450 
In the course of his patriotic address 
he took occasion to enlarge on “ the 
“ benefits resulting to society, from 
New Music and the Drana. 
[Dec. 1, 
banishing the system of making prose- 
lytes in religious matters, under the 
cover of education.” 
NEW MUSIC AND THE DRAMA. 
——a 
The Ninth Number of “ Irish Melodies,” 
words by T. Moore, Esq., accompaniments, 
§c. by H. R. Bishop. Power. 
YFHNOIS number is quite equal to any 
of its predecessors, both in the 
spirit of the poetry and the taste Mr. 
Bishop has displayed in the adaptation. 
* Quick, we live but a second,” is in the 
best anacreontic style. “ Fairest put 
on awhile,” asa Duetto; and “ Sing, 
sing, music was given,” as a trio (for 
two trebles and a bass) are very pleasing 
arrangements for the domestic musical 
circle. Some of the accompaniments 
of these national airs have no great 
claim to originality, though in every in- 
stance Mr. Bishop has shewn his usual 
judgment in the transformation. 
Journal Hebdomedaire, 26 Nos. in 1 Vol. 25s. 
Boosey and Co. 
We consider this work asa little trea- 
sure to our musical friends, both as 
cheap and classical. It contains a se- 
lection of the best French vaudevilles 
and canzonettes, by Ledesma and Pian- 
tadina ; two first-rate composers, whose 
names are unfortunately but little known 
in this country (though we have occa- 
sionally met with a MS, in the higher 
circle of our acquaintance, which has 
been much prized): it also contains a 
number of waltzes and marches, by the 
best German composers. The work 
might perhaps be considered of too light 
a nature, were not that character amply 
redeemed by several airs of Beethoven 
and Wollank, and a magnificent chorale 
by Kuhlaw. 
A Selection of Sacred Music, Nos. 61, 62, 
63, 64. Latrobe. 1s. Gd. each. Birchall 
and Co. 
The musical world are much indebted 
to Messrs. Novello and Latrobe for in- 
troducing to their acquaintance some of 
the finest continental church composers, 
whose names probably we should never 
have known were it not for the works 
before us. Though Mr. L. has proceeded 
as far as the 64th No., we do not per- 
ceive any diminution of his energies. 
The selection of the last four Numbers 
is uniformly good, and contains pieces 
by Haydn, Graun, Durante, Borri, Gaens- 
b&cher, Hasse, and Serini. 
We give the preference to a chorus 
and solos by Gaensbacher, a fugue by 
Graun (English words), and a “ Sum 
in Medio,” by Serini, which is very simi- 
lar in style to Leonardi da Vinci's cele- 
brated air, to which Mr. Bishop is under 
some obligations. 
** Child of the Sun,” scena with a bass voice. 
B. G. Gibsone. Boosey and Clementi. 
In the composition before us the au- 
thor has followed the German model, 
which is all the rage at the present day— 
that of rendering the orchestral accom- 
paniments a prominent feature, There 
is a considerable portion of originality 
in the allegro movement, and the recita- 
tive is very spirited, though the accom- 
paniment of the latter part is rather 
unconnected. But judging of this com- 
position as the work of a young com- 
peser, lt contains sufficient merit to give 
promise of his becoming one of our best 
orchestral composers. 
“ Variations on the Yager Chorus.” Kalk- 
brenner. ds. Clementi and Co. 
Very brilliant and not too difficult ; 
we should give the preference to the 
third and fifth (adagio) variations: the 
short introductory movement which pre- 
cedes the subject is very simple, but 
produces an excellent effect. 
“ Variations on the Yager Chorus.” C. M. 
Weber. 2s. 6d. Goulding. 
These variations are so unlike what 
we have seen of Mr. Weber’s: piano- 
forte compositions, that we should be 
almost inclined from the internal . evi- 
dence to doubt the fact of that gentle- 
man having written them, were it not 
for the respectability of the house. They 
are easier than Kalkbrenner’s, but de- 
cidedly inferior. 
Fantasie for the Pianoforte, in which is intro- 
duced Rossini’s admired Prayer in Zelmira, 
with Flute Accompaniments. Pio Cianchet- 
tini. 4s. Chappell. 
A most beautiful composition. The 
flute (though professedly ad libitum) is 
firmly arranged, and carries on a species 
of conversation with the pianoforte, 
which is well managed. There are some 
very peculiar and fine harmonies in the 
introduction, 
Le Carillon de Village, Piancforte and Flute. 
. Latour. 48. Chappell and Co. 
Very brilliant and not difficult; the 
piano- 
ak Des 
