18 OCTOBER 1845, Page 18

-Mozart's. Cantatas; edited by G. A. Marfarren.

This work is handsomely brought out; and it will help to diffuse as general acquaintance with some of the finest productions of Mozart. The, only thing to which we object, is the transposition of key adopted in several of the compositions, in order to bring the music within the usual limit of voices. This is a concession. to utility which is scarcely fair, in our opinion,, to.a. classical masters—so much being generally lost in the brightness and' aesthetic quality of a composition through a change of key. We confess: that we cannot taste " Bella mia fiamma " with any satisfaction in A after hearing it in. C. As & general rule, it would be far better to attempt-an alteration of passages that lie out of the compass, and pneaerve the original key, than to change the whole entirely—curdmore-especars kpring. Composers-and Mr. Macfarren. is one whose interest in good music is well known-would do well to make head against this grow- ing evil, and show that transposition is never effected but at some at to the original With all due allowance for passages which singers find impossible, we would give but little encouragement to that indolence which makes them now-a-days so ready to exclaim, " Too high, too high- change the key.' From the opera-stage to the drawingroom one hears nothing else, and the first. duty of the accompanyist is now to transpose. If this must be done, let it be done; but not in the printed classics of the art. To enumerate the fine things in this work is quite superfluous. " Non temer," " Mentor ti lascio," and a variety of compositions of that calibre, form the contents; and of these productions it is well known that nothing in the finest of' Mozart's Operas surpasses them. The collection altogether forms a gratifying addition to the stook of good music.