been said of her that "she sings about a dozen airs, with which she travels over Europe." But this is not true; few singers have taken more pains to obtain, or have had more songs composed for them, than Madame Catalani. The succeeding sentences, in which the author we quote pronounces that a similarity pervades all she does, may be thought to approach nearer the truth. We introduce these observations to rescue Mr. P. Cianchettini from the censure he must otherwise be exposed to for the first part of the first song, which has been put together, every one will feel, not in the moment of inspiration, nor even in obedience to his own good taste, but simply to display Madame Catalani's power in her own manner. Hence it is that we have an opening of great force, but without any thing else to recommend it. There is a middle movement of considerable beauty, but the conclusion is but too much upon a par with the beginning. We entirely acquit Mr. Cianchettini of all share in these faulty dispositions, but the wish to set off the powers of Madame C. The passages are showy, but by no means difficult of execution, and they lie in those parts of her voice where she can throw in all her immense volume and force. And this, we doubt not, was the object.

The second is quite in another style. The Mazurka is a national dance, peculiar to Poland, and the theme, it seems, is furnished by Madame Catalani herself. It is at once sweet, airy, and catching. Mr. Cianchettini has treated it very ingeniously, for he has given it all the play and all the display of an air with variations, yet retaining much expressiveness. We heard Madame Catalani sing it at her last concert, and with great effect, for her power of contrast and transition was exquisitely called forth. It is chiefly light and playful, but the last verse demands vigorous bursts of execution. We never, indeed, remember any thing of the kind that pleased so much or so truly. The composer has inscribed it to Miss Sarel, a young lady whose natural endowments place her, we understand, so high amongst amateurs, that the dedication of so difficult a song is justly to be regarded as a tribute to talent offered by judgment.

La Primavera for the Piano Forte, with Accompaniments for the Flute, (ad lib.) by T. A. Rawlings. London. Goulding and Co.

Introduction and Variations on an Air by Shield, with Flute Accompaniment, (ad lib.) by T. A. Rawlings. London. Goulding and Co.

Divertimento on Airs from Il Barbiere de Seviglia, by G. Kialmark. London. Chappell and Co.

My Love is but a Lassie yet, arranged for the Piano Forte, by T. Valentine. London. Chappell and Co.

Sweet Innisfallen, arranged with Variations for the Piano Forte, by L. Jansen.

A Pastoral Divertimento, à la Chasse, for the Piano Forte, by J. H. Little. London. J. Power.

Mr. Rawlings ranks with the composers who are gradually rising in the scale of merit and of estimation, and whose productions indicate a regular progression of refinement and taste. Of the two lessons before us the first is the easiest, and supports our position the least; but it is a sweet and tasteful composition, and deserving the notice of those who are fond of agreeable morceaux. The variations, which are inscribed to Mr. Shield, are distinguished both by elegance and originality: the subject is The Thorn, one of Mr. S.'s most admired and expressive airs, and it is treated with characteristic simplicity and beauty by Mr. R. The Introduction is varied and agreeable, and the whole lesson speaks highly in favour of the composer's taste.

Mr. Kialmark's Divertimento is formed upon three of the most beautiful airs in the opera, than which there is little more introduced; but what there is, is good and in keeping with the melodies. The lesson is easy but attractive.

Though the brightness of genius lights upon trifles, it never fails to illumine them. This is the case with Mr. Valentine's lesson on the pretty, but hacknied Scotch air he has selected. There are no difficulties, no execution, but there is a spirit and brilliancy throughout the whole, and an originality in its arrange ment that speak very highly for the talents of the composer, and

lead us to hope we shall ere long see his abilities exerted on higher subjects.

Mr. Jansen's lesson is showy and easy, two great recommendations to beginners, for whom it is principally adapted.

Mr. Little is so well known as an agreeable composer, that his name, and an assurance that the present lesson does not fall short of his accustomed excellence, will be a sufficient introduction to notice.

Fare thee well, and if for ever; written by Lord Byron; the Music
composed by J. C. Clifton. London. Chappell and Co.
Fair Geraldina, Song, in the Spanish style; written by H. S. Van
Dyk, Esq. composed by John Barnett. London. Cramer,
Addison, and Beale.

The Rose, Ballad; written by the late Right Hon. C. J. Fox; composed by W. H. Cutler, Mus. Bac. Oxon. London. Lindsay.

Let the shrill Trumpets warlike voice; composed by W. H. Cutler. Mus. Bac. Oxon. London. Lindsay.

Fly away Dove; composed by J. Whitaker. London, Whitaker. Geraldine, a Ballad; composed by G. Nicks, London. Birchall. Busy, curious, thirsty Fly, Duet; composed by J. Emdin, Esq. London. D'Almaine and Co.

These vocal pieces have all nearly the same title to our recommendation-a general phrase indeed, but one which suits the occasion, for what can be expected from a reviewer towards the class of productions just levelled above the mediocrity which confounds the million of publications of this nature, more than to point them out to the observation of amateurs. Their common property is at certain quantity of tasteful melody and expression. Amongst those before us Mr. Barnett's song is in a rational manner, and is altogether a quaint and ingenious imitation, susceptible of much effect. Mr. Cutler's ballad is a pleasing melody, and his base recitative and air, in the manner of Handel-so much indeed that some of the passages are to be found in that great composer's works and others, are more the production of memory than inven

tion; but altogether it is a showy song. Fly away dove is the air which Miss H. Cawse sung so well in the condemned opera— "the Hebrew family."

Mr. Nicks is so excellent, so useful, and so amiable a member of the profession, that the respect earned by him in a pretty long professional life, will make his composition an object of curiosity, particularly as we remember a very excellent song of his was its precurser. Geraldine is, truly speaking, a sweet and pleasing air, unaffectedly expressive, and aiming at no difficulties-The duet is from the pen of an amateur who has gained considerable reputation by several very elegant songs. It is in the old manner of writing, and has a title to regard for its easy simplicity and its power of effect, if rightly managed.

To day, dearest, is ours, Ballad, by Thomas Moore, Esq. (the subject of the Air from a Ballet.) London. Power.

Pale broken Flower, Ballad, by Thomas Moore, Esq. London. Power.

Hear, take my Heart, Ballad; written and composed by Thomas Moore, Esq. London. Power.

"Nihil tetigit quod non ornavit," never could be applied with more strictness to any one than to the elegant author of these ballads, for whether he selects a melody for words, or produces the piece entire, his fine taste is always visible. Of these ballads two are of the first kind, and one only from his own pen. The last on the list are decidedly the best, and most beautiful indeed they are, either considered as power or as music. Pale broken flower is one of the proofs which Mr. Moore so often gives of being able to deck ideas as old as verse itself, with new and exquisite grace and feeling. The last is so imaginative and playful that we must give it to the reader entire.

Here, take my heart, 'twill be safe in thy keeping,
While I go wand'ring o'er land and o'er sea ;

Smiling or sorrowing, waking or sleeping,

What need I care, so my heart is with thee.

If in the race we are destin'd to run, love,

They who have light hearts, the happiest be,
Happier still must they be who have none, love,
And that will be my case, when mine is with thee.

No matter now where I may be a rover

No matter how many bright eyes I see-
Should Venus' self come and ask me to love her,
I'd tell I could not-my heart is with thee.
There let it lie, growing fonder and fonder;

And should dame Fortune turn truant to thee,
Why let her go—I have a treasure beyond her
As long as my heart's out at int'rest with thee!

ARRANGEMENTS.

Overture to Preciosa and favourite Airs, for two Performers on the Piano Forte; by T. Latour. Chappell and Co.

Overture to Preciosa, for Harp and Piano Forte, with Flute and Violoncello Accompaniments; by N. C. Bochsa.

The Beauties of Preciosa, adapted for the Piano Forte; by the Author. R. Cocks and Co.

Overture to Preciosa, for two Performers on the Piano Forte, with Accompaniments for Flute and Violoncello (ad lib); by D. Bruguier. Gow and Son.

Two Books of Music in Preciosa, for the Piano Forte, with Accompaniments for the Flute and Violoncello (ad lib); by D. Bruguier.

No. 6, Klose's Operatic Divertimentos, from Preciosa. Chappell and Co.

La belle Sorciere, Romance, Ballet, and Chorus, from Preciosa, arranged for the Harp and Piano Forte; by C. N. Weiss.

Spanish National Dance, from Preciosa, arranged for the Piano Forte; by J. Calkin.

Overture to Der Freyschutz, arranged for Harp and Piano Forte, with Flute and Violoncello Accompaniment (ad lib); by G. Holst. R. Cocks and Co.