THE season, like the spirit of Anacreon, in the famous song composed for the meeting held under his name, now bids

Voice, fiddle, and flute,
No longer be mute.

The whole circle of singers, players, publishers, and teachers, whose town-trade is but for half a year, are reviving from the torpidity of summer; when, as a contrast to the "music of the groves," nature hath ordained the metropolitan choir to be silent.

Concerning the Opera little is yet certainly known; but it is generally understood that the direction will reside in a committee of noblemen and gentlemen; and the management be delegated to Mr. Ayrton-a gentle man whose science, accomplishments, and urbanity, peculiarly fit him for the difficult and dangerous office.

The City Amateur Concerts have commenced, with great satisfaction to the subscribers. Those yet to come will take place on the 8th and 22d of February, and 15th of March.

The Philharmonic Society will hold their first concert on the 26th of February, at the Argyle Rooms, and continue their meetings fortnightly till June 11.

A new series of Concerts is announced to take place, under the patronage of the Marchioness of Salisbury, and other ladies of quality, at a new room in St. Martin's Lane, under the title of THE MUSEODEUM. Madame Camporese, Mrs. Salmon, and other performers of celebrity, are announced as having been engaged.

On the 18th of January Miss Wilson, the long anticipated pupil of Mr. Welsh, concerning whose abilities we spoke some months ago, made her debut as Mandane, in Arne's Artaxerxes, at Drury Lane. The house was crowded, and her success was complete. The young candidate, at first, laboured under the e.nbarrassments naturally incident to a situation of such trial; but, gradually recovering her self-possession, she was at length able to give a full display of her fine natural talents and scientific acquirements. Her voice, though

powerful, is sweet rather than rich; more resembling that of Billington, than of Catalani,-a circumstance which probably arises as much from the difference between English and Italian methods of instruction, in the early formation of this grand requisite, as from organization: its upper notes appear to be the best; and Miss Wilson evinces, by her power of attenuating the tone to the least possible audible sound, its entire ductility, and the perfection of her practice at once. Neither her articulation, nor her shake, are as perfect as they will probably become; nor, indeed, can any parts of her execution have yet, by numberless degrees, attained their mature beauty and finish. Her promise is certainly abundant; and if her style be not injured by the coarseness which singing on the stage, and the incessant demand the public are apt to make for novelty, are but too liable to produce-combined with the relaxation both of attention and physical strength, but too generally incident to first success, and incessant fatigue,-Miss Wilson will rise much higher, even than she stands at present, in vocal art. She also enjoys other dramatic requisites in a good figure, and graceful action and demeanour. This new addition to the ability of Drury Lane, has determined the manager to give Operas three nights in the week: and, indeed, possessing Mr. Braham, Madame Vestris, and Mr. Horn, it may be said that the vocal power of an English Theatre has seldom before been at so high a pitch.

Hopes are still entertained that Mr. Bartleman will recover sufficient health to resume his professional lahours. No man is so much missed from the orchestra. It is said Mr. Cutler, who has graduated in music at Oxford, and is known by his compositions, is about to appear as a bass singer.

We mentioned some time since, a charge of plagiarism from Mr. Clementi, brought against Mr. John Cramer, in the Quarterly Musical Review. That composer has appended to a publication of some of Abel's works, a sketch of his early

musical studies; with a view, as it should seem, to abate the impression of his being under as much obligation to Mr.Clementi's instructions, as it has been generally understood he is. Towards the end of his letter, he alludes to the charge made in the Quarterly Musical Review; but it is something singular that, instead of contradicting or refuting it, he turns off to insinuate, by a quotation from Bach, describing in what spirit criticism ought to be conducted, that the charge in question was malicious and unfounded. Such an evasion will, however, hardly serve. The charge was direct, and was supported by a complete analysis and comparison of the two works; and, in point of fact, there can be no doubt that Mr. Cramer's was an absolute and wilful parody of Mr. Clementi's Octave Sonata. Why a composer of such eminence as Mr. Cramer allowed himself to be tempted into such an act of disrespect or hostility, towards one of his earliest friends, remains still therefore to be explained. The case is certainly not mended by Mr. Cramer's mere insinuation, (which he substantiates by no sort of proof,) against the justice or the temper of his reviewer. The same work, by the way, has, in the last number, detected a similar infringement upon the intellectual property of Mr. Bochsa, committed by Mr. Meyer, in a work, under the title of Fourteen progressive Lessons, and Preludes, for the Harp, recently published by the Royal Harmonic Institution. Many of these are shown to be borrowed from Bochsa's Twelve Lessons, originally printed in France, and republished, in England, by Chappell and Co.

Mr. Horsley, in his quality of organist to the Asylum, has liberally prepared, and presented to that charity, a collection of the Hymn and Psalm tunes, sung during the service there. We have rarely met with a publication that manifests such purity of judgment and feeling, both in the compositions and selections, as this book; nor can the devout, who wish to employ music on Sunday evenings, as well as the admirers of sound taste, easily find such simple and truly sublime and beautiful specimens of devotional harmony as are here to be met with. Most of these compo

sitions are set for two voices; but may be performed by one or both, without detriment to the effect, at pleasure.

Mr. Lanza's Little lovely Rose de Meaux, is a song of much variety and beauty. The melody is light, airy, and pleasing; and the accom paniment happy. This song affords a curious proof that vocal music may be rendered agreeable, and even interesting, without any particular sentiment, by exciting a train of emotions, which we are tempted to call pleasurable perceptions.

Rondo pour le Pianoforte, par F. Kalkbrenner, is an elegant composition, simple in its construction, but has, perhaps, rather too much sameness. It is less elaborate than many of Mr. K.'s productions, and consequently presents fewer difficulties of execution.

A Waltz and March, arranged as duets for the pianoforte, by the same composer, are easy little pieces; evidently intended for beginners. The waltz is very superior to the early lessons we are accustomed to see.

The 8th, 9th, and 10th numbers of the Caledonian Airs, by Mr. Burrowes, have lately appeared, leaving but two to complete the set. The subjects "Oh, saw ye my Father, Tweed Side; and Moggy Lauder;" are treated with full as much ability as has been evinced in the foregoing numbers,-which is high praise.

The first number of a set of Quadrille Rondos,-advertised to be carried on by the most eminent masters, is from the same hand. The introduction is very sweet, and the subject agreeably handled. The piece promises well for the succeeding parts.

The Songs, Duets, and Glees, introduced into Shakspeare's Twelfth Night, selected and composed by H. R. Bishop. The interspersion of music with the scenes of our bard is one of the circumstances which may be taken as symptomatic of the necessity of some change in the preparation of our musical dramas. Last year we had the Comedy of Errors thus dished up, and now a second instance occurs. Storace selected from the Italian Operas. Mr. Bishop has written upwards of forty works for the stage, and now he appears to fly to selection, while entire Operas have yield

ed to these musical plays. Mr. B. has in both taken a very judicious part, and one not less ingenious than judgmatical. His own compositions are particularly original, at the same time the music has a quaintness that assorts well with the age of the poetry. With a like regard to chronology, he has adapted the part songs to music of our old composers, and in this compilation, we find From the fair Lavinian Shore, When first I saw your face, and other such, well arranged to Shakspeare's words. His own compositions are entitled to great praise, particularly the duet, Orpheus with his Lute, which, except that it partakes of the manner of his former production, As it fell upon a day, bears no resemblance to any thing we know; it is also fanciful and expressive. The songs, too, range well with the rest, and we have seldom seen of late so beautiful an adaptation, (which we suppose it to be) as Bid me discourse, a truly elegant and beautiful song. Upon the whole this publication has far more to recommend it than the generality of works for the stage.

The Bird Catcher, arranged by T. H. Little, from Il flauto magico, forms an easy and pretty lesson for begin

ners.

Hilton House, an air with variations, for the harp, by Weippert, combines some difficulties of execution with lightness and variety.

Come chace that starting tear away, with variations, by W. Eavestaff. The air is well sustained through six brilliant, and somewhat difficult variations.

Sweet Richard, performed at the

congress of Welch Bards at Wrexham, with variations, by John Parry. The air is light, and its effect much increased by the additional diversity it receives throughout the several variations.

L'amour perdu, a divertimento by Mr. Wright, is an elegant little piece. It has more variety and spirit than usually attend lessons for young performers.

Fantasia, in which is introduced an Air Russe, with Variations, by J. B. Cramer. These variations, founded on a very simple air, are novel and singular. Their construction is extremely complicated, and generally require great stretch of hand. The variations on Mozart's Deh Prendi un Dolce Amplesso, by the same composer, partake of the usual elegance of Mr. Cramer's pieces. The introduction is particularly graceful. The latter is the most simple, and on the whole more agreeable, which probably arises from the decided superiority of the theme.

No. 5 of the Operatic Airs by Cipriani Potter. The theme, the Carpet Weaver, is well wrought up into several somewhat curious variations. Much art is displayed in the construction of many of them, and the last, under the form of a Bolero, makes a spirited conclusion. The eighth variation is extremely elegant.

Duet for the Pianoforte, by Latour, on a very elegant little French air Oui Clair de la lune. This duet possesses the several attributes of Mr. Latour's style, elegance, lightness, brilliancy, and agreeable melody.

bian emperors; on the origin, and the gradual progress, of the architecture then employed, and on its merits as far as concerns beauty of form; together with some considerations as to its practical application at the present day.-Another work of considerable graphic beauty is, Picturesque Views of the Abbey of Klosterneuberg, delineated and engraved by the brothers Philip and Henry Reinhold, with an historical explanation by W. Giska, Vienna, 1820. These plates possess great beauty of execution, yet are more calculated to delight the eye of the painter, than to satisfy the curiosity, or add to the information of the architect. The literary part of the volume gives a concise but interesting history of the building, and the principal events connected with it.

Architectural Lectures.--Mr. Elmes lately concluded his valuable Series of Lectures at the Russell Institution, by a review of the state of Architecture from the conclusion of the reign of George II. to the present time, in which, though he paid some compliments to the taste of the late Mr. Wyat, &c. and pointed out some beauties in some of the structures erected during that period, he gave us but an indifferent opinion of the talents of the Architects, and of the beauty and constructive excellence of the edifices. At the present time the dawning relish for the pure Greek has given way to the worst manner of the debased styles of the Romans, and the Surveyor-General of George IV. has largely contributed to the degradation. The details of the new street in Westminster are teeming with defect. The Lecturer considered the low state of Architecture in this country to be occasioned by the want of an effective Institution for its promotion, for it was absurd to call the Royal Academy an Academy of Architecture, and the Dilettanti Society is rather a collator of drawings from ancient works, than an originator and effective promoter of Architectural talent. Here he contrasted the numerous and immense facilities supplied to the students in Paris, compared to the very restricted means of study afforded to the Architectural students in the Royal Academy, which excited but did not satisfy an appetite for the art. He praised the iron bridges of the metropolis, and the stone ones of Westminster and Blackfriars, but severely censured as pseudo architectural the decorations of Waterloo-bridge. He considered our bridges to be our roblest modern works, and gave to our countrymen the praise of being the exclusive inventors of iron ones. The eye is most astonished by the appearance of modern bridges, but the mind is most satisfied with the ancient. He concluded by a comprehensive summary of his Lectures. were enlightened and much gratified with

We

this Series. Mr. Elmes's enunciation is distinct, but there is a monotony of voice that gives to every sentence nearly the sanie elevation at their commencement, and the same cadences at the end. The full effect was therefore diminished of the impression arising from his just appreciation of pure Architecture, and his sarcastic hits at defective plans and details of building. He appears to be master of its theory and to possess a correct taste, and we are glad that of such a Lecturer we are able to announce his being engaged to discourse in the spring on the philosophy of his art at the Surrey Institution.

Mr. Kean at New York. We have been favoured with letters and newspapers from New York to the 10th ult. The critiques of the American writers on his debut in Richard, resemble those of London in variance of opinion. The National Advocate applauds him to the echo, and ascribes the hoarseness of his voice to the cold current of American air which rushes on the stage. The Evening Post is also his enthusiastic admirer. But The American takes the opposite side, O. P. versus P. S. and accuses him of drawling in the dialogue as if he were weighing it in his study for public delivery, rather than delivering it to the public. They all agree, however, that though the evening was wet the theatre was crammed. The Othello, (his second part, which we think is best), is not so well spoken of. The private communications are more particular. One says that the only editor adverse to Kean is Johnson Oerplank, of the American, who is a relation of Cooper's; and thus revenges some harsh criticisms upon Cooper written by a man named Agg (a friend of May, wood's, who plays with Kean). Another states, that the audiences have been much divided in opinion-some admire Kean's excellency, while others revolt at his extraordinary manner and voice. Yet he improves so generally on acquaintance, that he has even moved the New York houses to shout bravo! (a rare innovation on their heretofore sober critical fashion) though they have not got the length of huzzaing and hat-waving, practised by the enlightened frequenters of Drury Lane. A third letter mentions, that persons have come all the way from Philadelphia, (90 miles) to see him perform: it is therefore no wonder that the temporary theatre should draw, as it has done, 1000 dollars per night, which it hardly did before in a week. Kean has renewed his engagement till January, and was on the 10th to act Lear for his own benefit. After closing at New York he goes to Philadelphia; and we rejoice to hear that his habits are temperate and respectable.-Literary Gazette.

Mr. Haydon's Picture in Edinburgh. -As Mr. Haydon's aim is to raise the

character of British art, by fixing public attention most regardfully upon the loftiest of its objects, we feel no common pleasure in announcing the success of his grand picture in Edinburgh, where it was enthusiastically welcomed by all classes, on the private day being as crowdedly attended as in London, and on the first public day greater in proportion to the population than in London. As an evidence that his talents have a weight of genius, that, however it may have been in a degree recommended by the admiration of the Literary, lifts itself up into fame, the popularity of this fine work has already established itself in a city where he is not derstood to have had at any time a single son of the Muses to bespeak him a passport to public notice. Among particular reasons may be adduced a greater simplicity of taste in the greater part of the visitors, who judge more from a feeling unsophisticated by impressions derived from third rate painters, who, till the higher feeling for art has taken a deep root, give a false tone to taste, except in the more refined few who have had frequent opportunities of cultivating their relish for the higher beauties of the Italian painters.

The Royal Mint.-The Mint is coming into full activity and we are informed, that preparations have been made for coining ten millions of guineas within the year 1821. By the time the process is in complete operation, the issues will amount to 200,000 per week.

Singular Character.-A. M. Azais has just published at Paris a work called "On the Lot of Man in all Ranks of Life: on the Lot of Nations in all Ages: and more especially on the present Lot of the French People." In the preface is the following singular invitation :

I live in the heart of Paris, in a solitary house, surrounded by a fine garden. Every day for two hours I shall be at the disposal of any person who may wish to procure one of my books, and to discuss the principles of it with me, from two to four in winter, and in summer from six until dusk. It will be very agrecable to me to form by this means an acquaintance with the lovers of science and philosophy; to stroll with them in my little domain, to reply to their questions and observations; and to profit by the information which they may give me, or which they may excite me to seek for myself. If I could venture to invent a word which should describe the nature of our confidential intercourse, I would say that we will platonize' together, under the constant guidance of nature and philosophy."-Literary Gazette.

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Newly constructed Cart.—A cart, worked by two men instead of horses, the invention of the Rev. Dr. Cartwright, of mechanical celebrity, made its appearance a fortnight since, at Covent Garden Market. The VOL. III.

cart and its contents weighed 15 cwt., and was worked a distance of about 30 miles.

Philological Travels.-Professor Rask, of Copenhagen, the author of a Treatise on the Origin of the Northern Languages, is now employed in travelling through Asiatic Russia, for the purpose of collecting information, with regard to the various idioms and languages of that extensive country, and of ascertaining what relationship exists between them and the Sclavonian and northern European dialects.

New Life of Cervantes.-The Madrid academy have published a new edition of Don Quixote, with an entire new series of embellishments; and, instead of the biographical memoir prefixed to the other editions, they have given a fifth or supplementary volume, containing a life of the Author, written by Don Martin Fernandez de Navarrete. This is far superior to any of the preceding biographies of Cervantes; containing a number of well authenticated facts hitherto unnoticed; and it is rendered still more interesting by the information it gives respecting the contemporaneous history and literature of Spain, as well as by the sound critical taste which it exhibits. M. Navarrete has composed several other excellent historical and economical works, which are greatly esteemed by his countrymen; one of the latest of these is a dissertation on the part which the Spaniards took in the Crusades, and on the influence which their maritime expeditions at this period had upon commerce. This production displays great erudition, and a perfect acquaintance with the points of history which it undertakes to illustrate.

Lady of the Lake. Two German Translations of this beautiful production of Sir Walter Scott, appeared in the course of the year 1819; one at Leipzig, the other at Essen. The former of these is by Mad. Schubart, who has likewise translated the Ballads of the same poet-the latter version is from the pen of Dr. Adam Storck, professor at Bremen. Both possess considerable merit: that by the professor, conveys a more exact idea of the style and peculiar manner of the original, as it adheres to the measure and versification; while Mad. Schubart has, not very judiciously, adopted the regular octave stanza of the Italian school; which, whatever be its beauties, or its merits, does not accord with the wild and lyric cast of the original. In the number of the Isis, for last August, parallel extracts, of considerable length, are given from the opening of the poem, and are printed in opposite columns.

Italian Literature. From a recent coupd'œil of the literary productions of Italy, for 1819, it appears, that during that period, the press was fully employed, if not on any modern work of particular merit, at S