declared her intention "to exemplify in generals, without reference to any particular instrument."

It is to be observed, that the work before us is limited by its author to a part only of the science of harmony; towards the conclusion, she promises a continuance of her plan. If complete success in the design and execution of what she has done be any encouragement to the prosecution of her useful labours, we think she has that encouragement in its fullest sense. She has clearly proved, that the art of playing thorough bass, and a competent understanding of the theory of the elements she explains, may be communicated in 12 lessons. Nor do we subtract at all from the merit of her performance, when we make the same exception to this as we have done to a former method of abridgement. As far as a perfect understanding is con cerned, the 12 conversations are all sufficient. But we only agree with the author herself, in recommending written as well as practical exercises to be so often repeated, that there can be no doubt of the substance being irremoveably fixed upon the memory. And this too should be done gradatim, step by step, between the lessons. For it is not, we repeat, the merely comprehending a series of rules that renders the acquisition of thorough bass a work of time. It is the exercise indispensable to the retention of those rules and the acquirement of practical facility in their application, that consume the hours and days and years of the young musician. We, however, close our article as we began it, by stating our conviction that we have yet seen no work so likely to lighten and to shorten these labours, as "The Child's Introduction to Thorough Bass." Whoever may be the author, it is no less creditable to her general ability than to her parti.. cular science; for the book communicates a lesson of infinite practical value in the philosophy of teaching.

Gradus ad Parnassum, or the Art of playing on the Piano Forte; exemplified in a Series of Exercises in the strict and free Styles.Composed by Muzio Clementi. London. Clementi, Bangor, Collard, Davis, and Collard. Two volumes.

LATIN is not yet generally understood by our females. We perceive indeed that it now begins to appear frequently in the prospectuses and upon the cards of most of the "seminaries" and "establishments" and "houses," (for there are now no such things to be heard of as schools) in and about the neighbourhood of London, and even in those of the provinces; but we suspect that though a very capital name in the literary firm, it is put forth to catch and attract rather than to profit the beholder. There is in the metropolis a certain haberdasher of great celebrity, whose name is FLINT, and to his shop all sorts and conditions of ladies who are desirous of purchasing genuine threads, tapes, and laces, as well as cheap bargains, are accustomed to repair. Conscious of the power of a name, a number of small traders, having nothing but the hope of gain before their eyes, are wont to put their own address in little, with a very small from in a flourish, and a prodigious FLINT, in the central and prominent part; and thus these pettifoggers, having nothing like the giant haberdasher "distinguishable in member, joint, or limb," but his name above their shops, lay wait to delude unwary purchasers. We have some reason to believe that the word LATIN is sometimes employed in like manner; and we take great credit to ourselves for this exposition of two circumstances manifestly of the last importance to the fair sex, at the same time that we caution all who may have been educated at any one of the said establishments, seminaries, or houses, against being led, by the title Mr. CLEMENTI has chosen, into an unhappy supposition, or still more fatal inadvertent declaration, that Gradus ad Parnassum means the art of playing upon the piano forte, a thing not altogether impossible or wholly unlikely. Gradus ad Parnassum, dear young ladies. means no more than a step or steps to Parnassus, in whichever sense you choose to take it.-MR. CLEMENTI, we think, must have understood it in the latter, for he has hewn out a prodigious ascent.

The work before us, as the title imports, consists of exercises. If we

say that we shrink from the presumption of examining and of passing any critical opinion upon such a production, we speak the truth. MR. CLEMENTI is one of a very small class. There are few such players and few of such experience now in Europe. We must take it for granted that he here lays before the musical world the results, the ascertained results of his own extended practice and his own exalted perfection-an authority which scarcely any man will venture to question. He is the living example of the effects, while upon the face of his book there are the strongest proofs of science, ability, and labour. These then are the steps by which he has ascended to the top of Parnassus, and we might safely dismiss his volumes by saying, that thither those who have the persevering industry to follow his track thus demonstrated may also proceed, were we not disposed to attempt something like an analysis of his performance. This is made necessary, because he has left us almost in the dark, adhering, we think, too closely to the maxim he has selected for a motto from our great moralist

"Every art is best taught by example."

MR. CLEMENTI interprets this axiom too strictly, when he abridges the student of all, or nearly all exposition of his intention, and leaves him to puzzle out the particular object of each exercise. Mr. C. has taken a great deal of knowledge in the pupil for granted-for they must be musicians, and tolerably ripe ones too, who can begin upon his lessons and pursue them. Our objection is, that every thing, by such a mode of proceeding, is rendered entirely technical. The philosophy of the system is unexplained. Now we are quite sure that a series of introductory observations from such a man as the author of such a series of instructions, must be of nearly equal value with the instructions themselves. Musicians have been too. sparing in this particular. Piano forte playing is certainly very much habit, very much technical; but all the delicate, occult, elevated characteristics of the art, those which address themselves to the finer faculties and sensations, are intellectual. Expression is born of sensibility and nursed by the understanding. It is feeling and intellect which constitute the difference and form the distinction between mere rapid execution and fine performance in its true sense and meaning. Upon these grounds we object to such bare and meagre titles as, "to render the fingers independent," and "suite de trois pieces," &c. where so much more might have been effected by

a luminous explanation of such a composer's intentions. Mr. CLE MENTI ought not, we think, to have forgotten, when he put together all the members of the body, to have infused the soul that alone could make them capable and give them motion and strength, and vigour. But to our analysis.

Exercises.

VOLUME 1.

"To render the fingers independent." This purpose, is effected by some of the fingers being employed to hold down certain notes while others continue to strike the same note in succession. Two, three, or four are thus engaged, two stationary and two moving; in some of the passages the hand is considerably extended.

2 Is designed to keep the hand together and give freedom to the fingers.

3 Affords a continuation of the same principle, differently exemplified. This is a lesson more varied; the frequent modulation, while it increases the difficulty, assists in conveying a knowledge of fingering in the several keys.

4 Is intended to inculcate the art of playing double notes; the air is agreeable, and it implies more of graceful expression than the former exercises. The slight portion of difficulty which attaches to it, arises out of the frequent modulation.

5. Chromatic passages not very full of meaning. The scholar will here find himself called upon to exercise a patient perseverance, trusting to time to discover the usefulness of the practice and the judgment of the master.

6. Appears to be intended to include the results of all the former exercises and to join them with some novelty. In the beginning there is a great deal of replication; both hands are busy, but the left principally so.

7. A lesson very much devoted to arpeggios, in which there are replications both by treble and bass; the arpeggios are connected with frequent modulation.

8. There is more to gratify the ear in this than in the former exercises. The novelty principally consists in the introduction of simultaneous octaves for the left hand, ascending and descending; the whole is exceedingly pleasing."

9. A lesson of greater extent, upon successive passages, ascending

and descending, and by arpeggios, with alternate replications for both hands.

10. A perpetual canon, by inversion and in strict intervals. This is a very learned performance-and, for such a species of composition, embraces great variety. Few piano forte players of the present age would care to grapple with the contrivance necessary to the production of such a composition.

11. We know not why these pieces are entitled "Suite de trois pieces," except it is from the naked fact that they follow each other. The appropriate symbols of No. 11 seem to be interrupting rests in the time, dotted notes and turns.

12. "Suite de quatre pieces," the first of which is an arpeggio exercise upon the third and sixth, ascending and descending-the right hand principally employed.

13. A strict fugue. The subject, however, so far deviates from rule, that it rises one note above the authentic mode, though regularly answered. It is a learned and difficult exercise.

14. A beautiful adagio movement, rich in delicacy and sentimentit is completely intellectual; we would willingly sacrifice all the passages of execution that ever were written for such an one. MR. CLEMENTI has prefixed "Tulit aller honores,"* a part of the well-known verses of VIRGIL, to shew that a piece of secret history belongs to this composition, which should thus appear to have been borrowed by some other author without acknowledgment. Our own recollection does not lead us to the discovery, or we should think it a duty to expose the modern Bathyllus.

15. Exhibits a concentration of difficulties somewhat more intense than we have yet had, and it appears to us that the passages

* For the information of such of our young readers as may not understand the allusion, we subjoin the following explanation. Virgil wrote a Latin distich, in which he compared his patron to Jupiter, and placed it in the night on the gates of the palace of Augustus. Inquiries were made for the author by order of Augustus, and when Virgil. had the diffidence not to declare himself, Bathyllus, a contemptible poet, claimed the verses as his own, and was liberally rewarded. This displeased Virgil; he again wrote the verses near the palace, and under them a Latin line, expressing, "I wrote these verses, another carried away the honours," with the beginning of another line four times repeated. Augustus wished the lines to be finished; Bathyllus seemed unable, and Virgil at last, by completing the stanza, proved himself the author of the distich, and the usurper became the ridicule of Rome.