70 
NEW MUSIC. 
BisHor’s new opera is the lion of the 
month. The report of the composer’s 
friends stated it to be the climax of his 
endeavours, and the circumstance of its being 
written for a new house, new singers, and 
a different orchestra, produced a greater de- 
gree of interest than has been felt for an 
English opera for some time: but alas! 
“ monte parturiente, &c.” 
It is decidedly inferior to ‘‘ Maid Marian,” 
“ Zuma,’’&c. and even poor simple unosten- 
tatious ‘‘ Clari” will live long after the 
“ Dey of Algiers,” with all his parade, has 
sunk into oblivion. We had hoped from 
the promise of the first chorus, to have met 
with a musical treat—it was original and 
highly expressive ; the effect of the passage 
“ Tho’ the sky’s sulphureous glare,”’ &c. 
was truly grand, and the return to a simple 
melody in the major produced a delightful 
effect in the last verse: but, with the excep- 
tions of the slow movement in the finale to 
the second act, and a scolding duet in the 
Italian style, between the two singing 
heroes, our anticipations were utterly dis- 
appointed. We have seen a number of 
musical friends who were present at the 
first representations, not one of whom 
could retain a single passage in his memory : 
as strong a proof as possible of the great 
want of interest in the melodies. Poor 
Miss Stephens seemed quite out of her 
element. 
As the German music is so much thie 
rage of the day, it may not be uninterest- 
ing to our readers to know that the cele- 
brated Hummel, the piano-forte composer, 
has just written an opera, “ Mathilde von 
Guise,” to which he has added an Italian 
translation ; it is much admired on the 
continent, and a few copies have already 
found their way to this kingdon. 
“ What is Prayer ?”’ a Sacred Song. J. W. 
Holder, Mus. Bac. 2s, Goulding & Ce. 
A very pleasing Sunday evening song. 
We could point out one or ,two palpable 
plagiarisms, but as they are beautiful pas- 
sages, and well introduced, Mr. H. deserves 
more credit than blame for them. The 
accompaniment in semiquayers near the 
end of the tune has an awkward effect. 
*€ England. Europe’s Glory.”’ Ballad sung by 
Mr. Braham, T.Jackson. 2s. W. Horne. 
As strong a contrast as possible to the 
last. It is one of those tearing noisy bal- 
lads without one atom of feeling, which 
elicit such thunders of applause from the 
enlightened audiences of Sadler’s Wells and 
the Cobourg. 
“ Oh thou Obdurate.” 
It. H.R. Bishop. 
D Almaine, & Co. 
This is an extremely pleasing air, more 
adapted to a concert or chamber, than to a 
fheatrical performance ; as it is perfectly 
Sung in As you like 
Is. 6d. Goulding, 
Theatrical Review ; and Music. 
[Feb. l, 
destitute of all stage effect. It is in a soft 
expressive style, very similar to the beauti- 
ful air, “ By the simplicity of Venus’ doves.” 
“ Fair was my Love.” Sung in As you like 
It. H.R.Bishop. 1s. 6d. Goulding & Co. 
What could tempt Mr. B. to compose 
this song is beyond our conception. It can- 
not be called comic, though written for 
Fawcett; the melody is common place, 
and any thing but beautiful, and the poetry 
ill adapted to it. It is certainly the worst 
piece in the opera. 
“ Blow, blow thou Winter’s Wind.” Arranged 
by Bishop. 1s. 6d. Goulding & Co. 
“ Under the Greenwood Tree.” Ditto. 
We name these songs merely in order to 
notice Mr. B.’s very excellent arrangement 
of the accompaniments, for the airs are too 
well known and too much admired to re- 
quire any additional praise from us. 
“Rest, Lady, rest.”” Duet in Hafed the Ghe- 
ber. C. F. Horn. 2s. 6d. Wm. Horn. 
A very pleasing little notturno for two 
treble voices, of the simplest construction. 
The opening symphony is very characteris- 
tic. We think it will become a favorite. 
* To watch young Spring’s return.” Ballad» 
H, J. Jackson. 1s. 6d. W. Horn. 
“* There is a love.”’ Vocal Rondo. 
Greene. 18. 6d. W. Horn. 
The first is a very elegant melody, and 
reminds us (perhaps a little too strongly) of 
“ Softly sleep, my baby boy.”” It professes 
to be sung by Miss Paton, not we believe 
on the stage. The idea of the second is 
taken from “ My harp and lute.”” Accord- 
ing to the best of our judgment it is not 
Mr. G.’s happiest effort. 
J.C. 
PIANO-FORTE, 
A Farewell Concerto as performed at his last 
Concert, by Ford Ries, 22s. 6d. Boosey. 
We do not think the title of this pro- 
duction very appropriate. We have seldom 
seen a piece of music on this scale of so 
much lightness and brilliancy. The rondo, in 
particular, breathes the very soul of gaiety, 
and certainly gives as little idea as possible 
of the pangs ofa last adieu. The first and 
last movements are in A., and the larghetto 
in D. ; it is a most delightful composition, 
but we regret that the great price will prevent 
its general circulation. Would it not be 
worth Messrs. Booseys’ while to print the 
rondo, separate,—or with the minor intro- 
duction only ? it must pay them well. 
The Emperor Alexander's favourite Quadrille, 
with variations. Gelinets. 3s. Goulding 
and Co. 
This composition is rather too long and 
uninteresting for a concert piece consisting 
of ten variations and a coda ; but as a lesson 
for practice it is particularly well adapted. 
The 
