16S 



New Music and the Drama. 



Iiappily, arran^^cd those well-chosen mc- 

 loiiies. ]f jiot remarkably novel in 

 themselves, they are all more than com- 

 monly pleasing in their assembled pas- 

 sages; and, in their present form, will 

 scarcely fail to be well received by 

 piano-forte students. They do, in short, 

 as here presented to us, constitute highly 

 agreeable, as well as eligible, practices 

 for the instrument for which they are 

 intended. 

 " Can I forget ? O, nexer ! never !" An 



ailmired Ballad, written by D. A. 



OWeara, esq, ; composed by J. Davy. 



Is. 6d. 



" Ciui I forget" has been sung with 

 considerable apphiuso at Covc!it Gar- 

 den Theatre, by Mr. Pync, and has been 

 favourably received at a variety of pub- 

 lic concerts. Ilovvevcr respectably we 

 have always thought of Mr. Davy's 

 talents as a vocal composer, the present 

 ctfort by no means diminishes our good 

 opinion; nor can we justly say, that it is 

 calculated to heighten that opinion. 

 The principal defect of the melody is, 

 that it is not very replete with origina- 

 lity (if character, that it rather fails in the 

 requisites of individual and distinguished 

 features; and that, by consequence, 

 thoiigii it exhibits a varicly of engaging 

 touches, it does not leave on the mind of 

 the hearer that marked and unique ex- 

 pression imiiartcd by the strains of this 

 master's ''Just like love," and "The 

 I5ay of Eiscay." 

 The much admired Scottish Air, " Let us 



haste to Kelvin Grove;" arranged willi 



Variations for the Piano-Forte, by J. C. 



Nightingale, Organist ef the Foundling 



Hosiiiial. '2s. 



'I'his air, which, iiowcver attractive iu 

 itself, has been rendered still more so by 

 its introduction by Mr. Eraham, in the 

 opera of "Guy Mnnncring," is here 

 ably treated by Mr. Nightingale. The 

 melody is given with due decorations, 

 and the subjoined mailer is both fanci- 

 ful and pleasing. The variations arc 

 eiglitin number ; and the totality of the 

 composition is of a cast that we should 

 think would recommend it to the notice 

 of piano-forte students. 

 " Sweet Maid, then think on me," a favourite 



Portuguese Air, as sung by Mr. Dwusclt, 



of the Theatre Royal Covent Garden, with 



an Accompaniment for the Piuno-Forte ; 



composed hy M. C. Mortellari, the words 



by G. E. Giffard. Is. 6rf. 



"Sweet maid, then think on me," 

 possesses more than ordinary claims to 

 our attention. The air, (one, perhaps, 

 of tlie best that has been im))or(ed to 

 this country from Portugal,) is aptly cx- 



[March 1, 



jircssive of the words to which it is here 

 applied; and the general deportment of 

 the [)ieee is chaste, graceful, and attrac- 

 tive. Asa trille, it is well worthy both 

 of theatrical performance, and of a place 

 in tjje best private selections, or bills of 

 fare. We have ourselves listened to it 

 with real pleasure in both situations. 

 Va!ce Royale ; composed and arranged l)y J. 

 Monro. 2s. 

 This composition, expressly prepared 

 for tlie piano-forte or harp, consists of a 

 theme in the waltz style, succeeded by 

 five variations. These super-additions 

 to the snbject-matlcr are characterized 

 by an ease, freedom, and taste, which we 

 think will, in no slight degree, prove 

 recommendatory to the publication; 

 and, as an exercise for young practition- 

 ers on the instruments for which it is 

 intended, wc may justly call to it their 

 interested attention. 



THE DRAMA. 



We have much pleasure in announc- 

 ing the uninterrupted attraction of our 

 metr9politan theatres." 



At DnuKY Lane, Kcan's faithful and 

 animated portraitures of Macbeth, Sir 

 Giles Overreach, nnA Richurd the Third, 

 aided by Mrs. Bonn's Lady 3Tacbeth, 

 and Wallack's Macduff' and Earl of 

 Richmond, have continued to aflord un- 

 ceasing gratiHculion ; and Uraham's 

 Harry Bertram, Miss Ste|ihens's Mun- 

 dane, and Madame Veslris's Don Gio- 

 vanni, have equally delighted the admi- 

 rers of operatic performance ; while the 

 repetitions of the tragic playof "Kenil- 

 vvorth," so favourable to the display of 

 ?t'Irs. Bunn's dignified acting, of " the 

 Koad to Ruin," which so forcibly exhi- 

 bits the well-o]>posed excellencies of 

 IVInnden and l^lliston, and of tho 

 " Hypocrite," in which Dowton displays 

 such chaste and unrivalled power, have, 

 together with the ingenious changes iu 

 the spleudid pautomime of "Harlequin 

 and the Flying Chest," the more than 

 describable beauties of the \dioramic 

 scene, and the revival of " Lodoiska," 

 attracted audiences as splendid as nu- 

 merous. To these we may now add 

 the revival of the " Merry AVives of 

 Windsor,'' in which Dowton personifies 

 F alstaff v,ii\i transcerulant ability, while 

 the piece is diversified by the vocal 

 powers of Mr. IJraham, Miss Stephens, 

 and Madame Vostris. 



At Covent Garden, Young's Lear 



and Sir Pertinax Macsycophant, Charles 



Kembh's Edi^ar and Romeo, Fawcett's 



Job Tliornbunj, Sinclair's Prince 



Orlando, 



