the alto and base forming a canon in the seventh, with a part between them, in free song, for the tenor. We object to the major chord of D, with which this division concludes. The subsequent modulation into Bb, on the repetition of the division, requires that the D chord should be minor; besides, as it now stands, F# in the alto makes a very disagreeable false relation with the F, which is found in the preceding bar of the base. The 7-4-2 might have been spared at the conclusion of this verse; it is a beautiful combination, out of church. Of the Gloria Patri we cannot say much, though it has more force than some of those which precede. In the third bar of page 60 the harmony of Eb is introduced in a manner which we dare say pleases the author, but does not please us. Still less do we admire the way in which the cadence is interrupted in the fifth bar, by the harmony of, on C#. We are willing to admit, however, that these things are matters of taste, and as such, we leave them to the consideration of our readers.

From the remarks which we have made it will easily be imagined that we consider this a work of unequal merit; at the same time we think it honourable to Mr. Wesley's taste, and no small proof of his devotion to the higher branches of his art.

The minute examination which we have entered into must convince him of the respect which we have for his talents, the consequence which we attach to any thing proceeding from his pen, and the desire which we feel to excite attention to one of the finest species of composition. The church should be the nurse of musicians, and we shall never lose any opportunity of noticing the endeavours of those who present themselves for her service.

Seven brilliant Variations for the Piano Forte, to a Theme of Rossini; by Francis Liszt. "Impromptu Brilliant" for the Piano Forte, on Themes of Rossini and Spontini; by Francis Liszt. London. Boosey and Co.

Trio for the Piano Forte, Violin, and Violoncello; composed by J. N. Hummel. London. Chappell and Co.

Rondeau Brilliant, for the Piano Forte; composed by Carl Maria Von Weber. London. H. J. Bannister.

If the precocity of youthful talent always excites apprehension of the fulfilment of the future failing to justify the promise of the present, it is not without sufficient cause. The forwardness of an early spring is rarely sustained by the subsequent seasons, and for the best reason in the world-it is out of the course of nature. It has often struck us as a curious fact, that musical genius shews itself much earlier than ability of other kinds, and when we have endeavoured to seek out the cause, we have only arrived at the probability, that the imagination is principally concerned, and from analogy we have been satisfied with this solution. Very many poets have arrived at an early maturity-Pope "lisped in numbers." The operations of other intellectual faculties appear to be of slower growth-Sir Isaac Newton was particularly dull as a boy. Amongst musicians, Mozart and Haydn ratified in after life the promise of their youth-and our own Crotch cannot be said to have disappointed the expectation he raised in his state of absolute infancy. Indeed, taken as a whole, the talent for music has exerted itself at an earlier period of life in most musicians than is recorded of any other intellectual distinction.

Master Liszt's extraordinary talents as a piano forte player enable him to overcome with ease, difficulties that would startle most others. His lessons therefore require much power of hand in the performer. The variations are the least difficult parts, still however we must consider them the best of the two. But little distinct style is to be discovered in them, though there are to be found traces of the solidity of the German school, which shew that the composer is studying good models.

The third variation is original, and displays a good deal of

imagination. No. 5 has still stronger claims to these praises, and possesses a vigour that is very effective. No. 6, a Polonaise, is extremely elegant.

The Impromptu is an attempt at a higher style of composition, in which Master Liszt has not succeeded so well. It is here that a marked and decided character is required, as well as the hand of an experienced master, who is a judge of effects. In this impromptu, Rossini's exquisitely expressive air of "Cara per te," from the duet of" Amor possente nome," is injured by being transposed into the brilliant key of E major, nor is the manner of its introduction in the least analogous to the character of the air, which ought in a degree to be considered, nor can we think Spontini much better treated; there are however unquestionable proofs of great genius in the lesson, and it excites the utmost surprise at the wonderful power of hand which has probably suggested such passages to the mind.

The trio is one of those spirited and highly finished productions that characterize the German style, and especially the compositions of Mr. Hummel. We cannot point out any particular beauty in it, yet it attracts and interests throughout. It is obviously from the hand of a master, and bears the character of genius on all its features. The allegro is full of vigour, and possesses some traits of imagination, with a few of very sweet expression. The subject of the andante is extremely simple, but the second division of this movement produces a very good effect, by the contrast formed between an energetic and nervous passage, and the previous quietude of the subject. The rest of it is very beautiful, and the piece is concluded by an extremely light, elegant, and effective rondo. It is far less difficult than the generality of Mr. Hummel's compositions, yet it is not at all to be classed with easy lessons of this kind, as the violin and violoncello have both some passages to execute, which rarely find admission into concerted pieces, composed for the amusement of amateurs; the principal part is however allotted to the piano forte.

The music of this now popular composer is often said to be purely instrumental. Be this as it may, the lesson before us does not display that degree of original genius that beams through the greater part of his vocal compositions. We do not mean to infer that it is without originality, for we should consider it almost