private Concerts..

295

VII. Assemblage of Piano Forte Players in Paris, in the Spring of 1825 310

VIII. Arteaga on the Melo-drarne

814

IX. Sehool of Florence....

341

X. Madame Caradori Allan

347

XI. Morning and Evening Services and Anthems, for the use of the

Church of England; composed with an Accompaniment for

the Orgen op Piano Forte, by Sir J. Stevenson, Mus. Doc. ... 351

XII. Brilliant Variations on the favourite Cavatina, Serena I vaghi'

rai," from Rossiui's Opera of Semiramide, for the Piano Forte;

composed by Mayseder ....

368

XIII. Melange on favourite Airs, from Mayerbeer's Opera, Il Crociato

2. Impromptu on “Giovenetto Cavalier," from ditto

3. Eighth Grand Concerto for the Piano Forte, composed by J.B.

Cramer .

.. 370

XIV. Il Crociato in Egitto, Opera seria, in due atti; composta da G.

Mayerbeer

.. 373

XV. Mr. Moscheles' Concertos

389

XVI. Melange on favourite Airs from Il Crociato, composed for the

Piano Forte, by Camille Pleyel

2. Cruda Sorte, Theme favori de Rossini, arranged as a Rondo

for the Piano Forte, by Camille Pleyel

3. Introduction and Rondo on a favourite Air from La Gazza Ladra,

composed for the Piano Forte, by Camille Pleyel

4. A First Rondino on “ Cara deh attendimi," from Zelmira, for

the Piano Forte, by Charles Crerney

5. A Second Rondino on the favourite Quintett from Corradino, for

the Piano Forte, by Charles Czerney

6. Introduction and Rondo on Caraffa's 6 Fra tante angoscie e

palpiti," for the Piano Forte, by J. P. Pixis..

.. 392

XVII. Impromptu pour le Piano Forte, par J. Moscheles

2. “Le Tribut à la mode," Deux Airs favoris de Rossini, arrangés

et variés pour le Piano Forte, par F. Kalkbrenner

3. Divertimento for the Piano Forte, on the favourite Airs in Pre-

ciosa, by Pio Cianchettini

393

XVIII. The celebrated March of the Emperor Alexander, with an Intro-

duction and Variation for the Harp and Piano Forte, composed

by N. C. Bochsa

2. Grand Fantasia for the Harp on 5 Auld Robin Gray,” composed

by N. C. Bochsa

3. First Set of Bagatelles for the Harp, composed by N. C. Bochsa

4. “ The Soldier's Return,” with Introduction and Variations for

the Harp, by 'T. P. Chipp

5. “ By that Lake whose gloomy Shores,” with Introduction and

Variations for the Harp, by F. L. Hummel

... 395

ARTICLE

PAGE

XIX. Book 1, of twenty-four grand Stu lies for the Piano Forte, com-

posed and fingered by llenry llerz. N.B. This Edition has

been revised, and Passages for the additional Keys arranged

for Piano Fortes up to C, by Mr. Moscheles

2. Twenty-five new and characteristic Diversions, composed for the

Piano Forte, by J. B. Cramer

3. Book 2, of preparatory Exercises for the Piano Forte, by

Bruguier ....

396

XX. Nymphs of the Forest, Glee for four Voices, the Poetry by Drum-

mond of Hawthornden, the Music by Wm. Horsley, Mus.Bac.

Oxon

2. I've lost a Heart, sweet Lassie here, Glee for four Voices, in the

Scottish Style, composed by Sir John Stevenson, Mus. Doc... 398

XXI. Gentille Annette, arranged as a Rondo for the Piano Forte, by

J. F. Burrowes

2. Divertimento for the Piano Forte, from the March and favourite

Airs in Semiramide, by Augustus Meves

3. The Vesper Hymn, with Introduction and Variations, by S. Poole

4. March for the Piano Forte, by J. C. Nightingale

5. The Waltz and Huntsmen's Chorus, arranged as a Divertimento

for the Piano Forte, by G. Kiallmark

6. Rosanthe, a Divertimento for the Piano Forte, on Bishop's Air

of " Taste, oh taste of this spicy wine,” by Thos. Valentine

7. Hot Croșs Buns, a Rondo for the Piano Forte, by H. Seine

8. Series of Airs, preceded by an introductory Prelude, calculated

to follow the Piano Forte Lostruction, by T. A. Rawlings ... 399

XXII. Ballad Of Love's propitious Morning, written and adapted to

a favourite African Melody, by William Ball

2. The Expectant, art thou not here Love? a Ballad, written and

adapted to a favourite Portuguese Air, by William Ball

3. O thou whose Vows are broken, written and adapted to a fa-

vourite Swedish Melody, by William Ball

4. O where is the Minstrel with light flowing hair? Song; the

Music composed by F. J. Klose

5. If thou couldst know what tis' to weep; Lines written by the

late Mrs. Jordan, during her late illness at Paris; the Music

composed by F. J. Klose

6. When the Lip the Sigh delays, Ballad, written and composed by

Thomas Moore, Esq.

401

XXIII. Maid of Athens. 2. MyGeorgian Maid, an oriental Ballad. 3. The

Garden of Roses. 4. What is Prayer? 5. My Native Land,

good night. All composed by Johu Barnett

6. Whilst the Moon, a Serenade in the Spanish Style; the Music

by John Barnett ....

402

XXIV. Dearest Maid, iny Heart is thine, Duet, composed by J. Barnett

2. O take this Wreath, Duet, composed by John Barnett

3. Shine out Stars, a Duet, by Thomas Moore, Esq.

4. All in the merry Whitsuntide, a Duet, by George Dance

5. Three Italian Notturnos, composed by D. Crivelli

403

XXV. New Flute Music

404

XXVI. New Songs ...

405

XXVII. Arrangements

406

XXVIII. The Royal Academy of Music..

408

XXIX. Grand Musical Festivals

410

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ARTICLE.

PAGE.

1. Grand Musical Festivals

411

Hereford ...

412

York

413

Derby

444

II. On the Expression of the Word Light, in the opening of

Haydo's Oratorio of the Creation

449

III. On Notation...

450

IV. The Harp of Martaban

451

V. Oriental Music considered

456

VI. Memoir of Mr. Phillips.

463

VII. A Morning and Evening Service, and two Anthems, by Edw.

Hodges, Mus. Doct. of Sidney Sussex College, Cambridge,

and Organist of St. James' and Śt. Nicholas' Churches, Bristol;

to which is prefixed a Sermon on the Melody of the Heart,

by the Rev. T. T. Biddulph, M. A. Minister of St. James',

Bristol, and late of Queen's College, Oxford....

468

VIII. Reminiscences of Michael Kelly, of the King's Theatre, and

Theatre Royal, Drury Lane, including a period of nearly

half a Century; with original Anécdotes of many distinguished

Personages, Political, Literary, and Musical. In two Vols... 475

IX. The Melographicon, an entirely new and highly amusing Musi-

cal Work, by which an interminable number of Melodies may

be produced, and those Amateurs who have a taste for Poetry

enabled to set their Verses to Music for the Voice and Piano

Forte, without the necessity of a Scientific Knowledge of the

Art ..

499

X. A Divertimento for the Piano Forte, on “Giovinetto Cavalier;"

by Pio Cianchettini

2. The Minstrel's Harp, arranged as a Divertimento for the Piano

Forte, with Flute Accompaniment, ad lib. by T. A. Rawlings

3. Dulce Domum, arranged as a Divertimento for the Piano Forte,

by T. A. Rawlings

4. Fantasia for the Piano Forte, on “Oh Nanny wilt thou gang

with me,” by W. H. Steil

5. A Polonaise for the Piano Forte, by Camille Pleyel

500

XI. Nos. 1 and 2 of Petites Bagatelles for the Piano Forte, by

T. Latour

2. Books 1 and 2 of Cottage Divertimentos for the Piano Forte,

by P. A. Corri

3. Three Sets of Pandean Airs for the Piano Forte and Harp, by

F. Hummel

4. Les Delices, Nos. 1, 2 and 3, by F. L. Hummel

5. The Warbler, consisting of a Series of Lively Rondos for the

Piano Forte, by J. Parry ..

. 501

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ARTICLE.

PAGE.

XII. Fantasia for the Piano Forte, on “God save the King," by

Thomas Valentine

2. Faithless Emma, with Variations for the Piano Forte, by Thos.

Valentine

3. “Jock o' Hazledean,” with Variations for the Piano Eorte, by

Thomas Valentine

4. Second Series of Caledonian Airs, No. 17, “ There's nae Luck

about the House," by J. F. Burrowes

5. Divertimento from La Donna del Lago, by G. Kiallmark

6. Petite Divertisement, on an Air de Ballet, by G. Kiallmark

7. Hungarian Divertimento, with an Accompaniment for the Flute,

by F. J. Klose

502

XIII. Twelve original Venetian Canzonets, arranged with an Accom-

paniment for the Spanish Guitar, by J. A. Nüske

3. Collection of select German National Airs, arranged with an

Accompaniment of Piano Forte or Guitar, by Mollwo and

Derwort

..... 503

XIV. A Selection of French Melodies, with Symphonies and Accom-

paniments, by W. Eavestaff ; the Words by W. H. Bellamy,

Esq.

504

XV. Original Instructions for the Violin, illustrated by Precepts and

Examples, composed expressly for this Work, by T. Howell.. 507

XVI. The Enigma-Variations and Fantasia on a favourite Irish Air

for the Piano Forte, in the style of five eminent Artists, com-

posed and dedicated to the Originals by Cipriani Potter .... 507

XVII. Piano Forte Lessons

510

XVIII. Sacred Melodies, from Haydn, Mozart and Beethoven, adapted

to the best English Poets, and appropriated to the use of the

British Church, by W. Gardiner. Vol 3d ...

513

XIX. Sighs that speak of Love; the Music by John Ponder

2. The Sun on the Lake shines serene, composed by John Davy

3. Ah did I swear to love thee not, composed by W. West

4. Long Summers have smiled; the Music by G. Alex. D. Roche

5. The Wild Hyacinth, a Song, composed by J. F. Walmisley... 529

XX. English Songs

529

XXI. Italian Songs

530

XXII. Church Music

532

XXIII. Voluntaries

535

XXIV. Flute Music

545

XXV. Harp Music

546

XXVI. Horsley on the Intervals

547

XXVII. Arrangements

549

ON THE PHILOSOPHY OF MUSICAL COMPOSITION,

No. 7.

THE EXPRESSIVE POWER OF INSTRUMENTS.

TO THE EDITOR.
Sir,
I uave

Have hitherto, in this series of essays, confined my thoughts very much to vocal music, as being that species which is most easily reducible to definite treatment. Notes to which words are affixed, though men may differ concerning the justness of their expression, are nevertheless submitted to the test of precise interpretation ;. and it is hy this test that we are not only enabled to compare their specific meaning, but to draw conclusions respecting the very nature of musical expression itself. Led by a similar analogy, it is my intention now to consider the power of accompaniment to aid in “ casting soft or noble hints into the soul," and this I shall endeavour to exemplify, by illustrations drawn from the past and present practice, by which process I hope to arrive at some distinct principles. As a first step, we must examine the constituent parts of a band, and strive to ascertain what are the properties of the several instruments. By this I mean the natural effects of their several sounds upon the organs of sense, as well as their modifications in expression, or association. I shall begin from the foundation--the double bass; but I must so far trespass on the regularity of my design, as to write a few sentences upon the organ—the nucleus upon which the other parts are formed . the centre of the system--the very voice of harmony, which, in this lower sphere, may be likened (par impari) to that high notion

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