a 
‘ms 
‘ ‘ 
tracted by pure nature, and acknowledge 
that ‘* beauty when unadorned is adorned 
the mof.”” 
Tink a Tink, a faveurite Air, introduced in the 
grand Romance of Blue Beard, with variations 
for the piana-forte, with or without ibe addi- 
“tional heys, by G. Nezot. 33. Rolfe. 
Thefe variations 
ecution, and conftreéted with fcience, and 
adue adherence to the theme. The au- 
thor has availed himfelf of all the fcope 
which this fpecies of compofition admits, 
and has furnifhed a ufeful and pleafing 
exercile for young pragtitioners on the 
piano-forte. 
The Angelic form of my Lowe, fung by Mr. In- 
cledon, at tke Theatre Royal, Cowent Caen 
in the entertainment of an Efcape into Prijon, 
eompofed bp W. Reeve. 15. 
Lenginan and Clementi. 
This ballad exhibits very few marks of 
tafte and invention. ‘The melody is in- 
hpid and unconnected, and the bafs, ge- 
netally fpeaking, unjcientifically cholen. 
The eafy and gracetul turn of expreffion 
an the poetry has failed to infpire the 
- compofer with that correfponding ele- 
gance which alone can grat 
cious hearer. 
tify. the judi- 
Now the Ottoman Porte declares War againft 
France. Written, conipojed, and fung hy Mr, 
Dignum. is. jen man and Clementi. 
This plain fimple air, though it boafts 
neither tafte nor modulati ich, js tolerably 
adapted to the words. ~ The laf eight 
bars of the tune are converted into a cho- 
rus, which terms the clofe of each verfe ; 
but we cannot fay that the parts are dif- 
pofed with a corre€inefs perfecily mathe- 
wialtical. 
Eliza, ou Le Triomphe de la roe @ Pafforal 
Ballet, by Monfieur Galle Performed at 
the King’s Theatre, Hay-1 eat Compofed 
fy j. Mazzinghi. 7s, 6d : 
Goulding, Phipps, and D? Almaine. 
This ballet comprifes an overture in 
two movements, and twenty- fix changes 
of melody, independent of the nale. Af- 
ter a fedulous perufal of the whole, we 
have the pleafure to aflert its uncommon 
degree of merit. Tenderncfs of {enti- 
ment, and vivacity of a net are 
happily contratted, and difplay all that 
Ey experienc e in theatrical effest which cha- 
racterizes the dramatic efferts of this 
author. The feveral movements are, 
throughout, foexcellent in their kind that 
it ‘is only by the minutef examination 
that we are enabled to point ont thoie 
Review of New Mufical Publications. 
are progrefiive in ex-— 
[Feb. 
which refleis fuperior honour on the ta- 
lents of Mr. Mazzinghi. No. 2, in com- 
montime, andantino, No. 3, in 2-4, lar- 
ghetto, No. 6, in 2-4, ailegretto, No.7, in 
6-8, larghette, No. 9) IN 3-4, adagio 
cantabile, No. i1, in 3-4, andantino, 
No.14, in common time, larghetto, No, 15> 
in 6-8, larghetto paftorale, No. 23, in 
common time, moderato, No. 26, common 
time, moderato, and the finale, in 2-4, 
{piritofo, form, perhaps, the moft finithed 
part of the ballet. 
Shillern. 
‘Thefe examples commence with four 
notes in F ut fa, fucceeded by five notes 
in E fimi, fix in E fi mi flat, feven in G 
re fol, eight in C fol ut, nine in G re fol, 
ten in D la re, eleven in A mi la, twelve 
in C fol ut, thirteen in F ut fa, fourteen 
in E fi mi, and twenty-three in F ut fa. 
An nong the various forms in which vocal 
deny ors. 
rudiments are offered to the public, the. 
prefent promifes a refpeétable fhare of af- 
fiftance ; and will be found ufeful te 
thofe who thoror ughly ftudy them, 
Fairy Invecation, a Rondo for the piane-fortey 
harp, or German fiute, written by R. Anz 
drews, com Ce Rs F. Rimbault. 4s. 
Rolfe, 
The theme of We rondo is, generally 
{peaking, pleafingly familiar. Some paf- 
fages we are obliged to object to as not 
equally flowing with others ; and the di- 
greflive ftrain in the relative minor, 
though it ferves to relieve the fubje&, is 
3 
Firft Examples on Sing’ ‘Ag y by Mr. Bemetzrie- 
not conftruéted with that eafe and nature: 
which the former parts of the compolition 
would have led us to expect. ; 
Ofcar’s Tomb, with an accompaniment for the 
piano-forte, written by John Ramice, and 
compofed by Mr. Rofs, Organift of St. Pazil’ss 
Aberdeen. -¥8. Longman and Clementi. 
The melody of this pathetic little bal- 
-lad ee ffes much pathos. Had the com- 
pofer employed more modulation, the ef- 
fect, perhaps, would haye been ftill more 
impreilive ; but his general conception of 
the fubject is juft, while the execution of 
his ideas are clear, natural, and unem- 
barrafied. 
The Negro’s Revels, qritten by the elder daugh= 
~ ter of G. S. Carey, compojed by Mr. Am-= 
brofe. Is. Riley. 
We are much pleafed with the prefent 
effort of this improving compoier. The 
melody is cenftruéted with regularity, 
character, and effest. The bate is well 
chofen, and the accompaniment calculated 
to cmbvell:ith and recemmend the air. 
ALPHA? 
