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» REVIEW OF NEW MUSICAL PUBLICATIONS. 
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tt The Exile,” a grand Melo-Dramatic Opera, 
in Three Acts, as performed at the King’s 
Theatre by his Majesty's Servants, late of the 
Theatre-Royal, Covent-Garden, written by 
F. Reynolds, esq. The Music entirely new. 
Composed by F. Mazzinghi, esq. 12s. 
HE music of this opera occupies 
eighty-seven pages, the first twenty- 
two of which are purely melo-dramatic. 
Of the general style of this part of the 
roduction, we can speak favourably; 
it is pleasing and fancitul; and had Mr. 
Mazzinghi prefixed to each movement a 
few words explanatory of the passion and 
scenic business meant to be elucidated 
and enforced, he would have enabled us 
-to judge of its analogy, emphasis, and 
otherdramatic qualities. Respecting the 
melodial part of the work, we have the 
satisfaction of saying, that it highly me- 
“rits our commendation. Some of the 
songs, as “How often will proud me- 
mory Trace?” sung by Mr. Incledon, 
and — “She’s gone, a. Daughter's 
Gone,” sung by Mrs. Dickons, particu- 
Jarly claim our notice, on account of the 
sweetness of their melodies, and the 
strength and justness of their expression. 
ome trivial defects we might mention ; 
such as the’false accent in the first bar 
of ‘How wretched is the Captive’s 
Lot !” and in some places, the adoption 
of a bass’not, perhaps the best that might 
have been chosen: but it would, at least, 
’ be harsh, if not unjust, to withhold al- 
lowance for the haste in which music 
for the stage is generally obliged to be 
produced, especially in cases where, not- 
withstanding that disadvantage, so much 
that is eritorious presents itself to the 
critic’s attention, and where the known 
ability aud science of the composer is so 
adequate, as to compensate incunsider- 
able deficiencies. 
Four Rendos, under the title of the Village 
Rondo, the Peasant’s Rondo, the Cottage Ron- 
do, ard Consent, a Rondo, Each 2s. Gd. 
These Rondos, which are, we under- 
_ stand, the first four of a series of compo- 
sitions of the same species, intended to 
form a volume of pleasiig and familiar 
piano-forte music, form in the ageregate 
_ a favourable specimen of the general fair 
pretensions of the work. We cannot 
allow ourselves tu examine with fastidi- 
Gus scrupulousness, productions of this 
light description, or we might, perhaps, 
point out some passages not perfectly 
consonant with true taste or the eetab- 
+*-Montuty Mag., No, 179, 
lished laws of harmany ; especially in, the 
“Cottage Rondo.” We do not, how- 
ever, mean to detract from the real de- 
serts of these pleasingly imagined little 
pieces, the generaLstyle of which will not 
fail, as we should suppose, to give them 
circulation and popularity amongst juve- 
nile practitioners on the instrument for 
which they are designed. 
“© The Siege of St. Quintin, or Spanish He- 
roism,’’ a Drama,in Three Acts, as performed 
at the Theatre-Royal, Drury-Lane. 8s. 
The music of this opera, (the glee and 
march in which ,are composed by Mr. | 
Bishop, and the other parts by Mr. 
Hook,) though certainly not of a descrip- 
tion to challenge our warmest pralse, 1s 
far fromm being destitute of claims to our 
favourable notice. The overture is spi- 
rited, and not without some striking pas~ 
sages ; the march is bold and full of mi- 
litary effect; and some of the ‘songs are’ 
conceived with much propriety and 
liveliness of fancy. 
‘6 The Banks of the Dee,” harmonized for Four 
Voices, with an Accompaniment for the Piano- 
forte. Composed by Dr. Fobn Clarke, of Cam- 
bridge. 3s. 
“The Banks of the Dee,” possesses 
much of that merit which has served to’ 
distinguish. the greater part of Dr. 
Clarke’s former publications. . In the 
conception of ' the melody we find much 
happiness of fancy, and in the combination 
no small portion of that seience and Judg-; 
ment, fer which we long since given the 
Doctor fulland unqualified credit. 
“© The Dream,” a Glee for. Four Voices, the 
Words. written by Thomas Mocre, esq. The 
Music composed by W. Hawes, gent. of bis 
Majesty's Chapel Roynl. 1s. : 
The parts of this Glee are put together 
with science and contrivance. The point 
taken up at the beginning of the second 
page is well sustained, and several of the 
passages serve to prove, that Mr. Hawes 
Is amusician reaching above mediocrity.» 
Vingticme et Dernier Pot Pourri pour le Piane- 
forte. Composé par D'Steibelt. 5s. 
This is a happily-varied and highly 
pleasing assemblage of movements from’ 
various authors, among the naines of 
whom we find those ef Haydn and Pleyel. 
They succeed each other with an effect’ 
that displays much judgment in the 
choice and avvanvement, and -thac will, 
we doubt not, ensure the favourable opi- 
nion of the generality of piano-forte per- 
formers. 
4D Sonata, 
