  THE titles of the pieces in this number leave us little to add, for as four out of six of them are of modern date, their authors are well known, and no history at all interesting is connected with those compositions. The cavatina is in the last scene of The Pirate, sung in the character of Imogene, who addresses it to her young son. The words are thus translated into not very good English verse, in the printed book of the opera:— Thy innocent smile and thy glances of love, To mercy and pardon thy father will move: Oh! tell him thy life has been purchased by me, And each kind look he gave I have purchased from thee. The Romanza is from the most admired of Mozart’s concertos. The author has not indicated the movement, but it is commonly played as an andante. Sig. Cimador, who arranged it, was an excellent musician, well known in the fashionable and musical world some thirty years, or more, since. Purcell’s air is from an ode on the birth-day of Mary, consort of William III. Our arrangement is made from the score published by—Goodison, Esq., an amateur, about forty-five years ago. The beauty of this melody speaks for itself. The quartet, Agnus Dei, is from a mass of Beethoven and of his sacred compositions, may fairly be deemed the most melodious and elegant. The Minuet and Trio from Haydn’s Eleventh Symphony, were composed for Saloman’s Concerts about the year 1794. The movement from Handel’s 4th Hautboy Concerto The Hautboy Concertos, six in number, were written at Cannons, the seat of the Duke of Chandos, (Pope’s Timon,) in the year 1720, and published in 1729. Four of them still continue to be used in the Ancient Concerts, where they are admirably performed, and are great favourites with the subscribers, as they deserve to be with all lovers of good music. AUGUST, 1833.
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