1 hujusmodi esse literatum. Hanc enim morum pravitatem nulla doctrina pensare potest, non si omnem noverimus scientiam, et linguis hominum et angelorum loquamur." C p. 36. Tracti ruina Cheruscorum et Fosi.] Longolius ingeniously, we think, conjectures tacti for tracti. Mr. Barker, however, has well defended the latter by similar instances where it occurs. He may add the following example from Ovid, which may tend to confirm in some degree the truth of his remarks: "Spemque patris, regnique trahat patrisque ruinam." If we were inclined to make a conjecture, as Mr. Barker would say, we would propose fracti in preference to tacti: as in Virgil, "Fracti bello, fatisque repulsi." Cap. 37. Ne Parthi quidem sæpius admonuere.] We expected to have found Mr. Barker expatiating on his favourite ne quidem, which he confidently asserted in his notes on Cicero to be merely nec quidem. The above passage from Tacitus does not much indicate the truth of his argument, for we are sure that none of the best MSS. have nec quidem. No one instance has yet been produced by Mr. Barker, where nec quidem occurs, in support of his position. Mr. Barker, we are aware, has brought forward several examples where ne quidem occurs with some word placed between them, as in the above passage from Tacitus; and in one of these examples he says, the best MSS. have nec quidem. This, however, to say the least of it, iss pecious; and till we can have more genuine and more authoritative justances, Mr. Barker will excuse us for still persevering in our inclination to think that he is wrong. Cap. 42. Quatenus Danubio pergitur.] Some MSS. read peragitur. Lipsius, prætexitur; the Bipontine editors, protegitur. Ernesti proposes porrigitur, which, if we saw any need of changing pergitur, we would will ingly embrace. Why not, however, keep as long as we can to those readings we have, than fly to others which we know not of?" Mr. Barker, as usual, is soaring in the regions of novelty, and proposes an outrageous alteration of the text by reading præ tenditur. Cap. 2. Ita nationis nomen, non gentis, evaluisse paulatim, ut omnes primum a victore, ob metum, mox a seipsis invento nomine, Germani vocarentur.] We strongly recommend to the perusal of our readers Mr. Barker's excellent note on this passage. Mr. Barker has in the process of his note justly attacked the whole host of commentators, except that candid, enlightened, and learned Frenchman, G. Brotier, upon whom he passes a high eulogium, and addresses him in a line from Virgil very remarkable for its novelty : Semper honos, nomenque tuum, lau desque manebunt." Mr. Barker, in the conclusion of his The similarity of this line to the ori REVIEW OF NEW MUSICAL PUBLICATIONS. "There is no effort of painting or sculpture so rude, no composition in musick or poetry so artless, as not to delight those who have known no better; and, perhaps, the pleasures which the ignorant feel from mere imitation, when it has # arrived at any degree of exactitude, are more keen and vivid, though less exquisite and exalted, than those which the learned in art receive from its noblest productions." KNIGHT. «Une des raisons pour lesquelles les Arts se perdent, c'est qu'on laisse au vulgaire le droit de juger du mérite des productions du goût." PERotti, (1812.) 17. The Quarterly Musical Register, written and collected by A. F. C. Kollmann, Organist of the German Chapel, St. James's. Nos. 1. and II. pp. 160. 8vo. THESE two Numbers are all that have been hitherto published. It is to be regretted that the sale of the work has not been a sufficient inducement to Mr. Kollmann to continue it, as it was highly in his power to com municate useful information to the musical publick, particularly in regard to the musical literature of his native country. In a musician and a foreigner, an indifferent style of writing Germany since 1700, and in England since 1789; the origin, progress, and present state of musick in Bath; an account of Sebastian Bach and his compositions, and an account of Mozart, with a parallel between him and the painter Raphael by F. Rochlitz; "a true and particular account” of the theoretical works of Augustus Frederick. Christopher Kollmann; a review (31 pages) of Callcott's Grammar; and, some unimportant remarks on the temperament of the musical scale. Besides, each number contains two curious pieces of musick, composed by Mr. Kollmann, namely, 1. A musical definition; 2. a diatonic, chromatic, enharmonic, cancrine minuet, with two variations, every second part of which arises from taking the first part (or strain) backwards, in cancrine or retrograde motion; 3. a sacred song in the antient ecclesiastical mode of D; 4. a family piece for 2, 3, 4, 5, or more performers on one Pianoforte. There is besides, an enigmatical canon, on the title-page. When this canon is resolved," its 4 parts together make a quadruple counterpoint in the octave; and its highest and lowest part alone, a counterpoint in the tenth and twelfth," p. 80. For a complete account of all such musical mysteries, we refer young composers to Marpurg's Treatises on Fugue and Counterpoint, of which an English translation, from an improved foreign edition, is preparing to be published by subscription. In speaking of German histories of musick, Mr. K. informs us, that one by Printz (Dresden, 1690) was a very good one for the time at which it appeared; that Marpurg's "does credit to its celebrated author, but extends only to the time of Pythagoras; and that the last is all that can be expected in its department, for it not only shews Dr. Forkel (its author) as a man of the most extensive historical knowledge and literary research, but also as a musician of the greatest penetration," p. 82. We question whether Dr. Burney would join Mr. K. in his encomiums on the last of these writers: writing is surely very excusable. Mr. Kollmann, sen. who is said to have been a pupil of Kirnberger*, has produced several works on harmony and composition in English, some of which we shall take occasion to examine. His Register has too much the appearance of being principally designed to promote the sale of his other works. It would have redounded more to his honour, if he had withheld his numerous objections to Dr. Callcott's Musical Grammar, till. that admired composer had been in a state of health to reply, if the objections deserved notice. From the list of periodical works on Musick, in No. 1. we extract the following: "The European Magazine from 1782, et seq. This contained, till within a few years past, musical articles written by Dr. Busby; and also occasionally by some other authors.-The Analytical Review contained, in 1788, some reviews of musical compositions, by Mr. (now Dr.) Busby, which were not continued long. The Monthly Magazine, from 1796 to the present time, contains reviews of practical as well as theoretical musical works, by Dr. Busby.The Monthly Review, from 1796 till near the present time, contains reviews of the musical treatises published, which are ascribed to Dr. Burney. The Critical Review, 1796, et seq. the same.--The British Critic, from 1796 to the end of 1799, also But from August 1800, till March 1807, those reviews are written by Dr. (John Wall) Callcott; and the review of Dr. Callcott's Grammar, in April and June 1807, is by Mr. S. Wesley.-The Musical Magazine and Review, from 1808 to 1811, consists of musical compositions and reviews by Dr. Kemp; and also contains occasionally some composi\tions and articles by other authors.The Repository of Arts contains musical reviews by an Amateur," &c. Most of the other publications mentioned in this catalogue, which is taken from Forkel, are in German. The chief articles in these two numbers are:a retrospect of the state of musick in * John Philip Kirnberger was born at Salfeld in Thuringia, in 1721 he died at Berlin in 1783. Dr. Forkel says of him: "Er war einer der merkwürdigsten untur Bachs Schülern, voll des nützlichsten Kunsteifers und wahren hohen Kunstsinnes. Ausser der Entwickelung der Bachischen lebrart in der Composition, hat ihm die musikalische Welt auch das erste und einzige haltbare System der Harmonie zu danken, welches er aus seines Lehrers praktischen Werken abstrahirt hat." Life of Sebastian Bach, p. 43. the same. : see A see his History of Musick, vol. IV. p. 603. Of Bristol we are told, that it is perhaps the place where public concerts, and public amusements in general, are the least encouraged. It is said to contain several good organs, among which, that in the church of St. Thomas was praised by Handel, who tried it when he passed through this city; but the one most worthy of notice is that belonging to St. Mary Redcliff, by Harris and Byfield." letter from Edinburgh (p. 143.) states "We have here two good public organs and a good chamber one by Snetzler; the rest are but so so. You know, I presume, that in the Established Church of Scotland, there are no organs, nor instruments of any description; you will not be at all surprised, therefore, when I tell you that our Psalmody is wretchedly bad: indeed worse cannot easily be conceived.Except our beautiful national melodies, which, of late years, have been rendered doubly interesting by the exquisite accompaniments of Haydn, and the charming verses of Burns, we have nothing to boast of, that can be called musical composition. The very few gentlemen who play the flute,violin, or violoncello, take to it too late in life to attain any proficiency. Fathers in general have an absurd prejudice against their sons' learning musick, thinking it would lead them into idleness and dissipation; though, to men of fortune, and to all those who have much leisure, musick always appeared to me the best possible resource against ennui, and an antidote to dissipation. We have a few young ladies who can play and relish the musick of Haydn, Mozart, and Beethoven; but, in general, they are contented with superficial musick, and perform it but poorly. The Subscription Weekly Concert was given up 12 years ago.' Bath has, besides the concerts, we are told, p. 187, a theatrical band, led by Mr. John Loder; a Pump-room band, consisting, in 1811, of Messrs. Daniels, Perry, Mumford, Chubb, White, Lyne, Ashley, Rogers, A. Herschell, and Philpot; and the Harmonic Society, founded by the Rev. J. Bowen in 1795. This writer relates that, some years ago, at one of Rauzzini's concerts, a performer on the violin was rapturously applauded and encored for a country dance, and on the same evening Corelli's divine concerto, No. 8, was hissed, although it was performed in the best style by an excellent band. We too have heard Haydn's Symphonies hissed at Vauxhall, when Hook's Concertos obtained loud applause: this is equally honourable to the vulgar taste in musick. 18. Twelve Waltzes, for the Pianoforte, composed by L. Van Beethoven, pp. 11. THESE original little pieces will, we have no doubt, afford agreeable practice for learners whose taste is in its infancy, and also highly amuse and interest the well-cultivated ear. These Waltzes do in' no respect resemble the favourite set by Steibelt, Opera 50; but are more in the style of Mozart's. While we are recommending these pleasing compositions to our musical readers, let no one suppose that our commendation extends to the disgusting practice of walizing, a practice which we think and propriety (see page 348.) is equally destitute of grace, delicacy, The dance is said to be of Suabian origin, and the tune, which is always in triple time of 3 quavers or 3 crotchets to the measure, is generally played allegretto. The copy before us is not remarkable for its correctness. On the second staff, page 2, D sharp in the bass should be D flat; on the tenth staff, p. 4, in the third measure, B should be A; on p. 5, staff 5, in the fourth measure there are only 5 quavers; probably the first should be a crotchet. Advertised Performers in the Orato rios, &c. at the Theatres, in March, 1813: Drury Lane.-Messrs. Spray (from Dublin), Bellamy, Goss, C. Smith, Pyne, Harper; Vaccari (violinist to the King of Spain): Mrs. Dickons, Mrs. Bland, Miss Giles; Mr. H. Smart, leader; and Sir George Smart, director and conductor. Covent Garden. - Messrs. Braham, Garbett, Lacey, Tinny, and Master King; Catalani, Miss Bolton, Mrs. Salmon: Mr. Ashley, leader; and Mr. Sam. Wesley, conductor. Messrs. Button and Whitaker are publishing a cheap edition of Dr. Clarke's Arrangement of Handel. SELECT SELECT POETRY. Upon the very beautiful Poem entitled “ AN To MR., ON HIS QUITTing Ramsgate. EPISTLE TO A FRIEND," written by Mr. ROGERS. By Lord THURLOW. WHEN ROGERS o'er this labour bent, Their purest fire the Muses lent, But this divine and matchless strain, It is a web, so finely wove, To the Memory of ANNE BEAUCLERK (MRS. TALBOT, 1809. By the late Mr. JER NINGHAM. THOUGH many a Winter passing o'er thy tomb, [thy doom; Has chill'd thy ashes, and has mock'd Though many a Summer fraught with softest air, [there! Has kiss'd thy grave, and seem'd to linger Though Autumn, as impress'd with conscious grief, [leaf! Has strew'd the holy spot with many a Though, deck'd with many flowers, full many a Spring [wing, Has hurried o'er thy form with envious Nor with one snow-drop grac'd the hal low'd way, Because thyself a purer snow-drop lay! Yet shall thy friends thy honour'd name [dear; revere, While to their grief thy virtues still are They still recall, with an impassion'd mind, The pleasing scenes stern Time has thrown behind, When thy lov'd presence, like some heav'nly guest, Rais'd a soft exstacy in ev'ry breast. And all unfit to build the lofty rhyme, The thought of thee provokes a transient fire, And my soul wakes the long-deserted lyre. AS late 1 wander'd by the deep, Both Thought and Mem'ry lull'd asleep, Soft Fancy unconfin'd; Forth from the waves arose a form, Fraught with each charm that can adorn, A Nymph of heav'nly mind. Her bright blue eye, and auburn hair, Such beauty fix'd my wand'ring eye, "Mortal! who tread'st this craggy steep, For He goes to some more favour'd spot, Content shall ever beam; Amidst his friends, his books, his flow'rs, Shall quickly pass the happy hours, And Taste will deck the scene. For at his birth my Father smil'd, And Venus claim'd his heart., Then, Mortals, weep! for know, no more Shall Heatlh thy languid eye restore, And renovate thy frame; Disease shall hence usurp her place, Pale Grief destroy each beauteous face, With sorrow, care, and pain." The Goddess ceas'd - and thus I spake, "O grant the pray'r which now i make, Nor deem the suppliant bold; — Since thou wilt quit this luckless Isle, On him for ever deign to smile, Whilst life itself shall hold ! April 10. The noble task becomes your heav'nly" birth, To shield or living or departed worth, From joyless Envy's sting, that low-born child of Earth. Witness, ye pleasures! felt where Avon streams, [Thames; Enjoy'd where Isis, and sublim'd where Witness, ye virtues! and Discretion sage, Whose oracle his instructive page, No trifling Muse, the tempter of the day, But deathless gratitude demands my lay; That voice which bids me sing, for ever strong [song. On Virtue's ear, bids Garrick hear my Without our Poet great had been thy boast, Yet of thy merit had there much been lost; Thine unexerted force had quickly gain'd Whate'er the Drama's lower world contain'd; He gave to thee young Alexander's claim, New spheres to range in, and extend thy fame. Yet call we not th' advantage only thine; Lost in the depths of his exhaustless mine Lay many a gem the sun had never bless'd, [confess'd. You pour'd in day, and then they shone You met him as the steel th' attractive stone, It shews the magnet's virtues by its own. When soul with soul so sympathetic flows, [owes; But, when each Art to grace the Bard ap- Each largely lends to each, but neither [hears; pears, Whose voice imperial Thames with rapture The magick of whose song so oft has pleas'd Fair Isis, and old Cam's attention seiz'd, And held them mindless of the Latian page, And all the glories of the Grecian stage; Shall she from Avon's flow'ry bank retire, She whom the theme, scene, season, all require? Shall Poesy alone forgetful prove? Anxious and watchful of the sacred ground, Still haunts the shores which Avon's waters *See an Epistle of Dryden to Sir Godfrey Kneller, occasioned by a picture of Shakspeare given by the Painter to the Poet. The streams united spread their empire wide, Disarm'd revenge,and tam'd her Country's No captive sigh'd in vain, whose tuneful tongue Rehears'd the tender, Euripidian song; But saw soft tears in eyes of fury stand, Felt the bard fetter falling from his hand; And more than freedom's joys, if more could be, Found honours join'd to life and liberty. If foes in foes could worship thus the Muse, Say, Envy! what can friend to friend refuse? Or Stratford to the man, whose pow'rful breath [death} Recites not, but recalls her Bard from Criticks there are, like Salamanders tame, Who live unwarm'd amid the Poet's flame; Authors there are, who, never form'd to rise, In fev'rish fury storm forbidden skies. Ne'er be the last with laureat honours grac'd, Nor give the first the sacred name of taste. * An account of the liberation of the Athenian captives, who could repeat Euripides' verses, may be found in Plutarch.' The |