444 New Music and the Drama. 



comhim, and proffers some speculations 

 respecting llie author and composer of 

 *' God save the King," without being 

 dogmatical, or invading the reader's 

 right to judge for himself. We «ill 

 imitate Jiis moderation, and not i7isist 

 upon what we think, that both the 

 words and music of (liis celebrated 

 vocal production were from the pen of 

 Henry Carey, the Charles Dibdin of 

 bis day. The preface touches upon 

 various points connected with the na- 

 ture of the undertaking, and includes 

 a number of judicious remarks ; but it 

 is time that we should speak of the 

 work itself, and the style of its exe- 

 cution. 



Acquainted as we are with the ex- 

 tent and richness of Dr. Kitchiner's 

 musical library, we should say, that, 

 bad the task he imposed upon himself 

 been limited to the mere transcription, 

 or selection, of specimens of national 

 airs, the facility afforded him by the 

 vocal music he professes, would have 

 rendered his undertaking tolerably 

 smooth and easy; but, in many iu- 

 .stances, the harmony is filled up, and 

 the bass improved, but without de- 

 stroying or invading the ancient sim- 

 plicity, or the occasional quaintness, of 

 the compositions. The volume before 

 us consists of one hundred and thirty- 

 six folio pages of fine old melodies ; 

 but, how far they can all be properly 

 called national, since they arc not all on 

 public subjects, nor even English, we 

 w ill leave the doctor to explain. It is, 

 however, no little merit to him, that, on 

 the whole, his choice has been appro- 

 priate and select; and that, regarded 

 collectively, the compositions present a 

 valuable and interesting mass of Bri- 

 tish songs. 

 Scottish Melody, as a Rondo for the 



Piano-Forte, with an Introduction; 



cnmposed by G, Kialbnark. 3s, 



We trace in this production some 

 decisive and striking evidences of 

 superior talent. The introductory 

 movement is animated, and the theme 

 of the rondo (The deuk's dang o'er my 

 daddie,) is treated with taste and skill. 

 Indeed, so much are we pleased with 

 the ability Mr. Kinllmark has exhi- 

 bited in this piece, that we wish he had 

 selected a better subject for the em- 

 ployment of his imagination. He has, 

 however, by his ingenuity, turned into 

 gold the copper he had to re-manulac- 

 ture, and the public are obliged to 

 him. . The general style of the compo- 

 sition is calculated to raise or maintain 



[June 1, 



any composer's credit; but some of the 

 more prominent excellencies claim for 

 their author more than a common de- 

 gree of eulogy, It appears to us, that 

 this is Mr. K.'s natural province of 

 composition, and that he will scarcely 

 have the same chance of the superior 

 success with which he has here acquit- 

 ted himself, in any other sphere of his 

 art. We must not dismiss this article 

 without adding, that, while it will 

 scarcely fail to please all who hear it, 

 its practice cannot but serve the useful 

 purpose of improving the hand of the 

 young performer. 



Select Pieces from Rossini's fovovrile 

 Opera of Otello, as performed at the 

 King's Theatre ; arranged for the 

 Piano-Forte or Harp, with Accompa- 

 niments(ad lib.) for the Flute and Vio- 

 loncello, by M. C. Mortelluri. 3*. 6d. 

 The airs here selected, are the 

 cavatina " Dih ! calma, oh del, net 

 smw," the duett " Vorrei che it tuo 

 pensiero," and the terzetto " Ti parli 

 I'amore." Though, in the general sense 

 of the word, the task of adjusting isnot 

 one of the highest description, when 

 performed in the style in which it is here 

 executed by Mr. Mortellari,itdemands 

 something beyond the critic's common 

 acknowledgment. Not only is the 

 arrangement of these melodies ably 

 conducted, but the consolidation of 

 the accompaniments evinces experi- 

 ence in the art of harmonic combina- 

 tion, and displays the union of sciente 

 and ingenuity. 



Song, by Haydn: " Rejoice, O daughter 

 of Jerusalem.'' — Song, by Haydn: 

 " O sing praises." — " O beautiful 

 mount." — "The Lord will comfort 

 Zivn." — " What beauty appears." — 

 Quartetto, by Haydn : " JLo J my 

 shtpherd is divine." — Quartetto: " He 

 was like a morning star." — Quartetto, 

 by Haydn : " Call to remembrance." — 

 Quartetto : " O how beautiful thy 

 garments." — Duo : " Hear, O thcu 

 shepherd of Israel." Alt at 3s. each. 

 These separate compositions hav- 

 ing been selected from Mr. Gan'- 

 ner's Oratorio of Judah, and ])er- 

 formrd at various musical festivals in 

 the country and fashionable con- 

 certs iu London, the author, for the 

 convenience of the public, has been 

 inducfd to print them separately. W a 

 have already bestowed our eulogy on 

 the original work, and noticed some of 

 these pieces with special cnnmienda- 

 tion. Indeed, we are glad to see them 

 in a separate Ibrm. 



Hymn 



