1624.] 
Poaaete J 
NEW MUSIC AND THE DRAMA, 
HE musicial world at this stagnant 
season is almost always destitute of 
novelty. Most of our first musicians are 
either engaged at the provincial meet- 
ings, or rusticating to recruit their 
nerves for the next campaign. 
Der Freyschiitz has been brought out 
at Covent Garden in a style of great 
excellence, as far as regards the orches- 
tral and scenic effect ; but we were dis- 
appointed in not hearing more of the 
fine vocal passages, particular the Incan- 
tation scene, which we had hoped was 
not aboye the calibre of a winter theatre. 
We were attracted by the great pre- 
parations at one of the minor theatres 
for the production of a musical drama 
a la Weber, with a complete grande 
orchestre, &c. The music is the com- 
position of G. Herbert, alias Rodwell, 
jun., and certainly does a young com- 
pore great credit, though not at present 
eard to advantage; but it cannot be 
placed in the least competition with the 
German opera. 
VOCAL. 
“At Summer Eve,” a Duet for Sopran. 
W. H. Calcott. 2s. Birchall. 
This gentleman, who is a son of the 
late Dr. Calcott, has produced an elegant 
and easy duet: but we are surprised to 
find so little of his father’s style, and so 
close an approximation to Bishop ; there 
are some parts which forcibly remind us 
of “ Blow gentle Gales,” 
“ The Soldier Free.” “* The Earlier Bride.” 
Mrs. C. Gore. 1s. 6d. Goulding. 
These two songs are composed by the 
authoress of the popular air, ““ And ye 
shall walk in silk attire ;”” they possess 
much simplicity and feeling. 
“ Thou art lovely in every Place.” ‘ ‘Here’s 
a Health to thee, Mary.” “ The Voice of 
a Stranger.” G. B. Herber. 1s. 6d. 
Goulding. 
Three pretty ballads sung by Broad- 
hurst and Pearman, at the Lyceum; 
the poetry of the second is very beau- 
tiful, and would have borne a much 
more expressive melody. There is a 
false transition in the third air between 
the) sixteenth and seventeenth bars, 
which rates dreadfully on the ear. 
“ My Solace wherever I go.”  E. Knight. 
Is. 6d. Goulding, 
Would certainly solace no one but the 
composer, except by lulling them to 
sweet slumbers. The accompaniment 
is more strange than beautiful. 
“© The Heart-broken Maid.’ 
ls. 6d... W. Horn 
A. pleasing and expressive ballad on 
the whole. There is a beautiful brace 
of consecutives in page 4, bars five 
and six. 
“ Spirit of Love,’ a Ballad., Sola. 1s. 6d. 
Clementi and Co. ~ 
A very elegant little air. As the 
poetry is not capable of intense expres- 
sion, it is not. to be expected in the 
adaptation; Mr. S. has lost perhaps the 
only opportunity by a false accentuation 
of the word agony. 
HARP. 
Queen of Prussia’s Waltz. Var. 
2s. 6d. Preston and Co. 
The subject of this Waltz admits only 
of brilliant variations, in’ which Mr, B. 
always excels. 
Ji Cy Green. 
Bochsa. 
Triste Raison, Var. for Harp and Piano- 
Forte. Ansell. 3s. Birchall and Co., 
Is unpretending, and exhibits but 
little science. It is however, on the 
whole, rather pleasing, and easy of 
execution, 
FLUTE. 
Les Belles Fleurs, No. —. Bruguiere and 
' Sola. 4s. Chappel. 
It would be strange if two ‘such 
masters, combining their respective ta- 
lents, did not produce some eftect. This 
(though a trifle) is, as might be expect- 
ed, most elegant; the passages’ are 
equally divided between the performers 
with great’ judgment ; both instruments 
lay well under the hands ; of course the 
execution is easy, and the effect beau- 
tiful. 
3me Theme varié avec Introduction, Op. 51. 
C. N. Wiess. 3s. Clementi and Co. 
The flute part lays well for the in- 
strument; and the tema is elegant, but 
the general composition is by no means 
good. 
Der Freyschiitz, for Flute, Solo. By Saust. 
Cocks and Co. 
This is a little work of no preten- 
sions, but lays excellently under the 
hand, and will be useful to amateurs. 
PIANO-FORTE. 
Fourth Grand Concerto. T. Ries. 
Birchall and Co. 
The character of the music is of too 
scientific a nature to become a favourite 
with the general amateur class of play- 
ers; there is a great want of melody in 
the first and last movements, but the 
adagio is peculiarly elegant, and there 
are so many striking passages through- 
out 
Ts. 
