set off, but not oppressed and loaded by the graces. Good taste decrees that ornaments should be drawn from and accord with the nature and expression of the subject. Nor must it be forgotten that the character of the violoncello does not admit of so much ornament as other instruments of more extensive range and capability."

The harmonic sounds which Lindley introduces with so much effect in his solos have not escaped the author's attention. Of these he has given a variety of examples, together with scales and lessons for the use of the theme, embracing almost every manner in which they are likely to be introduced.

Ninth Fantasia for the Piano Forte, on the most favourite themes in Der Freyschutz, by Ferdinand Ries. Op. 131. Boosey

and Co.

Brilliant Variations on the Jager Chorus for the Piano Forte, with an Accompaniment for the Flute (ad lib.) by T. Latour. Chappell and Co.

The Waltz from Der Freyschutz, with Variations for the Piano Forte, by T. Latour. Chappell and Co.

A Divertimento on the Laughing Chorus, for the Piano Forte, by Aug. Meves. Clementi and Co.

The Huntsmen's Chorus (La Chasse), for the Piano Forte, by Aug. Meves. Clementi and Co.

Fantasia on the Waltz and Jager Chor, by J. Calkin. Lindsay.

We have here selected a few of the best from the numerous lessons with which every music shop teems, from the far-famed Der Freyschutz, and though they nearly all evince superior talent, we hardly dare venture to recommend them to our readers, fearing that they must be already satiated with favourite themes from the Freyschutz. We must not however be unjust to the composers whose works are before us. Mr. Ries has perhaps chosen the best form in which to embody the beauties of his sub

ject, as its chief attractions are to be found in detached strains, ́ which may be combined in the fantasia more freely than in any other kind of piano forte lesson. The first two pages are ingeniously formed upon the incantation scene-then follows the beautiful air of "Softly sighs the voice of evening," which, combined with some passages from the former, form an adagio in a style of brilliancy peculiar to Mr. Ries, but the expression is hardly in character with the air. The Laughing Chorus succeeds, and speaks much more highly for the composer. In a change to the minor key of C it is treated with great effeet. This part of the lesson concludes by a passage of recitative from the incantation for the right hand, which calls forth all its powers of expression. The elegant Cavatina of Agatha, the Bride's-maids Chorus, and the Jager Chorus, together with two or three other traits of melody, form the foundations for the rest of the fantasia, which in point of execution is hardly so difficult as Mr. Ries's general compositions. The style however is by no means easy to enter into, and as a thorough understanding of its character is absolutely necessary to producing the true effect, it is adapted to those who are sufficiently acquainted with his manner to enter into its peculiarities to such it will be a valuable and delightful acquisition. The two next lessons on our list are written in a style to gratify all those who possess elegant or refined taste. The oftener we review Mr. Latour's compositions the more reason have we to admire the smoothness and delicacy which pervade them. The introduction to the variations on the Jager Chorus possesses much character, and contains several excessively 'sweet passages. The variations are written in a style of great brilliancy, and some of them are not a little difficult. The first minor, No. 4, has strong points about it, as also the second, No. 8. The last variation, in which the chorus is put into time, forms a very agreeable variety, and makes a spirited conclusion. The waltz, though perhaps a better subject for the display of Mr. Latour's elegance, is nevertheless much more simple, requiring to be treated in a totally different manner. Mr. L. has however succeeded in this lesson equally well with the former-the variations are much less difficult, nor is it altogether such a lesson of display-but they who would perform the variations on the Jager Chorus on occasions when their powers as players were to

be shown to advantage, would perhaps perfer those on the waltz when they sought only their own gratification and amusement.

Mr. Meves has, in his Laughing Chorus, introduced a novel and whimsical idea. The combination of two such airs as Handel's "Hence loathed melancholy,” and the "Laughing Chorus," from Der Freyschutz, is a little too recherchèe to come within the rules of good taste. The divertimento itself is a light, pleasing, and easy piece, calculated to afford general satisfaction. The second lesson Mr. M. has opened with an introduction of considerable fancy-the rest of it is much easier than the first, but is very

sweet.

Mr. Calkin has formed a lesson of rather a lower order upon the same subjects united-so far as he goes he has succeeded in his object, and has added to his reputation as an agreeable composer.

Mozart's celebrated Air, “ Non piu andrai,” varied for the Piano Forte by J. P. Pixis. Clementi and Co.

Polonaise Brilliant for the Piano Forte; by J. Pixis. Chappell and Co.

Rondoletto for the Piano Forte, on a favourite Spanish Bolero; by J. Pixis. Birchall and Co.

The lessons of this composer, bearing as they do the decisive and strongly-marked characteristics of the school to which he belongs, are nevertheless tinged by a peculiarity of colouring that is the property of no other besides himself. They are not, perhaps, adorned by those splendid traits of genius that illumine the works of Beethoven-by the elegance and sensibility of Hummel, or by the brilliancy and vigour of Czerney, but they are distinguished by a strength, a correctness, and a polish, that render them highly interesting. The well-known subject of the lesson with variations, although presented in divers forms, is always attractive, and the graces with which it is embellished only serve to heighten its beauties. The character of the air is strictly attended to throughout, and in this respect it is well suited to the

purpose for which it has been selected, as its transitions of feeling give room to the composer for accordant changes of expression in his variations. The introduction is formed on the air. The variations 1 and 2 are of rather a lighter character than the subsequent ones, and are very elegant, particularly the latter. No. 3 is of more difficult execution; but it is in No. 4 that Mr. Pixis has put forth his strength, and he has here treated his subject with all the skill of the master. No particular analysis can be given ofit, but the air is kept constantly before us, either as a principal or ( subordinate, and the working up is managed with great energy and effect. This is followed by a variation in g time, which is treated towards the end with the same skill as No. 4, and concludes The lesson. The march at the close of the original is not introduced, but the superior treatment of the rest leaves no room for it. The whole is in a considerably easier style than most of the compositions of Mr. Pixis.

No. 2, the Polonaise, is a lesson of more difficulty, and hardly so attractive, though quite as original and excellent of its kind. The introduction is full of rapid execution, and of a singular construction. The Polonaise itself contains more energy and pathetic expression than we are accustomed to meet with in such productions, and although it forms the principal subject, is yet rendered still more pleasing by the introduction of several detached traits of melody that are very beautiful, particularly where there is a change from the original key, F major, to that of F minor. In this lesson there is also a peculiarity which we must not omit to mention. In some parts the air is given to the third and fourth finger of the right hand, whilst the other fingers are carrying on an arpeggio accompaniment, and the left hand has a simple but marked base. This kind of passage belonged especially to Dussek, to whom it owes its origin. Its introduction in the lesson before us proves that Mr. Pixis is unbiassed by opinions of novelty when effect is concerned, which he has much heightened by the use of this passage.

No.3, the Rondoletto, is only a proof of what may be made out of a mere nothing, for such is the Bolero on which it is formed. It is an easy but extremely brilliant and agreeable lesson. The introduction is remarkably effective.

Rondoletto Brillante, on a Cavatina from L'Italiana in Algieri, for the Piano Forte; by Charles Czerney. Boosey and Co.

The brilliancy and fervour which characterize Mr. Czerney's music sparkle in this lesson as brightly as ever, yet we cannot give it the same praise that we have done to some of his late productions, because it wants the variety and imagination that distinguish the composer. It seems as if it were the spontaneous effort of some moment of leisure, rather than the studied and polished work of reflection; nevertheless its beauties are numerous. The agitato movement, in B major, is very good, and here peeps out the model of the composer-Beethoven, as also during the two succeeding pages, which, although consisting of common arpeggios, are yet very effective, from their modulations. The air is afterwards introduced with an accompaniment of triplets in the base. Difficult and rapid execution, great brilliancy and energy in parts, render this lesson superior, though not so when compared with the other works of its composer.

Introduction and Polonaise for the Piano Forte; by C. M. de Weber. R. Cocks and Co.

Variations on a Gipsey Air for the Piano Forte; by C. M. de Weber. R. Cocks and Co.

These lessons, evincing great talent and imagination, are not for those who are caught by the glitter of showy execution, or delighted by sweetness of melody. Not that they are devoid of either the one or the other, but these qualities are mingled with such originality of design and interspersed with passages of such strength and freedom, that they alone who enter thoroughly into the peculiarities of this composer and his school can enjoy them. The first and best opens with an introduction, short, but decided, and completely in the nervous and deeply contrasted style of its composer. It is in E flat minor, and consists of a