New 'Mu& 
both invites practice and promotes fa¬ 
cility of execution. 
The Singing Lesson , Do, Rff, Mi, Fa, 
“ With an air so sweet invitingCom¬ 
posed by Fioravanti. 2 s. Qd. 
This composition, bearing the form 
of a duett, is founded on an Italian 
melody. The words, as here given, 
are partly Italian and partly English ; 
and the new arrangement is by Mr. 
Moss. It opens with a dialogue be¬ 
tween a young lady and her singing 
master; and proceeds in alternate 
strains, till they unite their voices, a 
la duett. The air itself is very pleasing, 
and a degree of chaste and simple hu¬ 
mour pervades the pages, that imparts 
to the piece inuch attraction, and will, 
we should judge, scarcely fail of re¬ 
commending it among vocal practi¬ 
tioners. 
Ok i A is love,” a favourite Duett. Com¬ 
posed by M. P. Corri. Is. 6d. 
Considered merely as an air, this 
little composition is not without its at¬ 
tractions ; but regarded as a duett, its 
construction is slight and inartificial. 
The melody moves with ease and 
smoothness, and the accompaniment is 
arranged with address; but the under 
voice-part betray;; a want of skill in 
harmonic combination. This, however, 
is a fault more obvious to musicians 
than general auditors ; and with com¬ 
mon ears, will not much detract from 
what real beauty the piece possesses. 
j Hart's Fourth Set of Quadrilles. Com¬ 
posed, arranged , and dedicated to 
George the Fourth , by Joseph Hart , 4a\ 
The present number of this little 
work comprises five quadrilles, and a 
movement entitled ' L George the 
Fourth’s Coronation Waltz.” The for¬ 
mer exhibit much of the ease and pret¬ 
tiness expected in light and brief com¬ 
positions, and are calculated to animate 
the spirits and quicken the activity of 
the mazy-moving feet. The waltz , in 
which is introduced u God save the 
King,” if not very new, or striking, 
as agreeably conceived, and while if ope¬ 
rates as a make-weight, concludes the 
collection with a good effect. 
Mio Alma, Farewellan admired Air. 
Composed by Mr. J. Fmdin, arranged 
as a divertimento for the Piano Forte, 
by Mr. George Perry, of Norwich. 3s. 
Mr. Emdin has introduced his ar¬ 
rangement of this deservedly-popular 
melody, with a movement in the minor 
(six eighths, andante) in which, if no¬ 
velty is scarce, some taste and a re¬ 
spectable degree of science are display¬ 
ed. By the new modification of the 
Monthly Mag.No, 362. 
ve and Urania . 
air on which he has exercised his in¬ 
genuity, lie has furnished a treat for the 
ear, and an improving lesson for the 
finger. His treatment of his theme is in 
the style of variations; and it is no slight 
praise of his effort, to say that he has 
diversified without quitting his subject 
matter. In its general effect, this pub¬ 
lication is much above mediocrity, and 
will prove an acceptable acquisition to 
piano-forte students. 
“ My Boat is on the Shore,” written and 
addressed to Mr. Thomas Moore, by 
Lord Byron. The Music by Henry It. 
Bishop. Is. 6d. 
Neither of the music, nor words of 
this song, can we speak in the loftiest 
terms of commendation. Had Lord 
Byron never produced any thing supe¬ 
rior to this rliymic address, the trans¬ 
lator of Anacreon would have little 
reason to be proud of his eulogist; and 
did Mr. Bishop’s reputation as a vocal 
composer depend on such music as he 
has bestowed on the lines before us, it 
would not be very exalted. Idle noble 
poet stoops from Pindus to the low¬ 
lands of affected prose; and the inge¬ 
nious musician has had tile inverted 
ambition to sink from his native height, 
to the level of his self-humbled author. 
“ Oh, blame me not,” a Ballad adapted to 
a Favourite Melody, by Mozart, with a 
new Accompaniment and Symphonies 9 
by C. N. Smith. ls.<5d. 
Tills little ballad, comprised in two 
verses, is simple and delicate in its me¬ 
lody ; and Mr. Smith’s piano-forte ac¬ 
companiment is tasteful and appropri¬ 
ate. The words, though without pre¬ 
tensions to our highest praise, are un¬ 
affectedly moral, chastely chearful, and 
not destituted' the spirit of poetry. 
On the whole 4i Oh , blame me notf 1 is 
so much more than miblameable , as to 
promise to be among the favourite vo¬ 
cal tribes of the day. 
THE DRAMA. 
Covent Garden. The magnificent 
liberality with which this establishment 
is conducted, has produced a degree of 
success which cannot fail to iuvigorate 
its future exertions. The charming 
music that illustrate the scenes of The 
Two Gentlemen of Verona , the splen¬ 
dour of the pageantry that adorns and 
brightens the revival of The Exile; the 
passionate and forcible colouring given 
by Mr. Macready to The Slave , and 
the pleasant and humourous after-piece 
of The Two Pages of Frederick the 
Great , (taken from Berquin’s Ami des 
Enfans ) to whieh list of attraction* 
may be added the vocal excellences of 
4 A Miss 
