The two movements by Avison are from his fourth Concerto, Book IV.—a beautiful and clever composition, still performed at the Ancient Concerts, and always with applause. To these we may apply an observation which appears in Avison’s Preface to his Concertos,—‘If music be composed agreeably to principles founded in nature, the true judge of harmony always approves it, whatever name, style, or national character it bears.’
The aria, as he calls it, of Beethoven, is one of the most exquisite morceaux of this great master. There is a calm dignity in it which excites a wish that it had been set to words—to poetry worthy of it. The two variations, selected from many, are not less striking proofs of the richness of his fancy.
The song by Labarre is from a recent number of La Revue Musicale. The originality of this recommended it to us, and will, we have no doubt, be apparent to all; though some may at first think it rather too elaborate for a chanson. It will, however, be more admired the more it is known.
JULY, 1833.