them both so many triumphs, but has never yet produced them an equal.

At the age of ten, Dussek was sent by a nobleman, a friend of his father, to one of the principal colleges in the university of Prague. During the seven years he remained there, he studied ancient and modern literature, but chiefly music, and profited much by the lessons of a Benedictine friar, who made him write every kind of exercise in counter-point. He had attained his nineteenth year, when he repaired to Brussels, and under the patronage of a gentleman at the court of the Stadtholder, gave a concert at the Hague in the presence of the whole court, which as much increased his reputation as his finances. Before he proceeded to Paris and London, he determined on a journey to the north of Europe, and had the good fortune to become acquainted with the celebrated Emanuel Bach, at Hamburg. Hence he departed for Petersburg, but on his way, Prince C. Radzivill made him such advantageous proposals, that he could not resist them, and remained with this prince two years, in the heart of Prussian Lithuania. He then returned to Berlin, and after a short stay, went to Paris, where he remained a long time. At the beginning of the French revolution he discreetly quitted that metropolis, and set out with all speed for London, where he continued till 1800. During more than a ten years' residence in this country, he shone as the greatest piano-forte player that had ever been heard, and it is difficult to determine whether he has since been surpassed in grandeur, brilliancy, and delicacy of taste. It is no ordinary praise of him to say, that many able judges have ascribed in part the great refinement of Cramer to the many opportunities he had of hearing his friend's exquisite performances on an instrument that afforded VOL. III.

was in consequence obliged to leave England suddenly, and removed to Hamburg, where he remained above two years. He now repaired a second time to Berlin, and from a mere acquaintance, became the companion, and at last the intimate and confidential friend of Prince Louis Ferdinand of Prussia, who died so bravely for his country at Saalfeld, in 1806. This prince was well known to possess more talents than any other member of his family, independently of his skill on the piano-forte, and his elaborate and clever compositions for that instrument. On the death of his royal associate, Dussek wrote a Sonata expressive of his feelings on the occasion, under the title of an "Elegy." After a short engagement with the Prince of Isenburg, he entered into the service of the celebrated Talleyrand, prince of Benevento, in which he continued to the end of his life in 1812.

His compositions, which reach Op. 77, are unequal, because many of them were produced by contract,according to order, in mercantile language, and were therefore adapted to the capacity and taste of the mob of players. But we know scarcely any composer who has given to the world so many things that are both good and popular at the same time: his Concertos, Op. 15 (The Plough-boy) and 22, (dedicated to Miss Collins,) together with his Sonatas, Op. 13, 24, and 31, and his many airs with variations, may be offered as instances. But his permanent fame must rest on his greater works; amongst which he is said to have held in the highest estimation Op. 9, 10, 14, 42, Les adieux à Clementi, and Le Retour à Paris, called here, the plus ultra, in opposition to, or perhaps in ridicule of Woelfl's well-known ultra." His three sonatas, Op. 35, dedicated to Clementi, have always appeared to us to be his best work, as combining a greater portion of originality, science, and effect. His Fantasia and Fugue, inscribed to Cramer, is undoubtedly his most learned production, and for the profound musician it has many charms. There exists yet an Oratorio of his composition called the Resurrection, the words by the great poet Klopstock; and a B 2

Ne plus

mass which he wrote at Prague at the age of thirteen; but nothing is known respecting their merits.

The compositions of Dussek are all marked by a rich and ready invention, and a peculiarly delicate taste. Those of a gay kind shew great brilliancy and freedom of melody; while his graver works, which were, apparently, produced con amore, display an entire command of all the stores of harmony, and great depth of feeling. Some very distinguished composers have modelled their best works after the originals of Dussek; and if morbid fashion, which is always panting after novelty, did not hold such despotic sway over the musical art, his productions would be now as familiarly known as they were twenty years ago.

Opera

LIST OF DUSSEK'S CHIEF WORKS.

Opera

68. Concerto Notturno.

70. Concerto in E flat, dedicated to Viotti.
71. Six airs with Variations.-
72. Two easy Sonatas.

77. L' Invocation, Grand Sonata.
78. Posthumous-Rondo, for p.-forte.

The above List is collected from English and Foreign Catalogues, from Gerber, &c.; but owing to a want of uniformity in numbering the works of authors, both here and abroad, much error frequently ensues, and we fear that the foregoing is far from perfect.

MAYERBEER'S NEW OPERA,

IL CROCIATO IN EGITTO,

LATELY PRODUCED IN ITALY.

[From a Foreign Correspondent.]

2. Three Ditto, for Ditto, and Ditto.

3. Three Ditto, for Ditto, and Ditto.

4. Three Ditto, for Ditto, and Ditto. 5. Grand Sonata.

6. "Petits Airs," with variations.

8. Three Sonatas.

cently been obtained at Florence, in the production of Mayerbeer's opera, Il Crociato in Egitto; a work, say the critics, not composed of a motley collection of fragments, but forming an entire and connected whole; one of those effusions of genius which appear rarely in an age. It is considered as a happy amalgamation of the

10. Three Ditto, for Ditto, and Ditto.

11. Duet for two p.-fortes.

12. Three Sonatas, dedicated to Mrs. Cosway.

13. Three Ditto, dedicated to Miss Jansen.

14. Three Ditto, with popular airs.

15. Concerto in E flat, with Plough-boy.

16. Three Sonatas with violin accompt.

17. Three Ditto, for Ditto, and Ditto.

18. Three Concertos.

19. Six Sonatinas for p.-forte and Violin.

20. Three Ditto, for Ditto.

21. The Rosary.

22. Concerto in в flat, dedicated to Miss Collins.

23. Three Sonatas, dedicated to the Baronne de Dopff. 24. Sonata, dedicated to Mrs. Chinnery.

25. Three Sonatas, with Scotch airs.

26. Duet for two harps.

27. 'Concerto in F., dedicated to Mrs. Hyde.

28. Six easy Sonatas.

+ 29. A Grand Concerto.

30. A Ditto Ditto.

well-digested and profound harmonies, blended with a spirited and expressive melody.

This opera was first produced at Venice, where it obtained no less applause than at the latter place. The piece commences with a majestic overture; the introduction consists of a chorus of slaves, strongly expressive of their longing desire of liberty, and of their joy in again revisiting their native land; this is followed by a cavatina of the prima donna, (Adelaide Tosi,) as Palmide, the daughter of the Sultan, who with consoling words and gifts, appears as an angel of peace among these children of slavery. The music of this part is full of touching effects, perfectly expressive of the sentiment, and heightened by the instrumental part, which is admirably in unison with the voices. In this part an extraordinary effect is produced by an interchange of six trumpets, part of which are in the orchestra, and part on the towers of the holy city. This is succeeded by a chorus of female slaves, who sing and dance round the tent

32. Grand Duo, à quatre mains.

33. Overture for two performers on one piano.

34. Two Sonatinas, for harp and flute.

35. Tre Grand Sonate, dedicate al Muzio Clementi.

36. Duet, for harp and piano.

37. Sonata, for harp, arranged for p.-forte, by Cramer. 38. Grand Duet, for harp and piano, or two pianos.

39. Three Sonatas, dedicated to Mrs. Aprecce.

40. Concerto Militaire, for p.-forte.

42. Fantasie and Fugue, dedicated to J. B. Cramer.

43. Sonata Harp, arranged for p.-forte, by Cramer.

44. The Farewell, a Grand Sonata, dedicated to Clementi. 45. Three Sonatas, for p.-forte.

46. Six Easy Sonatas.

47. A Sonata.

48. Duet, dedicated to The Sisters.

49. Concerto, dedicated to Mr. and Mrs. Vidal.

50. Duet, arranged by Cramer.

51. Three Easy Sonatas, for p.-forte and flute.

53. A Quintett, p.-forte, &c.

61. Elegy on the death of Prince Louis.

62. La Consolation, an Andante for p.-forte.

67. Three progressive Sonatas, for four hands on p.-forte.

is full of very charming movements. Another chorus of Emirs introduces the hero, Armandos, (Velluti,) who arrives with the olive-branch of peace; the cavatina which he sings, as well as the whole music of this scene, breathes the very notes of gentleness and peace. This is succeeded by a duet between Velluti and Reina, the tenor, which is exceedingly descriptive of a pacific disposition in the former, and disappointed rage in the latter. This interchange of feelings is happily expressed in the music.

There are also some romances in the first act, which, in order to be perfect, only require a more accurate adaptation of the parts, and a greater degree of brevity. The finale consists of a canon in five parts, and a chorus of warriors, full of power and dignity; in this it is doubtful which we ought most to admire, the beauty and expression of the song, or the power and admirably characteristic effects of the instrumentation. One of the chief excellencies of Mayerbeer's music is the respect that is always shown for the human voice; in the above chorus, the strong

The second act, which is shorter than the first, rivals it in beauty. The parts principally admired are, a chorus of the Emirs, in the act of forming a conspiracy;-the quartett of the Preghiera,terminating in a sestett, which may stand a comparison with any music; a chorus of Knights and Saracens, and a duet of great beauty,

constructed entirely on the Italian model.

It is true that in Mayerbeer's music we sometimes meet with very uncommon phrases, which will not at once be either relished or understood; but when heard often, they enchant by their novelty and beauty, and strongly rivet the attention. It must be acknowledged by all, that the compositions of this master not only please the ear, but also express a language that speaks directly to the heart. His music may be compared to some of those grave-looking persons, who alarm us on a first introduction, but, upon closer acquaintance, charm us by the suavity of their manners, and the elegance of their conversation.

One fault we may be permitted to find with this composer, but it is a happy one, as Quintilian calls it, and this is a redundancy of genius; if he possessed self-denial enough to retrench these exuberances, if he would bear constantly in mind that great law, ne quid nimis, his music might approach rapidly to perfection. It would have this immediate advantage, that his opera would be considerably shortened, and his hearers would not be deprived of an hour or two of their natural rest. Much praise was given to Mayerbeer for his Romilda, but in the present composition he has made a giant's stride. His Crociato ranks him with the His Crociato ranks him with the greatest composers of the day, and will in all probability transmit his fame to posterity.

The singers rose in dignity with the music they had to perform, and never did Tosi and Velluti appear to greater advantage; their merit was the greater, as they had many difficulties, many new forms of melody and ornament, to contend with. The house was crowded to excess, and the public were more than pleased with the production; the applause was enthusiastic. At the conclusion of the piece the composer was summoned to make his appearance, and receive the congratulation of the house; nay more, the singers, and the scene-painter, Facchinelli, as well as the manager himself, were called forward to receive these honours, rarely indeed bestowed in the latter instances. But to say the truth, the decorations, the scenery, and the whole paraphernalia of the opera, were in the highest degree splendid and full of good taste.

ON THE VELOCITY OF SOUND.

THIS is a subject which has engaged the attention of the greatest philosophers, and is highly interesting to really scientific musicians. We insert the following facts and inquiries, under the hope of drawing the attention of our readers to so important a subject.

1. That sound moves uniformly; at least in a horizontal direction, or one that does not greatly deviate from horizontality.

2. That the difference in the intensity of a sound makes no appreciable difference in its velocity: 3. Nor consequently does a difference in the instrument from which the sound is emitted.

4. That wind greatly affects sound in point of intensity, and that it affects it also in point of velocity. that of the sound, the sum of their separate velocities gives the apparent velocity of sound: when the direction of the wind opposes that of the sound, the difference of the separate velocities must be taken.

5 That when the direction of the wind concurs with

6. That in the case of echoes the velocity of the reflected sound is the same as that of the direct sound. 7. That therefore distances may frequently be measured by means of echoes.

8. That an augmentation of temperature occasions an augmentation of velocity of sound, and vice versa.

The inquiries with regard to the transmission of sound in the atmosphere, which, notwithstanding the curious investigations of Newton, Laplace, Poisson, and others, require the further aid of experiment for satisfactory determination, are, I think, the following, viz.,

have much or little influence on the velocity of sound? 1. Whether hygrometric changes in the atmosphere 2. Whether barometric changes in the atmosphere have much or little influence?

3. Whether, as Muschenbrook conjectured, sound have not different degrees of velocity, at the same temperature, in different regions of the earth? And whether high. barometric pressure would not be found (even independently of temperature) to produce greater velocities?

4. Whether, therefore, sound would not pass more slowly between the summits of two mountains than between the bases?

5. Whether sound, independently of the changes in the air's elasticity, move quicker or slower near the earth's surface than at some distance from it? (See Savart's interesting papers on the Communication of Sonorous Vibration.)

6. Whether sound would not employ a longer interval in passing over a given space, as a mile, vertically upwards, than in a horizontal direction? and if so, would the formula which should express the relation of the intervals include more than thermometric and barometric

coefficients?

7. Whether or not the principal of the parallelogram of forces may be employed in estimating the effect of wind upon sound, when their respective velocities do not aid or oppose each other in the same line or nearly so?

s. Whether those eudiometric qualities generally (whether hitherto detected or not) which affect the elasticity of the air, will not proportionally affect the velocity of sound? and if so, how are the modifications to be appreciated?

* Cambridge Philosophical Transactions. MDCCCXXIV,