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I. Cathedral Selections, consisting of Anthems, Sanctus, Commandments, and Chants. Selected, arranged, and respectfully dedicated (by permission) to the Right Hon. Lady Selsey, by Thos. Bennett, Organist of the Cathedral, and St. John's Chapel, Chichester. Goulding, D'Almaine, and Co.

II. Sacred Music, being a large and valuable Selection of the best Psalm Tunes, both Ancient and Modern. Arranged for four voices, or a single voice, with an accompaniment for the organ or piano forte, and humbly dedicated to the Clergy of England, by Robert James Edwards, Organist of Banbury. Oxon. Pres

ton.

III. Anthem for four voices. The words from Dr. Watts' version of the fiftieth psalm, on the last judgement, composed with an accompaniment for the organ or piano forte, by Joseph Morris, Organist, Harlow. Essex. Monro and May.

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IV. The Lord's Supper; composed, with an accompaniment for the piano forte, by J. H. Monro and May.

V. A Set of Chants, with Sanctus and Kyrie Elieson; composed for the use of New College Chapel, Oxford, and most respectfully dedicated to the Warden and Fellows, by H. West. Goulding and D'Almaine.

Two things are required from a selector-namely, that he chuse from good authors, and present his selections in a form most convenient to those for whose use they are intended. The first of these conditions Mr. Bennett has fulfilled very well; for his book contains some pleasing movements by masters who will always be admired by the lovers of English cathedral music.

There are two solos from Wilson-" O praise the Lord," and "O praise God in his holiness," there is a Sanctus also by the same excellent composer, and several others, with the Kyrie Elieson by Rogers, Aldrich, &c.

We will say little about the movement by Richardson, “O how amiable are thy dwellings," which begins with such a specimen of faulty accentuation, that we wonder how Mr. B. could admit it into his collection. We must not forget to mention a delicious morsel from Farrant, "Lord for thy tender mercies' sake." There

is a peculiar charm in the writings of this author, arising from their structure, which the lapse of time has rendered venerable, and from the truly ecclesiastical tone which pervades them.

We respect the memory of Mason, who was a good poet and an excellent man, but we are sorry to find, in the work before us, his puerile anthem, "Lord of all power and might," and a Kyrie, set in the same style. It is indeed a pity that Mason ever attempted composition. His essay on church music, and his compositions, which we suppose are commentaries on it, remind us of those persons mentioned by Pope, who labour to establish rules for that which is good

"Then shew us what is bad, by what they write."

We have often thought it a difficult thing to produce an effective chant, and we are the more confirmed by Mr. B.'s selection, which, though copious, contains very few which are really pleasing. It has been said that a fine chant appears to proceed more from a sudden impulse than from great skill. If so, we ought not to be surprised at finding some of the best chants before us written by persons who have not much distinguished themselves in any other species of composition; and on the contrary, that those which are attributed to some of our most esteemed masters, are laboured and unsatisfactory. Such are those by Dr. Cooke, and with only one exception, those by Battishill. The third double chant, in page 8, by Davis, is good; so is the fifth by Dr. Dupuis. In pages 9, 10 and 11 others will be found equally excellent, by Robinson, Battishill, Jones, Teesdale, and Dr. Crotch. We must not omit to notice a beautiful double chant by Lord Mornington. in page 14. In this short production the noble author has shown all that feeling for melody and pure harmony which his other writings exhibit.

Among the single chants are very few which please us. The best are, one in B by Dr. Croft, another in G by Corfe, and a third in A by Dr. Hayes. We may mention a fourth, by P. Humphry, which is called the "Grand Chant;" but notwithstanding this high sounding title there is nothing in it.

We cannot say much about Mr. Bennett's second qualification as a selector-that of presenting his work in a form most convenient to those for whom it is chiefly intended.

In almost all instances he has merely given the melody and a

figured base. This we much regret, since there are so few amateurs who can read from figures. Those however who study harmony will find the movements contained in the work before us valuable as exercises.

Mr. Edwards should have called his book of Psalms a collection, rather than a selection; for we have found in it nearly all the good tunes which we have ever heard, and many which we never wish to hear. The harmony of these tunes is creditable to Mr. E. on the whole, and though much of the poetry which he has associated with them is not to our taste, we hope that his friends will be edified by it, and that he will be rewarded for the industry which he has displayed in producing a work that may be acceptable to many lovers of Psalmody.

Mr. Morris's composition is an ode or hymn, not an "anthem,' for that term is only applied when the words are selected from the scriptures, or from our liturgy; neither has he seized the spirit of the anthem. Some of his movements are far too light, and balladlike in their style. We here particularly allude to the verses"When God appears all nature shall adore him," and "When Christ returns, wake every cheerful passion." These strongly remind us of tabernable strains. This hymn is in five parts occasionally, though in the title page it is said to be for four voices; and we think that the transient introduction of the fifth part has an awkward effect, especially in the alto and tenor. The counterpoint however is clear, and does credit to the author, who may render himself capable of producing compositions very superior to the present, by diligent study of the works of our great ecclesiastical musicians.

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We should certainly pass over the "Lord's Prayer," by J. H. were it not that we would enter our protest against the irreverent custom now too prevalent of setting this "perfect form of words" to music. When we consider by whom it was given, and the important purpose for which it was designed, we think that it should be suffered to remain in its original and divine simplicity. The metrical versions which we have seen have always offended us; but we have stronger objections to the application of music, for reasons which must be so obvious to every reflecting mind, that we need not stop to mention them.

Of Mr. West's Chants, Sanctus and Kyrie Elieson, we cannot

speak in praise. He has not been happy in his melodies and his harmony is far from being correct. In his choice of keys, likewise, be has not been judicious: B, with five sharps, Ab, with four flats, and Eb minor with six, are not keys which should be selected for vocal compositions that are to be accompanied by the organ. We may also remark, that these chants are nearly all pitched too high, unless the compass of voice possessed by the members of the choir of New College, Oxford, greatly exceed that possessed by the members of any other choir in the kingdom. Three very pleasing chants will be found, however, at pages 22, 23, and 24, which have not the defects we have just mentioned.

Six Voluntaries (the subjects of four taken from Kent's most fø vourite Anthems,) arranged and composed in a familiar style for the Organ or Piano Forte; by T. Costello. Longman & Bates. Six Easy Voluntaries for the Organ, calculated to facilitate the Progress of Young Students on that Instrument; by Thomas Adams, Organist of St. George, Camberwell. Clementi and Co. Introduction and Rondo, the subject from Rossini's favourite Air, "Di tanti palpiti," performed on the Apollonicon, and composed by Thomas Adams. Clementi and Co.

Introduction and Fugue for the Organ, as performed at the Cathedrals of Christ Church and St. Patrick's, Dublin; composed and respectfully dedicated by permission to the Lord Bishop of Kildare; by Thomas Powell. Power.

Whence is it, that having so many fine performers on the organ, we have so few tolerable composers for that noble instrument?

To this question several answers may be given. In the first place it may be said, that composing and performing require very different qualifications, which are united only in persons of extraordinary genius.-The organ too is an instrument for the head rather than the hand. It addresses itself to the imagination in its most exalted moods, and therefore curious passages and divisions

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not only go for nothing on it, but they become particularly offensive. This circumstance at once puts the majority of our composers hors du combat, for they are now too much accustomed to the manufacturing of variations, rondos, divertimentos, and melanges on old themes, not to carry with them their mechanical habits and the unmeaning fashion of the day into every thing which they undertake. In the second place it may be observed, that we never forget the exalted purposes to which the organ is applied, and therefore we expect that the music composed for it should be of a chaste and lofty character, far removed from all that is low, frivolous, or trifling; that the melody should be majestic, yet short and flowing; that the harmony should be clear and simple, yet varied and impressive; and that the modulation should be easy and natural, without being calculated to excite either wonder or amazement. If this view of the subject be correct, and that it it correct may be proved by a reference to the works of the greatest writers, we would remark in the last place, that the mass of English professors have neither learning nor leisure to compose well for this "Emperor of Instruments, as it has been called. Among us a youth, when he has attained the age of eighteen or twenty, seeks to procure scholars. He has perhaps a ninth finger on the piano, or he may be able to cover a multitude of errors in his pupil's performance by his violin accompaniment. In consequence of the universal demand for teachers, and the little discrimination which is used in selecting them, he succeeds in forming a "genteel connection:" he gets his hundreds a year-he keeps his gig and livery servant-visits and receives his friendswhat then has he to do with study, or with that severe course of discipline which alone can make him a profound musician and a fine composer? In this respect, though we fear the remark will not be very grateful to our well-fed and flattered young friends, the painters have considerable advantage; with them teaching is always a subordinate consideration, and they must toil and study hard if they would hope for future success. But even when the English musician has courage to resist the temptations which beset him in early life, and when he has devoted himself to the diligent study of his art, and has exercised himself in the higher branches of it, can he look for any adequate remunera

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