BEFORE Haydn composed his twelve grand symphonies for Salomon, he had produced a vast number of others, of which but few are now in use, or even known, for many are in fact trifling, and were not written with any view to fame. But of those which are occasionally performed, some possess every merit that this very superior kind of composition can boast, and among them is his symphony in C, for a full orchestra, beginning

of which we have given the finale, the movement that has taken the title of La Danse des Ours, the subject having, it is said, been suggested to the composer by the bag-pipe music of a bear-leader in the streets of Vienna. The hilarity, the beauty, and the ingenuity of this, have induced us to print Stegmann’s arrangement of it; more especially as it is not published in a separate form in England or, we believe, anywhere else.

The aria of Zelter is from a MS. scena in our possession, beginning ‘Oh Dio! se in questo istante,’ and entirely unknown in this country. We may venture to any that there is no second copy of it in London. The air now given is but a small portion of the whole, which would have been too long for insertion; and indeed, without orchestral accompaniments, much of its effect is lost. Concerning the author, we refer to the memoir in the present number.

The two movements of Scarlatti were once the admiration of harpsichord players. The brilliancy of the first will still be admitted, and if we do not deceive ourselves, will lead many to open a work, of which very few, even of professional players, have the least knowledge. We have slightly altered the notation of some bars, but without making any change in the composer’s music. An account of Domenico Scarlatti will be found in the fifth volume of the Harmonicon.

‘The Mansion of Peace,’ written for and sung by Harrison, was, like all that is excellent in music, repeated so often when in fashion, that delight was soon followed by satiety. It was first produced at least forty years ago, by one of the few whom we may call classical glee-writers—by the composer of ‘When winds breathe soft;’ and we feel convinced that it will be perfectly new to most of our readers. It has never, to our knowledge, before been published with a separate accompaniment.

Beethoven’s Canon is spoken of at large in the letter-press of the present number. He gives it without any words: we have, to make it vocal—and it will be found extremely pleasing in effect—adapted a ‘Hallelujah, amen’ to the notes.

The amanuensis of Handel, Christopher Smith, set the whole of the Tempest, as altered by Dryden, to music, and there are some compositions of much merit in his work, of which ‘Full fathom five’ is decidedly the best. This was for many years performed at the Ancient Concert, being preferred to that set by Purcell to the same words. However, there is nothing else in Smith’s Tempest to be compared to the work of our great English composer. Of Smith very little is recorded. He composed three or four oratorios, and some Suites of lessons, in imitation of Handel, none of which are now known.

For the quartet, ‘Now the Moonbeam’s lustre,’ we are indebted to the Spectator newspaper. Of the composer we have no information, and we never met with his name before. The present may very properly be denominated a glee, and as such will be more effective if sung by what are called equal voices.—i. e. men’s voices.