tenor and base, with great energy and strength. A base solo to the next three magnificent verses are worthily set (which is no slight praise) in the manner of Handel's best declamatory recitatives and airs for that voice. We know of nothing indeed in the same way that far exceeds this solo, which forms a fine subject for a singer of power. The opening is slow and chromatic, and must be sung as the author directs, "with great feeling." The second part, which is to be given "with majesty," answers to the description, and is truly imaginative both in melody and accompaniment. We have seldom seen divisions so ably employed or so powerfully supported by and contrasted with the syllabic parts. There is one peculiarity which we wish were less peculiar. The composer has inserted two cadences for the singer. These are in keeping with the rest of the solo. A trio which follows, sustains the character of the whole, and in the fugue displays more elaboration than usual. A tenor recitative and another chorus, beginning with a base subject and a short fugue (which is sufficiently like Haydn's manner in parts to shew that Sir J. S. has studied the compositions of that great man) concludes the anthem.

In the composition of "I looked and lo! a lamb" the author labours under a disadvantage similar to that to which we have before adverted, in the words he has chosen. By places, when set to music, they are so nigh passing "from the sublime to the ridiculous," that they are scarcely adapted to the purpose. The Hallelujah Chorus is however curious and worthy regard.

"Blessed is he that considereth the poor" begins by a pleasing duet for trebles, which is continued in conjunction with the chorus. This is a sound and agreeable composition, though it does not equal the best in the book.

"Rejoice in the Lord" begins with a treble solo, which has much lively energy-the trio which follows, for two trebles and base, is exceedingly good; it is full of points well taken and sustained throughout. A treble recitative, which is interposed between the movements, leads on to the second, which is original and majestic in a very high degree; nor is the base solo less excellent or less original. The concluding chorus is alike masterly; nor does this composition stand in any respect below the anthem we have just spoken of as so exalted in merit. Sir John Stevenson in these instances has certainly written with as

much success for the base as any modern and almost any ancient church composer.

"I am well pleased" (from the 114th psalm) is set as a duet for counter tenor and base, a solo for the base, a recitative and air for the counter tenor, a duet and chorus. This aims at deep expression, but there is an error as to the compass of the voices-the counter tenor lays low and the base much too high-a tenor must take it. The solo for the base is after the model of the wellknown verse, "Vouchsafe, O Lord, to keep us this day without sin,” in the Dettingen Te Deum-that is to say, the voice part is pathetic and sustained, while the accompaniment is a series of chords divided into equal measure-notes, and abounding in modulation. There is very good expression; but if it be intended to enforce it with the weight and yolume of a base, it cannot be done, and the comparative lightness of a tenor voice might possibly injure the effect. The counter-tenor solo has nothing particularly to recommend it. The best parts are the base solo and the conclusion "For the Lord is my strength," which however has been much more finely set in an unpublished anthem* by the late Dr. Beckwith of Norwich.

The commencement of "I will magnify thee, O Lord," is a trio for treble, tenor, and base, in a dignified style of laudatory energy-it is one of the best in the book. A treble solo follows, in a style of mingled imprecation and thanksgiving; it is simple but expressive. A base recitative, which contains much fine though chaste conception, and which reminds us of Purcell's manner, succeeds. This is capable of great effect. Next follows a trio, "Shall the dust give thanks unto thee?" which is set in a solemn manner. A tenor solo, a recitative, a trio and chorus, conclude the anthem in a manner worthy of its admirable commencement.

The structure of the last, "The earth is the Lord's," is nearly on the same plan-a trio for counter tenor, tenor and base, commences it-base and tenor solos follow, and a trio and chorus conclude it. The whole of this is highly conceived and excel

* This fine composition ought to be printed, not only in justice to the musical world, but to the memory of the author. We will venture to say, that in point of conception, melody, expression, pathos, and energy, this anthem, beginning "My soul is weary of life," has few superiors in all the vast body of ecclesiastical music. What a reproach it is to the age, that a dearth of encouragement should have kept such a thing from the light!

lently executed; the base solo is in the very soundest church style, and is composed with dignity and force. The opening of the tenor solo is original, being an ad libitum, which can neither be called recitative nor air, but partaking of the nature of both, and at the same time capable of great expression. The short air which follows is pleasing the trio and chorus are written with great strength. This will match with most of its companions.

We have thus gone through this highly creditable work, and we trust we have said enough to recommend it to the lovers of church music in general, and to the precentors of our choirs especially. Such a publication ought to find encouragement, for it will tend (if any thing now can) to excite and to keep alive that good taste which is the foundation of our national style. The author has proved that he has studied and held in recollection the best composers for the church, without subserviently copying them.Handel has been his chief model. If in any thing we could require more, it is perhaps in that he has avoided giving any striking or considerable proof of his ability as a fuguist. Every thing in this manner which he has touched is so short, that the subject is scarcely heard before it is lost. All however that is wanted in elaboration may perhaps be gained in clearness and simplicity, and we can truly say, that we have not lately met with any work so considerable that has so many and so high claims to commendation.

Brilliant Variations on the favorite Caratina, "Serena I vaghi' rai," from Rossini's Opera of Semiramide, for the Piano Forte; composed by Mayseder. London. Welsh and Hawes.

This composer has earned considerable fame amongst the lovers of light and agreeable music, for such of his compositions for the violin as have been performed during the two last seasons by Messrs. Kiesewetter and Mori. But he does not appear to be equally happy in his pieces for the piano forte—at least if we may judge by the variations before us. In the first place the theme, whatever merit it may possess when vocalised, is at the best but weak and ineffective on the piano forte. Twelve bars of introductory passages, trivial enough, precede this air. Variation 1st

is in triplets; this is pleasing and effective. Variation 2d, marked "piu lento," commences with tremando chords in the base, and continues for some bars, while the treble retains a resemblance to the melody. This is really so meagre and thin as to deserve expunging. Von Esch, we believe, was the latest writer who used these tremando passages; nothing can more clearly betray a want of resource in a composer than this obsolete style. Variation 3d, "piu mosso," is in triplets again; here is a want of contrast which should not be seen in the manufacture of variations. The fourth is in demisemiquavers-the latter part of which clearly shews that passages for the violin are uppermost in the mind of the writer. We like the 5th variation minore by far the best of any; there is a recurrence to a sounder and better style with a freedom of change in the harmony, that affords great relief to the "tired ear." The next, No. 6, is brilliant and flowing, and the passages lie better under the hand; but even in the latter part of this the violin again predominates, else why such notes as these?

*

and so on for two bars more.

Such trickery unless upon that instrument, it is beneath any established composer to sanction. The finale in time, marked presto," is the redeeming part of the piece-it is animated, and very judiciously worked upon through four pages, whilst the time is gradually accelerated "piu presto." We are fully of opinion, from a perusal of this and some other piano forte pieces of Mayseder's, that his best efforts are decidedly those for the violin; it were much to be wished therefore, for the sake of his own fame

and for the adyancement of art, he would adhere to that department which it may truly be said his compositions adorn and support. The most injurious feeling that any artist can possess is that of aspiring to be great in every thing.

No. 1. Melange on favourite Airs, from Mayerbeer's Opera " Il Crociato;" by J. Cramer. Cramer, Addison, and Beale.

2. Impromptu on "Giovenetto Cavalier," from ditto. London. Cramer, Addison, and Beale.

3. Eighth Grand Concerto, for the Piano Forte; composed by J. B. Cramer. Op. 70. Boosey and Co.

The first of these pieces is a spirited and pleasing adaptation of the airs "Non ve' per noi," " Rassicurata da suoi timori," and "Questa destra," from Mayebeer's celebrated and excellent opera, and the intervening passages, although not in Mr. Cramer's highest manner, are well adapted to the subject, and what is more, there are not too many of them.

No. 2 is a shade higher in point of handling (to use a phrase borrowed from the pictorial art), the subject being well chosen and effective, and the variety interspersed throughout, shews that the composer's excursive imagination has not abated; there is a short introduction, and the piece concludes at page 7. This at the present time is no mean commendation upon compositions for the piano forte in general; writers of impromptus (an anomalous and ill-defined title by the way for the purpose to which it is applied) think it no harm to draw upon one's patience sometimes through two dozen pages of confused jarring matter, which they call harmony-but the hearers, poor simple souls, very often think them the acme of weariness. Of the concerto No. 3, which was performed by Mr. Cramer at his last concert, we must speak in very different terms, for what pleasure is so great to a candid and disinterested auditor as to hear a composition like this, where there are no faults, and where with sound judgment, refined skill, and beautiful expression, the mind is kept upon the full stretch, is always gratified, and never disappointed, until the last notes cease to sound in our ears. This may appear like high-flown praise to