260 
lected as they are ably varied, and. 
embellished. 
“ Still I was in Love,” a Ballad, composed 
by C. Evans. 1s. 6d. 
This ballad, so favourably received 
by the public, proves, on inspection, 
worthy its awarded repute. Mr. Evans 
appears to have been particularly atten- 
tive to the accompaniment, in which 
he has greatly succeeded. The bass is 
of the most simple and obvious descrip- 
tion, yet so selected as to promote the 
principal object, by leaving the ear at 
liberty 10 be engrossed by the heanties 
of an affecting melody, aided by the de- 
licate touches of the piana forte. 
“ Away those doubts those silly fears,” a 
Ballad, composed by Charles Della 
Yorre. 1s.6d. 
Of this song we cannot, in candour, 
speak in the highest terms of commen- 
dation. The melody has no proper be- 
ginning, middle, or end; and, of course, 
bears with it no distinct or exclusive 
character. The passages, regarded se- 
parately, are no way out of rule any 
more than they are destitute of attrac- 
tion; but they do not constitute a con- 
geries of related and commutually 
assisting impressions. Ina word, they 
do not in performance, seem all of the 
same family ; and consequently, the ear 
is left without a feeling of that unique 
combination of features, on which the 
originality, and, indeed, the interest of 
all musical effect, so greatly depends. 
* Farewell bright illusions !” a Song, com- 
posed Charlotte Ferrier. 2s. 
Farewell bright illusions, is asong of 
considerable merit. The ideas, though 
not distinguished by their novelty, are 
judiciously chosen and arranged; and, 
of materials pretty well known, some- 
thing not very unlike an original com- 
position has been produced. No little 
attention has been paid to the graces 
and the incidental decorations; nor 
have they been ineffectively introduced. 
The bass is not the best of which the 
melody admitted ; but the propriety of 
the accompaniment forms some com- 
pensation for a defect very excusable 
in a female composer. 
The Twentieth Sonata for the Piano Forte, 
with an Accompaniment for a Flute and 
Violoncello. Composed by F. Ries. 5s. 
This is a sonata of the higher class. 
The movements (three in number) are 
elaborate in their constructicn, and 
brilliant in their effect. 'Uhe first, in 
common time, is very spirited through- 
out; the second, an adagio in three 
quavers, is elegant and tender ; and the 
New Music and Drama. 
[April bk. 
third, a polonaise in three crotchets, is 
novel and animated. To hear them, 
is to feel that the piece is the produc- 
tion of a mind superiorly gifted, and 
that consiaerable as is the effort, still 
greater things may be hereafter expected 
from the same source. 
Number 1 of National Rondos, arranged 
by D. Sartini. 1s. 6d. 
Considering that nothing more was 
aimed at in the production of this little 
piece, than the furnishing an agreeable 
and useful exercise for young practi- 
tioners, we feel disposed to give the 
composer credit for more ability than 
here meets the eye. ‘The passages flow 
with so remarkablean ease and freedom, 
as to indicate that the composition was 
an impromptu, rather than a studied 
production; and that it is to be con- 
sidered as the sportive emanation of 
unexerted talent. 
DRAMA. 
CoveENT GARDEN.—So little of va- 
riety has occurred at either of the patent 
theatres since our last, that this month, 
we have, comparatively, but a small 
field for observation. At Covent Gar- 
den, Montrose and Mother Bunch, have 
so far continued to keep the stage, as 
only to admit of the occasional relief 
afforded by the performance of The 
Exile, The Two Gentlemen of Verona. 
Rob Roy, The School for Scandat, A 
Rowland for an Oliver, The Critic, 
The Libertine, No Song no Supper, and 
a few others pieces, of no particular 
consequence or distinetion, either in 
themselves, or on account of opportuni- 
ties they aflorded for the display of the 
great and various talent they employed. 
The circumstance most worthy our no- 
tice, and the attention of the public, is 
the resignation of Mr. Harris, as ma- 
nager of this theatre, and the supply of 
his place, by Mr. C. Kemble. 
Drury LAng.—At this house, The 
Veteran, The Beggar’s Opera, and The 
Duenna, have furnished the most suc- 
cessful exercise of Miss Ford’s vocal 
powers. Her Rosa, Polly and Clara, 
have served to display to advantage all 
her different pretensions as one of the 
most captivating, if not one of the most 
finished singers of the day. Mr. Ellis- 
ton’s Belcovr in the West Indian ; Mr. 
Barley’s Marplot, in The Busy Body, 
and Mr. Kean’s completely successful 
representation of Sir Pertinaewy Macsy- 
cophant, in The Man of the World, 
have combined their attractions, and 
have drawn to Old Drury many splen- 
did and profitable audiences. 
MEDICAL 
