mountains of dirt. To their credit be it observed, that out of the contribution of two hundred millions of crusadoes which they imposed, they expended two hundred thousand on cleansing the city. pended millions in obtaining from his holiness the consecration of a festival to the "Heart of Christ;" and she expended millions more upon a church and convent, which are still unfinished, and not worth the sums lavished upon them. The dwelling-houses are commodious; but as for specimens of beau- Upon the whole, there are very tiful architecture, Lisbon has nothing few public buildings in Lisbon which of the kind to produce. Whoever are completed; and it is a trait in has seen the churches and convents the character of the Portuguese, to in Italy, can derive little gratification begin every thing on a grand scale, from those of this capital. In num- and to leave it unfinished. Thus in ber indeed it may equal any city of Pombal's time a building was beItaly; but for architecture, sculpture, gun with magnificent subterraneous paintings, and works of art in ge- vaults, and carried up a few feet neral, the Portuguese edifices are above the surface of the ground: it far inferior. One of the most spa- was intended for the public Treacious convents in the heart of the sury, and a large sum was spent upon city is S. Francisco de Cidade, or as it; but the whole is now covered we might justly transpose the name, with rubbish, and its completion is Cidade de S. Francisco, because it never thought of. It is to be sure is almost large enough for a city. much wiser to leave it as it is; for The poor mendicant monks have col- no such magnificent exterior is relected by begging money for build-quired for an exchequer so empty as ing a church, that is to equal, as they that of Portugal now is. say, St. Peter's at Rome; but which, with the exception of the bare walls and the façade, will probably remain for ever unfinished; for the monks have lost all their influence under the new system, and few persons will now lend money in expectation of receiving it back with interest in the next world. The largest of the churches is that of St. Domingo, but besides its magnitude I have not been able to find in it any thing worthy of notice. The newest church and convent is that of Estrella, erected by the late queen, Donna Maria I. and dedicated to the Heart of Christ; because all the saints were supplied with churches, and a more worthy object could not be found for a patron to so pious a foundation. The good queen ex The new royal palace of Ayudaout of Lisbon-is begun upon a very large scale, but not more than about a third of it is yet finished. They have been working at it God knows how many years; and 400,000 crusadoes are allotted annually to the works, not for the purpose of providing the king with a magnificent residence, but that thousands of persons may not be destitute of bread. Situated on an eminence above the castle of Belem, this palace commands a noble view; but it has evident faults in the architecture, which cannot fail to strike the spectator who has seen any edifices of the kind. In the entrance and fore-court, situated on the east side, Portugal purposed to display the talents of her sons in sculpture; but unluckily these artists engraved their names on the pedestals of the statues, in order to render themselves immortal together with their works. In my opinion, it would have been much more judicious, if, instead of their own names, they had favoured the public with those of the deities whom they designed to represent, for some of them absolutely require this sort of explanation. At the foot of the palace is situated the old Gothic tower of Belem, at a place where the Tagus is narrowest, and where of course it may the more easily command ships with its cannon. Here the age of barbarism established dungeons, which are an everlasting disgrace to humanity. Some of them are not only under ground, but constantly under water; and here state-prisoners languished out their lives, and died a lingering death. In the city there is nothing further worthy of notice, but out of it, the beautiful aqueduct of Alcantara, which conveys water to Lisbon from the distance of some leagues, must not be omitted. Over the last two hills arches of free-stone, the middlemost of which is, I believe, 350 feet high, conduct the water to a spacious reservoir, which is adequate to the supply of the city for several months. This aqueduct is built with such solidity, that not a stone of it was displaced by the earthquake of 1755. (To be continued.) MUSICAL REVIEW. PIANO-FORTE. EFFUSIO MUSICA, ou Grande Fantaisie pour le Piano-forte, dediée à M. Catel, Professeur au Conservatoire à Paris, par Fred. Kalkbrenner. Op. 68.-(Clementi and Co. and Chappell and Co.) Mr. KALKBRENNER, we believe, is a pupil of Monsieur Catel, as far as relates to the science of music at least, and he has here brought an offering to his master, which is highly honourable to both parties. If we were to give an opinion in general terms upon this fantasia, we should say, that it exemplifies in a striking manner the wonderful degree of perfection to which execution on the piano-forte has been carried by the present generation, and by Mr. K. individually: it also exhibits a pretty complete epitome of most of the Vol. III. No. XIII. || higher harmonic combinations which we are accustomed to expect in the productions of the masters of the art, Mr. Kalkbrenner having concentrated here the essence of the best of the kind from the purest sources, and infused over it the charm of his own manner of treatment. In these gleanings and recollections and imitations (of harmonic combinations of the first order) we have recog-nised several old friends, Mozart in particular: the plaintive accents in Donna Anna's great recitativo are occasionally distinguished in the first movement; the awful notes of the spectre resound more decidedly p. 13; and Rossini's vivacious style has probably had some influence on the presto, p. 22. In a fantasia an author does as he pleases, and if a critic asks a quesH read, and considered by portions, before a finger is put to the instrument. A new Divertimento for the Pianoforte, by Mayseder. Pr. 2s. 6d. -(Boosey and Co. Holles-street.) A seasonable relaxation to us from the intense study which the consideration of the preceding work required. Mr. Mayseder is more of a violinplayer than a " pianiste." So much. the better, plenty of melody and less tion, he has a right to answer, " I have done the thing so, car tel est notre plaisir." In the present case, therefore, if we sought for a greater quantum of melody than Mr. K.'s fantasia exhibits, he might with justice say, that his object was to write a fantasia of deep and varied modulation, and of scientific texture; and that if now and then a cantable line or two is given, such as in p. 8 (which did our heart good after so much se-intricacy; for a composer seldom is rious and complicated harmony), the critic has no reason to complain. Mr. K. besides, might fairly refer us to the fine adagio, p. 14, and justly ask whether that was not melody the most attractive, the most delicate, and sensitive? This it certainly is for a little while; but then the fantasification soon comes over it, and, with the most consummate artifice, renders it highly seasoned for our plain palate. found to write any thing more difficult than what he can master himself. This divertimento indeed is all melody, clear as daylight, graceful and unaffected, and of easy execution. It consists of an adagio and an allegretto in D major; the former full of tender expression, and the latter in a playful polacca style, with abundance of pretty attractive ideas. Mr. M. however, has evidently drawn freely upon Rossini, at least as to manner. The "minorizing" his cadences for instance, and the whole We had better be contented with Mr. K.'s labour, such as it is; for in its kind it is excellent, nay, wonder-plan of the gradual accumulation of ful: it would quite suffice, had he written nothing else, to establish his fame in every musical country, and it will, vigorous as his days yet are, qutlive the author, we are sure. bustle (from " piu mosso," p. 7), are obvious Rossinisms. Manus manum lavat. The gran maestro is not over scrupulous either in these matters. Cramer's favourite Serenata, originally composed for the Harp, Piano-forte, &c. arranged for the Piano-forte, and dedicated to Mrs. John Austin, by G. Kiallmark. Pr. 4s. (Chappell and Co.) That a fantasia of this description will put the greatest executive powers to the test, may easily be imagined. It is one of those pieces concerning which Woelfl observed to us, "Let dem learn it; I have been ob- This being merely a compressed lished to learn it myself after I wrote adaptation of a serenata sufficiently: it." As a work for practice and stu-known, all that can be required of dy, the fantasía deserves the notice us is, to say that Mr. K.'s arrangeand unwearied diligence of the high-ment appears to be satisfactory and er proficients. They will find dou-effective. As the composition inble parts for one hand, fugues, coun- gratiates itself with the ear, and the terpoints, and innumerable digital extract by Mr. K. is not difficult, his niceties in abundance. A work of labour no doubt will meet with a fathis description ought to be carefully vourable reception. "The Lisle," a French March, adapted for the Piano-forte, with a Coda and Rondo, composed by J. M'Murdie, Mus. Bac. Oxon. Pr. 12s. 6d. (Clementi and Co.) The march in Eb, and trio in Ab, are fairly brought forth, except that their bass is a little stiff and unvariedly monotonous. In the coda, two or three well-chosen chords produce effect. The rondo is but a variation (with some digressive portions) of the march itself, and hardly that, for time and melody very nearly are the same. In the form of rondo, however, the air tells well. The rondo has also a part in Ab, into which it slips rather by a licence. In the 7th page the modulations do not possess sufficient clearness of plan and diction. The portions in C minor, and Ab, p. 8, and the winding up, p. 9, are quite satisfactory. PIANO-FORTE VARIATIONS. Of the compositions of this class, numerous in the extreme as usual, the following claim our notice: Brilliant Variations for the Pianoforte to the favourite Air" Ma Fanchette est charmante," dedicated to her Serene Highness Mademoiselle d'Orléans, by Henry Herz. Op. 10. Pr. 69.-(Boosey and Co.) If our critical labours were to be directed to none but variations of this stamp, our dislike to this class of compositions would soon be subdued: indeed we then should probably be but seldom called upon to review variations at all; for such as these do not present themselves every month. Mr. Herz, we understand, is a German professor, at present residing at Paris: this is the first work of his Muse that has come under our cognizance, and it is quite sufficient to enable us to know our man. He belongs to the few of the great school. Without fatiguing our readers with any analysis of excellencies, we content ourselves with assuring them, that those whose skill is adequate to the task-for there are difficulties to be overcome-will find these variations equal probably to the best in their collection. They abound in every feature which we expect to meet with in works of classic pretension: more we need not say. Mr. Herz, we observe, has interposed a Tutti between each variation; a practice which, in some few instances, has recently been adopted by other composers of his rank, and which is attended with excellent effect, even if the piano-forte alone should be compelled to execute that which, properly speaking, is intended for a full band. These Tutti afford a fine relief, and have the further advantage of presenting us with an additional portion of the composer's own invention. They should, of course, be all of varied import, yet possess some features of general resemblance, akin in some measure to the theme-unity and variety. Mr. Herz's Tutti are of this description: they are beautiful; and, like those of Mr. Moscheles, may be looked upon as models. No. XXIV." Scots wha' hae' wi Wallace bled," a celebrated Air, with Variations for the Pianoforte, Flute, and Violoncello; composed, and inscribed to her Grace Caroline Duchess of Richmond, by J. Mazzinghi. Pr. 3s.-(Goulding and Co.) The accompaniments are ad libitum. The variations, ten in number, possess that fanciful ease and fluency which the great experience and good taste of Mr. M. lead us to expect as a matter of course in any thing that proceeds from his pen. The execution, also, is far from requiring extraordinary exertions. The much-admired Scottish Air, "Let us haste to Kelvin Grove," introduced in the Opera of " Guy Mannering," arranged with Variations for the Piano-forte, by J. C. Nightingale, Organist of the Foundling Hospital. Pr. 2s. (Monro and May, Holborn Bars.) Caraffa's celebrated Cavatina" Aure Felice," from "La Cenerentola," arranged with Variations for the Piano-forte, by the same. Pr. 2s. -(Monro and May.) The variations upon both these themes are written in an easy familiar style, and yet with a selectness in point of ideas and treatment, which will distinguish them from the routine productions of this class, so plentifully dispensed to the public. We should prefer the variations upon the Scotch air, as exhibiting more ease and fluency, perhaps even gracefulness of diction, than those upon Caraffa's cavatina. The cause of this difference, we doubt not, lies in the nature of the themes, and more particularly of their harmonic structure. Caraffa's, with all its fascinating originality, exhibits some heterodox progressions, such as C, 3, 5; D,3, 5, &c. which, when we first heard the air sung by Signor Torri, proved rather indigestible to our delicate scholastic organs, and which indeed, as we observed in a former Number, some conscientious variationer disdained following, substituting at once the more current C, 3,5; G, 7, &c. But one gets used to these things in time, and at last thinks them extremely neat. It is these questionable harmonies which, when they come to be amplified by variation, prove troublesome and awkward in the management. This difficulty appears to us to have been felt in some of the variations, No. 2. for instance; and where the authentic harmony is less adhered to, as in No. 4. less inconvenience is experienced, and the variation comes out more round and satisfactory. The waltz, No. 5. is in good style; and in the march which follows, as well as in the coda, Mr. N. has been very successful. Having already encroached upon our limits, we must be brief in our notice of the Scotch theme. Most of the variations, eight in number, are of decided interest. The style of No. 3. is fresh and select: the demisemiquaver passages in No. 4. are melodized with uncommon ease and fluency: the waltz, No. 5. proceeds pleasingly, at least the first part; the second is less smooth: the little morceau of march, No. 6. is quite as it should be: the triplets (No. 7.) well picked and assorted; and the eighth variation terminates the whole with effective energy. What enhances the value of these. variations, is the ease with which they may be executed. They are quite within the reach of a good pupil of a twelvemonth's standing. VOCAL COMPOSITIONS.. Vocal Anthology, or the Flowers of Song. Part VII. Pr. 6s.-(Gale, Bruton-street.) The contents of this number are, a celebrated Madrigal by Orlando Gibbons; two Scottish Melodies; Rossini's" Oh mattutini Albori;" a |