1823.},. 
ently of cach other, we find, in their 
passages, sufficient originality and beauty. 
of idea to entitle them to our approba- 
tion and fair report; we discover in their 
relative propriety, or symmetrical con- 
ne¢tion, evidence of a sound and matured 
judgment. The bold and energetic 
strokes by which the first movement is 
characterized, the flowing tenderness 
that prevails in the second, and the 
vigorous hilarity that marks the third, 
would be strong and decisive indications 
of talent and experience, even without 
considering the general economy and 
conduct of cach movement, regarded in 
its whole; but when, in our estimate of 
the merit of this production, we include 
ali its various pretensions to our praise, 
we feel ourselves called upon.to uphold 
the author’s claims to the patronage of 
the public, while our expectations of his 
future success in this province of compo- 
sition are, we must confess, considerably 
elevated. : 
County Guy, sung by Miss Williams. at 
Vauxhall Gardens, The Music composed 
by T. A. Hughes. 2s, 
Mr. Hughes, who is the composer 
and director of the music at the Cobourg 
Theatre, has avowedly written this me- 
Jody in imitation of the style of Bishop. 
‘The words are taken from Quentin 
Durward, and are worthy of the genius 
displayed in the other parts of that pro- 
duction. With respect to the air, 
though it may be somewhat better than 
it would have been, had not Mr. H. 
emulated the excellencies of so gooda 
school as that of Bishop, still is it far 
from possessing any very superior traits, 
or from exhibiting any brilliant promises 
of future eminence in the vocal depart- 
ment of composition. The principal 
defects are those of langour and insipi- 
dity; than which, none are more hope- 
less, because they are, themselves, evi- 
dences of the absence of those qualities 
of feeling and imagination on which all 
excellence depends. 
Operatic Airs, the subjects taken from the 
most approved Operas, Italian, English, 
&e. &c. and arranged for the Piano- Forte, 
with an Introductory Movement to each, 
by the most eminent Masters. 3s. 
The composers to whose talents and 
science the conduct of this work bas 
chiefly been confided, are Messrs. Cle- 
menti, Kalkbrenner, Latour, Holder, 
Ries, and Rawlings. The air selected 
for the number now before us. (the 
tenth.) is that of “My Native Highland 
Hoine,” by Bishop, and here arranged 
by Holder. While, as an exereise for 
the young practitioner, it will, in its 
New Music and the Druma. ° 
S42 
present state, not prove unacceptable ; 
as a composition addressed to the ear of 
the mere auditer, it is by no means 
without pretensions to approbation. 
Considering the ground on which Mr. 
H. had to erect his. super-structure, he 
has acquitted himself with considerable 
credit, and furnished from it a pleasing 
and useful lesson, 
Select Pieces from Rossini's favourite Opera 
of Otello, as performed at the King’s Thea= 
tre; arranged for the Piuno-Forte or 
Harp, with ad libitum Accompaniments 
for the Flute and Violoncello, by M. Cs 
Mortellari, 38. Gi. 
The airs here ‘selected are *‘ Deh! 
calma oh Ciel nel seno,” “Vorret ehe it 
tuo. pensiaro,” and “ Ti parli Amore.” 
In their adjustment for the piano-forte, 
Mr. Mortellari has displayed no small 
portion of that ingenuity for which be 
has long been distinguished. Taking 
every advantage which the nature of the 
passages allowed for accommodating the 
hand of the practitioner, he has con- 
verted these three melodies into so many 
improving, as well as agreeable, exer- 
cises. When we give Mr. M. more 
than ordinary credit for the address with 
which he has acquitted himself in this 
undertaking, we are not unmindfal.how 
nearly his task approached to what, in 
literature, is termed book-making; but 
if even in that, different degrees of skill 
are exhibited, to the higher: skill) the 
higher praise is due, and that praise. is 
claimed of us by the present publication. 
Numbers I. 11, and £11. of Favourite Airs, 
with Vuriations for the Vivloncello; ar- 
ranged in u pleasing and familiar style, by 
J. Pickhard. 4s. 6d. 
Each of these numbers contains three 
pieces. The first presents us with, 
‘““Inmy cottage,” “ Hope told a flattering 
tale,” and ‘The Lullaby.” Vhe second 
contains * Robin Adair,” “The Blue: 
Bells,” and ‘Ye Banks and Braes ;’ 
and the third consists of ‘* Sud Margine,” 
“ Poor Mary Ann,” and “ Away with 
melancholy.” ‘These certainly are well 
suited to the powers and genius of the 
instrument for which Mr. P. has arranged 
them; and so dexterously has hé cons 
ducted his arrangements, that it would 
be no trivialtreat to hewr them performed 
by a hand as skilful, as, according to re- 
port, is his own. The general cast of 
the variations is that of simplicity; yet 
some of the passages are judiciously or- 
namented ; and Mr. Pickhard’s pupils, 
to whom the work is dedicated, may, by 
their practice, improve both their exe- 
culion anu their taste. 
The 
