444 



Ncio Musk and the Drama. 



t-)ironeli Russia and Siberian Turtary, from 

 the 'renitoiies of China to tlio Frozen 

 Sea and Kanttsclialka, performed in the 

 Vears ]8;20-s;i-5!2 and 2.3; by Captain 

 Jolm Dnndas Cochrane, R.N. 8vo. 18s. 



Journal of a Tour in Asia Minor, with 

 Comparative llemarks on the Ancient 

 and Modem Gt-of;raphy of that Country; 

 hy W. Martin Leake, f.u.s. 8vo. 153. 



[June I, 



Narrative of a Tcnr tlirongh Parts of 

 tlio Netherhinils, Holland, Germany, 

 Switzerland, Savoy, and France, in tlie 

 Years IBSil-iiS ; incliidini; a Description of 

 the Rhine V()vaf,'c in llie Middle of Au- 

 tumn, and the Stupendous Scenery of 

 the Alps in the Deplh of Winter; by 

 Charles Tennant, esq. 2 vols. 8vo. It. Ss. 



NEW MUSIC AND THE DRAMA. 



** Lo ! the flutcers appear on the earth," a 

 favnurUe Duiit, «««? with umtersul ap- 

 plause hy Mr. Braham and Bliss Paton, 

 ill the lute Oratorios at the Theatres Royal 

 Drury-Lune and Covent-Garden ; com- 

 posed by Dr. JJusby. 3s. 

 II' the style of this duett partakes of 

 that of tlie oiil sehool, it is of tlie 

 most vivid and mellifluous portion of 

 tijat style. 'I'iic t;iil)jt'ct, while sinfju- 

 larly attractive, is perfectly original, 

 and the two parts are worked into each 

 other with a dejijree of art and contri- 

 vance that evinces a Ihorouj^h acquain- 

 tance with the secrets of scientific and 

 cfleclive comjxisition. The accompani- 

 ments arc not only excellent in them- 

 selves, but happily adapted to the senti- 

 ments of the words as expressed by the 

 melody; and are, indeed, to the voice 

 ])arts wliat the voice parts are to the 

 languafi;e, — their tuneful illustration. 

 With the result of this mixture of the 

 ancient and modern manner, we were 

 jiartictilarly struck, when we heard the 

 composition, and heartily accorded with 

 tlie warm and rapturous applause with 

 which it was received. 



Brilliant Rondo fur the Piano-forte ; com- 

 posed by M. C, fVilson, Op. 24. Ss, 

 The subject of this rondo is profes- 

 sedly an imitation of the concluding 

 movement of Steibelt's "Storm." On 

 rending the title-page, we naturally 

 feared that the piece would prove a 

 servile copy of that excellent and 

 striking composition ; but the first four 

 bars were sufiBcient to convince us that 

 Mr. Wilson had relied more on his own 

 invenlive resources than on the sugges- 

 tions of the production he had selected 

 lor his model. The passages wear 

 strong features of originality, though not 

 unmixed with a resemblance of those 

 of the acknowledged prototype ; and the 

 compound result of the union of the 

 ideas of Steibclt and Wilson is forcible 

 and felicitous. We, however, cannot 

 but feel persuade<l, that if Mr. W. 

 would, in future, depend wholly ti,pou 



the productiveness of his own Imagina- 

 tion, he Would not oidy be si ill more 

 novel, but more free aixl florid, brcauso 

 more at his ease. Though by no means 

 disposed lo censure the modesty of a 

 man of talent, in condescending to imi- 

 tate, though cajiable of selling an exain- 

 I)le, wo had always rather see him rest- 

 ing on the basis of his own independent 

 fancy, than borrowing from sources 

 with whidi he is well able to dispense. 

 Second Scries of the Amateur's Assistant, or 



Elententory Elucidations of the Major and 



Minor Keys, exemplify in /^ tlie Diatonic 



Scales ; by J. U. Stevensoji, In Two Parts. 



2s. 6d. each. 



Though the instruction here given is 

 only that wliieh may be found in so 

 many other didactic musical publica- 

 tions, tin re is a degree of ingenuity in 

 the manner of laying down the rules 

 that, while it parlakes of novelty, sets 

 the objects of tho publication in an 

 extremely clear point of view, and offers 

 the emulous amateur and juvenile pro- 

 fessor an easy mode of acquiring an 

 insight into the harmonic science. The 

 progressive creation and reduction of 

 the sharps and flats, and the relative 

 aflTinities of tho major and minor keys, 

 are explained with an case and address 

 that bespeak experience in the art of 

 tuition ; and tiic explanatory gamuts 

 present a comparison of the several 

 cliffs and their respective powers, which 

 are well calculated to open the student's 

 mind upon that part of tho musical 

 theory; and the practical examples of 

 transposition are so nscful, that not to 

 include them in onr notice of Ihe work, 

 would be an injustice to the author. 

 Tlie celebrated Trio from Rosina, " When 



ihe rosy morn appearing;" arranged with 

 , Variations for the Piano fjrte, by Samuel 



Poole. 2». 



Hie variations Mr. Poole has ap. 

 pended to this justly favourite air, are 

 tasteful and jilcasing. Attending to 

 the accoinmodalion of tlie finger^ he 

 lias also consulted the gratifioation of 



the 



