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1858.] kins, Burney, and Coxe should remain for almost an entire century after the death of Handel our main sources of information concerning his career, and that the first attempt to write a complete biography of that great composer, correcting the errors, reconciling the contradictions, and supplying the deficiencies of those authors, should be from the pen of a French exile. And yet during all this time materials have been accumulating, the fame of the composer has been extending, the demand for such a work increasing, and the number of intelligent and elegant English writers upon music growing greater.

M. Schoelcher's work, though perhaps the most valuable contribution to musical historical literature which has for many years appeared from the English press, leaves much to be desired. Excepting a correction of the chronology of Handel's visit to Italy, very little, if anything, of importance is added to what we already possessed in regard to the early history of the composer. We look in vain for the means of tracing the development of his genius. The impression left upon the mind of the reader is, that his powers showed themselves suddenly in full splendor, and that at a single bound he placed himself at the head of the dramatic composers of his age. This was not true of Hasse, Mozart, Gluck, Cherubini, Weber, in dramatic composition ; nor of Bach, Haydn, Beethoven, in other branches of the musical art. However great a man’s genius may be, he must live and learn. To attain the highest excellence, long continued study is necessary; and Handel, as we believe, was no exception to the general law. The list of works consulted by M. Schoelcher, prefixed to the biography, shows that he has by no means exhausted the German authorities which may be profitably used in writing upon the early history of Handel: indeed, the author, though of German descent,is unacquainted with the German language. We can learn from them the state of dramatic music at that time in Berlin, Leipsic, Brunswick. Hanover, Köthen; we can form from them some correct idea of the powers of Keiser, Steffani, Graupner, Schieferdecker, Telemann, Grünwald, and others, then in possession of the lyric stage; we can thus estimate the influences which led Handel from the path that Bach so successfully followed, into that which he pursued with equal success; and though the amount of matter relating to him personally be small, much that throws light upon his early life still remains inaccessible to the English reader.

The biography of a great creative artist must in great measure consist of a history of his works; and the great value of the book before us arises from the searching examination to which M. Schoelcher has subjected the several collections of Handel’s manuscripts which are preserved in England, one of which, in some respects the most valuable, has fallen into his own possession. This examination, for the first time made, together with the first careful and thorough search for whatever might afford a ray of light in the various periodicals of Handel’s time, has enabled the author to correct innumerable errors in previous writers, and trace step by step the rapid succession of opera, anthem, serenata, and oratorio, which filled the years of the composer’s manhood. For the general reader, perhaps, M. Schoelcher has been drawn too far into detail, and some passages of his work might have been better reserved for his “Catalogue of Handel's Works”; but these details are of the highest value to the student of musical literature, and, indeed, form for him the principal charm of the work. The importance of the author’s labors can be duly appreciated only by those who have had occasion to study somewhat extensively the musical history of the last century. For them the results of those labors as here presented are invaluable.

Sermons of the, of London. Third Series. New York: Sheldon, Blakeman & Co.

can be no doubt of the merit of these sermons, considered as examples of method and embodiments of character. Whatever elements of Christianity may be left unexpressed in them, it is certain that Mr. Spurgeon has succeeded in expressing himself. His discourses at least give us Christianity as he understands, feels, and lives it. They should be studied by all clergymen who desire to master the secret of influencing masses of men. They will afford valuable hints in respect to