(2976 6) 
[Sept. 1, 
REVIEW OF NEW MUSICAL PUBLICATIONS. 
ome es 
AUL and Virginia, a comic Opera, performed 
at the Theatre-Royal, Covent Garden. Com- 
fefed by Mazzinghi and Reeve. 8s. 
Goulding, Phipps, and D’ Almaine. 
The Opera of Paul and Virginia (the 
forty-third work which Mr. Mazzinghi 
has compofed, or been concerned in), 
is calculated to bring additional cred t 
to his name; and Mr. Reeve may juftly 
claim new repute frem his fhare in this 
‘$ngenious and pleafing produétion. The 
overture contains fome very original paf- 
fages, and poffeffes that {pirit and vi- 
gour ef effect generally found in Mr. 
Mazzinghi’s inftrumental pieces. The 
opening duo, ‘* See from ocean rifing,”* 
by the fame mafter, and fung by Mrs. 
H. Jobnftone and Mr. Incledon, is bean- 
tifully imple, and conveys the fentiment 
of the poetry with the greateft truth. 
Mr. Reeve, in the fucceeding trio and 
chorus, ‘* Hafle, my companions,” has 
ftruck out a very charatteriftic. melody ; 
and his quartetto and chorus, ‘© Bold 
intruder, hence away,”” is expreffive and 
fpirited : but with his ‘* When the moon 
fhines o’er the deep,” fung by Mr. Mun- 
den, we are particularly pleafed; it is 
truly original, and perfectly dramatic. 
«6 Ah could my faultering tongue impart,” 
fung by Mrs. H. Johnitone, is engagingly 
fimple, and happily points out Mr. Maz- 
zinghi’s manner ; as alfo does the follow- 
ing duett, ‘* Don Antonio’s come,” the 
ftyle of which is conceived wi hk much fpi- 
ritand propriety. ‘ A bleffing unknown 
to ambition and pride,’ fung by Mr. In- 
cledon, is in Mr. Reeve’s beft caft and 
compofition, and gives the fenfe of the 
words with a chaftenefs fuperior to his or- 
dinary efforts. The ‘ ftorm fcene,” by 
Mr. Mazzinghi, is well imagined ; and the 
finale ** Strains of joy we'll now employ,”* 
compofed by the fame matter, is novel aid 
exhilarating, and concludes the piece with 
much felicity of effect. 
Three Senatas fer the Piano forte, with an Ac- 
~- companiment for a Violin and Bafs. Compojed 
and dedicated to ber Majefly the Emprefs of 
Germany, by K. Kambra. 8s. Longman, 
Clements, and Co. 
Thefe fonatas are written with confide- 
rable fpirit. The dolce paflages are re- 
lieved with boldnefs and brilliancy, and 
the modulation is very fcientificand judi- 
‘cious. The opening movements difplay 
the author's talent in fonata compofition 
to great advantage; and the andante ov 
fecond movements are conceived with 
much fancy and tafte; but with the fub- 
jects of the rondos we cannot profefs our- 
felves to be much pleafed; they are defi- 
cient both in air and vivacity, and conclude 
the pieces with a dull and unimpreffive 
effe&t, greatly detrimental to the general 
character of the work. The ‘* original 
Ruffian air’ is tolerable in its kind, but 
we do not think its ftyle fufficiently novel 
and attractive to add any real value to the 
publication, or to do much credit to Mr. 
Kambra’s choice. 
The Favourite Overture to the new grand Pante- 
mime called the Magic Flute, as performed at 
the new Royal Circus. Compofed and arranged 
for the Piano-forte, with or without the addi- 
tional Keys, by Ff. Sanderfon. 23. Longe 
man, Clementi, and Co. 
This overture comprizes three move- 
ments of very pleafing mufic. The firt 
movement isin common time, allegro ma- 
efiofo, and contains fome bold and well- 
imagined paflages; the fecond, in three- 
fourths moderato andante, isa pleafant imi. 
tation of the Scotch ftyle ; and the third, a 
Polonefe-rondo, is original, and ftriking in 
its fubjeét. The etfect of this pieceat the 
theatre pleafed us much ; and it is here fo 
judicioufly adapted for the piano-forte as 
to afford a lively refemblance of the fenfa- 
tions it prcduces from a band. 
Number I. of Handel’s Overtures, arranged for 
the Piano-forte, with an Accompaniment, ad 
libitum, for a Flute or Violing by F. Maz- 
zinghi. 38. Goulding, Phipps, and D’ Al- 
mAiNe. 
All the former adaptations of Handel's 
overtures for the harpfichord and piano- 
forte were fo injudicioufly executed, thata 
new arrangement of them for thee inftrus 
ments, from the pen of fome real and qua- 
lified mafter, was a defderatum in mufic. 
Weare therefore glad that Mr. Mazzinghi 
has taken upon himfelf fo neceflary a tafk ; 
or, in other words, we are pleafed to fee 
the undertaking in fuch able hands. The 
prefent number contains three overtures ; 
the overture to Solomon, the overture te 
the Ode on St. Cecilia's Day, and the 
overture to Athalia. The /core in thele 
pieces is well culled, and the harmonies 
filled in a mafterly ftyle. The accompa- 
niments, which are chiefly made out from 
the original compofitions, are alfo managed 
with much meaning, and are greatly cal- 
culated to improve the general effect. 
The 
