1824.) 
pianoforte and flute take the variations 
alternately, and are of equal difficulty : 
the introduction is rather heavy, and the 
return to the tonic in the fourth bar of 
the tema should not have taken place 
till the beginning of the fifth. The flute 
bar lays well under the hand. 
German Air with Variations. Sam. Webb. 
2s, Gd. Clementi. 
Introduction and Rondo. B. Blythe. Mus. 
Bac. Oxon. 1s. Goulding. 
Air from Der Firieschiitz, as a Rondo. Mad- 
dison. Is. 6d. Williams. 
We have placed these airs as they 
stand in our estimation. Mr. Webb is 
so far the superior, that it perhaps should 
not have been placed in the group, but 
they are all pleasing. 
Select dirs from the Frieschiitz. -4s.  Bru- 
guier. 45. Goulding. 
Duet from Pietro [ Eremita. 
3s. Chappell. 
Frieschiitz. Burrowes. 4s, 
Clemenii. 
Select Airs from Frieschiitz. Book I. Bur- 
rowes. 4s. Clementi. 
These are all pleasing arrangements, 
and adapted to improve the taste of the 
rising generation. 
Overture to the Frieschiits for Pianoforte, 
Harp, Flute, and Violoncello. By Bochsa. 
This is the most effective arrange- 
ment of the overture we have yet seen. 
The pianoforte is principal, but the ef- 
fects are skilfully divided. The harp is 
less prominent than we are accustomed 
to,see it in Mr. Bochsa’s compositions. 
Favourite dirs from Ricciardo and Zoraide, 
for Harp, Pianoforte, Flute and Violon- 
cello. By N.C. Bochsa. 10s. Gd. Chap- 
pell and Co. 
Very sweetly arranged. 
Characteristic Duet for the Pianoforte, with 
Accompaniment for a Harp, by N. C. Boch- 
sa, in which is introduced “ Charlie is 
my Darling.” 6s. Goulding. 
Mr. Bochsa scarcely seems to have 
known his own mind in this production ; 
he calls the harp an accompaniment ; 
and in the first movement it is a mere 
shadow of one; but he has given the 
theme and one variation to it completely 
obligato. It is altogether a strange 
piece: the first movement is quite in a 
dramatic style, but it wants variety, and 
is too long by one half. 
S. Webb. 
Overture Der 
DRURY-LANE. 
Tardy as this theatre was in commencing, 
this year, its winter operations, the results 
of unusual deliberation appear to have been 
more conspicuous in the parade of splen- 
dour, than in taste or judgment. The ex- 
pensive pageant of Lhe lying Courser, not- 
New Music and the Drama. 
ASI 
withstanding its beautiful scenery and gor- 
geous troop of cavalry, has had but a very 
short, and, to all appearance, unprofitable 
career; and the more than “ thrice-told 
tale,” Der Freischiitz, which was performed 
here, for the first time, on Wednesday the 
10th, though somewhat more meritorious (if 
the term merit ought indeed, at all, to be ap- 
plied to melodramatic things of this sort ata 
national theatre) ; yet, coming in at the lag- 
end, as it were, for the gleaning rather than 
the harvest of wonder-gazing curiosity, it has 
but indifferently atoned for the disappointed 
expectations of the preceding show. Dra- 
matic amphibii of this kind are, in fact, below 
the analysis of criticism ; and, reserving our 
censorship for more classical novelties, if 
any such should happen to be presented for 
our notice, we shall satisfy ourselves, on 
this occasion, with merely obserying, that 
the Drury-lane version of this German 
monstrosity has one pre-eminence over all 
its predecessors,—namely, that it preserves 
more entirely (though not, as professed in 
the advertisements, absolutely so) the ori- 
ginal music,—which constitutes, after all, the 
only genuine charm of the performance, 
Even from this, however, there was a con- 
siderable drawback, in the change of the 
key in which some of the songs were set, 
in order to accommodate them to the yoice 
of Mr. Horn, to whom they were assigned, 
This transposition (as might be expected) 
proved but a Jame expedient. It was im- 
possible for any auditor, who has a spark of 
music in his soul, to be Midas-eared enough 
not to perceive, that the pitch was out of 
unison with the character of the composi- 
tion. It is but justice, also, to the adaptor 
of the piece (Mr. Soane), to say, that, 
though he marred the catastrophe even to 
unintelligible confusion, he contrived to 
throw a degree of human interest into one; 
at least, of the scenes of this goblin extrava- 
ganza. The struggle between the demoniac 
remorse and repentant sympathy of Caspar, 
and the double visitation of the demon 
crossing his way, first, as he is preparing to 
kneel in prayer, and again, as he is attempt- 
ing to depart and join the penitent hymn in 
the sanctuary, are well imagined; and, in 
the hands of a genuine actor, might have 
produced a very powerful effect: but these 
are not conceptions to be entrusted to the 
execution of a mere singer ; and though Mr. 
Horn did more than from him we should’ 
have expected, it was lamentably below 
what the situation required. It was a 
passage for Kean, in the day of his best’ 
energies. 4 
The best accessions to the strength of the’ 
company, yet exhibited, are, Miss Grap- 
DON, from the Edinburgh Theatre, who has 
sung, with considerable eclat. the characters’ 
of Susanna, in “ The Marriage of Figaro,” 
and of Linda,—for so now is called the 
heroine of the goblinism we have been’ 
describing ; we wish we could say, she’ 
has acted them also; —and Mrs. YAres 
3M 2 (formerly 
