other, and indeed almost all the || ly, devote your labours. I am, with circumstances of life; and I recom- great regard, my dear madam, your mend them to the consideration of obliged humble servant, that sex, to which you principally, honourably, and I trust successful ELIZABETH OUTSIDE. HINTS TO THE ENGLISH WHO INTEND TO TRAVEL ON THE CONTINENT. TO THE EDITOR. SIR, velling very disagreeable; on that HAVING just returned from a account the postmasters are half tour through France, Switzerland, || ruined, their horses miserable, and and Germany, I have with grief ob- you can frequently travel only served, that my countrymen, who three miles an hour, and often canformerly bore the character of libe-not get horses at all. I have seve ral and generous men, and commanded the first attention at inns, are now unwelcome guests, and frequently require the interference of a magistrate to settle their account, which they resist on the ground of a supposed imposition. Indeed, I am sorry to say, that in some of the inns in Germany papers are stuck up, printed in large characters--No ACCOMMODATION HERE FOR ENG ral times been, obliged to hire horses, and pay exorbitant prices for them, as they are not regulated by government; but between the two evils I chose this, rather than to wait, Heaven knows how long, for post-horses. All this induces the English to believe that they are tricked and imposed upon ; but on a strict inquiry, I found that the natives themselves are subject to all this supposed imposition. I have obtained the sight of many bills and accounts of other travellers, not English, and found their charges just the same as ours in most inns. In that part of Germany I have travelled, which lay from Basle to Cologne, a large book is brought, with the items of your account entered therein, and receipted as you pay; and here you have the best opportunity of referring to other travellers' accounts. LISHMEN. On investigating the cause of all this, I find the result as follows: Previous to the French revolution, when our English nobility and gentry travelled the Continent, every thing was then very cheap in comparison with England, less perhaps than one-half; but since the conclusion of a long revolutionary war, and several years' bad harvest, and the total failure of wine for three or four years, the price of provisions, and every thing else, has risen to such a pitch, that you can now live in many parts of England cheaper than is done on the Continent: posting, aud shoes and boots, are the only articles that are cheap. The high price of oats and hay has, however, made tra- " cheap price also serves as an invi There is, however, one great blunder that my countrymen commit. The table d'hôtes are served with excellent dinners, and comparatively cheap, on account of the great number that sit down; its tation to the inn; and I should sup- ||lar vintage, locality, and age, it is no uncommon thing to hear persons call out after dinner for a bottle of Johannisberger at one ducat, about 10s. pose at this moment many innkeepers lose money by this entertainment: but because the hour for the table d'hôte is generally at one o'clock, Englishmen will not partake of it on account of its early hour, and sit down to a separate dinner provided on purpose, which is not half as good, and requires a double charge. I have troubled you with this epistle for the information and benefit of English travellers; advising, at the same time, those who intend going on the Continent for economy, to stay at home, and enjoy the true comfort of old England, of which not even the word or sense is to be found after you have passed the straits of Calais. I have met and fallen in with several English families that had exiled themselves abroad at a great expense, and left all their friends and society behind, on account of economy; but, to their sorrow, they found out the mistake too late, and are watching the first opportunity to get rid of their establishments, and return to their happy native country, from which they never I heard of an English family on the Rhine, consisting of ten persons, servants included, kicking up a riot for paying two Louis d'ors for a breakfast à la fourchette, and which was only complied with by order of the magistrate: but when I heard that the best old hock had been called for at 7s. or 8s. per bottle, I exclaimed, "How cheap !" You will perhaps say wine at 7s. or Ss. per bottle in a wine-country must be an imposition: in answer to this, my fellow-traveller, who is an amateur of good old hock, has ordered a cask to be sent him to Eng-mean to stray again. land at that price; and as the price arises principally from its particu AN IMPARTIAL TRAVELLER. TEMPLE, August 2, 1817. MUSICAL REVIEW. Three grand Marches for two Per-lany; viz. Mr. Ries's grand Tri umphal March, to the style of which the marches before us bear a strong similitude. Their execution will upon the whole not be found difficult, although great attention to time, and to nervous and determined expression, is obviously required. formers on the Piano-Forte, composed by F. Ries. Book II. Pr. 5s. THE first of these marches, which is the most considerable and elaborate, is in the key of E b major, the second in C minor, and the third in Bb major. They are all distinguished by originality of melody, an amplitude of rich harmony, and a nervous energetic style; characteristic features of most of Mr. Ries's compositions, and particuJarly of his marches, a fine specimen of which we noticed in No. 63. As three performers on one pianoof the First Series of this Miscel-forte may be deemed rather an un Trio for three Performers on one Piano-Forte, composed, and dedicated to the Misses Henrietta, Fanny, and Mary-Ann Mather, by Cip. Potter. Pr. 4s. 1 viality. The siciliana which begins the divertimento is a chaste, plaintive movement in C minor, interrupted by a major part, the melodious strains of which operate in pleasing contrast. The arpeggio passages, p. 2, are tastefully devised, and the same praise is due to the variation of the minor, p. 3.The second movement is completely in the style of Haydn's minuets, and does the highest credit to the author, as well as to the classic model upon which it is formed; without, however, being liable to the slightest imputation of plagiarism, or servile imitation.— The minuet is Mr. Meyer's own, from beginning to end, and must raise him in the estimation of every at-lover of the art. lover of the art. Care ought to be taken not to play it too slowly; and on this account we regret, not to see the time marked by Maelzel's usual exhibition, we think it right to state, that in this trio the player on the left wing employs both his hands; the same is the case with the centre; and, on the right, one hand only is admitted, if withal there be room; for a trial on our part turned out rather unsuccessful, from want of sufficient elbow-room; and engendered divers arguments on space, which much interfered with the satisfactory execution of the pentachiric manœuvres required by Mr. Potter's labour. We consoled ourselves with the idea, that the piece was not written for matured corpulency, and fancied the delightful spectacle of beholding three delicate youthful forms, three Graces, devoting their diminutive snowy hands to the task in vain tempted by grosser means. From what we could, however, achiere, even in our mutual state of bodily confinement, and from a subsequent examination of this trio, we feel warranted in asserting, that, if properly executed, this composition will repay any exertion which may be made in its performance. The march is spirited and satisfactory throughout; and the rondo possesses, besides an agreeable theme, various interesting passages of digression, which, to use a 1 common phrase, tell well, without being difficult. metronome. "The Arab Youth," a favourite Song, sung by Mrs. Salmon, composed by Thos. Attwood; the words by R. Hamilton, Esq. Pr. Is. 6d. The melody of this little air in Bb is chaste, and the harmony neatly constructed. The expression at "Soon a nobler foe he dares," &c. is highly appropriate; and we approve of the manner in which the strain is made to close in D major. The accompaniment of the second line, p. 3, has also our unqualified applause. We have observed two typographical errors: The first quaver in the bass of bar 2, 1.2, p. 2, should be This divertimento, like most of Bb, instead of A; and the second Mr. Meyer's compositions, main- quaver in the vocal part of bar 2, tains the happy and difficult mean 1. 3, p. 3, should be C, instead of between affected bombast and tri-" Bb.-An awkward harmony occurs Vol. IV. No. XXI. Second Divertimento for the Harp, with an Accompaniment for the Flute (ad libitum), composed, and respectfully dedicated to the Right Hon. Lady Charlotte Somerset, by Ph. Meyer, jun. Pr. 4s. Z dy; and in the beginning of the second strain we observe a string of profound, if not ventured, modulations. The rondo allegretto also sets out with a subject, the singularity of which, however simple, is obviously striking. Among its meritorious features, we reckon the neat manner in which the subject is reintroduced p. 8, l. 4, and p. 9, 1. 3. bar 5, l. 3, p. 2, where the chord of presents a beautiful singing meloG 3 b is followed by F 3. No. 1. Easy Duet for the Piano-Forte, in which is introduced a Swedish popular Dance, composed, and dedicated to Miss Bloxam, by C. L. Lithander. Op. 7. Pr. 2s. A most elegant little duet in C major; so void of all practical difficulty, that it may without fear be placed on the desk of any pupil who has made his way through the first rudiments. It consists of a brief but very neat allegro, and a Swedish dance, the peculiarity of whose melody and rhythm proclaims its originality, and renders it particularly attractive. Two pretty little variations upon the dance theme further enhance the interest; and the running bass of the second is cleverly contrived, with the exception of the beginning of the second strain, where some harshness has crept into the harmony, the progression being through the chords C; A, G7, A; G 7. The thirty-first Sonata for the Piano- Second Fantasia for the Piano-Forte, the Themes by Mozart, from the Opera "Le Nozze di Figaro," composed, and dedicated to the Right Hon. Lady Louisa Harvey, by Ferd. Ries. Op. 77. No. II. Pr. 4s. the fantasia noticed in our last This fantasia differs in plan from number. Both are deduced from the opera of Figaro; but in No. 1. a variety of detached subjects are skilfully linked and interwoven : whereas in the book before us, the air "Se vuol' ballare, Signor Contino," forms the basis of the whole work; viz. an introductory allegro, in which that theme is ably moulded into, from the original time; and the theme itself with a number and several of the variations are of the most select cast; such as No. 2. rendered interesting by the peculiarity of style and its full harmony. No. 4. is equally beautiful; it combines originality of invention with scientific treatment, especially as An allegro in A minor, and a rondo in the same major key, are of successive variations. The althe only movements in this sonata,legro is an excellent movement, which, although replete with interesting and in some instances excellent ideas, affords proof that the author's style and manner have acquired no inconsiderable improvement since the composition of this work. The theme of the allegro may justly claim the merit of deci-to bass accompaniment. Var. 7. ded originality, especially where is a charming slow movement, and it is allotted to the bass, under exhibits some fine chromatic touchsome bold harmonic combinations.es; we particularly applaud the latThe dolce in both the strains, with ter part. The march, p. 9, is also the application of crossed hands, ingeniously constructed. for the Piano-Forte and Harp, with Accompaniments for a Flute and Violoncello, composed, and inscribed to Miss Milton, by J. Mazzinghi. Pr. 5s. No. XXI. Theme with Variations || trees by another, if not worse. Both composers cannot write simultaneously; a reciprocal adaptation and imitation of each other's ideas are the result of this, and we lose that most essential requisite of good music, which demands that melody and harmony should be twin-sisters, engendered simulta The theme chosen for this number of Mr. Mazzinghi's Series of Variations for the Piano-Forte and Harp, occurs in the opera of " Johnneously in the mind of the compoof Paris," and, if we are not mis-ser, who ought not to be able to taken, is a dance of foreign origin, of the Monfrina kind. The variations are alternately assigned to the piano-forte and harp, but may be executed by the piano-forte alone, in consequence of leger staves added to the score. They shew throughout, the facility of invention and the consummate experience of the author, to whose indefatigable and tasteful pen the musical pub-in refutation of our general remark. lic of this country owes so many of the most interesting stock-pieces in the various departments of the art. Select Melodies, with Variations for the Flute and Piano-Forte, composed by C. Nicholson and J. F. Burrowes. No. I. Pr. 3s. The flute part of this publication is stated to be the production of Mr. Nicholson, and that of the piano-forte is by Mr. Burrowes. This species of compositorial copartnership is somewhat unusual, and has its advantages and disadvantages. On the one hand, as is the case here, it admits the united experience and skill of writers for different instruments; but, on the other, it stands in the way of proper unity of plan in the conduct of the harmony: it is like a landscape, in which the cottages and buildings are by one hand, and the think of a phrase without hearing, as it were, its whole harmony vibrate within him. In giving this general opinion, we are in justice bound to own, that the manner in which Messrs. N. and B. have executed their difficult task, has caused to us an agreeable surprise; their duet scarcely offers a trace of its bipartite origin, and almost acts The two instruments, whether si- "That roguish Boy of Venus fair," written by G. W.; composed, and dedicated to Miss Miller, by W. Grosse. Pr. 1s. 6d. A graceful flow of melody, free from triviality, together with the peculiar time () in which it is |