For of old Mozart’s virtue, we are told Often with a bumper glow’d And with social rapture flow’d. --_Francis’s Horace._ Messengers were sent to remind him of the shortness of the time, and urge him to finish the undertaking--but in vain; Mozart was nowhere to be found. At length he was discovered in a billiard-room, half intoxicated, earnestly engaged in a critical part of this very fascinating game. The person who came in search of him, aware of Mozart’s passionate fondness for this amusement, contrived to remove the queues out of the way, and refused to let the game proceed till the overture was written. Mozart, therefore, called for music-paper, &c. and in the state of mind we have described (the agitation of which must have been considerably increased by the vexation of being interrupted in his favourite game) actually completed the overture while leaning over the billiard-table. After this wonderful effort of genius (for such it must be called) he resumed his game as if nothing had happened-- What cannot wine perform? it brings to light The secret soul; it bids the coward fight-- Gives being to our hopes; and from our hearts Drives the dull sorrow, and inspires new arts. Whom hath not an inspiring bumper taught A flow of words, and loftiness of thought. _Where shall the lover rest_, the song of I. Eustane, from Scott’s Marmion, has been set to music by three different composers--but that of sir John Stephenson is preferred far before the others--the melody being tasteful and elegant--the words judiciously distributed, and the passages well adapted to the different voices allotted to perform them. The accompaniment is ingenious and expressive, and the symphonies tasteful and much in the style of Moore. A duet composed by _V. Rauzzini_, and sung at the Bath concerts by Mrs. Billington and Signora Cimador, has deservedly received the greatest approbation. It is called “_Care luci inamorati_”--the style is truly Italian; being simple, natural, and of course pleasing. _Sweet Ellen, Sorrows Child_, a ballad set to music by Rauzzini also, is spoken of with great applause. The ballad itself is censured as being too long, it consisting of four verses, which produces a slight monotony, notwithstanding that the composer has displayed vast ingenuity in varying the accompaniment to each verse. The most beautiful melody is generally found to become tiresome after a third repetition. The present is sweetly plaintive and well adapted to the words.