1824.] [ 533 ] 



NEW MUSIC AND THE DRAMA. 



BeethoretVs ce1ehr<tUd Grand Sijmfthomj, 

 per/'inned at the Conceits of the Philhar- 

 iHvnic S'lciety ; arranged for the Phmn- 

 forle, uitli Accompaniments for a Hute, 

 Violin, and VioloKccUo, (ad lib.) by S. F. 

 RimbauU. 4s. 



FOR llie task of accommotlatin": fo 

 the piano-forte a composilion simi- 

 lar to the present, we <1o not know a 

 fitter master than Mr. Rinibanlt. The 

 tlistinguishing featnres of this grand 

 production of the first living composer 

 in the same species of composition, are 

 tliose of elegance and pathos, relieved by 

 occasional ener;;y and boldness. Of 

 these varied lights and shades, tlic 

 judgment of Mr. 11. lias taken all the 

 most obvious, and some very ingenious, 

 advantages, while the address with which 

 lie has mingled and disposed tlieaccom- 

 panjing paifs, is equally creditable to 

 Jhs skill and good management. In- 

 deed the effect of the combination here 

 olVected, by the scientific talents of Mr. 

 Rimbault, we have so favourable an 

 idea, from our ocular inspection of the 

 component parts, tliat we cannot but 

 say, we should be pleased with an op- 

 portunity of bearing this symphony, 

 under tlie advantage of its construction, 

 as a chamber-piece. 



L'Oiiragan, Piece Imitative, d'unc execution 

 facile et brillante, pour le Piano-forte; 

 compos^e par J. Ancot. 4s. 



This composition is not only imitative 

 of an operation in nature, but the repre- 

 sentative of a representative of that 

 operation ; it is, in fact, a successful, 

 tiiough not a servile, copy of Sleibclt's 

 " Storm." The key is that of D major ; 

 and the opening movemelU't is a pas- 

 loiale in six <piavers, the subject of 

 wlii(;h is familiar and pleasing. The 

 presto \n common time of two crotchets, 

 into which, at a proper moment, tlic 

 pastorale changes, gives it a liajjpy 

 relief; and the subsccpient return to the 

 original theme is remarka!)ly effective. 

 On the whole, tiiongh we cannot say 

 Mr. Ancot has equajb d the excellence 

 of his mode), we think he has achieved 

 •M much as generally lies within the 

 reach of an imitative composer; and 

 that to those who are partial to spirit 

 and brillianiy of effect, and who avxk 

 the means of improvement in execu- 

 tion, this piucu will (irovc iiighjy ac- 

 ceptable. 



A First Set of Brighton Quadrilles, com- 

 posed and arranged fir the Piuno-fmte or 

 Haip, by E. Sandell. Ss. 



The little work now under our eye 

 consists of five quadrilles and a waltz. 

 Tliey are accompanied with new fi.gures 

 set by Mr. Jackson; and their effect in 

 the ball-room cannot but be creditable 

 to both the gentlemen, from whose con- 

 joined ingenuity the lovers of the grace- 

 ful and exhilarating dance owe their 

 appearance. Though, in a composition 

 of this kind, science is almost out of the 

 question, we are entirely to look for 

 prettiness of conception ; and it must 

 be allowed that in these pieces that 

 prettiness is to be I'ound. 

 '' The Charmed Bark,'' a Song, sung by Mr. 

 Atlcins at the Nobility's Concerts; the' 

 Music composed by J. til, Harris. Ss. 



The poetry of " the Charmed Bark" 

 is selected from the tales of Allan Cun-. 

 ningham, and partly founded on the 

 maritime belief, that the witches of 

 Lapland confine the winds in bottles, 

 and possess the power of disposing of 

 them as they please. The lines tire not 

 the offspring of inspiration ; but the 

 music has' the merit of being suited to 

 their dulness. In a word, if we see 

 nothing, eitiier in the verse or the melo- 

 dy, that calls for our particular censure, 

 neither do we discover any claims upon 

 our commendation. 



Handil's celebrated Air, called " the Harmo- 

 nious Blacksmith ;" arranged as a Duett, 

 by Samuel Poule. 2s. 



The present modificalionof this com- 

 position (a movement selected from the 

 first book of Handel's harpsichord les- 

 sons,) forms one of the Numbers of a 

 regular and extended collection of 

 pieces for two performers on the same 

 |)i:ino-forte. One peculiarity in the 

 movement, as here presented to us, is 

 its transposition. Mr. Poole's reason 

 for changing the key is obvious ; and 

 we arc sorry that the range or compass, 

 requisite for the purpose for which it is 

 now prepared, required a deviation from 

 the original key. To the particular cast 

 of elegance in which the passages are 

 conceived, the scale of A is liot so' 

 analogous as that of E ; and, in our opi- 

 nion, the fingering, as well as the 

 effect of the composition, is deteriorated 

 by the alteration. 



Rimbaull's 



