the first page, is by no means fitted to the solemnity of public devotion, and we think that the third voluntary, from which we shall give two extracts, should be altogether excluded from the church.

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&c. &c.

&c.

P

These movements are much too pretty. They may suit the itching ears of young ladies just released from boarding school, but they will not consort with the feelings of those who "go up to the temple," deeply impressed with the solemn duties there to be performed: for the same reason we object to the march in page 9. What can be more dissimilar than any part of the "pomp and circumstance" of war, and the calm exercise of devotion? We would then caution our young organists against such a monstrous association, notwithstanding the authority of Mr. Adams, who, we think, does not always maintain the lofty character of that instrument on which he so much excels.

This appears too plainly, when we find him condescending to arrange "Di tanti palpiti" (!!!) as a rondo for the organ. To be sure it was done for the Apollonicon, and it may have been found very agreeable, in the latitude of St. Martin's Lane, but out of that we can hardly imagine that it will be tolerated. This arrangement, we suspect, was made "by particular desire." We cannot bring ourselves to believe, that such an air would have been selected by Mr. Adams, had he been free to chuse. The adaptation throughout is laboured and unhappy. It abounds in passages constructed with considerable skill, but they die away upon the ear; there is not one which touches the heart. We will not quit this "introduction and rondo" without giving our readers an extract from the former, which contains one of the most remarkable progressions of chords we have ever met with. The movement begins in F, and at the twelfth bar we find ourselves in Db, from which Mr. A. conducts us to D, almost by a single stroke of his pen. See the sixth bar of the following example:

This we profess not to understand. Is it modulation? Is it transition? We cannot tell what it is-unless it be a sly hit, made by our author at Rossini, some of whose modulations (if we may dignify them by such a term) are about as coherent and effective.

Mr. Powell's composition will not detain us long. In his introduction there is too much sameness in the design, and some very awkward attempts at modulation. His andante should never be heard in a church, for it reminds us of minor theatrical music, or the divertimentos of the lowest order, and for the fugue !— Bontempi, in his "Historia Musica," is exceedingly dissatisfied with the word "fuga," (which it must be remembered signifies "flight" in Italian), but he allows that it may be properly applied to certain compositions-for in them, "the subject having been once heard, flies away and returns no more." This observation does not strictly apply to Mr. Powell's "fugue;" his subject does return, but it is after long passages, which have no imaginable connection with it, and which, on its arrival, incline us to put Fux's well-known question-"Friend, how camest thou hither?" We hope that Mr. Powell is a very young man, and that he will live greatly to improve-and we trust that the remarks which we have made in the present article will excite more care and diligence in all those of our countrymen who venture to appear before the public as composers for the organ.

Trente trois petits Duos Methodiques, faciles et chantants, pour deux Flutes, composes par T. Berbiguier. London. Ewer and Johanning.

Brilliant Duo for two Flutes, by B. Van Renterghem. London. Ewer and Johanning.

No. 5, of Berbiguier's Themes, varied for the Flute, with an Accompaniment for the Piano Forte. London. Cocks and Co. Le Petit Tambour, partly taken from Mayseder's Violin Solo; adapted and arranged as a Rondo for the Flute, with a Piano Forte Accompaniment, by Bernard Lee. London. Longman and Bates.

Au Clair de la Lune, arranged with five Variations for the Flute, with a Piano Forte Accompaniment, by W. W. Sutton. London. Lindsay.

Melanges from Der Freyschutz for the Flute and Piano Forte, Nos. 2, 3, 4, by T. Lindsay. London. Lindsay.

In M. Berbiguier's Duos a most desirable, and at the same time a most difficult object is attained, that of combining attraction with simplicity. There are not more than fifty bars in each; they are very easy and devoid of execution, but they require great delicacy of feeling and precision in performance. They are original, of various styles, and partake mostly of that light, graceful, and riant character which never fails to interest and attract. One Romance, No. 15, is a plaintive air of most beautiful expression. No. 23 is original and striking, and every Duo has some claim to attention.

M. Renterghem's piece is showy, and contains brilliant, though by no means difficult execution. The andante is very beautiful, and the polacca effective.

Berbiguier's subject is treated by a composer who both understands and feels the powers (and to a certain degree) the beauties of his instrument. The Variations, with the exception of one, are pieces of difficult and showy execution; and this one (an adagio) is perhaps too little varied in character. The Lesson is too difficult for the generality of players to attempt, but in the hands of an advanced performer it would be very superior.

Mr. Lee has effected a new transformation of this favourite French air with considerable success. It presents no longer the appalling appearance to modest performers that it does in the hands of Messrs. Kieswetter and Mori. The best parts are selected from the violin solo, the rest is judiciously adapted to the powers of a tolerable proficient on the flute, and it is altogether a very agreeable and effective lesson.

Mr. Sutton's Variations, though not novel, are not wanting in merit. They possess considerable brilliancy and sufficiently pleasing melody to be generally liked.

Mr. Lindsay's Melanges contain some of the most beautiful parts of the Freyschutz effectively combined, and embellished in a facile and agreeable style.

1

Fantasia a la Russe for the Harp, in which are introduced three favourite Airs; by N. C. Bochsa. London. Gow and Son. Petite Melange, on three favourite Airs, from Il Crociato; by N. C. Bochsa. London. Chappell and Co.

The Boatie Rows, with Variations for the Harp; by S. Dussek. London. Chappell and Co.

C'est L'Amour, with Variations for the Harp; by S. Dussek. London. Chappell and Co.

Mr. Bochsa's fantasia is composed on "The Bells of St. Petersburg," a Russian waltz, and a favourite Cossack song. The materials are slight, but by the genius and animation of the composer they are here moulded into a form both brilliant and attractive. The three airs are strikingly contrasted in characterthey are moreover arranged so as to set them off to great advantage-in the end they are worked up with considerable energy and effect, and an original cadenza distinguishes this part of the lesson. Mr. Bochsa has not recollected sufficiently the plaintive character of the first air, but in every other respect the fantasia is superior.

The melange (on "The Crusader's March," "Giovinetto Cavalier," and "The Christian's Chorus,") is much easier, but scarcely