464 
in the piece we noticed last month, and 
‘these, with two chorusses, and some drama- 
tie music from Preciosa, comprize the 
whole of the opera. 
“Come, Love, to me,” the celebrated Piano- 
Forte Romance, sung by Miss Stephens in 
Faustus. Goulding and Co.—This is truly 
the essence of simplicity. The melody may 
be comprized in six notes, and the accom- 
paniment in two chords ; yet in the hands 
-of that sweet warbler it produced a delight- 
ful effect. 
“The Skylark calls,’ sung by Miss 
Tree in the Hebrew Family. T. Attwood. 
Clementi. This is a song of certainly a su- 
perior class. The harmonies and modula- 
tions are rich, and many of them original ; 
and considering that Bishop has set to mu- 
sic words of the same import, and likewise 
with a flute obligato accompaniment, it is 
only surprising that there should be so little 
similarity between them. ‘* When Beauty 
courts,” sung by Mr. Sinclair, in ditto. The 
same general character will apply to this 
song as the last ; that it is a composition of 
a higher order, but not particularly interest- 
ing. The harmonies are rather “ recher- 
chés” than natural. The pronunciation of 
the words in some instances has not been 
attended to, viz. “‘ sympathy,” in the first 
page. “ Tell, pretty cousin,” duet in ditto. 
Very playful and pleasing, with a sufficien- 
cy of science, and well adapted to the 
words. “ Care! fly far.” Song in ditto, 
sung by Miss Cawse. This is certainly 
original, and possesses more peculiarity than 
beauty. 
“ Not a Drum was heard.” Jos. Gar- 
nett. Goulding and Co.— The Soldier’s 
Grave,” or, “ Not a Drum.’ Williams. 
‘Williams. —“ Not a Drum was heard.” 
Barnet. Mayhew and Co,—Of these three 
compositions the last is decidedly the best. 
The composer has entered fully into the 
spirit of the author. The poetry is of too 
sombre a cast to accord with any simple 
air, and the expression too various to suit a 
regular melody. Mr. Barnet, by adopting 
a species of semi-recitative, has been en- 
abled to produce a most powerful effect, 
and has done justice to the beauty of the 
poem. We should doubt the propriety of 
opening the song with a drum accompani- 
ment, however funereal the effect, as it is di- 
rectly opposed to the first sentiment ex- 
pressed by the words. |The composer has 
been particularly fortunate in his expression 
at certain points, viz. “by the struggling 
moonbeams,” —“‘ but he lay like a warrior,’ — 
“and we bitterly thought.”” In the second 
of these passages, Mr Barnet has intro- 
duced D sharp and E flat in the same 
chord. As it has passed through two or 
three editions, this cannot have been a mere 
lapsus. One or two other mistakes are 
of the engraver ; but the whole tenor 
of the song is of too superior a cast to allow 
us to dwell long’ on trifling inaccuracies. 
The other two songs, both of them, are lia- 
Theatrical Review ; and Music. 
[June I, 
ble to the same objection—want of expres- 
sion: the airs are of too common-place a 
nature for the style of the subject. Mr. 
Garnet has preluded his composition with a 
very excellent dead-march, which is un- 
doubtedly a good idea; but the Siciliana 
introduced in the song is utterly incapable 
of energy of feeling. Mr. Williams’s air 
possesses a good deal of merit, though not 
on so classical a model. 
“ The Sentinel.” Romance. J. C. Green. 
Mayhew and Co.—This is a very pleasing 
ballad, much in the style of the French ro- 
mances, and likely, from its simplicity, to 
become a fayourite. 
PIANO-FORTE. 
“ Oh Pescator del Onda,”’ with variations, 
by Czerney. Cocks and Co.—Brilliancy 
and rapidity of finger appear to be the pre- 
vailing features of these variations ; but the 
third, an Adagio, exhibits much science and 
good taste in the modulations. 
The Beauties of Hummel, No. 5. Two 
Rondolettas in ihe form of Waltzes. Cocks 
and Co.—Two very elegant compositions ; 
though the second may, from its length, 
with propriety bear the diminutive, yet it 
requires a superior performer to do justice 
to it, or indeed to execute it at all, from the 
extent of the intervals. 
Introduction and Variations on the Thorn, 
with Flute ad. lib. Accompaniments. T. A. 
Rawlings. _ Goulding.—The thema on 
which this lesson is grounded is so plaintive 
and beautiful, that if the intersticial matter 
be of moderate merit, the éout ensemble can- 
not fail of giving pleasure; not that we 
would by any means imply that Mr. Raw- 
lings’ talent or arrangement was only 
mediocre : far from it: the lesson is alto- 
gether pleasing and agreeable, and is one of 
the author’s best productions. 
“ The Heath Rose,” a Prussian Air, with 
six Variations, by E. Solis. —This tema is 
elegant, and the variations easy and pleas- 
ing; too easy indeed for any but very ju- 
venile performers. They are, none of them, 
marked by any very striking feature -of ori- 
ginality; but there is sufficient variety to 
relieve and render it a pleasing composition. 
Venetian Air, with Variations, for Piano- 
Forte, by T. Valentine. Goulding and Co. 
— This as a very easy lesson, is as pleasing 
as any we have met with: it is about one 
grade superior to the last. The staccato 
variation (which is of a similar construction 
in each) is very preferable. Bar 2, in the 
organ style, and the Polacca finale, are par- 
ticularly good. ; 
VIOLONCELLO. 
A Selection of Scotch and Irish Airs, ar- 
ranged for the Violoncello Solo, by W. H. 
Hadgart. —'These little arrangements are so 
simple that they may be considered as com- 
panions to the Instruction book ; but the 
peculiarities of the instrument are so well 
consulted, and so much expression given to 
the arrangement, that the work, though 
trifling, really merits a favourable notice. 
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