268 
Catalani, in “Home, Sweet Home,’’ does 
not delight us so much as Miss. M. Tree, 
for example,—though she has powers of 
executidn to which it would be absurdity 
in the latter to aspire: but in songs like 
this, simplicity and sentiment. not power 
and brillianey, are what we require ; and 
we are eyen dissatisfied when the execution 
is more conspicuous than the feeling. In 
the terzetto, “‘ Cruda sorte,” with Mrs. 
Salmon and Mr. Sapio, however, Madame 
Catalani was gloriously effective. Here she 
seemed to feel, at once, the inspiration and 
the triumphs of her art, and manifested 
those graces in which she has no riyal. 
But more splendid and delightful still 
was her “La Placida Campagna,” in 
which she displayed all her characteristic 
excellencies in their fullest brillianecy— 
transition, volume and execution —tasteful 
ornament and discriminative harmony. 
—=z_ a 
NEW MUSIC. 
“ Forget me not when Beauties smile.” Song. 
J. A, Tattet. 2s. Harmonic Institution. — 
The composer of this song is (We sup- 
pose) young in his profession, as we have 
not met with his name on any former 
occasion ; but, we certainly should not be 
led to imagine so from the style of the 
composition now before us. We haye not 
for some time met with a song which ex- 
hibited so much science with such elegance 
of melody. .The accompaniments are, un- 
fortunately, too difficult for juvenile per- 
formers. 
“* Fair little Creature of To- Day.” Ballad. 
D. McCarthy. 1s. 6d. Chappel and Co.— 
This song must be a general favourite—the 
poetry is pretty, the air appropriate, the 
accompaniment elegant, and no where be- 
yond the powers of a moderate performer. 
“Te Soldat  Laboureur.”” Romance. 
Romagnesi. 1s. 6d. Bedford Musical Re- 
pository.— Le Départ du jeune Grec.” 
Garat. 1s. 6d. Do.—** Embarquez-vous.” 
Chansonette. Amandée de Beauplan. 1s. 6d. 
Do.—“ On Pense a Toi.” Romance. Mar- 
guis de Salvo. 1s. 6d. Do.—“ La Legon 
Inutile.”’ Romance. Do.  Do.—This is 
one of the prettiest sets of French melodies, 
both with regard to the airs and manner of 
getting them up, that we have seen. The 
poetry is by the Comte La Garde—the 
Moore of French literature ; and is supe- 
rior to the chansonettes of that country. 
The music is always pleasing, sometimes 
original, and the lithographic engravings 
beautiful. The Ist and 2d are in the 
martial style, and bear some resemblance 
to Saurin’s favourite air; the 3d is particu- 
larly novel and striking ; the change to 
the major, at the end, is excellently ma- 
naged. On Pense a Toi, is very plaintive ; 
the frequent transitions haye a peculiar 
effect. 
“ Let the shrill Trumpet’s Warlike Voice.” 
W. H. Cutler, M.B. 2s. — Lyndsay.—Mr. 
Cutler had published this song some time 
Theatrical Review ; and Music. 
[April I, 
ago in score. It forms part of his aca~ 
demical exercise as Mus. Bac. It cer- 
tainly is a most creditable performance, 
very much in the Handelian style ; and, 
for a bass song, is as effective as any that 
have met our observation. The accompa- 
niments are excellent, but too difficult 
for any but professors. 
Advice on Piano-forte Playing and Singing. 
3s. Longman, Hurst and Co.—Here are 
no pretensions, no puff. The author him- 
self designates it as a humble essay ; and yet, 
we have met with no pamphlet of the same 
size, which contains so many useful obser- 
vations. He has given one studio for the 
piano-forte, of two pages, which, if mastered, 
would of itself constitute a performer of 
no middling abilities. We regret that he 
should have mixed any thing like party 
spirit in a work, otherwise, so excellent ; it 
was very possible to have given Mr. Logier 
his meed of applause, without speaking in 
opprobrious terms of any who are so un- 
fortunate as to differ from him in opinion. 
Musical Encyclopedia, with Plates, by J. F. 
Danneley. 10s. 6d. Preston. —We have no 
hesitation in stating this to be equal, if not 
superior, to any dictionary of the size that 
has appeared in this language on the musical 
science. The author has given a very 
copious collection of the most useful foreign 
scientific terms, and, for the scale of the 
work, it contains an immense mass of in- 
formation. 
PIANO-FORTE. 
Allegri de Bravura. Nos. 5 and 6. C. 
Czerny. 5s. and 8s. Boosey.—These are two, 
or rather three compositions (for the 2d No. 
contains two Allegri) of the highest order, 
both as to difficulty and science. We give 
the preference to the Ist of the sixth No. in 
D, but they are all fine practice for first- 
rate performers. 
Rondoletto Brillante, on a favourite Cava- 
tina introduced in “ The Italian in Algiers.” 
Czerny. 3s. Boosey.—This composer can, 
it seems, write playable music when he 
chooses: this lesson is pleasing, brilliant, 
and not difficult. 
Divertimento on the favourite Sicilian Air 
“ Home, sweet Home,” with Flute Accompani- 
ment. W. Ling. 3s. Preston.—A truly 
excellent lesson ; the introduction is ele- 
gant, the variations are generally character- 
istic, and none of them common-place: it 
is moderately difficult. 
Les Amies. Divertimento for the Piano- 
forte. P. Knaptoa. 3s. Goulding. — A 
shewy, elegant lesson, without much diffi- 
eulty; it is particularly teachable, and 
is likely to be a favourite with the masters. 
Fantasie’ Brillante, introducing the Waltz 
and Jager Chorus. J. Calkin. 3s. Lyndsay. 
. This brilliant lesson is about on the same 
seale of difficulty as the last. The airs are 
well interwoven in the composition, and 
the general effect very pleasing, though not 
original. 
Introduction and Variations on the air 
‘© Benedeta 
