]823.] 



tbcy are accompanied are eo judici- 

 ously constructed a8 to furnish an 

 additional recommendatioa to the 

 worlc. 



Three favotirite Airs from Rossini's 

 Opera, " II Barbiere de Seviylia," 

 performed at the King's Theatre ; 

 arranged for the Piano -forte. Ss. 

 To wiioin we sliould give credit 

 for the able manner in -wijicli these 

 melodies are prepared, or arranged, 

 we know not ; but certainly the adap- 

 tation is managed with a degree of 

 skill that entitles the modifier to 

 praise which he ought not to lose. 

 The airs his judgment has selected are 

 " Una voce poco fa," " Piano, pianis- 

 simo, scuza parlar," and the march in 

 C major. The character and powers 

 of the instrument, for the execution on 

 which they are heie intended, have 

 been consulted with such success, tliat 

 tlie etl'ect produced is equal to all that 

 could be expected Iroiu the piano- 

 ' forte, and more than could have been 

 realized by ordinary talents. 

 The favourite Scotch Air, " Kenmure's 

 awa' ;" arranged as a rondo for the 

 Pianoforte, with an Introduction, 

 ■composed bij G. Kialhnark. Qs. 

 " Kenmure's awa" carries witli it 

 strong symptoms of its being any 

 thing but a genuine Scotch melody. 

 The fourth and seventh of the key are 

 too frequently and unluckily intro- 

 duced not to betray an English origin ; 

 not to rank the movement among 

 those which are Imagined on this side 

 of the 'I Weed, and which, because the 

 gixth and fflh are pretty much dwelt 

 upon, are allowed 1o pass for the pro- 

 ductions of North Brit:iiti. We, liow- 

 ever, are willing to admit that the air 

 Mr. Kiallniark has selected is too 

 pleasing to be unworthy of his choice; 

 and to grant that the manner in which 

 it has been treated by iiis taste and 

 talents renders it an inviting and eligi- 

 ble exercise for the instrument for 

 which it is here arranged. 

 Introduction and Rondo for the Piano- 

 forte ; composed by J. Moscheles. 

 ds. 6d. 



Of the thirteen pages of which thi.s 

 publication consists, the first two are 

 occupied by the introductory move- 

 ment ; the passages of which, for the 

 most part, are iigrceably, though not 

 very originally, conceived. With re- 

 spect to its a|)propriatcness to the 

 rondo, <jf which it is the precursor, wo 

 Uau« uuthiui; bvjond tbut of its Leiug 



Xetv Music and the Drama, 



559 



in the same key (E flat major), nor do 

 we discover In the subject of the lattcf 

 the feature of novelty, or much dis^ 

 tinction or force of character. Yet, 

 in justice to Mr. Moscheles, we must 

 admit that, in the conduct of the whole, 

 he has displayed considerable address, 

 and that the general efl'ect is suffi- 

 ciently good to prove, that though, 

 perhaps, he does not, in any striking 

 degree, possess the high faculty of in- 

 vention, his judgment has i>een ma- 

 tured by study and observation, and 

 his ideas reduced to order and regu- 

 laritj'. 

 '• Love and the Rose," a favourite Sung', 



composed hij O. H. Toulmiu. Is. 6d. 



"Love and the Rose," w^hich, as its 

 title informs us, has been sung by Miss 

 'J'attet at private concerts, is not un- 

 pleasing in its melody ; though, by the 

 style of the bass, and the construction 

 of tlie accompaniment, we are too 

 well apprized of Mr. Toulmin's defi- 

 ciency as a scientifie musician. In 

 performance, the passages succeed 

 each other in an easy and natural 

 manner ; and we are justified in cheer- 

 ing Mr. T. with our expectation, that, 

 notwithstanding the defects we have 

 pointed out, his little ballad will I>e- 

 come somewhat of a favourite among 

 the lovers of " simple song." 

 " Go, boy, and weave the sweetest 



fiow'rs," a Glee for three voices, as 



sung at the. Nobility's Concerts: the 



Music bij \V. West. 2s. 



The nmsic of this glee (the words of 

 which are by the ingenious Mr. George 

 Soane,) indicates no inconsiderable 

 degree of fancy. The leading passages 

 are prettily conceived, and the combi- 

 nation, if not uniformly the best that 

 might have been fabricated, is of so 

 re^pectable a description, as to pro- 

 mise future mastery in the harmonic 

 province of con-posilion, and to ensure 

 that eminence up to which talent and 

 industry are ever entitled to look. 

 A Grand Rondo for the Piano-forte; 



composed by Charles Neute. '3s. 6d. 



This composition, candour demands 

 our saying, is more •distinguished by 

 the quaintncss and affected eccentri- 

 city of its passages, than by any real 

 and genuine beauty. It is not without 

 8ci(;nec, but its science runs into the 

 extraneous extravagance of constrain- 

 ed semitones: it is not without no- 

 vcUy, but its novelty has more of 

 Mildness than of grace or attraction. 

 To us it appear! rather (he produotitMi 



uf 



