the chorus of priests and priesteffes in the fame fcepe, is taken from Sacchini; the chorus, "To thee be praife, O glorious fun," is from the pages of Cherubini; and the march, preceding the glee, is by Mr. Shaw. Of the melodies by Mr. Kelly, "Fly away time," and "Yes, be mercilefs, thou tempest dire," are the most pleasing: while, among the selected compofitions, "Thou parent light," from Sacchini, and the march from Gluck, poffefs the greatest degree of attraction. We cannot difmifs this article without obferving, that Mr. Kelly in his own mufic is not always fufficiently vigilant to avoid the violation of certain laws of harmony, nor, in every instance, so happy as we might wish in his adaptations. The general caft of an air may be calculated to exprefs the prevailing fentiment of the words to which it is applied, and yet require fome degree of taste, delicacy, and addrefs in the compiler, to fit it to its new language and fituation, to fall in with the accents, and give the particular points of the author. Mr. Kelly, by attending to these hints, will certainly improve both as a compofer and felector. An Efay on Mufical Harmony, according to the Nature of that fcience, and the principles of the greatest mufical authors, by Auguftus Frederic Chriftopher Kollman, organift of bis Majefty's German Chapel, St. James's. Dale. Our readers will recollect, that our former remarks on this ingenious and extenfive work, extended to the end of the ninth chapter, in which the author leads the mufical student to the confideration of cadences perfect and imperfect, interrupted and uninterrupted. In the tenth, he embraces the fubject of modulation; and treats this abftrufe province of the fcience much at large. Modulation, both natural and abrupt, as produced by paffing from major to minor, from minor to major, or by the introduction of enharmonic changes, is fatisfactorily explained. In the tenth chapter he enters upon the confideration of time: and, after giving a general explanation of the terms used by muficians to express the particular character of each movement, he speaks with a mafterly intelligibility on measure, both fimple and compound: and, in the fucceeding chapter, takes up, as in its natural course, the subject of rhythm, or that periodical order in musical compofition which anfwers to number in profe, and metre in poetry. Chapters thirteen and fourteen treat of fimple and double counterpoint; and contain many useful re marks on the counterpoint on the tenth, or third; the twelth, or fifth, the double counterpoints of the ninth, eleventh, and thirteenth, and on double counterpoint, reverfe, retrograde, and reverie retrograde. These topics, fo interefting to the real purfuers of fcience, are fucceeded by ufeful obfervations on imitation, in all its different kinds and effects; `and on veriation, as it regards the fame harmony and melody, different harmonies to the fame melody, and different melodies to the fame harmony. After many ingenious and novel obfervations on fancy, both free and limited, Mr. Kollman enters upon his eighteenth and concluding chapter of his first volume, in which he fpeaks with much learning and perfpicuity of the "antient ecclefiaftical modes." Here he explains how every fcale defcends on the fame keys backwards; furnishes the reader with the antient names of the various fcales and modes, and inveftigates and proves the use of the antient ecclefiaftical modes in modern compofition.Our readers will perceive, by the multifarious and useful subjects which the prefent volume comprizes, how much may be expected from the fecond; and that the space we mean to devote to remarks on the fubfequent parts of a work fo important to the ftudious part of the mufical world, will not be unprofitably occupied. The Old Clotbefman, a Comic Opera, as performed at the Theatre-Royal, Covent-Garden,_compofed by Thomas Attwood. 6s. Dale. Goulding, Phipps, and D'Almaine. Mr. Attwood, in the publication of this opera, has thought proper, we know not why, to fupprefs the overture. The work, nevertheless, occupies thirty-three pages, and contains feveral charming airs. Emblems of Frailty," fung by Mrs. Atkins, is beautifully delicate throughout; and "With rapture on its wing,' fung by Mr. Incledon, is elegantly conceived. With the fimplicity of "Adieu, Oh! ye bowers," fung by Mrs. Atkins, we are particularly pleafed; but cannot say that we discover any marks of the fame ingenious hand in the fucceeding glee; it lacks both air and contrivance. The Wedding Day," fung by Mr. Knight, is prettily imagined, and exhibits both judgment and fancy in its accompaniment. The fucceeding duet, fung by Mrs. Atkins and Mr. Incledon, is a tolerable compofition; and the round which forms the finale of the piece is above mediocrity. Thompson's Thompson's complete Museum for the German Flute. 58. Thompjon. This publication contains a familiar explanation of the first principles of mulic; the graces, double-tonguing, and correct fcales and inftructions for the patent and other flutes, with additional keys. We alfo find a useful collection of eafy and favorite airs, and fome wellchofen duettinos in various keys, from Pleyel, Haydn, Hoffmeifter, De Vienne, Hook, Krafinfky, Cambini, and other eminent mafters. We are enabled, after a thorough perufal of the work, to recommend it to the notice of all young practitioners on the German flute, confident that they will derive much neceffary information from the preceptive part of the book, and confiderable profit from the practical felections. "Sleep'ft or wak'ft thou, Jolly Shepherd." A Glee for three Voices. The words from Shakf peare. The mufic by M. P. King. rs. 6d. Goulding and Co. We have frequently had occafion to apply the terms of praife to Mr. King's inftrumental productions, but cannot adopt the fame language while fpeaking of his prefent vocal attempt. Marks of natural talent difcover themfelves in feveral places; but the whole is accompanied with that awkwardnefs and abience of addrefs which evince the want of habit and experience in this fpecies of compofition. Thefe remarks, however, fhould not difcourage Mr. K. from future efforts, fince we do not doubt but further practice will diminish, if not do away, thefe objections, and enable him to exhibit his genius with due advantage. "Oh, hear a hapless Orphan's Pray'r," a ballad, with an accompaniment for the PianoForte, compofed by W. Bingley, of St. Peter's Collego, Cambridge. JS. Prefon. 66 Oh, hear a hapless Orphan's pray'r," prefents a pleasingly fimple melody, and conveys the fentiments of the words with an impreffive force. The bafs, we muft fay, might in fome inftances have been better chofen; and the air would, perhaps, have been ftill more interefting, had not modulation been wholly neglected. "The Horfe and the Wiaow," jung at the Theatre-Royal, Covent-Garden, by Mr. Johnstone. The words by T. Dibuen, the music compofed by J. Moorehead. Longrian, Clementi, and Co. What little of melody Mr. Morehead has bestowed on Mr. Dibdin's fong, (for the whole is comprifed in eight bars) is tolerably fanciful and characteristic. The verfes are tinged with a true vein of humour; and, in the hands of Mr. Johnftone, are pregnant with theatrical effect. Naval Triumphs, an beroic song in honor of the gal-, lant officers and brave tars of Old England. The mufic compofed by Mr. Yates. Is. RickmanThis little air, though it has not of any diftinguished merit, poffeffes fome recommendatory qualities. The bass is, for the most part, unfkilfully chofen, and the melody deficient in novelty; yet we must fay, that the paffages fucceed each other with a natural ease, and are, characteristic of the fubject of the words. Three Duets for the Piano-Forte, composed and dedicated to Mrs. Overend, by J. G. Graeff. 7s. 6d. Long man, Clementi, and Co. furnished juvenile practitioners on the Mr. Graeff has, in his prefent work, piano forte with a collection of agreeable and improving exercites. The feveral movements, while they are progreffive in execution, are calculated to relieve each other, and rife in their effect. The ftyle is fimple, yet artifical; and while nature dictates the ideas, fcience regulates the difpofition and enriches the harmony. "Ally Croaker," with variations for the PianoForte or Harpsichord, compofed by Dr. Arnold, Is. 6d. Skillern. Dr. Arnold has exercised his fancy with much fuccefs in thefe variations. This old and popular air, is, we must confefs, particularly calculated for the ufe he has here made of it; and we must alfo confefs, that he has, in every respect, availed himself of the advantage. The publication comprises fix variations: the first two of which are in the fame time as the theme; the third, fourth, and fifth in ; and the fixth in common time. original melody is fcrupulously made the ground-work of every part of the doctor's fuperftructure and Ally Croaker, through all the ingenious defcant with which it is here prefented to the public, continually plays upon and claims the recogni tion of the ear. The "What has art with Love to do ?" a new fong, fung at the Nobility's Concerts. Compofed by L. C. Nielion. Rolfe. IS. IS. The This is a pleafing little ballad. air is eafy and natural, and the fymphony and bafs difplay both taste and judgment. Innocent Amujement, a Moral Song, for the ufe of Children, written by Dr. Watts, and compofed by J. Ambrofe. Riley. The melody of this little production is characteristically fimple; and, like the words, calculated to attract and engage juvenile attention. The fong Mr. Ambrofe has here felected is, "Abroad in the meadows to fee the young lambs." We understand that it is his defign to proceed with thefe pretty infantile exercifes; and that others will fpeedily be brought forward by the fame publisher. ALPHABETICAL LIST of BANKRUPTCIES and DIVIDENDS announced between the 20th of May, and the 20th of June, extracted from the London Gazettes. BANKRUPTCIES. (The Solicitors' names are in Italics.) BACON, J. and T. Anthony, Size-lane, taylors. Mr. Turner, Nicholas-lane. Bradley, J. J. Richmond and J. Wilkinfon, Manchefter, machine-makers, Edge, Temple. Brown, T. and J. Hockerill, coachmakers. Mers. Allens, Furnival's-inn. Butler, J. Drury-lane, hofier. Swann and Stevens, Oid Jewry. Bayley, W. Augmering, and R. Bailey, Leominster, millers. Rider, Fetter-lane. Banks, J. Primrofe-treet, cornchandler, &c. Mawley, Jeaious-row, News-road. Blackburn, W. Alderfgate-street, watchfpring-maker, Hall, Bucklerfbury. Bramley, J. Halifax, taylor. Cardale, Hullward, and Spear, Gray's-inn. Chander, J. Redlings, cornchandler, deaier in horfes, &c. Durand, J. Stratford, Effex, cotton manufaturer. Mr. Dunmore, E. Stouton Wyvell, Miller. Kynderley and Long, Symonds-inn. Davies, J. Welchpoole, fhopkeeper. Foulkes, Hart-ftreet. Edwards, H. Gravel-lane, London, and G. Duplex, Leeds cloth-merchants, and dryfalters. Mr. E. Sykes, New-inn. Farmer, W. Shrewsbury, mercer. Mr. H. Rofar, Kirbyfreet. Greenwood, J. Whitcomb-street, auctioneer. Mr. Green, Manchester-freet. Hilton, R. Prefton, cornfactor. M frs. Crofs and fon, Preston. Harris, C. Briftol, Fruiterer, Blandford and Sweet, Temple. -F. and S. Grove, Bristol, merchants. Hill and Mereditb, Gray's-inn Haflewood. J. S. Bridgenoth, grocer. Baxter and Martin, Furnival's-inn. Hicks, T. Merthyr, Glamorgan, grocer. Lewis, Temple, Huls, C. Cecil-treet, merchant. Scott and Landon, Mildred's court Judge, J. Tyfoe, malfter. Barber and Browne, Fetter-lane. Knott, R. Stayley Bridge, cotton-fpinner. Mr. Ellis, Curfitor-freet. Levy. J. Carter-ftreet, dealer. Mr. Isaacs and fons, Bury-ftr. Lewis, W. Swanfea, innkeeper. Bleafdale and Alexander, New-inn. Mufgrave, E. Leeds,ftuff-merchant. Mers. Aliens, Furnival's-inn. Holborn. Hilditch, Gough-fquare. Middleton, D. Middlewick, ale and porter merchant. Huxley, Temple. Miller, T. Madeley Wood, grocer, Maddock and co. Lincoln's-inn. Ofman, E. Hackney, baker. Mr. Jeffops, Clifford's-inn. Reeves, J. Birmingham, japanner. Fox, Parliament-ftreet. Aires, J. Norfolk-ftreet, mariner, June 24. Bentley, T. Sudbury, fhopkeeper, July 2. Berry, J. Netherthongue, clothier, July 3: Bridgeman, G. Dartmouth, fcrivener, June 29: Bainbridge, W. Gerard-ftreet, carver, July 2. Burl, J. Fulham, malfter, July 16. Boardman, W. Manchester, merchant, June 18, Bishop, W. Drury-lane, cheesemonger, June 22. Buck, E, Oxendon-street, victualler, June 22. Cowley, J. and F. Fild, Bafinghall-ftreet, Blackwell-hallfactors, July, 2: Cooper, R. B. Birmingham, accoutrement-maker, June 17. Culliford, T. and C. Barrow, Strand, mufical-intrumentmaker, June 18. Cox, Sir S. Scotland-yard, timber merchant, June 29. Current, J. Storrington, miller, July 1. Docura, D. the younger, Bafingboum, carrier, July 8. Farmby, E. Athertone, linen-draper, July 1. Hartley, J. Salford, victualler, July 2. Hart, M. Bermondfey-treet, merchant, June 24. Hood, E. Grove-ftreet, Bathwick, and J. Tuttle, Bath, coachmafters, &c. Aug 19. Hague, T. Ashton-underline, machine-maker, July 16. Johnton, T. Friday-street, warehouseman, June 29. Lamb, W. Manchetter, druggift, June 28. Notley, G. Dartford, imaholder, June 25. Noble, J. Taviftock-freet, linendraper, July 2. O'Reilly, T. Southampton, woollen-draper, June 24 Partridge, A. and W. Iliffe, Friday-tr. carriers, June 24. Palmer, T. and S. Hodgien, Mark-lane, merchants, July 2 Rofe, T. C. Minories, mariner, July 16. Richards, S. Coventry-itreet, cheetemonger, June 29: Stevens, J. Oxenden-itreet, cook, July 28. Smart, B. Frith-treet, goldfmith, July 16. Sevens, B. Turnhamn-green, viatner, June 22. Sowerby, j. Paddington, butcher, june 29. Soederberg, T. Tottenham-ct.-road, cabinet-maker, June 15. Snow, 7. Strand, linen-draper, july 20.. Smith, W. Waliall, bridle-cutter, june 7. Stanton, T. Ironmonger-iane, factor, june 29. Sefton, P. Althain, woollen-manufacturer, july 17. Sheppard, J. jun. Bath, butcher, Sep. 19. Tedeico, A. Wilfon-street, merchant, july 2. Tyndale, W. R Woodchefter, grocer, july 3. White, W. King-treet, taylor, june 29. Wright, W. New Road, Mary-bone, coachmaker, June 29. We, E. Darkhoufe-lane, dealer in wine, june 18. ORIGINAL POETRY. VERSES ADDRESSED TO SIR WILLIAM JONES, IN THE YEAR 1775. FRIEND of my heart, companion of my youth, As fam'd for learning as rever'd for truth; Skilful alike to raise the lofty fong, Or playful fport the flow'ry reeds among; The fmiling mufe has taught thee all her art To catch the fancy, and to feize the heart. To form thy wreath, from ev'ry clime the brings [fprings. Each choiceft product whence it native See her obfequious bring, at thy command, Sweet Khoten's muik, and gems of Samarcand, Each fragrant fhrub from fam'd Bocara's grove, Sacred alike to poetry and love. This known to all; but words can ill impart The cheering features of thy friendly heart. Oh may our friendship, form'd in this dark cell, [dwell," Where deathful fpirits and magicians To time fuperior, firmly rooted, brave The gloomy fea and dragon-teeming wave; "Purg'd in that wave, and rendered ftill more bright, "For ever blaze amid furrounding light!" R. W. LYTTON. SONNET TO THE RIVER ULGE. HERE on thy verdant banks, meand'ring Ulge, Reclin'd I fit, and cull the vernal flowers, Thus ling'ring out the folitary hours; Or penfive mufings on the past indulge. Ah, dear delights of youth, for ever fled! Ah, were here once more a sportive child! [wild, Again thy pebbled ftrand, and wood-walks And winding dells with carelefs ftep I'd tread. The devious wand'rings of maturer years Would then no painful retrofpect prefent; Nor keen regret for time unwifely spent Would fill my boding breast with future fears; But onward still the hours would smoothly glide, As thy translucent ftream to meet the ocean's tide. May 1799. ALBOIN. *See Sir William's Eastern poems. + In thefe laft lines there is an application of feveral parts of lines in Sir William's poem of the Seven Fountains, where in a beautiful allegory he defcribes death as a river teeming with dragons and other monsters, and the way to it as a gloomy fea. Is word for word almoft a whole line of OWEN PARFET*. THERE lived, in Shepton Mallet late, Of unrecorded fame, A taylor, born to luckless fate, And Parfet was his name. His race from Cambrian mountains wild, He plied his trade both late and foon, And happy was from morn to noon, Good credit long he well fuftain'd, By profits fmall and few; Nor would, tho' all the world he gain'd, Six days he labor'd in the week, Upon his outspread carpet, Well pleas'd her brother Parfet. Was Owen pleafed ?-his fifter too, But happiness is feldom found To be of lafting date; Nor lives there one on mortal ground, The wind blew keen one winter night, To live by industry. To him relief his fifter dealt, his. I have applied it fomewhat differently from its application in that beautiful poem; but hope that the reflecting reader will not think it quite mifplaced, in defcribing a world like ours, where deathful or deftrucrive fpirits and deceivers abound. *The circumftance on which this ballad is founded, actually took place at Shepton Mallet, in Somersetshire, between twenty and thirty years ago. Many perfons who are now living, atteft the fact; nor has any plaufible account of the unfortunate man's disappearance ever been given. Let No weekly profits now were told, And poor became his lot; The favings of his former days No maintenance he then could raise, But now, what fain I would not tell, And placed him near the public way, There in his chair, at nine o'clock, His old acquaintance near. They fpeak him fair, but little reck But there, poor Owen did not stay ;→→→ His fate, they ponder'd with concern, They drain next day each pond and well, The bufy fearch next day they plied, And ten miles round the neighbours ride, Just as he vanish'd, fome declare, And wonder'd at the found. Some dreamt of late ftrange things at night, But others grew more bold; And Owen faw, they faid out-right, Fast in a demon's hold. But fome this vilfperfion quick,, And faid, that Owan, for old Nk, |