60 



accompanioient we trace little beyond 

 the common-place arpeggio, and the 

 bass is by no means artificially se- 

 lected. The expression, for the most 

 part, is good ; and, in sonfe instances, 

 forcible ; but it is not always syllabi- 

 cally accurate. The long note given 

 to the first syllable of the word tarry, 

 destroys the quantity, and is far from 

 indicating Mr. T. Cooke's knowledge 

 of tlie laws of prosody. 

 Grindnffand Claudine, an Air hij Henry R. 

 Bishop, tcith Variations for the Piano- 

 Forte ; composed by Ferdinand Hies, 

 Member of the Royal Academy of 3]usic 

 in London. Ss, 



Considering how slender a founda- 

 tion Mr. Kies has here selected for the 

 exercise of his expatiating powers, we 

 cannot but admit that he has acquitted 

 himself with considerable success. 

 His variations, unlike the original on 

 ■whioh he has worked, are free, play- 

 ful, attractive, and not devoid of sub- 

 slaiice. As a piano-forte practice, his 

 publication will be found useful as well 

 a.s agreeable, and we recommend it to 

 the attention of juvenile performers. 



"Good Night," a Song. The Music by 

 Augustus Meves. is. 6d. 



" Good Night" is a pleasing and 

 interesting little air. If Ihere are not 

 many passages in it that are striking 

 in themselves, they are, at least, so 

 easy and natural, and so well disposed 

 ill regard of each other, that considera- 

 ble effect results from their succession. 

 It is, indeed, scarcely possible to listen 

 to them without feeling as the com- 

 poser intended we should feel ; and 

 tliis is allowing him no ordinary de- 

 giee of skill. 

 *' O, turn those dear dear eyes away" a 



Song, composed by Joseph de Pinna. 



Is. 6(i. 



The melody of this song, which is 

 accompanied with a part for tl^e 

 piano-forte, is conceived with a degree 

 of taste and originality lliat reflects 

 some credit on Mr. de Pinna's preten- 

 sions to the qualifications of a vocal 

 composer. There is, perhaps, in the 

 accompaniment generally, and in a 

 few of the passages of the air, some- 

 Avliat too much affcctalion of orna- 

 ment; but we do not find in either 

 any thing merelriciously decorative, 

 lior a single symptom of wishing to 

 impose upon the car false for real 

 beauty. The strain, aggregately con- 

 sidered, is natural and expressive, and 



New Music and the Drama, fF^b. 1, 



merits a respectable station among the 



fugitive productions of the day. 



THE DRAMA. 



The general and encouraging eclat 

 BOW attending the representations of 

 our national theatres, renders the task 

 we have imposed upon ourselves, of 

 giving monthly comments on their 

 career, a very agreeable undertaking. 

 At either house, every effort continues 

 to be made to secure the public gratifi- 

 cation and applause ; and, speaking 

 generally, with unabated success. At 

 Drury-Lane, the spirit and vivacity of 

 Madame Vesfris's il/«c/(e«<//,thepatiios 

 and the lively force of Munden's Old 

 Dornton, and Elliston's Henry Dorn- 

 toriy together with Dowton's admira- 

 bly-artful Cantwell, and Braham's 

 and Miss Stephens's Henry ^Sertram 

 and Lucy Bertram, would have well 

 maintained the high reputation of the 

 company, even without the aid of a 

 new tragic play, chiefly supported by 

 the excellent acting of Mrs. Eunnand 

 Mrs, West ; and the production of a 

 comic opera, neither the words nor the 

 music of which, without the vocal 

 powers of Mr. Braham and Miss 

 Stephens, and the comicality of Listen, 

 would have sufficed for its salvation. 

 Novelty, however, is ip itself an inhe- 

 rent charm, of which every author and 

 every composer experiences the be- 

 nefit less or more; and the manager's 

 resources, eked out by the very beau- 

 tiful scenery (especially its dioramic 

 portion) of a well-received pantomime, 

 has to congratulate himself on the 

 repayment of his vigilance and libera- 

 lity, in the high satisfaction, for the 

 most part, his labours have afforded. 

 At C'ovent-Garden, the vigour an«l 

 energy of Young's Brutus, King John, 

 and Rolla; the sweetness of Miss" 

 Paton's vocal exertions in Amazctli ; 

 the delightlul singing of Sinclair in 

 Trumore, and Prince Orlando, and the 

 manifold attractions of " Harlequin 

 and Poor Robin," into which general 

 scale of good things, the considerable 

 and valuable make-weight of Charles 

 Kemble's judicious and animated per- 

 formances remain to be flung', have 

 kept up a routine of magnetic strength 

 suUicient to answer any moderate am- 

 bition of the management; and, as we 

 should imagine, to reasonably supply' 

 the demands of, wo know, a no less 

 heavily taxed treasury than that of the 

 rival theatre. 



NEW 



