ABSTRACT
The improvement of modern music, and the general advancement of taste both of performers and auditors, in this country, within a few years formed the subject of the preceding lecture. The six movements which constitute this work are admirably varied in character; and though it has been said generally of them all that they are rich in harmony and elegant in melody, yet there are shades of difference which elude the powers of verbal description, but which a refined judgement will readily discern. Indeed, the majority of our late publications for the piano forte are airs with variations, consisting chiefly of difficult and extraneous, rather than of scientific or beautiful passages. The harmony and melody are most neglected when the author is chiefly anxious to astonish an audience by the brilliancy and rapidity of the performer. Hence also the tuttis of a solo concerto are in general so much better than the solos.
