LIST OF NEW PUBLICATIONS. PIANOFORTE. Chopin.-Cent-et-un; grande valse; op. 42 Grande sonata; op. 35 Second impromptu; op. 36 Les Soupirs, 2 nocturnes, op. 37; Homage to Schubert, 37 melodies by Liszt, Hiller, and Schubert, no. 31. Bertini.-Third edition of his twenty-five studies, introductory to Cramer's; edited by C. Potter; op. 32 Hiller, F.-Twenty-four grand studies, op. 15; edited by C. Potter Les Troubadours; nouveaux quadrilles Jullien.-La Tarentelle de Bellphegor Quadrilles Bal de noce, St. Hubert (Chasse Royale) Mendelssohn-First grand quartett, op. 1 Les troubadours: nouveaux quadrilles ; as duet Ditto. Ditto. Wessel. Dillo. Ditto. Dillo.. Spohr-Third grand duet; op. 112, for piano and violin concertante Quadrilles-Les troubadours; La figurante de Paris; Soirées des Tuilleries; for orchestra and quintett Mendelssohn.-Second grand quartett for Ditto. piano, violin, tenor and violoncello, op. 2 Ditto. Molique.-Third grand duett for 2 violins Ditto. Musard.-La Reine Victoria quadrilles, for orchestra and quintett, the additional introduction, with Rule Britannia, and finale of God save the Queen Dilto. Webb.-Instruction for cornopean Coventry. Moscheles.-Weber's Works, edited by, no. 17, grand quartett, for piano, violin, tenor, and violoncello Ditto. Ditto. Ditto. Dillo. Z. T. Purday. Montmartre quadrille (Laveuses du Couvent); as duet Nielson, E.-Overture La Dame Blanche, arranged by Divertimento on the popular airs By the margin of Zurich,We have lived and loved together, and Galop de Gus tave Westrop, E. J.-Two rondos on the Spa- EYE-PRESERVING Ditto. Ditto. SPECTA CLES.-CHAMBERLAIN. Optician, Manufacturer of the EYE-PRESERVING SPECTA CLES, upon unerring principles, No. 37, Broadstreet, Bloomsbury, in a direct line (west) with Holborn, patronized by the nobility, clergy, the principals of the British Museum; and strongly recommended by most distinguished Members of the Royal Colleges of Physicians and Surgeons. Established 1822. A pair of the best convex pebbles, fitted to the purchaser's own frames, 5s.; concaves, 7s. 6d. Best Brazilian Pebbles, in Gold Frames.. .... ..... 115 0 for Ladies Ditto, double joints...... 2 50 for Gents. Ditto, standard silver.. 0 15 0 for Ladies Ditto, double joints.... 0 16 6 for Gents. Ditto, finest blue steel frame.. 0 15 0 for Ladies Ditto, ditto, double joints.... 0 16 6 for Gents. Ditto, tortoiseshell frame...... 0 10 0 for Ladies Ditto, best black buffalo horn 0 7 6 for Ladies Ditto, strong steel frame..... 0 7 6 Mechanics The above are all glazed with the clearest Brazilian Pebbles, composed of pure crystal, which is acknowledged by oculists to be the most pellucid and perfect substance that can be used for spec SIR, I take the liberty of addressing you a few lines. Some years since a very intimate friend of mine had a very serious fit of illness, and when she began to recover, her Hair, which was beautiful, came off, leaving large patches all over the head. After trying various things as restorers, without any benefit, your Oil was recommended, and she persevered in rubbing it in daily, using two bottles in four weeks, at the end of which time her hair came again and in a short time became more thick and beautiful than before, and lost its only fault, a certain degree of harshness. She continued to use the Macassar Oil moderately up to the time I last saw her, and though most of her family were very grey, she had not one grey hair, which she entirely attributed to the constant use of the Oil. of head-aches and severe trials of mind, my hair This lady recommended it to me. In consequence began to turn grey; I persevered in the use of the oil, and am happy to say it has quite redeemed my hair. You are at liberty to publish this letter if you please, with my initials only, and any one may have my name and address by going to your house. I am, Sir, Your obedient Servant, F. H. H. ROWLAND'S MACASSAR OIL prevents Hair from falling off or turning Grey; changes Grey Hair to its original Colour; frees it from Scurf and Dandriff; and makes it beautifully soft and curly. Ask for "ROWLAND'S MACASSAR OIL." The lowest price is 3s. 6d.-the next price is 7s.10s. 6d. and 21s. per bottle. IOLIN.-STEINER.-An instru tion and of the finest tone, to be disposed of. To save all unnecessary trouble (the owner being abroad), the price is Thirty-five Guineas.-Apply at 26, Newman-street, Oxford-street. The violin is in its original antique case, and bears date 1672; warranted genuine. 64 E. CHAPPELL be gublications unte the following new publications:-The whole of the vocal music in Mercadante's opera IL GIURAMENTO, and Persiani's INEZ DI CASTRO, as now performing with the greatest success at Her MAJESTY'S THEATRE; also the favourite airs in Books singly, and duets by DIABELLI Fantasias by CZERNY, BURGMULLER, &c. &c. LABLACHE'S INSTRUCTIONS for SINGING, on an entirely new system, with an analysis of the principles to be pursued in developing the voice, in attaining flexibility, and in forming the taste; with numerous examples, exercises, and solfeggi. Dedicated by permission to her Majesty, QUEEN VICTORIA, by Louis Lablache, principal bass singer at the Opera. Price 21s. CHAPPELL'S COLLECTION of ENGLISH NATIONAL AIRS, consisting of ancient song, ballad, and dance tunes, interspersed with anecdote, and preceded by a History of English Minstrelsy; the airs harmonized for the pianoforte by Dr. Crotch, J. A. Wade, and G. A. Macfarren. Complete in two volumes, neatly bound, price £2 2s. A new and complete edition of WEBER'S WORKS, edited by J. MOSCHELES, nos. 1 to 24. NEPiano Sol, and Duets, i. e. Myrthen EW VALSES by STRAUSS, Walzer, composed in honour of the marriage of her most Gracious Majesty; Rosen Blatter, Weiner Gemuthe, Die Berggeister, Taglioni, Londoner Saison, Exotic Plants, Frenden Grusse, Hommage à la Reine, each 3s. and 4s.; Furioso Galop on other sets of Waltzes and Galops by the same an air, by Liszt, 2s Gibillen, ditto, 3s.: and 100 author, each 2s. 6d. and 1s. The latest Valses by Launer, Piano Solo, each 3s.; ditto Duets, each 4s.; Die Pressbarger, Themis Strahlen, Die Vaterlandischen, Die Osmanen, Marien, Liebes Traume Victoria, Die Kosenden, Petersburg, Die Elpler, Prometheus, Rococo, Orpheus Klange, Krönungs, Froshin Scepter, and sixty other sets. Lanner's Quadrilles, Julie and Heloise, each 3s.; ditto's Galoppes, Amazonen, Malapou, Nymphen, Tourbillon. New Waltzes for the Piano, Solo and Duets, by Labitzky, i. e.-Lilien, Tremolo, Die Fashionablen Walzer (dedicated by permission to her most Gracious Majesty); Brandhofen, Helenen, Sophien, Feen Welt, Souvenir de St. Peters burg, Aurora, Paulinen, and fifty other sets; ditto twenty Galops, each 1s., 2s. 6d., and 3s.-London : printed only by R. Cocks and Co., musicsellers 2 0 in ordinary to her most Gracious Majesty, 20, 20 Princes-street, Hanover-square, and to be had at 20 all the libraries. ....... 20 2 6 A complete collection of BEETHOVEN'S GRAND SYMPHONIES, arranged as pianoforte duets, with flute, violin, and violoncello accompaniments ad. lib., nos. 1 to 8. By W. WATTS. NEW SONGS BY S. LOVER. I know that the summer is come. The Pearl-diver.. ......... My gondoletta; duet........................... ........ In early childhood's smiling morn; dedicated ... Ditto. Dear friend of infancy; 2s La Notte; arietta; 2s..... ......... ........ ........... London published by CHAPPELL, 50, THE PICCOLO. 30 guineas. ... 34 " ......... 38 42 ........... .................... 42 .... Elegant, with Trusses.. 46 to 50 From 42 guineas to............................................ 105 POCKET GRAND HORIZONTAL. 80 IMPERIAL GRAND HORIZONTAL. From 75 guineas to.......................... The above Instruments are all equally well manufactured and prepared for extreme climates. The Piccolo stands 3 feet 8 inches high, and the Pocket Grand is only 5 feet 4 inches long. A liberal allowance to Exporters and Dealers. This extensive reduction has been drawn from the Advertiser as a measure of protection to his New Piccolo Pianoforte; the success of which has induced certain Manufacturers to announce and sell Instruments of a different character under the same name, by which the Public are deceived and the Inventor injured. HENRY HOOPER, 13, Pall Mall, East, where all communications for the Editor, Works for Review, and Adver tisements are received.-R. GROOMBRIDGE, Panyer Alley, Paternoster Row.-G. BERGER, Holywell Street, Strand, and the following Agents : WEBB, Liverpool; SIMMS and DINHAM, Manchester; WRIGHTSON and WEBB, Birmingham. London: Printed by JOHN LEIGHTON, at his Printing-office, 11, Johnson's Court, Fleet Street, July 23rd, 1840. THE MUSICAL WORLD, A MAGAZINE OF ESSAYS, CRITICAL AND PRACTICAL, AND WEEKLY RECORD OF Musical Science, Literature, and Entelligence. THE Concert season is now rapidly approaching its close-music is preparing itself for its state of semi-sleep, and, with it, the aspirations of many unknown composers and unheard performers, and yet that, of all other concert speculations the most important to the interests of art, has, as we feared it would, remained totally inoperative: we refer to the British Society. It has been said that, on a former occasion, we over-rated the value of this institution —that, in fact, we were seeking to stir up unnecessary interest about an undertaking already brought by the natural course of things into the position to which the small importance of its end, and the means employed, seemed to point. To this slighting opinion of the Society's merits, founded probably on no better ground than that its institutors and most zealous advocates are connected with neither cathedrals nor glee-clubs, and neither vilify Beethoven nor reap seraphic delights from the making of canons, we are most determinately opposed, and moreover, unlike the learned Thebans touching Beethoven, we can show a reason for the faith that is in us. The British Society is important in the first degree, because, notwithstanding its slight atchievements up to the present time, its primary object is to afford due opportunities to the British students of the higher branches of composition, from which, by a process of most perverse ingenuity, they are excluded by other societies whose calibre renders them worthy of being patrons of their country's art. With the Philharmonic, the English musician has every reason to be dissatisfied. It is precisely in the position of a successful clamberer to fame forgetting his humble origin and the professed object of his ambition. However astonished by the brilliancy of its performances, or however overawed by the assumption of dignity which for some years past it has been Philharmonic policy to adopt towards native artists, the English musician can VOL. XIV.-NEW SERIES, VOL. VII. [Printed by John Leighton, 11, Johuson's Court, Fleet Street.) F not forget that to assist him to the attainment of perfection in his art, and to show forth the fruits of his labour with befitting excellence, were the chief pleas for gathering together a superb band and soliciting royal patronage and public subscriptions for its maintenance. The latter part of the project has been accomplished, but success which has endured without fluctuation for more than a quarter of a century, has utterly blotted out its originally-professed end from the Society's scheme of operation. With the exception of an occasional act of grace in this behoof towards Mr. Bennett, not a note of English music is heard from the first Philharmonic concert to the last; and indeed, in this case, so much has practice fallen off from profession, that were a British composer in quest of a source from which, more than another, he might experience difficulties and even discourtesy in endeavouring to gain a hearing for his works, we would recommend him to the directorship of this Society, with a confidence that his wishes would be gratified in their utmost extent. The Philharmonic is now, in point of fact, nothing more than a subscription concert on a large scale, in which the best continental works are performed with considerable accuracy and effect;further than this it cannot be considered serviceable to art, and, therefore, further than this, it has no claims on the goodwill of native artists. The British Society, however, stands on widely different ground. The professed objects of the two institutions are alike, but they have no other points of resemblance. At the foundation of the Philharmonic this country possessed but two composers of genuine ability and feeling-Mr. Bishop and the late Mr. Attwood :—we do not deem either the writers of ballad-operas or the musty canonists of that day sufficiently creditable to English art to be worth quoting as composers. No composer of that time could have accomplished the overtures and concertos of Sterndale Bennett, the symphonies of Macfarren, or the operas of Barnett and Loder. At the period of the establishment of the British Society, on the contrary, the composer's art and feeling had spread widely over the young musicians of England. The metropolis teemed with indications and promises of greatness, and not only have these been realized, as in the case of the justly-celebrated men to whom we last referred, but the whole surface of musical taste has moved upwards and gained a higher level, as evinced by that which, after all, is perhaps the surest test of general musical feeling—the single song, or ballad-music of our country. The British Society, then, rose as a kind of commercial result from the position of affairs in the music-market. There were producers in abundance, but there was no channel by which they and the consumers could be brought into contact; or-to drop our Mark-lane metaphor -a circle of young men wrote beautiful music known to themselves and each other, the public, meanwhile, being profoundly ignorant as to the existence of either the men or their music; and therefore, taught by experience that the Philharmonic orchestra was shut against them and their works by a fence of coxcombry and prejudice, they wisely resolved to found a society and collect an orchestra for themselves, and there assert their right, on critical grounds, to that fame and whatever profit it might yield, from which unnational feeling had hitherto excluded them. Nothing could be more aptly timed than this resolve, nor more praiseworthy than its execution-for the first two seasons; but, like many other matters of a similar kind, injudicious management and straitened means have reduced its usefulness, in appearance at least, nearly to a nullity, and this, an institution promising more solid advantage to young composers than ever previously befel them, has suffered a whole season to pass by without the shadow of a movement in the sphere of its primary intention. The patronage of royalty has lately been solicited, and, as we are informed, refused :-her Majesty, it appears, cannot disturb herself to command a concert in which she would be compelled to tolerate English music. Conduct of this kind requires no comment: it reads one more lesson to our native artists on a subject with which they ought, by this time, to be sufficiently familiar :-experience ought to have suggested to them, that the tasteless and un-English aristocracy of this country would not patronise fine music because they could not enjoy it, nor that which was home-made because they had not from afar to fetch it. All this the British musician has long known, and in seeking for still higher countenance he should have paused while his common-sense whispered to him that it was vain to expect the hands of a clock to execute one tittle more or less than the pendulum chose to warrant. We have but now to impress on the directors of the British Society that they have another season of rest before them-at least, a season in which they will not be expected to stir in the more public business of concert-giving ;-let them not suffer this to pass over fruitlessly, but let them-leaving the aristocracy to strut on its own dung-hill, if so it please be up and busy among the young musicians and patrons of art in whatever rank they may find them, and from them seek means for another venture. If they give good concerts and do not fall out among themselves, they must succeed. MUSICAL BIOGRAPHY.-No. IÍ. JOSEPH HAYDN. Ir ever an artist merited the name of a fine genius, in the entire sense of the word and with full truth-if the most amiable among artists is to be named-he who has diffused the most joy, and who still continues to afford the purest gratification-it is Joseph Haydn, truly the ornament of German music. Each one of the great composers has received one fixed idea. Thus to Palestrina was given the devotion of the Roman church. Bach received the gospel, and Gluck the classic opera for his idea. Haydn's idea was his national character. He was altogether the expression of his nation, fully and purely :-in citizen-like soberness and honesty, feeling naturally comfortable in their beautiful country; in innocent hilarity of heart, enjoying life undisturbed in their own minds or from external causes; free from indistinct longing or far-reaching ideas; child-like, charitable and pious; open to the beauties of nature, and to a sportive, gay humour; such was the people that lived next around the parental throne of the sovereign of Austria; and such was their own composer. When this throne and this state of things was threatened and assailed too hardly, he died. The subsequent humiliation and higher elevation of his native land, would not have been understood by him; and he was spared from witnessing it. But, that he was altogether the child of his own country, is proved by the national song of the |