To the music given in the HARMONICON, the Conductors refer with the greatest confidence and satisfaction. For obvious reasons, they forbear to offer any remarks upon the Original Compositions, with which they have been assisted by some of the most eminent professors of the present day; the high rank that the parties alluded to so deservedly hold in public estimation, is a strong evidence in favour of their productions, which must, however, be judged by their intrinsic merits. To that test they are most willingly submitted. But the Selected Music may be mentioned without similar feelings of restraint. In that portion of the work will be found many gems deserving a better fate than the oblivion to which they appeared to be consigned; together with several pieces, both by British and foreign artists, that could be made popular only through the agency of such a publication as the present. There is something vulgar and forbidding in alluding, out of market, to prices: nevertheless it is a duty we owe, not only to ourselves, but to our subscribers, to mention, that the music alone contained in this work could not be purchased, in the ordinary way, for less than three times the sum that is paid for the two parts forming the First Volume of the HARMONICON. Un' Offerta alle Grazie," by G. F. Harris Mozart's Six Grand Symphonies, arranged by J. N. Hummel Handel's Overtures, by Thomas Killick A Favourite Theme, with Variations, for the flute; by W. Six Select Airs, from Rossini's opera, "La Donna del Lago," for the piano-forte and flute, by C. M. Sola Rondo Favori, pour le piano-forte, par J. N. Hummel Variations upon the "Vienna Waltz," by Charles Czerny "Go, Rover, go;" "My Laura's smile, when last we met ;" "How can you abuse an easy woman so?” “ Billy Lack-a- A Secret;"" I'll not be a maiden forsaken," and "Why "Thy cheek, my sweet fair," in the same, by George Perry. Sixth Fantasia, from "Il Barbiere di Seviglia," by J. Purkis Introduction and Variations, on the favourite air, tante angoscie," by Caraffa, for two performers on the piano-forte, composed by John Bianchi Taylor Concerto-Stuck, Larghetto affettuoso, Allegro passionato, 112, 113 Eight Psalm Tunes in Score, with an accompaniment for Sonata, for the piano-forte, by I. Moscheles "The Tyrolese Air," "Scots, wha hae," "Sul Margine d'un Rio," "Le vaillant Troubadour," "National Waltz,” and “Di tanti palpiti," arranged by M. Holst A Concerto of Dussek; Naderman's Fantasia, and Rousseau's Dream; and a Selection of favourite Airs, from Rossini's The same air-arranged with an Introduction and Varia- |