it more accessible to the generality of readers, but we cannot see why the measure is changed, in the last chorus, from C to -unless it be to prove, that our editor is determined to do something. We have however a more serious ground of difference with him, on account of the direction which he has given for the performance of the movement. The words with which it begins, are "Blessed be the Lord God of Israel," and to mark this benediction with the greater solemnity, Purcell or Dr. Boyce, has directed that it be sung as a verse; that is with the single voices, and "very slowly." This does not please the lively Mr. G. who directs us to sing in "coro" and "allegro." Again, Boyce has marked the passage "from everlasting and world without end" to be sung faster than the preceding on the contrary, Mr. G. in his spirit of improvement, has marked the phrase "world without end," to be sung "poco adagio."

These differences may appear trifling to some persons; but they will not appear so to those who know how much the character of a musical composition depends on the time in which it is performed: they also throw light on the mind of the editor, and on the disposition and feelings with which he has executed the task.

Concerning the other pieces, contained in this volume, we have left ourselves room to say very little.

The chief among them are "God is our hope and strength," by Green; arranged for treble, alto, tenor, and base, by the editor, and the last chorus mended a trifle by him, as usual, at the end.

"O Lord thou hast searched me out and known me." Mr. G. has only given some of the movements of this fine anthem, which he has transposed from A to G. By this means he has been enabled to arrange the upper parts for two trebles, instead of the alto and tenor, which are found in the original. Alterations, and omissions, such as these, are useful; insomuch as they may occasionally tend to diffuse some knowledge of the works of our great masters, and a taste for them; our gratitude to the editor is also encreased, in this instance, by his having refrained from any emendations of his author. Boyce's anthem " By the waters of Babylon” is likewise inserted, with only one improvement, that we have discovered. This appears at the end of the last chorus, where the composer has employed the 45 on Eb, in the following manner :—

The words of this movement contain a dreadful imprecation on the enemies of Jerusalem, and this harsh harmony, towards the conclusion, is highly expressive. But, unhappily, it is too "coarse" for the ears of Mr. G. who thus, to his own standard of propriety, cuts down the doctor.

Sing unto the Lord a new song," by Green, next follows; and the verses are arranged for treble voices, which, we hope, will make some of our fair friends more acquainted with this beautiful anthem than they have hitherto been.

There are also extracts from Croft's anthems, "This is the day which the Lord hath made"-" We will rejoice in thy salvation”— and "Sing unto God O ye Kingdoms of the Earth. Mr. Gardiner is so much pleased with another anthem, by Croft, "God is gone up with a merry noise"-that he has given it entire, and in the height of his good humour, has put an introduction to it.

"Be thou my judge, O Lord," by Dr. Boyce-" O God of my righteousness," by Dr. Green-and Weldon's beautiful anthem, "In thee O Lord have I put my trust," will all be found, at length, in this volume; and it is, we presume, to furnish a ludicrous contrast to them, that the editor has taken the trouble to adapt sacred words to a terzetto by Sarti, which Shield has given us in his introduction to harmony, under the title of "Conrade the good."

VOL. VII. NO. XXVIII.-DEC. 1825.

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Concerning the other pieces selected by our editor, we have neither time nor inclination to go into any detail. Some of them are well known. There is Graun's duet, arranged to certain namby pamby lines on "Charity"-Marcello's "As the hart panteth." There is also, Kent's anthem, "Hear my prayer”— which is, perhaps, the best of his writings; though there is very little in it-and there is a "motetto" from Haydn, which flows more smoothly, and is more truly vocal, than many others of that great master's compositions.

But we must hasten to a conclusion-first making a few remarks on the version which Mr. G. has given to us of Purcell's Te Deum. And here we cannot refrain from expressing a wish, that the editor, in republishing this fine work, had refrained from any abridgements, and had contented himself with correcting the errors of the press. He has left out some divisions, which are not more unmeaning than many which are in vogue at present; he has mended some harmonies which were too coarse for his ears; and he has even taken the trouble to re-write a passage or two; but with all this we would gladly have dispensed.

Purcell, and many others of our ecclesiastical composers, wrote upon principles which are not adopted at the present day, but which give to their works a peculiar charm. Now we desire to see them in their original garb, and not shaved, trimmed, and dressed, by the hands of Mr. Gardiner; for it is clear that he is not well acquainted with the "Ancient Costume;" and his interpolations and emendations, in the volume before us, are often as incongruous, as it would be to put the frock and Wellingtons of a modern dandy, upon a gentleman of Queen Ann's cortége.

Nothing gives more identity to a musical author than the harmony which he employs. It is like the touch of a painter, which is instantly recognized by good judges—and, in this respect, Purcell is the boldest, and most original, of all our English masters.— Mr. Gardiner, however, must needs measure weapons with the giant. Having worked himself into a belief, that he has more "accurate ideas" than he had, who was, and is, the pride and glory of our school, he presumes to attempt improvements in compositions which have been admired by successive generations of musicians, and which Boyce was proud to edite, but afraid to touch.

Consider the following examples, which will prove how far our editor is equal to his undertaking :—

PURCELL.

GARDINER.

Purcell's arrangement is, by no means unexceptionable. since Detween the second and third bars, the extreme parts proceed from a sixth to a fifth C by similar motion; but Mr. G. in his amend ment, and to indulge in the modern luxury of an extreme sharp sixth, absolutely falls into consecutive fifths in the same place; for no one will venture to say, that the error is avoided by the small semi-quaver, put before C, which seems as if it were placed there to make the blunder more apparent.

In the passage below, Purcell, who always aimed at expression, has endeavoured to accommodate his music to the sense of the text-not only by a division on the word "infinite," but, also, by the holding note of the base.

This, however, does not square with the notions of Mr. Gardiner, who has thus improved upon his author :

The verse-" Thine honourable, true, and only Son," is thus set by Purcell, who, with great propriety, maintains, in some degree, the style of the preceding verse.

But the following, by our excellent editor, is, of course, much better; notwithstanding the faulty progression of fifths, in the third bar between the treble and alto.

Thine honourable

true and on ly Son.

D

In the next verse, the freedom of Purcell's base, and the ca