for the Harp, with Accompaniments for the Flute (ad lib); by N. C. Bochsa. Select Italian Airs, from the most popular Operas, arranged for the Piano Forte and Violoncello-Book 1; and Select Airs from the Opera of Der Freischutz, arranged for the Piano Forte and Violoncello; by F. W. Crouch. Nos. 7 and 8, of Les Belles Fleurs; by Sola and Bruguier. Kelvin Grove, No. 16, of Caledonian Airs, arranged for the Piano Forte, with an Accompaniment for the Flute (ad lib.); and Beethoven's Hallelujah Chorus, from the Mount of Olives, being No. 9 of a Selection of Chorusses, arranged for the Harp and Piano Forte, with Accompaniments (ad lib) for Flute and Violoncello; by J. F. Burrowes. Nos. 9 and 10, of Calkin's Les petits Amusemens, Cramer's Divertimento on "Ye Banks and Braes" and "Bonny Jean," arranged for the Harp; by C. H. Wright, jun. Six more numbers of the new edition of Cramer's works are published. We must not omit to notice a publication which has recently appeared in numbers, under the title of "A Selection of Piano Forte Music, by L. V. Beethoven," published by Gow and Son. The four numbers already out consist of some of his easier pieces, which are however extremely beautiful, and though but trifles comparatively with his other works, are such as he only could have produced, and music of a rank not often laid before the public. An Account of the Musical Festival held in September, 1823, in the Cathedral Church of York, for the Benefit of the York County Hospital and the General Infirmaries at Leeds, Hull, and Sheffield; to which is prefixed a Sketch of the Rise and Progress of Musical Festivals in Great Britain, with Biographical and Historical Notes; by John Crosse, F. S. A. F. R. S. L. M. G. S. Honorary Member of the Antiquarian Society of Newcastle-upon-Tyne, and of the Yorkshire Literary and Philosophical Society, and Member of the Committee of Management. York. Wolstenholme. The late Festival at York presents not only the most signal instance of success, but the most memorable and striking example of the exertion of public spirit, applied to the conjoint purposes of charity and music, upon record. The publication of such a narrative as that before us, undertaken by a private gentleman, without the slightest view to emolument, merely from the love of art and the hope of alluring some to study and all to admit the elegance and usefulness of the pursuit, and brought forth in so excellent a manner, forms a consummation well worthy so splendid an occasion. Mr. Crosse, indeed, with the greatest modesty, assumes no higher praise than that of an editor; and it is thus that in the conclusion of his short preface, he speaks of his intentions and his hopes : “If—in this attempt to make an account of the Yorkshire Festival a book of amusement, and of reference, at a time when similar meetings form a leading feature in our domestic events, and when musical science is daily advancing among us with rapid strides-it shall be thought that he has in some degree benefited the cause of music, strengthened its alliance with that of charity, and illustrated its connection with the best feelings of our nature; the editor will feel that his most sanguine wishes and expectations have been amply gratified, and his labours abundantly rewarded." But the author has done a great deal more than compile. He has concentrated the essence of most of the valuable criticism applicable to every part of his subject which the musical literature of England affords, whilst he has collected not less of biographical anecdote, and he has done this with good taste and admirable temper, displaying a very extensive acquaintance with the art and its finest models, the results of great opportunities and long and diligent observation-he has collected much from correspondence, and brought all his reading to bear in a manner that is at once easy, perspicuous, and entertaining. The plan of the work is very comprehensive. It begins with an historical survey of the rise of Festivals, and of the dedication of music to charitable purposes, from whence it appears that these associations of talent and good works have proceeded according to the order of the abstract we shall subjoin. We however must request the reader to observe that we have taken only the earliest dates, while Mr. Crosse has continued his narrative through all the remarkable Festivals, whether for the purposes of charity or individual emolument, down to the present time. St. Paul's for the Sons of the Clergy (continued to the present time) Meeting of the Choirs of Gloucester, Worcester, and Hereford, (for the Widows and Orphans of the Clergy of those Dioceses) ... Fund for the support of Decayed Musicians The Messiah, performed by Handel in Dublin, for the City .... First, and annually till his death, conducted by him, for the Foundling Hospital 1709 1724 1738 ... 1741 1749 1749 1767 1769 1770 .... 1778 1784 1785 1785 1786 . 1788 1788 . 1788 1789 1790 1791 Annual Performance of the Messiah, at St. Margaret's, commenced Edinburgh .... 1792 1815 And let it not be imagined that the relation is a dry enumeration of places and dates. Here it is that the author has interspersed his account with notes, containing the biography of most of the eminent performers, and with critical remarks upon their several styles. Much of them are avowedly drawn from our own publication, and it is still more in consonance with those hopes of attracting the attention of musical men to the union of literature with their art which first induced us to project the work, to perceive that in many places where Mr. Crosse has not adopted our language, he has incorporated our sentiments. Indeed we can but be particularly flattered by the complete accordance of such an author upon matters of taste. The progress of music at these meetings forms a most amusing feature. It is pleasant to compare times past with times present, and in no part are the facts perhaps more remarkable than in the following extract: "At the annual meetings of the three choirs before named, the performances lasted originally for two days, but were extended to three evenings at Hereford in 1753, and at Gloucester in 1757, for the purpose of introducing the Messiah, which was enthusiastically received, and has been performed ever since; they were further extended to three mornings in 1758, at which they still remain. For many years the Te Deum of Purcell, and that of Handel composed for the peace of Utrecht, were alternately produced; until the latter was superseded by the Dettingen in 1748; the tickets were 2s. 6d. and the leader's remuneration did not exceed a guinea and a half. In 1752 the price of admission was advanced to three, and in 1758 to five shillings. From such small beginnings did the present provincial musical festivals take their rise; but, as in matters of infinitely higher interest, so in a measure may we say in this, who shall despise the day of small things? "During this early period of our musical annals and for some years afterwards, the evening performances consisted chiefly of oratorios, those in the morning of anthems and the Te Deum. The first time that an oratorio appears to have been given in the morning was in the instance of the Messiah, at Hereford, in 1759; and in 1760 a tribute was paid at Gloucester to the memory of its illustrious author by the introduction of an ode composed by Dr. Hayes, who had succeeded to Dr. Boyce in the direction of the meetings. In 1753 the modern arrangement of a miscellaneous concert appears for the first time in the evening at Hereford; and in 1770, at Worcester, when Miss Linley, the most accomplished singer that this country had produced, made her first appearance: the preceding year, 1769, had witnessed in the instrumental department, that of Fischer and Crosdill, the latter of whom still survives, one of the oldest professional members of the Royal Society of Musicians. Miss Linley, having, under circumstances of some interest, become the wife of the celebrated Mr. Sheridan, in 1773, great fears were entertained that she would not fulfil her engagement at Worcester; but Mr. Sheridan kindly gave his consent, and presented the sum of one hundred guineas, which was to have been her remuneration, to the charity. On this occasion (as in a recent occurrence at York), so great was the anxiety of the public, that her arrival was officially announced; nearly 1400 persons assembled to hear the Messiah, and at the close of the meeting she took leave of an admiring public, in the full lustre of unrivalled talents, leaving the minds of her enraptured audience impressed with a remembrance, not soon to be eradicated, of her sweet and powerful tones, and charmed with her generosity and benevolence.' "In the year 1772, the celebrated chorus singers from Lancashire and the North of England, led by Miss Radcliffe, having. been introduced to the notice of the public, made their first appearance at Gloucester. Among their number was Miss Harrop, who in a short time rose to distinguished eminence; destined, like her predecessor Miss Linley, to accelerate the triumph of English vocal art, and, like her, as quickly to retire into the shades of domestic life. In 1778, she was first engaged at one hundred guineas, then the usual compliment to the principal singer. She afterwards became the wife of Joah Bates, Esq. the well-known conductor of the commemoration of Handel, and died his widow in December, 1811, with the reputation of being the most perfect. mistress of the true style of executing the compositions of that great musician. This year, 1778, on the very morning of the meeting, Mr. (then Master) Harrison's voice unfortunately broke, and threw him for some time into the shade: three years afterwards, he appeared as principal tenor singer, and quickly reached that high place in the public esteem as a classical performer of correct taste and pleasing style, which he retained until his death, in 1812. In the opening of the Messiah,-which, at the commemoration in 1784, by the express command of his Majesty, who had heard him in private, was allotted to him, although there were much older competitors for that honour,-he particularly excelled; and he succeeded in the line of his parts to Mr. Norris;* as his place in "Charles Norris, Mus, Bac. Oxon. was patronized, when a cloister boy at Salisbury, by the learned James Harris, Esq. author of Hermes, and father to the late Earl of Malmesbury, who wrote a pastoral opera, to introduce him to the public, by whom he was not well received, owing to his voice being still a soprano. He then settled at Oxford, as organist and concert singer, composed some glees, and became master of several instruments; but, from an early dis |