tremando, accompanied by a marked base, followed by a few passages of simple expression which lead to the Polonaise. This very quaint and original melody is strongly contrasted by its lightness with the preceding sombre introduction. The air assumes a variety of characters during the lesson, and at page 6 there is a change of key into C major, introducing a few bars of pretty melody, and of rather a curious construction. The air is given to the second, third, and fourth fingers of the right hand, whilst the thumb and first have an accompaniment of two notes in repetition, and the whole is very effective. The execution of this lesson is not difficult, but without strict attention to its leading feature, contrast, it is nothing. The air with variations is in the same style of originality and strongly marked design. The theme is pleasing but eccentric, and is treated in the variations with corresponding singularity. Nos. 4 and 5 are stamped with the true German impress, and are both very good. This lesson is shorter, easier, and more showy than the Polonaise, though not so excellent.

Brilliant Rondo à l'Autrichienne for the Harp and Piano Forte; by N. C. Bochsa. Chappell and Co.

Imitative Fantasia for the Harp, introducing the Serenade of "Wake dearest wake;" by N. C. Bochsa. Goulding and Co. The Jager Chorus, with Variations, and an Introductory Prelude on some Passages from the Incantation Scene; by N. C. Bochsa. Chappell and Co.

"Comin frae the Rye," with an Introduction and Variations for the Harp; by T. P. Chipp. Gow and Son.

"When the wind blows," arranged as a Duet for two Performers

on the Piano Forte, with an Accompaniment for the Harp; by D. Bruguier. Goulding and Co.

Amor possente Nome; Duet for the Harp and Piano Forte; by G. Holst. Cocks and Co.

Mr. Bochsa's rondo (dedicated to Master Aspull) is not precisely what we should have expected from such a composer.

There is scarcely a passage of execution for either instrument. We should not however have complained of this, had there been those traits of feeling or imagination in its place which we are accustomed to find in the works of this author, but the spirit with which Mr. B. usually writes seems to have forsaken him in a degree upon the present occasion: not however that we condemn the lesson entirely; far from it; there are parts which powerfully assert Mr. Bochsa's claim to originality and genius, and the subject itself, although short and of a national character, is simple and elegant, but it does not present Mr. Bochsa in his happiest

moments.

In the Imitative Fantasia Mr. Bochsa has given loose to his fine fancy. We imagine by the title he has chosen, that he undertakes to follow and express the very various emotions contained in the words of his subject. This notion is carried forward in a manner to display great genius; in the developement he has discovered all his wonted animation and energy. The fantasia requires both execution and expression. In his last lesson Mr. Bochsa has chosen a wide field for the display of his abilities, though he challenges competition by selecting a subject which has been presented to the public in almost every possible shape; but nevertheless we may venture to assure our readers that this composition will stand pre-eminent in its kind, in spite of all the various uses to which the Jager Chorus has been and continues to be subjected. The grand prelude (which is in fact an introduction of four pages) is alone sufficient to recommend the rest. It is constructed with the greatest ingenuity, The citation of the passage from the Bacchanalian song, and the concluding cadence, is very happy. The arrangement of the air, simple task as it may seem, is nevertheless performed by Mr. B. in a manner peculiar to himself, and some few notes are inserted that add greatly to the effect. Of the variations, the third and fourth are the best, but throughout the whole there is so much animation-it sparkles as it were with such brilliancy-that it cannot fail to make its way with true taste and feeling.

Mr. Chipp's lesson is easy and agreeable, but the variations are in an unpretending and ordinary style, which is not calculated to attract the attention of any but beginners, or those who seek mostly for amusement in the prosecution of their study,

Mr. Bruguier's duet, though not much more than a simple arrangement, is nevertheless done with taste and ability, and forms a very pleasing lesson.

Mr. Holst's is of a showy character; the brilliancy of the subject is well kept up throughout the few passages that are added, and the parts are judiciously and effectively allotted to the two instruments.

Preciosa, Romantisches Schauspiel, in four Acten; Dichtung Von Paris Alex. Wolff; Music Von Carl Maria Von Weber. Berlin. Schlesingerschen Buck und Musikandlung.

Abon Hassan, a celebrated Musical Drama, performed at the Theatre Royal, Drury-lane; composed by Carl Maria Von Weber, and adapted to the English Stage by T. Cooke. Clementi and Co. Natur und Liebe, Cantate zur Teyer des Augustus Tages in Pil

luitz; Dichtung Von Sriedrich Kind; in Musik gesets fur 2 Soprane, 2 Tenore, and 2 Basse; Von Carl Maria Von Weber. Berlin. Schlesingerschen Buck u Musikandlung.

We have already narrated, in our sketch of the music of the season, the position into which Weber has been exalted in this country. It becomes therefore a duty almost indispensable to examine such of his works as have been brought before us, and as are accessible. For notwithstanding Preciosa has been condemned, and Abon Hassan had only the common run of a common farce upon the stage, while Natur und Liebe has experienced a moderate reception, we consider that their merits, as music, have had but little operation in the formation of these judgments. Why we so think, has already been told.

We were not present at Covent Garden on the night of the only representation of Preciosa. Abon Hassan we have seen, but we cannot imagine that the defects of the one composition, or the merits of the other, have assisted, except in a small degree, to the rejection of the former or the repute of the latter. There are, indeed, in the story of Preciosa, abundant materials for a dramatist of

of power to work into a piece, interesting as well for its situations and sentiments, as for its picturesque characters and scenery; but of the disposition of the fable we know nothing-we have only to do with the music. The story is from Cervantes. A child is stolen by gypsies, and grows up with uncommon beauty and attainments. A young nobleman falls in love with her; and consents to assume the habit of a gipsey, and remain two years with the tribe, in order to prove his constancy and truth. In the early part of his wanderings an innkeeper's daughter becomes enamoured of him, and offers herself and fortune to him, under the notion that he is the character he seems. He tells her of his passion for Preciosa, and rejects her overtures. She places some trinkets in his wallet, and causes him to be arrested for the theft. He is cast into prison. The governor of the town where he is committed proves to be the father of Preciosa, who comes to beg access to her lover, and the catastrophe which clears up the mystery, unites her to her adorer. In such a story, however improbable a fiction, there is ample opportunity for the display of dramatic and passionate effect.

The music consists of an overture, a good deal of melo-dramatic accompaniment, an air, some chorusses and dances.

1

The overture is constructed on the same plan as that to Der Freyschutz; it is composed of four passages from the opera itself, a part of the accompaniment to a soliloquy for Preciosa at the end of the drama, the Opening Chorus, the Gipsey March, and the passage concluding the whole. These little traits (though perfectly characteristic) are neither sufficiently varied nor beautiful in themselves to form a very interesting combination, and their treatment in the overture illustrates forcibly a very judicious remark which we once heard made on Weber's style of composition, "that if he hit upon any beautiful idea, he appeared not to have the faculty of varying it, for if the strain was introduced frequently, it was not as it would have been by Mozart, in a thousand varied forms, each more attractive than the last, but always unaltered, and the same." This is indeed very much the case with the overture to Preciosa. There are a few very sweet pieces of melody (which are to be found no where else), but they are not worked upon: the passage chosen for this purpose is one from the Gipsey March, which affords the opportunity of remarking how

sedulously attentive this composer is to adapt the character of his music to that of his story. The march itself is founded on an original gipsey melody. This it was that induced Weber to select it as the theme on which to form the principal and descriptive part of his overture. The concluding movement is thus worked on, and with a masterly hand. It modulates into various keysis sustained by a very solid base, and concludes the overture by the same passage as that which ends the opera. It opens in A minor, and changes in the march into C major, in which key it concludes. The Gipsey March, which opens the opera, is followed by the chorus," Hail Preciosa," constructed on the plan of those in Der Freyschutz; the voice parts being extremely simple, and the accompaniment rich and very full; and this we may here remark is the general character of all the chorusses in the piece. This melody is very singular, but in many places beautiful. The following scene is one of so curious a construction that we scarcely know how to name or describe it. It is a soliloquy for Preciosa, which is heightened by melo-dramatic strains from the orchestra. To this scene perhaps may be attributed, in some measure, the failure of the opera. The English are not yet sufficiently alive to the beauties and powers of instrumental music, to relish the complete transfer of musical description from the stage to the orches tra; the intrinsic merit of the music however remains the same. It is certainly beautiful in parts; the bassoon, horn, and clarinet are the principal solo instruments, and they are well adapted to the expression. Although on the whole this portion of the opera does not display any very high traits of genius, there is a certain languor which pervades it throughout, and which is in perfect consonance with the feelings of Preciosa. The act finishes by a very spirited gipsey dance, including an elegant solo for her.

The second act opens with the best piece in the opera, a short Gipsey Chorus. The German words are poetical, and the music is a happy adaptation in Weber's best style. With the exception of one other chorus, this is the only piece which has escaped the wreck, by being introduced into Abon Hassan. The words are altered, and consequently the effect injured. The glee opens with a symphony of great freedom and originality, descriptive of the liberty of the gipsey's life. The voice parts are simple and in detached portions, answered by an echo from the horns,