1821,] 
original in one of the best and most 
powerful line engravings of the clay. 
INTELLIGENCE. 
Mr. Matthew Wyatt has finished 
and set up in his gallery the principal 
figures of his monumental group, for 
the inspection of the subscribers and 
their friends, and we recommend the 
lovers of art to pay them a visit. 
The Royal Academy’s exhibition 
has closed since our last Number, with 
75 
the receipt of a thousand pounds more, 
it is said, than any former year. 
Mr. Ckome, an eminent landscape 
painter of Nonyich, has recently paid 
the debt of nature. He was a respecta¬ 
ble artist, a worthy man, and the master 
of the following well-known painters: 
His son, Mr. J. B. Crome; Messrs., 
M. W. Sharpe, J. Starke, Vincent, and 
others who are called by the name ot 
the Norwich School. 
New Music and Drama. 
NEW MUSIC AND THE DRAMA. 
Number I. of a Series of Sonatas for the 
Piano Forte , with an Accompaniment 
for the Violin (ad libitum J . Composed 
by Andrew Romberg. 4s. 
njHHIS sonata (in G major) comprises 
JL three movements, the first of 
which is in common time of four crotch¬ 
ets (Allegro con spirit o), the second 
in triple time of three crotchets, 
(Larghetto), and the third in com¬ 
mon time of two crotchets, (Allegro 
scherzando). The general scope of 
the piece comprehends considerable 
excursion and variety of idea, as well 
in the comparative styles of the differ¬ 
ent movements, as in the passages of 
each, as contrasted with themselves. 
The opening thought of the introduc¬ 
tory matter is bold and nervid, a di¬ 
versity of well-conceived and elegant 
turns, and transient modulations, pre¬ 
sent themselves, as the movement pro¬ 
ceeds, and the ear is very pleasantly 
led to the soft and soothing relief af¬ 
forded by the seasonable change of both 
key and measure, in the Larghetto , 
which is in E flat, major. Tile cur¬ 
rency of the conceptions in this move¬ 
ment is connected, mellifluous, and 
refined : the execution, if not brilliant, 
is expressive ; and every bar may be 
said to carry a meaning with it. The 
theme of the Finale , if not remarkably 
novel, or marked with identical cha¬ 
racter, is lively and agreeable ; and the 
annexed passages are judiciously con¬ 
ceived and incorporated. The violin ac¬ 
companiment is ably arranged through¬ 
out, and more closely and artfully 
blended with its principal than such 
super-additions always are. It is but 
justice to Mr. Romberg, to say, that, 
summing up its various merits, we 
think very highly of his composition, 
and hope its circulation will he such as 
to encourage his extending his under¬ 
taking to many numbers. 
“ Di Piacer mi balza il corf arranged as 
a Rondo for the Piano Forte. 2 s.tid. 
This is the eighth number of a work 
published by Mr. Preston, under the 
title of Dramatic Airs,from English , 
Italian , German , and French Operas 
and for the production and conduct of 
which, he lias engaged a variety of dis¬ 
tinguished masters. The pages before 
us are prepared by Mr. M. P. King, 
and the taste he has displayed in his 
additions to, and decorations of, one of 
the most admired melodies in Rossini’s 
favourite opera of La Gazza Laclra , 
would alone sufficiently prove his qua¬ 
lification for an undertaking like the 
present. To what extent this publica¬ 
tion is intended to be continued, we 
do not know; but the musical public 
will be interested in its prolongation. 
c ‘ Fancy dipped her pen in dew." A Song , 
written by Mr. C. Dibdin, composed by 
Mr. John Whitaker. 2#. 
This ballad, the words of which are 
from Mr. Dibdin’s Metrical Romance 
of “ Young Arthur ,” is in two verses, 
and forms an attractive, if not a parti¬ 
cularly novel composition. The ideas 
are tastefully turned, and the cadences 
are specimens of easy and graceful 
conception. The piano-forte accompa¬ 
niment, and introductory and conclud¬ 
ing symphonies, are worthy of the me¬ 
lody, and do credit to Mr. Whitaker’s 
imagination and judgment. 
Twelve Sonatas for the Piano Forte , with 
an Accompaniment for the Flute or Vio¬ 
lin. Composed by J. Bottomly. 4s. 
In a publication professedly intended 
for the exercise of juvenile practitioners* 
it would scarcely be fair or reasonable 
to look for any thing more than the 
brief emanations of unrestrained fancy, 
and passages, accommodated by their 
simplicity, to the limited capability of 
the infant hand. These recommenda¬ 
tions we find in Mr. Bottoraly’s sona¬ 
tas ; 
