beautiful Motett ("Rorate Coeli") by | should always induce publishers to add, above the stave, an easier version, so as to render the song more generally accessible. the Abbé Vogler (to the biographical notice of whom we have to add, that he died at Darmstadt in 1814); Haydn's well-known Canzonet, "She" In quel modesto Asilo," Duetto never told her love" (a perfect musical cabinet picture); a Song by Reichardt; another by Carl Maria von Weber, the author of the celebrated opera“ Der Freyschütz" (the magnus Apollo of modern German music); and an original French Song by Mr. Cather, of decided merit, tolerably, but not throughout, correct in point of French prosody. Notturno per Soprano e Tenore, composto, e dedicato a Mulla. A. Beresford, da Valno. Castelli. Pr. 2s.-(Boosey and Co.) A vein of sympathizing tenderness distinguishes this duet favourably. The first strain proceeds in select melodic combinations, not without some originality. In the 7th bar (p. 1,) we should have preferred contrary motion in the accompaniment; and if there is to be G bin, the second "Ah qual concento," Romance from the Opera "Tebaldo e Isolina," composed by Morlachi. Pr. 2s.-crotchet, we should have minorized (Boosey and Co.) the first too, by substituting Cb for C. In the second page, some hard progressions present themselves in the two places where the soprano has "sospirerà." But the duet, as a whole, cannot fail to interest the A new musical acquaintance, and an important one, as far as the name goes. Morlacchi, born at Perugia in 1784, and now, we believe, Maestro di Capella at Dresden, has numerous partisans in Italy, who pre-amateur. fer him to Rossini. It would be preposterous in us to form our estimate of his merits from the first song that has met our eye. Rossini has written many which are worse, and many greatly superior. Thus much we can aver for the present, that this romance presents great freshness, delicacy, and elegance of musical diction, without absolute novelty of thought. The idea of allotting to the voice a series of interrupted sentences in recitative, while the instruments proceed with a regular and continued subject, and eventually only to assign that subject to the singer too, is of the happiest effect. Some reminiscences from Weigel's "Schweitzer familie” (Swiss family) are not to be mistaken. But to an English text? Selection of Songs, Duets, &c. from the most admired German Operas, with English Words by Thomas Campbell, Esq. No. III. Pr. 1s. 6d. (Boosey and Co.) This number contains an air of Beethoven with an English text by Mr. M'Gregor Logan. Beethoven has composed some most charming songs, and some of very inferior merit. The present hardly belongs to the first class; indeed without the warranty of the respectable publishers, we should hesitate to ascribe it to so great a master. Have his "Herz mein Herz," his "Kennst du das Land," not to mention several others of first-rate beauty, been ever joined the composition as a whole is fasci-"'Tis not the beam of a languishing nating. It has vocal passages of dif ficult execution; a circumstance which eye," a Ballad, sung by Mr. Bra ham at the Theatre Royal Drury Lane, composed by N. C. Bochsa. || select, and impressive. Much more -Pr. 1s. 6d.-(Chappell and Co.) might have been made of that part A pretty little song, of graceful of the text. melody and simple yet effective accompaniment. Every thing is in good taste and keeping. "The Sea-Boy's Call," Canzonet, composed for, and dedicated to, Miss Ann Shuttleworth, by G. Kiallmark. Pr. 2s.(Chappell and Co.) HARP. "La Chasse au Renard," a characteristic Fantasia for the Harp, composed for, and dedicated to, Miss H. E. Warneford, by N. Bochsa. Pr. 4s.-(Chappell and Co.) The Fox-Chase of Mr. B. is a "Send round the rosy cup," a favourite Song sung by Mr. Coul- || highly characteristic and so very enden at the London Concerts, &c.; written by Mr. J. E. Gifford; composed by J. Monro.-(Monro and May, High-Holborn Bars.) "Can I forget," the admired Ballad written by D. O'Meara, Esq. sung by Mr. Pyne at the Theatre Royal Covent Garden, &c. composed by J. Davy. Pr. 1s. 6d. (Monro and May.) Without entering upon any comparison, which would greatly depend upon particular taste, we briefly notice the above three songs as possessing claims, nearly equal, to the amateur's favour. In Mr. Kiallmark's, the Siciliana is peculiarly attractive, and the expression at "Spring up, good breeze," extremely happy. Mr. Monro's anacreontic effusion has an agreeable, lively, and symmetrical melody; all is devised with taste and propriety. tertaining a composition, that, we "Cruda Sorte," the celebrated Ter- Mr. P. no doubt had his reasons for allotting the brunt of action to the piano-forte, and indulging the harp with a very reduced portion of execution. The latter instrument in fact is here but one of accompaniment. With this reserve (perhaps a welcome one to many harpists), we are warranted in bestowing unqualified encomiums upon the arrangement; it is most rich and effective. "Can I forget," by Mr. Davy, is rather high for common voices. The motivo, and the whole of the first vocal page, are tastefully devised, but we should not have given to the whole of the four commencing bars the tonic harmony. From "That loves to soften others' woe," our opinion is less favourable. The musi-" Grand Russian March" for 'the' cal diction is not sufficiently clear, Harp, composed, and dedicated:" to Miss Barnett, by N. C. Boch-, correct, and certainly highly agreesa. Pr. 2s. 6d. (Chappell and able. The introduction to the first Co.) is particularly meritorious. The march in Eb, and its trio in A b, are of regular construction, clear and good in melody, without rising what we should call above the par in good music. The same remark applies to the second piece, the " Mazurka," a Russian dance movement, resembling the waltz in its musical character. GUITAR. Forty easy Pieces and Eight short Preludes for the Guitar, composed for the Use of Beginners by Ferdinand Carulli. Op. 1. (of Works composed in London.) Pr. 5s.-(Boosey and Co.) As the guitar is not our instruThe favourite Air, “ We're a nod- ment, our notice of this publication din,” with an Introduction and Va- must necessarily be confined to its riations for the Harp by S. Dus-musical merit. The pieces are strictsek. Pr. 2s.-(Chappell and Co.)|| ly progressive, pleasing in point of Second French Air arranged for the melody, and correct as to harmony. Harp by the same. Pr. 1s. 6d. (Chappell and Co.) Miss Dussek, we presume. The name of Dussek, so dear to us, is not disgraced in its representative. Both the publications are themes with variations, and both are susceptible of the same remarks. They are not, and affect not to be, compositions of the higher order; but they are throughout conceived in good style, Messrs. Boosey and Co. have published two well-executed lithographic prints, by Gauci, of Rossini and Moscheles. The latter we know to be a good likeness. Of the resemblance of Rossini we cannot yet judge. Although the muestro is in London, we have not yet had an opportunity of seeing him. FASHIONS. LONDON FASHIONS. MORNING DRESS. in the centre. Short full upper sleeve, confined by satin rouleaus placed longitudinally, and supported with satin knots. The bottom of the dress has six wadded satin rouleaus, each headed with a narrow piping TWILLED sarsnet or levantine high dress, of a deep green colour, called by the French eau de Nil: the corsage fastens behind with hooks and eyes; is made to fit the shape, and ornamented with perpendicular wad-formed into waves or festoons, and ded satin rouleaus of the same colour and equidistant: broad satin ceinture, with a uniform rosette behind. Long tight sleeve, edged with satin at the wrist, and fastened with a satin band, the outer part formed into a diamond, with a wadded knotare drawn very full at the sides, where supported with wadded satin knots; beneath is a broad satin hem: richly worked collerette and ruffles. Bonnet de jolie femme of British Mechlin lace; long strings of the same, trimmed with lace like the borders, which a bow of pink gauze ribbon is intro-, and bows of shaded velvet. Bonnet duced beneath the cap, being of one cap of Honiton, with very full borpiece of lace. The head-piece is form-ders fastening under the chin. Full ed by two drawings, and ties behind lace ruff and ruffles. Terry velvet with pink satin ribbon: three sepa- boots, the colour of the pelisse. Pale rate bows or puffings of broad shad-yellow gloves, and a shell reticule, ed pink gauze ribbon are placed in with silver chain. front. Embossed gold ear-rings, chain, and cross. Buff-colour Mo- GENERAL OBSERVATIONS ON FASHION rocco shoes, tied with ribbon of the same colour. PROMENADE DRESS.. AND DRESS. Our readers will have seen that our anticipations last month respecting promenade and carriage dress have been completely realized. We the former, but we have some novelties to describe in the latter, which we consider worthy of the attention of our fair readers. The first is a pelisse of sea-green velvet, fastened up the front with Brandenburghs: the trimming consists of a row of shells formed of corded gros de Naples, of the same colour, placed between oblong satin puffs: this trimming goes round the bottom and up the fronts. The collar is low, and ornamented with a single wreath of shells, and a small round pelerine is trimmed to correspond with the collar. The long sleeves are of an easy width, and are finished with shells at the hand. The mancherons are small; they consist of two shells, which are partially crossed on the shoulder. Pelisse of levantine silk, or Terry velvet, of a rich brown colour (cou-have nothing new to say respecting leur d'oreille d'ours), made plain and high to fasten in front, with a neat standing collar, edged with satin of the same colour. The velvet (velours épingle), which promises to be very fashionable this winter, has not been worn for many years: it looks like very narrow cords, and forms elegant trimmings for silk pelisses: the ceinture, which fastens with a gold buckle in front, and the leaves and knots of the trimming, are made of it. The trimming is scolloped, and edged with satin, having a pair of leaflets introduced at each point through a slit, which is bound with satin, and reunited with a velvet knot behind the leaves. The corsage is ornamented from the shoulder to the waist, where the trimming approximates, and widens again in descending, till it reaches the ermine which || goes round the bottom of the pelisse, and is a quarter of a yard in depth. The long sleeve has a full epaulette, ornamented with leaves, and the wrist is trimmed to correspond. Bonnet of the same material as the pelisse, lined with the same, and the inside edged with shaded velvet, rather more than an inch broad: the front à la Marie Stuart; the crown round, and rather low, ornamented with velvet flowers" The trimming of a high dress of deep blue gros de Naples is singularly novel: it resembles serpents twisted together: the bust of this dress is ornamented with straps, which form a stomacher of the de-. mi-lozenge form. Full mancheron, the fulness confined by straps, so as to form a demi-lozenge in front of the arm. The corsage of another: high dress was made en cœur, the shape of the heart being formed by very narrow rouleaus of satin, with |