1824.] 
“ Tove! good night,” composed by - Mr. 
Hawes, Harmonic Institution.’ 
This melody is one of those sweet 
pathetic movements which dwell on the 
memory long. after the impression has 
ceased on the ear. Itis at oncea scientific 
trifle, and a coatrast and relief to the 
grander harmonies which so much _pre- 
vail in this favourite opera. Mr. Hawes 
has added to his former reputation for 
pure taste by the composition of this 
elegant ballad. 
“4 Woodland Life,” composed by J. Wade? 
Esq. Willis and. Co. 
The celebrated polacco, or hunting- 
song, sung by Mr. Braham in the Frey- 
schiitz, is also a very spirited compo- 
sition. Mr. Wade appears to be an 
original and able composer, and fully 
capable of doing justice to an entire 
opera, provided he can procure a dra- 
matic poet worthy of his music. - We 
see no reason why native talent should 
not (if equally encouraged) equal exotic 
talent. But the manager of Covent- 
Garden theatre, it is said, has engaged 
Herr Von Weber to direct the musical 
department of that concern during the 
ensuing season, and a man of the name 
of Planché to write for him. 
“ The plain gold ring.” The Music adapted 
from the subject of the Overture of the 
Freyschiitz. T. Williams. 
This is also an elegant little ballad, 
and the taste Mr. Williams has display- 
ed in adapting the music ‘to the words 
is highly creditable to his judgment. It 
can scarcely fail of becoming a favourite 
with the public. ; 
An Impromptu for the Harp’; in which are 
introduced the admired Melodies “ The 
Moments were sad,” and ‘‘ John Ander- 
son;” by N. C. Bochsa. Goulding and Co. 
The introductory movement of this 
composition is highly spirited, and re-' 
quires a very brilliant finger to do it 
justice. The two variations on “ Oh, 
the montent,” are sufficiently diver- 
sified, yet brilliant, and the connexion 
is also good. Whilst “ John Ander- 
son” is distinguished. by that simplicity 
which characterizes the original air. ° 
The young German musician Litz, 
who was in th country a few months 
back, is at present astonishing the good 
eople of Paris with his performances. 
t is said that he is composing an entire 
opera to. French words! The youth is 
doubtless in possession of very extra- 
ordinary talent for his age, but it is 
scarcely possible that he can have judg- 
ment sufficient for the task. 
Montuty Mac. No, 401, 
New Music and the Drama. 
265 
A Series of National and Popular Airs, with 
Variations, for the Violin: by James 
' Sanderson. 3s. 
These variations, which Mr. Sander- 
son has dedicated to his ingenious and 
tasteful friend Mr. Spagnoletti, form 
evident signs of his mastery on. the in- 
strument for which they are prepared ; 
and if their practice be accompanied 
with the study of Mr. S.’s work on the 
art of managing the bow and finger- 
board, they will not fail to advance the 
execution of the unfinished performer. 
While, as arguing a lack of invention, 
we are sorry to see such an abundance 
of what may be called second-hand pro- 
ductions, it. affords us some gratifica- 
tion to witness the numerous demon- 
strations of skill that come before us, 
in several shapes, of rondos, varia- 
tions, and other arrangements of old, 
and sometiines worn-out melodies. If 
English masters are not gifted with 
originality of idea, they at least ma- 
nifest a praise-worthy assiduity, and no 
small portion of that ingenious art 
which, in literature, is so appropriately 
styled book- making. ° 
“ Oh, my Love’s like the Red Rose,” a 
Popular Air, with Variations’ for the 
Piano-Forte and Flute. Composed . by 
S. F. Rimbault. 2s. 
Mr. Rimbault, in his variations ap- 
plied to this air, has given a pleasing 
loose to his fancy, without covering or 
deforming the character of his original. 
In every bar the notes of the melody 
constitute the pivot on which the pas- 
vage turns ; and the ear is gratified by a 
playful freedom of idea, that, mingling 
with the matter it takes for its basis, 
produces an effect compounded of the 
recollection of the theme, -and the im- 
pression made by the superstructive 
finishing of Mr. R.’s tastefyl imagina- 
tion. ‘dimes 
4 
The Favourite French dir, “In my Cottage 
near a Wood; arranged with New ‘Va- 
riations for the Piano-Forte, by ‘William 
Sheppard. 2s. 
The variations subjoined to this pretty 
little French melody are, in their sim- 
plicity, perfectly analogous to the ma- 
terials on which they are founded. In 
their execution they are progressive, 
and even in their most difficult passages 
the accommodation of the juvenile hand 
has been so far consulted, that per- 
formers who are anxious for proficiency 
of finger, may derive much advantage 
from their practice. 
2M ENGLISH 
