The subject he has chosen is of the most impassionate nature, and this is the argument prefixed.

"Ero [Hero] after having expected the whole of a tempestuous night her lover Leandro [Leander], the break of day discovers to her the melancholy fate of her beloved, when, urged by despair, she plunges in the same grave that had destroyed him."*

Such is the entire outline of the story, but the scene commences when the night is far gone. Hero is wandering upon the seashore, and exhibiting various signs of agitation and distress, when a furious storm arises. The opening depictures the several incidents after which the vocal part of the cantata commences. The recitative is occasionally accompanied, and occasionally recitavo parlante.-It breaks into a quick and impassioned ariachanges again to recitative-then takes up a sweet and ornamented melody, again bursts into recitative (accompanied) which is followed by the closing air. The composer enjoys throughout great scope for the display of imagination, and he has marked the divisions of the various passions justly. He has not however, so far as musical expression is concerned, treated his subjects with extraordinary felicity or extraordinary originality. There is a level power about it which indicates knowledge and acquaintance with the resources of the art, rather than a fine vein of invention. It partakes at once of the German and Italian schools. Very great ability and pathos in the singer are indispensable to its just execution. The accompaniment is almost wholly descriptive. Such an attempt can but be creditable to a composer, because it demonstrates good taste and high aspiration, for it is to bend the bow of Ulysses.

*It is constantly to be gathered, as in this instance, from the English incorporated with Italian publications, that such passages are translations, and translations made either by foreigners or by very incompetent persons.— Nothing can more clearly demonstrate the truth of this remark than the libretti of the operas sold at the King's Theatre. The translations are miserable, and one of them this year (Nina) was translated into French for the benefit of the English reader. Ignotum per ignotius.

VOL. VII. NO. XXVI.-JUNE, 1825.

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A complete Treatise on the Violoncello, including, besides the necessary preliminary Instructions, the Art of Bowing, with easy Lessons in all the Keys, properly fingered. The whole written, selected, and composed by F. W. Crouch, of the King's Theatre, Haymarket, London. Chappell and Co.

The violoncello has of late years become a much more popular instrument than formerly. This popularity is perhaps to be attributed almost entirely to the extraordinary powers of Lindley— to the delight which this great instrumentalist every where diffuses-together with the no less wondrous execution he displays. Amateurs, enchanted by these effects, have consequently taken up the violoncello, and in proportion as this taste has become more extended, the necessity for a sound instruction book has been greater and more apparent. Perhaps no book was more generally requisite than a complete treatise on the violoncello, for since the period when Mr. Gunn's Instructor appeared there has been no work which could be in any degree considered as a complete treatise. Since the date of that publication, the style of performance has been so much changed in many respects, that however highly it might at first have been esteemed, it now cannot be held as a good foundation, except for the useful and excellent examples it contains.

It is well known that a part and a most useful part of the plan of the French Conservatory has been to prepare a series of elementary instruction for the pupils-thus consolidating the best principles, enlarging them by the experience of the several professors, and giving them the fiat of their authority. Mr. Crouch has adopted the book of the Conservatory as the foundation of his own. Thus fortifying himself by the sanction of Baillot, Levasseur, Catel, and Baudiot.

One of the most distinguishing characteristics of the instructionbooks of the present time is, that they are not confined to dry technical rules and examples, but that they are addressed to the mind of the student, and give a philosophical view of art; e. g. the work before us commences with a slight history of the instrument, and thus particularly describes its powers and its uses.

"If the violoncello is made to assume the melody, and as we have said to sing, its voice is at once noble and touching, not indeed that it excites emotion by the agency of those passions which inflame the mind, but it affects by those which tranquillize and soothe at the same time that they exalt the soul. If we desire to try its power in the execution of difficulties, it is capable of conveying all the various combinations of harmony, of double stopping, of arpeggio, and of harmonic sounds. But the properties of instruments have their assignable limitations. The gravity of its tone and movement will not allow to the violoncello those impassionate flights which belong to the more light, delicate, and varied powers of the violin. Nothing ought to be more carefully avoided than to invade or confound the various departments of art. It cannot be too strongly impressed upon the mind of the student, that he ought carefully to avoid the temptations he may be led into by facility of execution, and the desire to distinguish himself by new inventions."

After some judicious remarks upon the different styles of those composers who have assisted in raising the character of instrumental music, we find the following most useful and comprehensive advice.

"It remains only to recommend to the pupil a careful study of those various properties and powers which minister to expression, and especially to have a due regard to the style of every separate species of composition and to the place wherein it is performed. Thus the music of the church, from the dignity of the subject and the magnitude of such buildings, implies a gravity and force that demands a style, elevated, grand, imposing, and free from every thing like pedantry; the effects are to be drawn from an overpowering volume of sound with which the execution ought to correspond, by a rejection of all the lighter refinements and minute graces that the exercise of art requires in grand concerts, where the pieces heard from a short distance must combine strength with delicacy of performance. Following a similar rule of proportion, it is obvious that music for the chamber, that which is written for a small number of instruments, such in short as the quartett and quintett, must be executed in the most polished manner, since it does not admit of those masses of sound necessary for the church or theatre."

"Particular attention must be directed to time, place, and circumstance, if we would give to music the best possible effect. The performer who comprehends the full scope of his subject and his art, will enlarge or contract his ideas into a circle more or less extensive, according to the subject he has before him."

Mr. Crouch then proceeds to the very rudimental foundationsthe manner of holding the instrument, position, movement of the fingers, and bowing.

There is no part of the study of the bass so difficult, or which has been less clearly explained, than bowing. Very much of the point and effect of a composition depends upon this part of the art, and the learner, from the greater difficulty of acquiring it, no less than from the close attention which it demands, is very apt to pass over it with but lax attention, or lay it aside in disgust. It is not only the manner in which the note is to be played, or the quantity of force which is to be given to produce the tone, but the length of bow that is required to give the true expression. A different manner is necessary in the allegro and the adagio. The energy, grace, and effect which are produced in performing various passages, arise almost entirely from the knowledge of the proper use of the bow. Upon this branch as well as upon arpeggio playing, variations upon all positions are given, which are rendered more distinct by the fingering those passages which are the most difficult, The principles of notation and time are judiciously condensed, and the scales with progressive lessons are introduced, Mr. Crouch then speaks of accompaniment in general. This is the part of the work which perhaps renders it most valuable to amateurs. The great fault of instrumental parties is the want of knowledge which is generally found among amateurs upon this branch of the art. The accompaniment is generally of so coarse and powerful a kind as entirely to annihilate the singer, instead of taking the subordinate but very important part of sustaining him. We shall here cite Mr. C.'s observations, as they deserve to be impressed as strongly as possible.

"As in all good compositions recitative has a regular progression, and corresponds with the general character which the singer supports in his position on the stage and the nature of his voice, it is necessary first that the accompaniment be subservient to the grand purpose of effect, for it is intended to sustain and set off,

not to hide or overpower the voice; secondly to avoid repeating a chord, except when there is a change in the harmony; and thirdly to play in a simple manner, without ornamental passages or divisions. A judicious accompanist will always regard the general effect, and if in certain cases he introduces embellishments, he will nevertheless preserve the ascendancy of the notes of the chord." Upon the accompaniment to instrumental music he says:

"The first duty of the accompanist, then, should be, to mark and to preserve the time. The second is to distinguish those passages which are merely notes of accompaniment from those which insinuate themselves, as it were, into the conversation of instruments, and become principal or subordinate, according to circumstances.

"Notes of accompaniment should not be faintly expressed or held out, but should be played distinctly, and sufficiently detached from each other; for thus they will contrast with the melody, which ought to be connected and sustained."

Upon all these points illustrative examples are given, which are excellent from the distinct manner in which they exhibit the intentions of the author. The last of the didactic instructions is upon ornament. Although this part of the book is perhaps more suited to those who have made some considerable proficiency upon the violoncello, yet there is none which is more likely to be misapplied. Unless the player's imagination is governed by the principles of sound taste, and unless however well executed, the ornaments accord with the design of the composition to which they are appended, they lose the effect which would have been produced by an appropriate introduction, and destroy the sentiment of the piece. The regulations which Mr. Crouch has laid down for gracing are accordant with good taste.

"It is not sufficient to have regard to the place where ornaments may be most judiciously inserted-they must never be multiplied to excess. A profusion of graces is fatal to true expression, and finally even produces a monotonous effect. They are as often introduced to cover a want of feeling, as with the intention to augment the charm of execution; but these are both great errors.

"Nothing is so really affecting as that which is simple and beautiful. The charms of expression should be heightened and