WHO the composer is of the trio, ‘Like a bright cherub,’ has long been a matter of dispute, and the point most likely will never now be settled by any decisive proof. The question, however, lies in a narrow compass, for it is agreed that to either Handel or John Christopher Smith[57] the work belongs. Prevailing opinion ascribes it to the former, and we believe correctly, judging from internal evidence as well as traditional testimony. Gideon, the oratorio of which it forms a part, was a pasticcio, a selection of music by various authors, adapted to a dramatic poem by Smith, but when and where performed the most diligent inquiry has not enabled us to ascertain; in fact, no record whatever of it seems to be in existence; it was never published, and we cannot learn that a copy of it remains. The trio now inserted is the only part of it that ever came under our view, and was printed some fifty years ego by Birchall, about the time when sung at the Ancient Concerts. The sweet melody of this, and its effective simplicity when the three parts come together, ought to recommend it to private musical parties.

The aria by Mozart is No. 20 of his thirty Gesaenge, or detached airs not appertaining to any of his operas, published by Breitkopf and HÄrtel, at Leipzig.

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.