it is a saloon for refreshment. The gallery is so constructed as to admit of the stage being seen from every part-a desideratum in all other theatres.

The lobbies, running entirely round the theatre, are formed of stone landings and brick walls, so as to prevent the possibility of danger from fire; and the staircases are of stone.

The decorations, by Messrs. Crace and Son, after the beautiful style of Louis Quartorze, are of the most costly and splendid description, and, as regards theatres, are perfectly unique.

The ceiling, encircled by a carved cornice, on which rest six groups of children in bas-relief, is composed of rich spreading foliage, branching out from the centre into six enriched panels, from which are suspended richly-carved sways and drops of fruits and flowers. The ceiling terminates in a cove formed into twelve arches, in the spandrills of which are paintings of sylph-like figures, emblematical of music, and is supported by caryatides on gilded plinths.

The gallery front is arranged in a series of panels, in a form peculiar to the style adopted, intersected by circular ones formed of twining palm, in which are paintings of children, playing on various instruments, symbolical of the purpose to which the theatre is principally devoted.

The first circle is a series of panels, but varying much in their form from the above, being much richer and more flowing in their outline. These contain highly-finished paintings, after the manner of Watteau, relating to the origin of the Italian drama and pantomime, and between them are smaller panels of gilt trellis work. Over this circle is a carved canopy, supported by eight highly-ornamented pilasters.

The front of the dress-circle, which is formed with a bold swell, is embellished with a carved foliage in high relief, and of most tasteful design, on which the light, owing to its peculiar form, will strike with great splendour. This circle has also its canopy and pilasters, but more splendid; from the latter spring six handsome girandoles, each bearing three wax-lights, in addition to a magnificent central chandelier.

The proscenium is quite novel in its decoration, having no drapery at the top, but a richly-carved undulating line instead. In the three arches above the stage, which form part of the twelve we have described as belonging to the ceiling, are introduced three beautifully-executed paintings. That in the centre represents the royal arms, from which children surrounding it are raising a crimson drapery, whilst those on its right and left are symbolical of comedy and music, also personated by children; these are enclosed in a rich frame work, which well harmonizes with the general design. The lower part of the proscenium consists of a rich entablature, ornamented with trusses and sways of flowers, supported by fluted columns, with intersecting enrichments and splendid gilt capitals resting on richly-carved pedestals. A foliage of palm, terminating against the entablature, is the decoration of the upper box, the lower one is formed by a richly-carved canopy. The box-front is a trellis panel, containing a mask, surrounded by rich foliage, with frill and shell-work in burnished gold. The whole of these splendid ornaments, on a white ground, which is the prevailing colour of the interior, must strike every spectator as having a most chaste and pleasing effect. The interior of the boxes is a rich crimson. This beautiful, and, for its size, matchless theatre, opened with a new opera and two one-act pieces. But previously to the performance, the following address (written by James Smith, Esq.) was spoken by Mrs. Selby :

Hovering 'twixt hope and fear, I come in haste,
To know if what you look on meets your taste:
Survey our carving, ponder on our gilding,
And use your hands thus, if you like the building.
You seem well seated in the Muses' bowers;
Crowded, perhaps, but that's your fault-not ours.
These girandoles insure us from the dark;
Medallions, Watteau, à la Grande Monarque.
Pit comfortable, rounded to a tittle;
Those tall white ladies, who uphold the frieze,
Are named Car (What ?) Car-Caryatides,
Perhaps (if here I'm out, suspend your laughter)
So call'd because they carry roof and rafter;

A petticoat police, on rising salary,

To cry out "Order, order," in the gallery.
We're risen upon you like a rampant lion,
As Thebes of old was sung up by Amphion.
All's not quite done, we're still in deep committee;
We mean to start a railroad from the city,
With branches, well secured by bolts and hooks,
To join St. James's parish to St. Luke's.
Critics may cast their burthen from their shoulders;
Railing is not confined to joint-stock holders.
Here ends my tune as trumpeter; what follows
Seems an affair exclusively Apollo's.
That God of song, at sixes and at sevens
With mighty Jupiter, who rules the heavens,
Too weak with Jove's red thunderbolts to battle,
Dropp'd down on earth to tend Admetus' cattle.
He struck" the light guitar" for nine long years,
And then, call'd upwards, to the House of Peers-

say 'em

Take down my words, reporters, while I
He left a son on earth, and call'd him Braham.
From infant years he now has tuned his lay,
How well, it ill becomes not him to say.
Give tit-for-tat-excuse my woman's whim-
He gave his voice to you, give yours to him.
Here in St. James's now he wakes his lyre,
And rears an altar to his radiant sire,

Who views, well pleased, this "Temple to his praise,',
And gilds our pillars with his parting rays.

Aid then our offering, sanctify our cause,

And grant us, gods, one thunder of applause."

The title of the opera is Agnes Sorel, the characters of which are thus

The heroine is the celebrated mistress of Charles the Seventh of France. She appears in the drama in her early and pure state, as daughter of a country gentleman, when she had attracted the notice of the king, and also of his minister, the Count Dunois, both of whom are enamoured of her. The minister finds his sovereign residing in the house of Agnes' father, disguised as a wounded officer. They mutually explain the state of their affections, and the king gives his minister permission to enter into a fair contest for the lady. Plots and counter-plots take place, in which the king is worsted, and at length involved in perplexities from which he can only extricate himself by declaring who he is. But the sentiments of the fair Agnes in the king's favour are sufficiently apparent; and the result is, prudently, left to be guessed at. There are some subordinate parts, very pleasant, but of no great importance to the plot. The author of the drama is Mr. A'Beckett: the music is the composition of Mrs. A'Beckett, wife of the author.

This, we believe, is the first instance of a female composer having un dertaken the arduous task of setting the whole of an opera. The enter prise was a bold one; but the lady accurately estimated her strength, and her success has proved that she did not overvalue her qualifications. As the work will come under our notice in its published form, we shall only state here that it is altogether in the Italian style, though the composer is no plagiarist. Melody is her forte; but her accompaniments are full, without being noisy, and her harmony is rich, without seeming crowded. There are many beautiful effects in the opera; and, all circumstances taken into consideration, we view it, relatively, as a most extraordinary production.

Miss Glossop, sister to the composer, appeared for the first time on the stage on this occasion. Her voice is extensive in compass, and powerful; the high notes rather shrill, a defect which experience may correct. Her style is pure and her intonation perfect. Miss Glossop's person is much in her favour: her figure is tall, well-proportioned, her countenance handsome and expressive, and her action easy and lady-like.

Mr. Barker, who, it appears, comes from the Edinburgh theatre, took us completely by surprise, never having before heard of him. He is a first-rate singer, and will indeed prove a valuable acquisition. His voice is a high tenor, his manner that of an experienced musician, possessing the best taste and the soundest judgment. He is young, handsome, and well, though lightly, made.

Mr. Braham never sang better or with more effect. His voice, though lowered, sounded as sweetly as ever, and in the energetic passages, showed that it has not lost the smallest portion of its power. The manner of his reception, which was almost enthusiastic, must have been highly gratifying to him, and encouraging also, because evidently meant not only as an acknowledgment of past and present services, but as a declaration of the interest the public take in the success of his new enterprise.

The scenery, dresses, and decorations are all of the best and most liberal kind. Indeed, we suspect that Mr. Braham has in some things gone to an unnecessary expense. Every department engaged in this opera indicated good management, and the success of the piece was most complete.

The two one-act pieces-The Clear Case, and The French Company -are exceedingly comic and entertaining: they kept the audience in a roar of laughter from beginning to end. Mitchell is an excellent actor: his dryness and drollery are equally irresistible. In Miss Allison we have a successor to Mrs. Jordan. In voice and manner she brought that admirable actress distinctly to our recollection. Barnett, too, possesses merit of no ordinary kind; and there are other performers whom we would willingly mention, in a favourable manner, did our space allow.

A PORTION OF BEETHOVEN'S PASTORAL SYMPHONY, (Page 61). The Sinfonia Pastorale of Beethoven is one of the most successful attempts at musical imitation that we are acquainted with. Even without the aid of a descriptive program, the sounds and measure excite recollections of rural scenes, of the rustic dance, of the hurry, the confusion, produced by the sudden bursting of a storm, the crash and rolling of thunder, the serenity which succeeds the tempest, and the cheerfulness of the peasants on the return of elemental peace and sunshine.

We have here selected a part of the first movement, which the composer tells us is meant to describe the cheerful sensations excited on arriving in the country,(Erwachen heiterer empfindungen bei der aukunst auf dem lande)-and the third and fourth movements, which are meant to pourtray the merry-meeting of the rustics—(Lustiges zusammenseyn der landleute).

RONDO (Page 68).

By KULAU, of Copenhagen, the subject of which is Figaro's air, 'Non più Andrai,' in Mozart's Nozze di Figaro.

RONDO, MINUET, and TRIO-(Page 74). From the second of Boccherini's Six Sonatas.

LUIGI BOCCHERINI,

a native of Lucca, was born in 1740. His father, a performer on the double-base, was his first instructor, but sent him to Rome to complete his studies, under Vannucci. His compositions soon made him known, and he was engaged by Charles IV. of Spain, as court-composer. Honours and emoluments were heaped on him at Madrid, where he continued some years; but, being no courtier, he at length offended his patron, certainly by an act of imprudence, if not of ingratitude, and received his dismission. His talents, however, had attracted the notice of Lucien Buonaparte, then ambassador from France to the Spanish court, who afforded him his protection at a critical moment, settling on him a pension of a thousand crowns, on condition that he should compose six quartets annually for his new and generous patron.

Boccherini never quitted Madrid, in which city he died in 1806, and notwithstanding the offence he had given, a part of the court was allowed to follow his remains to the grave. He left behind him no less than ninety-three quintets, all of them published by Janet and Cotelle. He never wrote for the theatre, and produced but little for the church: himself a violoncelist, his compositions are nearly all of that kind in which his instrument takes the prominent part; and none before him wrote quintets requiring two violoncellos.

Graceful melody and tenderness of expression are the chief characteristics of Boccherini's compositions. Of his Adagios, Mr. Baillot-an enlightened musician and unprejudiced critichas said, 'that they breathe a sensibility so profound, a simplicity so noble, that all ideas of art and imitation vanish; and, penetrated with a religious feeling, we imagine that some celestial voice is whispering.'

VOL. III.

While, however, the desire of strong musical excitement which now prevails shall last, fragments only of this composer's works should be performed: one of his quintets in an entire state, proves rather too much for a modern audience, accustomed as the ear now is to stimulants of a stronger kind, such as the gentle Boccherini never imagined, or, at least, never attempted to administer.

AIR, WITH VARIATIONS (Page 78).

This gavotte owes much of its celebrity to the renowned dieu de danse, M. Vestris, who charmed all Paris and all London by his grace and agility, some sixty or more years ago. The air, however, has intrinsic merit, or it would not so long have survived tions, by M. HERZ, and now selected from others because simple the favourite performer who brought it into notice. The variaand adapted to the subject, were written in one of his rational moments, and are not only practicable by those who bestow a reasonable portion of time on the piano-forte, but calculated to please, in a moderate degree, all who have not been taught to believe that musical beauty consists only in difficulties which people of sense will never attempt to conquer, and in extravagances which

true taste must ever contemn.

RECITATIVE AND ARIA-(Page 61).

Recit. Alma del gran Pompeo!

Che al cener suo d'intorno
Invissbil l'aggiri,

Fur ombra i tuoi trofei,

Ombra, la tua grandezza, e un ombra sei!
Cosi termina al fine il fasto umano!

Jeri chi vivo occupò un mondo in guerra,
Oggi, risolto in polve, un urna serra!
Tal di ciascuno, ahi lasso!

Il principio è di terra,

E il fine un sasso!

Misera vita! O quanto è fral tuo stato! Ti forma un soffio, e ti distrugge un fiato.* Aria. Piangerò la sorte mia,

Si crudele e tanto ria,

Finchè vita in petto avrò. Ma poi morta d'ogni intorno, Il tirames e notte e giorno, Fatto spettro agiterò.

Both recitative and aria are from Handel's opera,-his bestGiulio Cesare. The former is the soliloquy of Cæsar over the urn of his once formidable rival. The latter is unconnected with the

* Dr. Burney, in his Account of the Commemoration of Handel, has given the following translation of this soliloquy:

These are thy ashes, Pompey, this the mound,
Thy soul, invisible, is hovering round!
Thy splendid trophies, and thy houours fade,
Thy grandeur, like thyself, is now a shade.
Thus fare the hopes in which we most confide,
And thus the efforts end of human pride.
What yesterday could hold the world in chains,
To-day, transform'd to dust, an urn contains!
Such is the fate of all, from cot to throne;
Our origin is earth, our end a stone!
Ah! wretched life! how frail and short thy joys

A breath creates thee, and a breath destroys.

E

recitative, but at the Ancient Concerts always follows it; we have therefore given the two together in the Musical Library. The recitative the finest specimen of musical declamation extantrequires, for the sake of musical effect, to be succeeded by an air when not performed on the stage. This is the only excuse that can be offered for the union of two pieces which differ in sense, and are widely separated in the drama.

The drama was written by NICOLA FRANCESCO HAYM (see page 14). The character of Cæsar was represented by the famous Signor Senesino, a soprano.—Signora Cuzzoni, no less celebrated, was the Cleopatra, and the beautiful Anastatia Robinson, afterwards Countess of Peterborough, personated Cornelia, the widow of Pompey.

GLEE (Page 64).

Swiftly from the mountain's brow,
Shadows, nurs'd by night, retire ;
And the peeping sunbeam now

Paints with gold the village spire.

Sweet, O sweet, the warbling throng,
On the white emblossom'd spray!

Nature's universal song

Echoes to the rising day.

From Cunningham's Pastoral, Morning.

JOHN CUNNINGHAM,

a writer of great simplicity and gentleness, was born in Dublin, in 1729, where his father pursued the business of a wine-cooper, but who, having obtained a prize in the lottery, became winemerchant, and was ruined. The son then, after receiving a good education, sought his fortune on the stage, for which, however, his qualifications were very scanty; but he engaged himself with an itinerant English manager, and continued in the theatrical profession till death relieved him from a life of great anxiety and occasional difficulty, in the year 1773. To the musical world his poems May-Eve, or Kate of Aberdeen, beginning,—

CORONACH*-(Page 71).

He is gone on the mountain,

He is lost to the forest,

Like a summer-dried fountain,
When our need was the sorest.

The font, re-appearing,

From the rain-drops shall borrow, But to us comes no cheering

To Duncan to-morrow!

The hand of the reaper

Takes the ears that are hoary, But the voice of the weeper

Wails manhood in glory.

The autumn winds rushing,

Waft the leaves that are searest, But our flower was in flushing, When blighting was nearest.

*The Coronach of the Highlanders, like the Ululalus of the Romans, and the Ululoo of the Irish, was a wild expression of lamentation, poured forth by the mourners over the body of a departed friend. When the words of it were articulate they expressed the praises of the deceased, and the loss the clan would sustain by his death. The Coronach has for some years past been superseded at funerals by the use of the bagpipe; and that also is, like many other Highland peculiarities, falling into disuse, except in remote districts. (Note by Sir W. Scott.)

Fleet foot on the corri*,

Sage counsel incumber, Red hand in the foray,

How sound is thy slumber! Like the dew on the mountain,

Like the foam on the river, Like the bubble on the fountain,

Thou art gone, and for ever!

From The Lady of the Lake, the well-known poem by
SIR WALTER SCOTT, BART.,

whose history is too fresh in the memory of all admirers of
literary genius to be called for here.
literary genius to be called for here. It is sufficient to say, that
this very celebrated writer was born in Edinburgh, on the 15th of
August, 1771 (the very day which gave birth to Napoleon);
that his father, Walter Scott, Esq., was a writer to the signet, and
that his mother, Anne, was daughter of Dr. John Rutherford, a dis-
tinguished professor of medicine in the University of Edinburgh.
We will only say further, that Mr. Scott was not possessed of any
shining abilities, but the intellect of his lady was of a high order:
and thus another proof is added to the many already recorded,
that mental superiority is most commonly derived from the
female parent.

GLEE (Page 74).

1.

In holiday gown, and my new-fangled hat,
Last Monday I tript to the fair;

I held up my head, and I'll tell you for what,
Young William, I guess'd, would be there.
He woos me to marry whenever we meet,

There's honey, sure, dwells on his tongue, His words are so soft, and his glances so sweet, I'd wed-if I were not too young.

2.

He whisper'd such soft pretty things in mine ear!
He flatter'd, he promis'd, and swore,—
Such trinkets he gave me, such laces and gear,
That, trust me, my pockets ran o'er.

Some ballads he bought me, the best he could find,
And sweetly their burthen he sung:

Good faith, he's so handsome, so witty, and kind,
I'd wed-if I were not too young.

Written by the above-mentioned JOHN CUNNINGHAM; composed and presented to The Musical Library, by

THE SIEGE OF ROCHELLE.

THE controversy respecting the originality of the music of this opera did not terminate with the correspondence inserted in our last number (page 32); nor, indeed, did we expect that it could be brought to anything like a conclusion without the appearance of Mr. Balfe himself-the party most deeply concerned-among the belligerents. Charged as he was with a most discreditable attempt to impose on the public, his silence would have gone far to convince us that the accusation was well founded-that he had no defence to offer. But it appears that he is not to be numbered among those weak or convicted persons who vainly endeavour to hide their cowardice or screen their misdeeds by treating with contempt' (the phrase used on such occasions) imputations of a serious complexion: he has stepped forward in propria persona, as he ought to have done at first, and replied to the allegations of his assailant, in the following letter, published in The Examiner of January the 3rd.

To the Editor of the Examiner.

SIR,-As the author of the music of The Siege of Rochelle, I waive any complaint as to the criticism on my opera which has appeared in your journal; but I cannot pass over the attack upon my professional reputation, and upon my character and integrity as a man, which has appeared in The Examiner.

I am charged with having not only borrowed the subject of the drama of the Chiara di Rosenberg, but the musical ideas from the overture to the finale. I am thus held forth to the public (to whom I am so largely indebted for the kind approbation with which my opera, The Siege of Rochelle, has been received) as an impostor, and this upon the authority of an anonymous assailant. In short, that I am receiving the public approbation, which is not due to me as the author of The Siege of Rochelle, but to Ricci, the composer of the Chiara di Rosenberg.

175, Regent-street.

To the British public, through your columns, I appeal. I deny the imputations of the anonymous . . ., and I dare him to a proof of his charge against me, by any public or private examination he may choose to point out, of my opera, The Siege of Rochelle, with Ricci's Chiara di Rosenberg, or any other musical works of any other author he may think proper. I am, Sir, your obedient servant, M. W. BALFE. On this the Editor of The Examiner observes:We have readily given insertion to Mr. Balfe's letter in answer to the strictures of Observator;' but Mr. Balfe will perceive that we have struck out an abusive word which would prove nothing but his loss of temper, or his want of manners, and which is utterly inapplicable to our correspondent, whose honour is as much beyond doubt as his talents and his accomplishments. We have of course shown Mr. Balfe's reply to 'Observator,' whose rejoinder follows.

Friday morning.

SIR, Mr. Balfe's letter came to hand so late that it is hardly possible for me fully to answer it by the time your paper goes to press, yet I cannot allow it to pass without some notice.

My assertions have been denied generally, but not particularly, which would have been an easy task, had those assertions not been founded on fact. I submit, consequently, that my statement still remains unshaken. My assertion, that the musical ideas from the overture to the finale were borrowed, can only be construed that the association of ideas produced by an acquaintance with the Chiara di Rosenberg of Ricci caused the production of The Siege of Rochelle, by Balfe. That was my general position, and a reference to your columns will prove it to have been strongly supported by particular and uncontradicted instances. I pass with contempt the indecency of Mr. Balfe's language, which I perceive, Sir, you have marked for erasure.

A good cause is disgraced by abusive language, and a bad one can derive no support from it.

The line of argument which Mr. Balfe has chosen is also rather remarkable. Is he possessed of such an exalted opinion of his own talents, and the prodigious value of his only production, that he fancies the admiring gaze of the world is fixed on him, and that he is above criticism, even when conveyed in respectful language, and addressed in the usual manner to the public?

In conclusion, Sir, when Mr. Balfe has, by argument, refuted the criticism contained in my letters, I may condescend to furnish him with a few more examples. Until, however, I have some individual, instead of general, denial, I will not waste my time, your paper, nor the patience of the public, in iterating what I have so fully and clearly laid down in former letters. I am, Sir, your obedient, &c.

OBSERVATOR. P.S.-A copy of Weber's Glee, tending to prove that two great men may have the same idea, will be forwarded to the Editor of The Examiner previous to the next number.

In the rejoinder of Observator, he does not, it will be seen, enter into further particulars, or accept of Mr. Balfe's challenge; in Observator's first letter. It may be said that it is difficult to neither does Mr. Balfe specifically reply to the particular charges prove a negative: the difficulty, however, of proof depends on the nature of the assertion to be rebutted. When Observator had stated that the order of the music' in the Siege of Rochelle is the same as that in Ricci's opera,-that the buffo song and chorus, "Serpents with bells on their tails," with a chorus at intervals, has the same Munchausen-like dialogue,'-that there is a trio for base voices, and a duet, with the production of a brace of pistols from a pair of boots, which will be found in Signor Ricci's opera,'-when some particulars had been thus entered into, specific answers were expected, and, acting under good advice, Mr. Balfe might, probably, have replied in a satisfactory manner.

Not yet having received the opera of Chiara di Rosenberg, we are still unable to enter fully into the matter at issue; but having been furnished with a copy of the quartet-or 'glee-by Weber, which it is alleged supplied Mr. Balfe with materials for his chorus Vive le Roi!' we, without reservation, declare our opinion on this point, and at once say, that, though a general resemblance between the two may be discovered, the charge of plagiarism cannot be supported. That our readers, however, may be empowered to judge for themselves,-that they may have an opportunity of comparing Weber's quartet with Balfe's chorus,we here insert the former, without the words, which are in German, and compressed into two staves, our space not allowing of its being printed in score *.

In an early number of The Musical Library we purpose giving this quartet, with an English translation of the words adapted to it.

Ꮎ

But while we acquit Mr. Balfe of having made any unfair use of Weber's composition,-nay, thinking it possible that he never saw it, we cannot conceal a fact recently communicated to us, which proves one of two things; either that he can treasure up an air in his memory and forget that it is not of his own begeting, or, that he is not very scrupulous in appropriating to his own use the offspring of another's imagination.

Some years ago a work was published by Goulding and Co., under the title of The Melodies of Various Nations, the words by Mr. T. H. Bayly, the accompaniments, &c. by Mr. Bishop. Among these is the subjoined air, which is so nearly identical with the popular ballad, My Cottage near Rochelle,' that the similarity cannot by any possibility have been the result of accident.

The original of the above is in E: we have transposed it, that the comparison may more readily be made.

In our review of The Siege of Rochelle we hinted that that opera shows but little claim to originality, in the strict sense of the word; but we were not aware that a case of such undeniable plagiarism could be made out against the composer, as the above establishes. For the honour of what may, perhaps, be called the English school of music, we shall be heartily sorry if an examination of Ricci's opera should confirm the charge in The Examiner.

ON THE TERMS ACCOMPANIMENT AND COUNTERPOINT.

To the Editor of the Musical Library.

SIR-As the MUSICAL LIBRARY is the only work in England exclusively devoted to musical literature, I presume that I may be excused the liberty of soliciting your attention to the enclosed paper, the object of which is to reduce the principles of musical composition to a concise and correct classification. The necessity of such an attempt has frequently suggested itself to me, and particularly on observing that, even in Germany, considerable discrepancy exists between the written and verbal instructions of the best masters.

This circumstance arises principally from the indefinite and erroneous views which are entertained with reference to the terms accompaniment and counterpoint; for instead of considering them to stand in the relation of genus and species, they are most generally used indiscriminately, even in works which profess to make a distinction between them. An error of some consequence is the result;-A pupil, for instance, receives a theme, or cantus firmus, from his master, and, on being directed to write a counterpoint to it, will, in all probability, proceed to write in the accompanying parts notes of the same value with those in the cantus firmus, thus mistaking simple accompaniment for contrapunctal. The fault lies with the definitions of counterpoint which he has received. So early as the year 1473, the following definition was given by Tinctor: Contrapunctus est cantus per positionem unius vocis contra aliam PUNCTUATIM effectus;' and this definition has been repeated, with little variation, up to the present time.

Even Preindl, in his excellent little work entitled Wiener Tonschule, writing on the term counterpoint, has the following observation : Unter dieser Benennung versteht man im weitester Sinne die Verfertigung einer zwey oder mehrerer Stimmen zu einer schon vorhandenen.' By this term we understand in the widest sense the writing of two or more parts to one already composed.'

And yet, when treating of counterpoint in more than two parts, he denominates the parts which have notes of equal value with those in the cantus firmus, not counterpoint, but Begleitung (accompaniment), zwischen Harmonie (intermediate harmony), ausfüllung-stinmer (filling up parts), &c.

Not only is the usual definition of counterpoint too extensive, but the arrangement is too restricted; for in most classifications, whilst provision is made for those compositions in which the accompanying notes are to those of the cantus firmus as 2:1; 4: 1; &c., no provision is made for those compositions which contain notes standing in the relation of 1;1; 3:1;1; &c.

To remedy these errors, I beg leave to propose the following defininitions, which suggested themselves after a conversation with my respected tutor, Herr Eff, Kapellmeister of St. Michael's Church in Munich, and which are consistent with the practice of the best masters in Germany. I have the honor of subscribing myself, yours, very respectfully, GEORGE KEMP, Med. Bac. St. Peter's Coll., Cambridge.

Definitions.

1. Accompaniment is that portion of a musical composition which is introduced for the purpose of completing the harmony, and includes the whole, excepting the aria, or principal subject.

2. Simple accompaniment is that species in which the Cantus Firmus and accompanying parts are symmetrical, i. e. when the notes in each are of equal value.

3. Contrapunctal accompaniment of counterpoint is that species in which the notes in the accompanying parts differ in value from those in the Cantus Firmus.

Having premised these definitions, we propose the following classifi