1826.] 
( 327 J 
NEW MUSIC. 
°4® There is a Love,’ Cavatina, sung by 
My. Sapio.. F. J. Klose. 2s. J, Willis 
and Co.—This is an extremely elegant 
and. appropriate melody, the accompani- 
ments are unpretending and effective.  Per- 
liaps it Would have been better for the repu- 
tation of the composer if the short middle 
movement in C. had been omitted ; not that 
there is any thing particularly objectionable, 
except the manner of introducing the A flat 
in the third bar; but we can trace some 
plagiarisms from which the other moye- 
ments are free. We recommend this song 
as one of the most pleasing that have ap- 
peared for these three months. ie 
© A two-fold Care disturbs this Breast, 
sung by Mr. Sinclair in the Hebrew Fanily, 
composed by Pio Cianchettini. 2s. 6d.— 
This song, though not destitute of merit, 
is precisely dissimilar in character to the 
last. The air, which in its simple state is 
deficient in melody, is rendered florid and 
highly ornamented to suit the peeuliar style 
of the singer; the accompaniment of a 
clarinet obligato is shewy, and nearly of 
equal prominence with the voice. Mr. 
Cianchettini has shewn some judgment in 
his manner of writing for a performer to 
whom feeling and energy are a dead letter ; 
he has made his air little more than a thread 
on which to string divisions. The passages 
of execution, on which he has principally 
relied, are elegant and graceful, and place 
the singer in a favourable point of view. 
“ The Farewell Song,’ sung by Miss 
Foote in Benyowsky. By M. Kelly. 2s. 
Willis. —“ My Heart is Young.” Do. Do. 
Is. 6d. Do.—These two ballads, like all 
of Michael Kelly’s, are of very simple con- 
struction ; the former is really a very sweet 
air, and is superior in the adaptation to 
most of the. accompaniments of his com- 
positions. The latter, an andante pastorale, 
is wofully common-place: we should sus- 
pect, from the style, it is one of his early 
efforts, which has been restored to light 
from the bottom of a dusty portefeuille after 
many years slumber. 
_“ Nunca de ti me,” Bolero for two voices, 
with accompaniments of Piano-forte and Gui- 
tar, sung by Mrs. Hammond, composed by 
P. Verini. 2s. Willis and Co.—We have 
not, the pleasure of knowing who Mr, P. 
erini is; but he appears to have some 
very odd ideas respecting the length and 
accentuation. of his musical phrases: per- 
haps regular rythm is a branch of the 
pa unknown in the land of his na- 
ty. If we could render our ears callous 
to this defect, we should admire the duet ; 
for the melody is pleasing, and there is a 
_ peculiar character about it—and really any 
thing like character is to be yalued in the 
_ present day, when we are refining away 
_ every thing into a polished insipidity. 
Piano-Forté «ioc }hivos av 
Romance by Mehul, arranged. with, Varia- 
tions for. the Piano=Forte, by C..M..Von 
Weber, 3s. 6d.» Cramer, ,.. Addison, and 
Beale.—The theme which Mr. Weber, has 
chosen, “ d peine au sortir del enfance,”.we 
do not think. particularly adapted to. the 
development of his peculiar style;, but the. 
talent of the composer is of such a nature. 
as completely to throw the homely old pro- 
verb. of the silk purse and the sow’s. ear 
into disrepute ; he can do any thing, and: 
with any sort of materials. .The whole. 
aspect of these variations, is terrific to. the 
eye of any but,a first-rate performer: in 
the last we have chromatic chords, of. four 
notes each, following each ,other,in.semi+ 
quavers; they are seven in number, and 
follow one another in the following order : 
The first, con passione, is an. expressive 
movement with rich harmonies; the se- 
cond, a powerful dashing variation in demi- 
semiquavers for the right hand ; the :third, 
octaves in the bass hand; the fourth, pix 
moderato-brilliant, but with expression ; 
the fifth, presto con fuoco, demisemis «for 
the right hand, in groups of six energetic 
and brilliant. The seventh variation and’ 
coda are in riplets staccato, and remarkable 
for the harmonies being much crowded \in 
both hands. A passage of which Weber 
has made free use. in this variation. has ge- 
nerally been considered as beyond. the: al- 
lowed license. in music, and is. therefore: 
remarkable; the air in the upper part is 
doubled by one of the inner. parts ini the 
bass hand, with some of the intermediate’ 
harmonies filled up. The effect. of »the 
passage is pleasing and original, though it) 
has been, scarcely, considered allowable’ 
heretofore. is 
Rondo Brilliant for. the Piano-Forte, by: 
J. B. Cramer. Op.'72. (4s... Cramer, Ad= 
dison, and Beale.—This rondo, in: the:key- 
of E. with four sharps, requires a finished» 
expression, a dalicate touch, and ‘correct: 
performance, to do it any thing like justices 
With these advantages it is truly a bijou ; 
but we should scarcely recommend ‘it to: 
the generality of amateur’ performers, to’ 
whom, generally speaking, musical: rythm 
is, a terra incognita, and the: marks of ex- 
pression Arabic at least. bos sidthy 
Useful Extracts for the Piano-Forte, con- 
sisting of Scales and Exercises, by J.B. 
Cramer.. 5s.—As an introduction to the 
studii of the same author, and. those of 
Woelfe, Clementi, &c., we consider‘this as 
a most valuable work; the first eleven 
exercises are on the scales limited and ex- 
tended, the last eighteen exclusively for 
the practice of double notes in every form, 
and the remaining nineteen includes prac- 
tices of the shake on skips, contraction, 
the various arpegii, and almost every species 
of passage, all excellent of their kind. 
