sounds, and in this volume we have a series of seven ballads, arranged in a style that displays an intimate knowledge of the art. "Come to the Fountain" is the first, but, as regards the music, not the most original in the collection. "Trim the Taper" is an Anacreontic ballad, replete with life and spirit, and will prove a favourite with the gentlemen. My Early Love" is a pleasing waltz tune, accompanied by some sweetly simple words, though we do not find they go well together. Evening's Gentle Hour," and "Oh! meet me in the glen, love," are not liable to this objection, but on the contrary, are especially entitled to notice for the taste evinced in their arrangement. "The Minstrel's Grief" is our favourite, as regards the music no less than the poetry; they blend most harmoniously together, and charm the ear whilst they appeal to the heart; and "Oh, where hast thou been roaming?" the last on the list, is a cavatina treated in a lively pleasing manner. It will be observed that they are well diversified in style, and are calculated to meet a variety of tastes. A collection of pretty songs neatly got up, and sold for a moderate price, need only be made known to become universally popular-such is Mrs. Wilson's.

of

THE HARMONICON; a Monthly Journal Music for February. London, 1831. Longman and Co.

The present number of this able work is in every respect an improvement on its predecessor, and fully realizes all that our most sanguine anticipations had led us to conceive regarding it. The first paper introduces to the reader some interesting memoirs of the lives of Catel and Rode, musicians lately deceased in Paris, which is translated in an able manner from the French. To this is subjoined some able memoirs of the Metropolitan Concerts of an early establishment; and it is somewhat singular, that another writer, in the same number, should also have dwelt upon the subject of the Ancient Concerts, but with widely different notions regarding the benefit they have been tending to produce. We certainly must agree with the first of these, and acknowledge that the concluding observations to the following extract are written in very good spirit.

We should premise that it was, on its establishment, inade a most rigid law of the Ancient Concert, that no piece, vocal or instrumental, should be admitted into its bills which bad not been composed at least twenty years; and this restriction has never been relaxed, except in favour of the harmonization of such airs as the law deems

eligible; in which case, the harmonization need not be of a day's existence.

"How far this fundamental principle of the Ancient Concert has promoted the advance of musical science in England may be matter of doubt; it may be at least questionable, whether merit, which had already stood the test of twenty years' wear and tear, required the patronage of an exclusive establishment to support and prolong its reputation; or whether, which is the much more important question of the two, the adoption of such a principle by a concert which soon took a rank and obtained an influence far beyond any of its contemporaries, has not acted as a decided check on the progress of composition in this country. It was, in fact, proclaiming to every musical aspirant that he might toil over his midnight lamp for years; he might rival Purcell in genius, Handel in sublimity, and Arne in grace, but he must not look forward to any one of his compositions being performed at the most fashionable and most influential concerts in London, till, nine chances to one, the composer himself was dead. The Catch and Glee Clubs acted on a different principle; they fostered living talents while admiring the productions of former times; and to their encouragement and patronage we owe the best efforts of a Webbe, a Stafford Smith, and a Calcott. Have we any thing like an equal obligation to acknowledge to the Concert of Ancient Music ?"

Exactly in the same point of view do we regard the proceedings of the Royal Academy. What has the result of all their labours tended to effect? Any improvement in the science? It will be a vain search to discover it. All that can be said of the institution hitherto is, that it has formed an admirable school for the instruction of pupils who have reached, and are likely to reach, but to a certain degree of excellence in their science. Some have been successful, but as yet we have been favoured with no extraordinary specimens of superior accomplishments, in either vocal or instrumental display. The multiplying of professional men, unless attended with a corresponding increased medium for their employment, must evidently tend to the discomfort of many; and we fear much the consequence will soon be, that no few of the deserving elders of the orchestral performers will, in many instances, through interest, or the activity of the junior aspirants, be thrown out of engagements. Instead of pursuing the A B C work of instructing little children, how much more would the national musical interests be furthered and improved, if the Royal

Academy were to hold out a certain periodical reward for the production of the finest concerted pieces, such as might rank beyond the mere ephemerial of the day. The object of emolument, no less than contending emulation, would soon be found to have the effect of producing subjects worthy of any country. As it is now, composers, in their self-defence, are compelled to get up the merest trifles for the public sale, and instead of there being a competition as to who shall display the greatest originality, conception, or genius, in the science, features and views of a very opposite character usurp their place. He that can hit upon the most piquant title, and place his production in the hands of the most skilful publisher, accompanied by the display of other little tactics which it will not be needful now to advert to, since we have before described them, is sure to find "his coffers full;" whilst the luckless, true devotee to his profession, however splendid be his production, as the sorry result of his labours, is doomed to find the copies of his work resting on the shelves of his musicseller (and he can get no encouragement in any other shape,) a heavy, unsaleable production; though a paltry little ballad, neither new in melody or words, is made to pass through very many editions. Notwithstanding all that has been urged for our national taste and liberality, such is the influence of example and fashion in this country, that a corrective of some importance, to the encroachments of interest or vitiated notions, is absolutely necessary to lead the public to reflect and do that which, in many instances, is but a mere act of justice. Let the Royal Academy give encouragement to talent (of which, doubt less, there is no deficiency in the kingdom,) in the way proposed, and they will not only effect this, but do more to rescue the composers of the present age from that low rank in the world's estimation to which they already have greatly devolved, and daily appear to be more and more devolving, than perhaps any other step could accomplish. But in dwelling on our own notions we are delaying too long the claims of the "Harmonicon." The remaining papers in this number are varied and entertaining, and the reviews, and foreign and domestic report, conducted in the same spirited manner as that which characterized the preceding one. The music, too, is excellent, and far more attractive than that of January. We have rarely indeed met with so pretty a collection in so small a space. It comprises the overture to Armida, by Rossini, of which a character is needless. The other pieces, which we will proceed to

enumerate, are an English version of a Swedish air, "The Harp of Sadness," a charming_little ballad, allied to expressive words. Kirke White's "Be hushed, ye bitter winds," is next given, and we must compliment Mr. Haite on the manner in which he has not only preserved but given fresh charms to the character of the poetry. "The Fugitive Bride" is selected from Mrs. Wilson's elegant "Songs of the Ship." This is followed by a chorus of huntsmen from La Straniera, an opera by Vincenzo Bellini, and three pretty waltzes from the Cadeau, the first of them by Fisher, one of the Singers of the Alps, which is so characteristic of the individual's style, that we fancy ourselves in his presence whilst we are playing it. Altogether, we must say the 'Harmonicon" is progressing famously.

SONGS FOR THE GRAVE AND GAY. The

Poetry written, and Melodies selected, by
Thomas Haynes Bayly, Esq. Zenas T.
Purday.

Mr.

Mr. Bayly is certainly the most successful song-writer of the present day; and well convinced are we that our fair readers will award to him abundant thanks for the gratification which the present collection is sure to afford them. His songs are ten in number, and are characterized by all that elegance of style, and adherence to truth and nature, which have, in his previous productions, gamed for him so much popularity. Are we in joyful mood, and here is to be found a strain with which to encourage our happiness. Are we sad in heart, and here may we select the melody most suited to our frame of mind. Bayly is not one who makes aim at the display of genius. He rather seeks our favour by a simplicity of subject, style, and wording. He pourtrays to us, in an elegant manner, the feelings which, in the course of life, our sympathies cannot fail to acknowledge as the same we have or do experience ourselves. He seeks at no laboured-no highly-wrought language to enchant our ears alone, but addresses his appeal to our hearts with never-failing success. cannot help adopting his poetry as the plain but faithful transcript of our own sensations; and when to his graceful numbers are added the charms of melody, we breathe them forth with certain feeling. How many an unhappy fair one has dwelt on "Oh! no, we never mention him," whilst her thoughts have wandered towards the cherished object of a regard which she may no longer own! How many an aching heart, with melancholy pleasure, will now repeat, "He passed, as if he knew me not;"

We

and other charming portions of the present collection! The subjects before us are varied, from the lively cavatina to the pathetic ballad, and both as regards poetry and music (which is as sweet and tasteful as the most fastidious may desire,) are entitled to much commendation. Many of them, we are convinced, are doomed to the most extensive popularity, and to live in the affections of the public long after the greater portion of the ballads of the day are no longer remembered. We wish we had space to particularize the beauties of all as they deserve. We may say, however, that they are elegant compositions, arranged with skill, produced with taste, and altogether forming as pretty a collection as ever came into our hands. We cannot now, if we would, enrich our present pages with further extracts from the volume, but as we have already drawn largely upon it, our readers will see, to a certain extent, the justness of our remarks.

OVERTURE TO LULU; composed and arranged for the Pianoforte und Flute by Freidrick Kaulau. J. Green.

Many of our readers will have heard this overture to the greatest advantage at Covent Garden Theatre, where it is played before the tragedy of Fazio. It is a spirited composition when played by the full band, and no slight skill has been evinced in the adaptation of it for the piano. The spirit of the original conception is very tolerably retained, (and it is a matter of no small triumph that the characteristics of a concerted piece, like the present, should be transferred, with a preservation of the original effect, to a single instrument,) and it will certainly take its rank with the best arrangements of the kind. The overture, however, is doubtless rendered still more effective by the addition of the accompa niment for the flute, which we have not had the opportunity as yet of trying with it.

OUR notice under this head for the present month must assume rather the shape of a hasty discourse than a critique, since our space is but moderate. The KING's THEATRE has commenced its season with a very full company, but for the want of a sufficiently talented prima donna the performances have as yet gone off but flatly. The attendance has been, notwithstanding, full on most evenings.

The only novelty at DRURY LANE has been the production of a new version of Auber's Fra Diavolo, interspersed with some songs by Alexander Lee. The principal parts were sustained by Mrs. Waylett, Sinclair, and Wallack; and notwithstanding the best efforts of these performers, it proved but partially successful. The language of the piece was of a very common-place order, and the incidents far from attractive. The scenery, arrangements of the groups, (some of which were very striking,) and one or two songs, were all that deserved particular commendation.

At COVENT GARDEN we have been presented with three new pieces: the first, The Romance of a Day, a drama in two acts, in which some very pretty music, by Bishop, is introduced, and which has been completely successful. A Tyrolese glee, by five singers, indeed was encored twice; and the Overture, which is a close imitation of that of Guillaume Tell, was also loudly called for and repeated. The second piece is an interlude, entitled The Married Lovers, of which, perhaps, favourable mention may

be fairly made it was equally successful. The last, called Comrades and Friends, is a Damon and Pythias story, got up here as new, but which we remember to have seen six years ago at Sadler's Wells.

The Oratorios have gone off with full houses, and the engagements of Braham and Miss Paton seem to have told remarkably well. These performances are given, as usual of late, at the two houses alternately.

At the SURREY, Mr. Elliston has been indefatigable in catering for the public taste, by the revival of many established favourite dramas, and the production of new ones. We have seen Morton's comedy of Town and Country performed here lately in a style which does infinite credit to the establishment. The parts of Kit Cosey, Reuben Glenroy, and Rosalie Summers, found in little Williams, Osbaldiston, and Miss Somerville most able representatives. A new piece, called the Female Masaroni, has been very successful. A Miss Poole enacts the heroine in an effective manner; and Miss Somerville, who is certainly a most accomplished musician, and possesses a voice of great sweetness, power, and flexibility, delighted us with some very charming songs. One of them, although of great intricacy, was so tastefully executed, that it was warmly encored.

Mr. Davidge, at the COBOURG, has also done his best to treat his auditors; and on the 14th ult. produced a new melo-drame, by Mr. Thomas Dibdin, entitled De L'Orme,

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was insulted by a person in the garb of a gentleman, which so raised the choler of the brother as to make him strike the fellow a blow; whereupon a regular engagement took place, to the no small astonishment of every beholder. The worthy Dean (the Bishop of Llandaff) called one of the attendants, who took them to the Compter. It it understood that the Bishop intends to

make an example of these worthies, by citing them in the Ecclesiastical Court.

USEFUL HINT FOR WARMING BEDS.-A couple of feet of any common iron chain, made red hot, and placed in the warmingpan, will impart equal warmth to the bed with coals, and avoid the sulphureous effluvia of the latter, as well as the occasional danger in the removal of them.

CARRIAGE DRESS.

A DRESS of violet gros de Naples; the corsage is made quite up to the throat behind, but a little lower in front: it is finished round the top with a revers of velvet to correspond. Sleeves, à la Medicis, with velvet cuffs. The mantle is black satin. The cape is of the usual size, but set on, as our readers will see by our print, in a very novel manner. Swansdown collar, of moderate depth. The bonnet is of violet velvet; the crown very low, and of a melon shape, is decorated with white riband, from a knot of which, placed on the right side, issues a plume of white ostrich feathers. The brim is deep, and of rather a close shape; it is ornamented on the inside with blond lace, the edge of which forms a trimming to the outside of the brim.

WALKING DRESS.

A dress of cachemire; the colour is a new shade of vapeur; corsage uni, and partially high. Sleeves à l'imbecille. The skirt is trimmed round the border almost close to the bottom, with detached sprigs of foliage placed perpendicularly, and embroidered in green silk. A single flounce, cut in points at the edges, surmounts this trimming, and immediately over it, is a double row of chain trimming, in green embroidery. The pelerine is green velvet: it is of a large size, and trimined with a rich silk fringe to correspond. Green vel vet hat, trimmed on the inside of the brim with white knots of cut riband; the crown is trimmed with green satin riband, and white ostrich feathers, falling in different directions; the collerette, and the trimming of the brides, are of blond net.

OPERA DRESS.

A dress of rose-coloured chuly: it is printed round the bottom, a little below the knee, and up each side of the front to the waist, in a white Chinese border; the lower part of the skirt is finished by a broad biais, headed by a rouleau of satin to correspond with the dress. The corsage is plain behind, and draped horizontally in front; a blond lace tucker stands up round the bust; a pointed epaulette, of the same material

as the dress, and edged with blond lace, falls over a white figured gauze sleeve, made à la antique, and decorated with a knot of riband, placed on each side, just above the elbow. The head-dress is a rosecoloured satin hat, ornamented, en etoile, with white velvet on the inside of the brim; a white ostrich feather, proceeding from this trimming, falls back upon the crown, which is also adorned with an ostrich feather, and knots of gauze riband. Pearl ear-rings. Gold bracelets, with pearl clasps.

DINNER DRESS,

A dress of white gros de Tours; corsage uni, cut low, particularly in the centre of the back and bosom. Long sleeves, of British blond lace, surmounted by mancherons, à la Marie, of gros de Tours, which are embroidered round the border, as is also the corsage, in coloured silks. Detached cachemire patterns, also embroidered in coloured silks, adorn the border of the skirt; they are placed immediately above a row of embroidery similar to that on the corsage. The head-dress is a ruby velvet toque, adorned with white ostrich feathers. The scarf is white crêpe de Lyon, with very rich ends. Gold ear-rings and bracelets.

GENERAL MONTHLY STATEMENT OF

FASHION.

Mantles still predominate in carriage dress, but we observe that those with sleeves are less worn than last month. We see also a good many high silk dresses, which are worn either with large fur pelerines, or else with velvet pelerines and boa tippets.

Coloured velvets are more in favour than black for carriage hats; several of the most novel are lined with white satin. Blond lace is less used for trimmings than it was last month, but it is still adopted by many élégantes; where that is the case, it is arranged on the inside of the brim in the demi cornette style, and the brides have no trimming. Feathers are not so much used as they were in the early part of the season.

Mantles continue to be almost universally adopted in promenade dress. Bonnets re