366 
of their predecessors. The poetry has been 
written or adapted with strict attention to 
the musical rhythmus, and is, really, infe- 
rior to no vocal work we have seen, with 
the exception of some of Moore’s Irish 
airs. One or two of the stanzas we have 
before seen, with a different musical ar- 
rangement, but decidedly inferior to the 
present. From the collection we should 
select ‘‘ Zephyrs of Eve,’ Portuguese ; 
“IT am Twining,” German; ‘ Home of 
Youth,’ German; ‘‘ Thow canst not now 
Awaken,” Portuguese ; and ‘‘ The Nightin- 
gale,” Italian, as possessing most merit ; 
though the last is deficient in originality. 
Of the Mexican air we doubt the authen- 
ticity, though very peculiar in style. There 
isa passage at the bottom of the second 
page of this song, in the accompaniment, 
which would preclude a gentleman from 
attempting it, unless his ears were of a 
most uncommon structure, from the horrid 
chain of consecutive fifths it produces ; and 
as these airs areas likely to suit the powers 
of male as of female vocalists, this species 
of harmony is better avoided. The invyer- 
sion of the ninth, at the bottom of the same 
page, et alicubi, is crude and overstrained. 
Four of the airs are harmonized. In 
* Thou canst not Awaken,” the bass re- 
sponds to the two sopranos ina very pleas- 
ing manner; the other arrangements are 
of the simplest construction. The sym- 
phonies and accompaniments are not so 
scientific as Bishop’s (who, by his search 
for novel effect, often renders them cramp 
and difficult); but are very pleasing, and 
evidently exhibit a master of the instru- 
ment. 
“© The Rose,” Ballad. W. Cutler, Mus. 
Bac., Oxon. 6s. I’. Lindsay.—This little 
air is pleasing, and extremely simple in its 
construction ; the poetry is not capable of 
much expression, and the composer has 
not, certainly, bestowed on it more than its 
due proportion. The accompaniment is 
more adapted to the harp than the piano- 
forte. 
March, from the Opera of Cendrillon with 
Varialions by Hummel. 5s. Cocks and Co.— 
This march forms an excellent tema for 
variations, and the composer has treated it 
* with his accustomed skill. The first varia- 
tion affords an elegant example of the legato 
style. There is a fine triplet passage, prin- 
cipally for the left-hand, in the second. The 
air is sustained by the little finger in the 
third variation with a semi-stoccato accom- 
paniment: this is a favourite movement of 
Kalkbrenner’s ; but we have seldom seen 
it better treated than in the present in- 
stance. The fifth is very peculiar : the left- 
hand is principally employed in playing the 
appogiaturas to the chords of the right; 
this trick, though novel in the effect it pro- 
duces, isnot soin design; for J. Cramer, 
in one of his sonatas, forms a double shake, 
by rapidly iterating the alternate thirds with 
the right and left-hand. The minor, thaugh 
Theatrical Review ; and Music. 
[May I, 
of a simple form, is highly elegant and finely 
wrought up. Four and seven are brilliant ; 
but the last is, undoubtedly, the finest moye- 
ment, in which the author has allowed him- 
self, as a coda, more latitude. Itis in the 
time of one of the antique gigas, and is 
a beautiful specimen of harmony. The 
whole lesson is well diversified, and not 
too long for performance. 
« Non pix Andrai.”’ Variations by Pivis. 
4s, Clementi and Co.—This composition is, 
nearly, on the same scale of difficulty as 
the last. We should particularize the 
fourth variation as a very ingenious piece of 
harmony: the last bar and coda are ex- 
tremely brilliant, and form a very striking 
conclusion to the lesson. 
“ My ain kind Dearie.” Rondo Ecos- 
saise, for the Piano-forte, by Augustus Meves. 
3s. Clementi.—This lesson is pleasing and 
playable ; but it wants the character and 
originality of the two preceding. Whoever 
takes the trouble to make himself master 
of the former, will find, that, with every 
variation, he has conquered some difficulty, 
and gained a step in the science. This is 
what a composition should be—combining 
a pleasing style with real utility; but we 
fear, that when the pupil has mastered Mr. 
Meves’s lesson, he will find (unless very 
juvenile), that though he has made an 
agreeable addition to his stock, he has 
scarcely acquired one newidea. But, not- 
withstanding our opinion, this lesson will 
find twenty purchasers where Hummel has 
one. 
“* La Petite Ecossaise.” Air with Varia- 
lions for the Piano-forte. J. Calkin, 3s. Lind- 
say—This, for a juvenile performer, is one 
of the prettiest compositions we know. 
The air is a fortunate imitation of the 
Scotch style, and the variations elegant, 
very easy, and of a diversified character. 
No. 2, is almost, note for note, from a bass 
solo in one of Rossini’s concerted pieces. 
No. 6, Tempo di Menuetto, is particularly 
good. We may venture to recommend it 
to all pupils, in an early stage of adyance- 
ment. 
** Tl Sallievo.”” Rondo Scherzendo, by 
Cipriani Potter. 2s. 6d. Clementi and Co.— 
Mr. Potter has made use of the well-known 
Scotch Air, “ Bonnie Laddie,” as his sub- 
ject, and has made a most pleasing lesson 
of it. The whole composition is in a light 
pleasing strain, perfectly consistent with the 
Style of the theme, and is well calculated, 
as the composer implies, to “ drive dull 
care away.” 
FLUTE. 
“ Sul Margine d'un Rio.” With Varia- 
tions, asa Duet, for Flute and Piano-forte. 
By C, Saust. 4s. Cocks.—The execution is 
fairly divided, in point of quantity, between 
the two instruments; but, as might be ex- 
pected, the flute passages are the most 
effective. It is altogether a brilliant and 
agreeable duetto. 
Fantasia Brilliante ; introducing ‘* Voila 
la Plaisir, 
