250 
shall be lawful in support of such marriage 
to give evidence, that the persons who 
were actually married by the names speci- 
fied in such publication of banns were so 
married, and such marriage shall be 
deemed good and valid to all intents and 
Purposes, notwithstanding false names, or 
a false name, assumed by both or either of 
the said parties in the publication of such 
banns, or at the time of the solemnization 
of such marriage, 
__ XX. Re-publication of banns necessary, 
if marriage be not solemnized within three 
months. 
XXI. All and every the clauses and 
New Musie and. Drama. 
[ Oct. j 9 
provisions in this Act, touching the publi- 
cation of banns of matrimony, and tonch- 
ing marriages solemnized by such banns, 
shall commence and have effect on and 
after the first day of September 1822, and 
not before. 
XXII. If marriages by licence be not 
solemnized within three months, new 
licences to be obtained. 
XXIII. Not to extend to the royal family. 
XXIV. Not to extend to marriages 
among Quakers or Jews. 
XXV. Act to be read in churches, &c. 
at certain times. 
XXVI. Act to extend only to England. 
NEW MUSIC AND THE DRAMA. 
eae 
Mi manca la Voce,” a Quartelto intro- 
duced inthe favourite Opera of Pietro 
_L Eremita. Composed by Rossini. 4s. 
HIS elaborately-constructed and 
@ happily-variegated quartetto pro- 
cured for itself a very distinguished no- 
tice among the numerous samples of 
excellent composition included in the 
above opera. Notonly has the general 
sentiment of the poetry, but the sense 
of the emphatic words, been scrupu- 
lously and effectively attended to; and 
the construction throughout is such 
that the combined result is highly 
striking and dramatic. As a composi- 
tion, the piece is every where scientific ; 
and, as a scena, is strongly impressive. 
If we have any objection to offer to it 
in its first character,"it is, that it too 
often resorts to octaves; if, in its 
second, that it does not dlways avoid 
an almost unintelligible commixture of 
the opposing expressions of the per- 
sons of the drama. But these defects 
are too rare to justify our dwelling 
uponthem. Besides, they are covered 
by-the number and variety of the feli- 
citous properties which present them- 
selves to the observant auditor. The 
change of movement, at the line, 
‘“Cortei dal suo lato,” and that again at 
the words, ‘“ Fiera guirra mi sento nal 
seno,” evince a clear and active judg- 
ment, while the style in which the mu- 
tation is effected displays as much 
beauty as warmth of imagination. 
The passage with which the latter line 
bursts upon us in unisons and eighths, 
is remarkably. bold and energetic; 
though, we wish they, had not been 
pursued beyond the words a gara ; be- 
cause, as more powerful any particular 
resource, the more sparingly should it 
be employed, lest it should depreciate 
its own effect. In some instances, the 
pouring in the voices of the chorus 
upon those of the principal characters 
is peculiarly effective ; as, for example, 
at the words “ Altie affamie,” in the 
nineteenth page ; after the introduction 
of which, the united parts are worked 
up with great force, and lead the ear to 
a most animated and triumphant con- 
clusion. Looking at the whole of this 
composition, and not even losing sight 
of its most conspicuous faults, we find 
ourselves called upon to allow ita very 
distinguished portion of our praise, 
and to say that Mr. Rossini has exerted 
his powers in its production, and that 
it proves he only need exert them to 
be really great. 
“ And they're a’ Noddin.” The admired 
Ballad introduced in the Opera of 
Montrose. Arranged with Variations 
for the Piano-Forte ; by Domenico 
Corri. 1s. 6d. 
Of this publication, the theme of 
which is compounded of portions of 
two distinct melodies, embellished 
with cadences and graces, we can 
speak in terms far from dishonourable 
to the abilities of Mr. Corri, as a piano- 
forte composer in the light and fami- 
liar style. The passages, for the most 
part, are conceived with ease and 
freedom, without deviating into diffi- 
culties of execution, or presenting to 
that class of practitioners for whose 
use ‘it is obviously intended, with any 
awkward or ineligible positions of the 
hand. As no air has enjoyed agreater 
temporary popularity than “ They’re a 
Noddin,” so no one has more fre- 
quently been turned to the account to 
whichit is here devoted ; but very few 
are the instances in which it has been 
more successfully handled than in the 
present composition. Not denying 
that these variations are by no means 
yt without 
