this volume, finally, concludes with a brief exposition of the doctrine of logarithms, and a logarithmical table especially adapted to this treatise. Such an appendix was necessary to the plan of the author, since, wherever his calculations throughout the work could be abridged by the use of logarithms, he has availed himself of their assistance; not, however, without explaining the nature of their application in every case so fully as to enable the student to adopt them in any other corresponding calculation.
Such are the outlines of a performance which reflects the highest degree of credit on its author. We feel pleasure in taking upon ourselves the responsibility of an unqualified recommendation, and sincerely hope Mr. Dubost’s labours will be rewarded by the introduction of his Elements of Commerce into every counting-house of respectability in this country.
There are but few of the musical productions of the last year that can support any pretensions beyond those of humble mediocrity. That the English nation can be pleased, or even amused, with the wretched operatical olios which have been produced during this period, is a strong proof (if others were wanting), that our taste for music is on the decline. That we have exchanged melody for counterpoint, and difficulties of laboured execution for substantial harmony, has long been observed and regretted; but since the revival of a taste for music in this country, we have seldom had the opportunity of noticing compositions so destitute even of novelty. It will afford us much higher satisfaction to recommend the effusions of taste and science, than to undergo the drudgery of examining productions revolting to every principle of both. We shall only notice a few.
The music of the Opera of Kais, by Braham and Reeve, is inferior to their former productions. The only pieces entitled to praise are, “Sad, sad is my heart,” Braham’s songs, “Slow broke the morn,” and “On this cold flinty rock.” The quartet at the end of the first act is also well managed.
The Jew of Mogadore. The music of this opera is in the worst style of compilation by Kelly. With the exception of Braham’s song, “Relics of my faithful crew,” there is nothing worth notice.
The Exile. Mr. Mazzinghi deserves considerable praise for the knowledge of instrumental effect that he has displayed in the overture to this melo-dramatic opera. The slow movement is particularly good. We are sorry we cannot be equal commendation on the vocal part. The two songs by Mrs. Dickons are the only good ones in the piece, and these suffer much by the affected manner in which sings them. This lady’s singing would produce more effect, if she were to determine not to suffer her naturally good taste to be vitiated by the present rage for exuberant ornaments and unmeaning flourishes. We think also, that the too frequent use of wind instruments in accompanying the voice, produces a monotonous effect. The songs allotted to Incledon are not at all adapted to the display of his powers to advantage.
Venoni. Kelly has selected a very
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