k' 



J82I.] ■ f 177 1 . 



NEW MUSIC AND THE DRAMA. 



Fourth Fantasie on the Favourite Air, 

 " And has she then Jailed in her Truth," 

 by Hi nry. R.Bisltop,J'or the Piano Forte, 

 by Ferdinand Ries. — 4.«. 



MR. RIES has fminded onthe above 

 melody, au eleijant exercise for 

 the piano-forte piactitiouer. The intro- 

 ductory movement is at once excellent 

 in its subject matter, and decorated 

 with mncli real taste. The ideas are 

 sometimes peculiar, but never pedan- 

 tic ; they have (he merit of exhibiting 

 a well-regulated, (liough a somewhat 

 singular and grotesque fancy ; and sel- 

 dom fail to rise out of eacii other with 

 '"that ease and aptitude which always 

 ' pleases. The fanfa.sie itself is con- 

 ceived after the manner of variations, 

 is elaborate, and finished in its style, 

 and possesses many passages cf new 

 and truly ingenious constrijclion. Un- 

 li!<e most compositions of its kind, it 

 --I'lilom loses sight of' tlie air of which 

 if is tlie ornament and ampliiication ; 

 and nevei, except very transiently. A 

 fantasie, as a species of musical im- 

 promptu,- should always wear the 

 appearance of a sudden and unstudied 

 production; and to this, its distin- 

 guishing characteristic, Mr. R. seems 

 to have been attentive. His thoughts 

 ^spring upon us unexpectedly, and un- 



r sought, (as they should) strike us the 

 more forcibly for not appearing to be 

 premeditated. We are pleased because 

 we are surprised, and surprised by tlie 

 source of our pleasure. 

 Queen Caroline, a New Waltz, Composed 



and Arranged, with T'ariations /or the 



Harp, or Piano Forte, by J. Monro. — 2«. 



Mr. Monro has displayed in this 

 Maltz mucii of his usual taste and 

 fancy. The subject has an air of no- 

 velty: and the conduct of the minor 

 portions of the melody is regular and 

 ingenious. The variations, five in 

 number, form so many pleasing com- 

 ments upon the text; and the general 

 effect will not, we tiiink, fail to recom- 

 mend the jtublicafion to young prac- 

 titioners on the harp and piano-forte. 

 Numbers I, 'i, 3, of Handel's Chorusses, 



Arranged ns Ditetts for two Performers 



on the Piano Forte, by ./. F. Burroires. 



Tlie Numbers of lliis useful work 

 now before us, contain the chorusses 

 " C), the pleasure of tlie plain-." from 

 " Acis an 1 (jlalatea;" " Welcome 

 mighty king," fro:n " S;iul ;" and 

 " Hallelujaii, for the Lord (iod omni- 

 potent reignetii.'" from the " Messiah."' 



MoNTiiLV Mac;. No. ;J.)1. 



By the care with wliich IMr. Bunowes 

 has evidently prepared these clioral 

 compositions for piano-forte duetts, it is 

 apparent to us, that he was aware of 

 the delicacy of the task. The art of 

 arrangement and compression has at- 

 tained considerable excellence; and 

 tJiough its dignity does not agree with 

 that of original composition, when ably 

 exercised, it demonstrates considerable 

 ingenui!}', and no mean degree of sci-' 

 ence. The present pieces exliibit much 

 of that abili;y to which we' allude; 

 and if the futiire lilne nuiubers (for \ve 

 understand the wliole work mIU be, 

 comprised in twelve) prove ii) their 

 matter equally well selected, and mo- 

 delled with as much skill'as the present 

 portions of the publication, the work 

 will form a valuable addition to the li- 

 braries of piauo-forte ju-actil loners. 

 Rondo, precede d'une Introduci ion pour l& 

 Piano Forte, par Fred'. Kalkbrenner. — ^s., 

 This is au elaboraie and well-stildied' 

 prpdiictiQu. The pre flit cry nioveme;nt' 

 IS busy, ri^'h, and highly ifinished. The. 

 modulation,: withi'ut 'being forced or. 

 strained, is far from' coin moii place;- 

 and in/some iiistauces peculiarly h.appy 

 and natural. The Uoiulo is pleasing, 

 and animated in its subject ; and the^ 

 digressive strains return with ease and' 

 felicity to the theme. The passages, 

 especiallj' the leading one, is sometimes 

 ingeniously played upon and turned in 

 the way of imitation and response; 

 and the general cast of the piece is 

 equally honourable to Mr. Kalkbren- 

 ner's talents and theoretic pi oficieucy. 

 Le Pas Seul de Terpischore, a divertimento 

 , for the Piano Fcrie. — 3« 



Tlsis is au easy, pleasant little pro- 

 duction, consisting of an introductory 

 movement in six quavers, pastorale, 

 and an allegretto in two quavers. The 

 real character of the piece is, that it 

 exhibits proof of a fertile fancy, pos- 

 sesses as much science as we can reason- 

 ably expect in compositions of the same 

 familiar and unpresuraing style, and in 

 its aggregate effect, ranks above the 

 generality of the lighter compositions 

 for the piano-forte. 



■Vnmber 1 of Fugitive Pieces, for the. Sun- 



d(ty Practice of Choirs, and Private 



J'urlies, Composed by tV. Smith. — \s. 



The specimen here offered of this 



intended collection of original and 



compiled sacred music, is indicative of 



a |>leasing and useful work. The pre- 



seul Number consists of a compositioa 



y ill 



