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The above remarks, although not ment from La Donna del Lago will, immediately applying to the article we are sure, be found equally attracwhich gave

rise to them, will scarce- tive. It contains four or five of the ly be viewed in the light of a digres- most interesting airs of that opera, sion. The subject lies within our ju- so far as their nature seemed most risdiction; and as the performances calculated for mere instrumental exat the King's Theatre are not regu- hibition; but, in this respect, we wonlarly noticed in our Miscellany, we der the elegant female chorus, “ Dithought ourselves warranted in tak- nibica Donzella,” has not been ading the present opportunity of speak- | mitted. This, and some other good ing a word or two in what we con- melodies, however, may possibly have ceived to be the proper time and been reserved for another book, for season: but our principal object in which there is abundant matter left this instance has been a sincere and in the

opera;

and no one is more fitardent wish for the preservation and ted for the task than Mr. P. He the further advancement of a con- knows, in an eminent degree, how to poser's fame, whose genius is justly preserve the true spirit of the airs, appreciated in this country, and has | how to concentrate their harmony no warmer admirers than ourselves. into a narrower yet perfectly adeWe feel anxious that his arrival in quate compass, and how to intersperse England should be viewed as an short, tasteful, and judiciously conepoch by his future biographer: we ceived digressions founded upon the are convinced that it only depends original subjects. All the operatic upon his will and exertions to return selections which he has furnished from our shores with increased ce- are really valuable. lebrity, and with rewards adequate Mozart's celebrated Grand Symto ensure independence to his future phony, adapted for the Piano

forte, with Accompaniments for a Favourite Airs selected from Ros- Flute, Violin, and Violoncello (ad

sini's celebrated Opera La Don- lib.), by S. F. Rimbault. Pr. 68.;
na del Lago,arranged as a Di- without Accompaniments, 4s.-
vertimento for the Piano-forte, (Hodsoll.)
with an (ad lib.) Accompaniment

This is the sixth of the grand symfor the Flute, and performed on phonies of Mozart, commencing with the Apollonicon, by John Purkis. an allegro in G minor, followed by Pr. 3s.—(Hodsoll, High-Holborn.) an andante, s, in E b, universally ad

This divertimento may be consi- mired for its beauty and scientific condered as a continuation, under a dif- struction. Mr. Rimbault's arrangeferent name, of the several books of ment, like all his prior labours of operatic selections published by Mr. this kind, is completely satisfactory, P. under the title of Fantasias, and and by no means intricate. A thesuccessively founded upon the Ma- matic catalogue of his numerous adapgic Flute, Figaro, Tancredi, Il Bar- tations of classic orchestral works, biere di Siviglia, &c. all of which on one of the leaves in this book, we have in their turn commented up- met our eye, and filled us with suron in terms of deserved approbation.prise at the extent to which this genThe present collection and arrange- || tleman's industrious perseverance has

career.

already brought the collection; while, | The waltz probably not; for the subat the same time, it afforded a strong ject, at least, is quite familiar to our conviction of the success which has ears. Be this as it may, the latter, attended the undertaking.

as well as the bolero, are deserving of Select Italian Airs arranged for the attention: their style is spirited and

Piano-forte, by S. F. Rimbault. tasteful; the waltz has some pleasant Nos. V. and VÍ. Pr. 2s. each.- divisions, an appropriate minore, and (Hodsoll.)

a well-conducted termination. The Select French Romances for the Pi-execution is not difficult.

ano-forte, by the same. No. VIII. A Serenada for the Flute and PiPr. 1s. 60.-(Hodsoll.)

ano-forte, in which is (are) introNo. 5. of the Italian airs consists duced Mozart's favourite AirLa of “ Una voce poco fà,” from the ci darem," and Cupid's Dream," Barbiere di Siviglia; and No. 6. an original Rondo, composed, and contains the aria “ Oh matutini al- dedicated to Charles Nicholson, bori,” from La Donna del Lago. In Esq. by J. Arthur. Pr. 38. the former the slow and quick move- (Hodsoll.) ments are given in their complete state, In the introductory andante, which with scarcely any alterations or ad- may be viewed as offering the prinditions, and in a familiar and very cipal portion of the author's own satisfactory style of adaptation. The inditing, we have found nothing to air from “ La Donna del Lago," be-attract particular attention; the movesides a short introduction, not par-ment bears a want of keeping and a ticularly characteristic or striking, stiffness which lead us to presume that has been treated with somewhat more Mr. A.'s experience in piano-forte amplification and episodical digres- composition is not of a matured desion, and forms a very pleasing lesson. scription. The second movement

The French romance, No. 8. is presents Mozart's air, and nothing the well-known and favourite melody more, plainly but fairly arranged. L'Amour et le Temps," with three The rondo, which has “ Cupid's variations, conceived in an agreeable, Dream" for motivo, although simfluent, and properly diversified man- ple in construction and treatment, ner.

proceeds pleasantly and effectively All these three publications are evi- enough: there are no harmonic comdently written for scholars of moderate binations beyond those of a common attainments, and they are entitled to description, but what there is, bears unqualified recommendation in this proper connection, and blends into a respect, as combining the means of satisfactory whole. The flute, in instructive practice with the attrac- this serenada, is indispensable; and tions of good melody.

this being the case, a greater degree Spanish Bolero and Waltz, compos- of freedom and intercalatory action

ed and arranged for the Piano- between the piano-forte would have forte, by S. F. Rimbault. Pr. 2s. been desirable: it sticks very closely. -(Hodsoll.)

to its companion. The title leaves it in doubt how An Introduction and Rondo for the much of this publication is claimed Piano-forte, composed, and dediby Mr. R. as his own composition. cated to Miss Landon, by John

VOCAL MUSIC.

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Hopkinson. Pr. 2s. 6d.—(Royal || and the various subsequent contra-
Harmonic Institution.)

puntal colourings required the qua-
Good taste, and a familiarity with lifications above adverted to, and a
good models, are conspicuous fea- 1 zeal for the art to put them into suc-
tures in these two pieces. The in- cessful action.
troductory andante, in particular,
bears this recommendation: it is writ-
ten with due feeling, and the distri- “ Vocal Anthology, or the Flowers
bution of the harmony evinces both of Song." Part IX. Pr. 6s.-
a proper knowledge of theory and a (Gale, Bruton-street.)
tasteful tact in its practical applica- The present number brings the
tion. The standard subjects in the “ Vocal Anthology" to half its in-
rondo cannot be called new ideas, I tended career, which we believe has
but they are united into a congruous, | been attended with decided success,
fluent, and interesting whole, and and certainly with considerable be-
the various digressions are imagined nefit to the interests of the art, by
in a classic manner; some indeed may extending the circulation of many ex-
be termed elegant. The episode in quisite specimens of classic compo-
F,

, p.5, 1. 1, affords proper relief,sition. The contents are as follow: the passages in the sixth and seventh 1. An ancient madrigal by Waelpages are well devised, and the courant, a celebrated harmonist of the da is in character.

renowned Flemish school in the 16th

century. ORGAN.

2. A song from The Beggar's Cum sancto spiritu," Grand Cho- | Opera, “Would I might be hanged,".

rus from Mosart's Mass, No.VII. in whose place we would willingly,
arranged from the Score as a Du- have seen something else.
et for the Organ or Piano-forte, 3. Recitativo and hymn by Him-
by J.M'Murdie, Mus. Bac. Oxon, mel, excellent.
Organist of the Philanthropic So- 4. A song by C. M. von Weber,
ciety's Chapel. Pr. 38.—(Boosey the author of the “ Freyschütz:" full
and Co. Holles-street.)

of deep feeling and originality.
A composition so truly sublime, 5. A quartett, “ Et incarnatus,"
and so ably brought under the limit- from a mass of Haydn's, in the best
ed compass of four hands, must be style of that great master.
a treasure to those who have not had 6. An original duet by Mr. Ca-
an opportunity of enjoying it in its ther, from a MS. opera of his com-
authentie form; and to those who have position, calculated to convey a very
heard it in full, the adaptation is well favourable idea of the whole score,
calculated to renew the recollection although in the extract the harmonic
of their former treat. The care, the treatment, here and there (e.g. p. 39,
judgment, and the ability with which 1. 1,) does not proceed with the de-
Mr. M*Murdie has accomplished sirable aptitude and smoothness.
his undertaking, are conspicuous “ Love wakes and weeps," Cleve-
throughout the duet, and entitle him land's Serenade in the popular
to our thanks. The task was not Novel of The Pirate," set to
one of an ordinary kind: the fugue Music, with an Accompaniment

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for the Piano-forte, by H. J. Ba- " County Guy,the Poetry from nister. Pr. 2s. -(Royal Harmo

" Quentin Durward," sung by nic Institution.)

Miss Hammersley at the Royal Mr. B.'s composition does not dis- Concert - Room and Libraries, tinguish itself in any striking degree Margate, composed by Augustus from many prior attempts to melo- Voigt. Pr. 18.-(Hodsoll.) dize these stanzas, which have met Mr. V. has also joined the race our eye. The introduction is in al after the MS. score pronounced to very usual style; the beginning of his be lost in Sir W. Scott's novel; and motivo resembles that of “ Life let us he has certainly picked up a paper cherish," and the words in some in which may fairly enter into competistances sit uneasy under the melody. tion with any of those that have hiThe latter is regular enough, and therto been produced as the result of propriety of harmony, under plain the general search. There is freshforms however, has been attended ness and considerable originality in to. Imitatory passages, of mere the melody; and, generally speaking, transposition, like that in l. 2, p. 3, l the latter is conspicuous for its suchave become so common, that, in cessful expression of the text, esbooks on composition, they are de-pecially in the first stanza. Of this signated by the nickname of Rosa- description are the words, lies, from an old song under that ti- | County Guy," also “ But where is tle, which abounds in this contrivance." County Guy,” &c. .

" Ah!

FINE ARTS.

EXHIBITION OF THE BRITISH INSTITUTION. The Directors of the British In- || sent Exhibition, we think it furnishes stitution have opened the Gallery on the whole a gratifying proof of this year with a good collection of the rapidly progressive advancement the pictures of our own artists, for of our artists in the various walks of whose especial advantage indeed the their profession. It certainly conInstitution was formed. A collec- tains, and particularly among those tion, like the present, composed of furnished by the students, more nusuch a great variety of subjects, and merous and diversified specimens of in styles so different and often con- graphic improvement, than we retrasted, will naturally excite contra-member to have seen on any previous riety of opinions : some have said, occasion without the walls of Somerthat it is not the best which our art- set-House. There are not, it is true, ists have formed at the British Insti- any very predominating pictures-tution. . Upon a subject so arbitrary

"no towering genius bursts upon the as “ the wild vicissitudes of taste," eye;" but, we repeat, there is abundwe have only to offer opinion againstant proof of that laborious and toilopinion; and we are free to confess, some study, under the direction and that so far from repining at the pre- Il controul of wholesome precept, which

taste,"

is in general a surer presage of the mus," and to illustrate the following attainment of ultimate and permanent lines: reputation, than experience justifies

“ One sip of this us in anticipating from the sudden Will bathe the drooping spirits in delight, and impetuous bursts of an early Beyond the bliss of dreams. Be wise and and fervid imagination, however brilliant and rapid in its precocious and

Is this the same picture, or a copy often delusive flight.

from it, that we saw in the last ExThere are nearly four hundred hibition at the Royal Academy? It works in this Exhibition, many of is a work evincing great poetical conthem by distinguished members of the ception and a fine eye for colouring; Royal Academy; foremost amongst one which, we should hardly have whom we were rejoiced to find Mr. thought, would have been permitted Owen make his reappearance, and to pass from the walls of Somersetwith powers unaffected by his severe House to the artist's private gallery. and protracted indisposition. His If it be not the original, it is a copy, picture, or rather portrait, of Rough and a good one too; but an artist of Joe, a study from nature, evinces such inventive powers and genuine the unimpaired energies of his pen- taste ought not to copy from himself. cil. It is a study full of coarse and, If it be the same picture, we noticed at the same time, interesting expres- it in terms of just commendation in sion; it conveys a great development our article upon the last year's Ex- : of energetic character, and is por hibition at the Royal Academy. trayed with a firmness of pencil and The Death of Tita il Matto, a nottruth of colouring, which, we repeat, ed Bandit of Val de Corsa-The attests the full retention of the ad- Bandit of the AppeninesGoatmired powers of this excellent artist. herds in the Campagna of Rome Iris and her Train.--Henry

-An Italian Scene-A Contadina Howard, R.A.

and her Children..-C. L. Eastlake. “ Gay creatures of the element,

This artist attracted considerable That in the colours of the rainbow live, attention in the Royal Academy last And play in the plighted clouds."

year by his views of Roman scenery. We are always delighted with Mr. His pictures in this Exhibition parHoward's poetical pictures; their take somewhat more of individuality brilliancy of tint, softened by such of character, and contain some very gradual transitions of tone, and dis- expressive delineations of local obplaying on the whole such an elabo-jects. The portraits of banditti are rate harmony of colouring, combine bold and original; that of the Bandit 80 many of the highest requisites of the Appenines in particular is for admiration, as to render eulogium highly characteristic. superfluous. The grouping is sweetly Mr. Eastlake possesses a peculiar composed; the buoyancy and aërial and local tone of colouring, evidently motion of the figures are in Mr. the result of a close study of some Howard's best style.

of the best works of the Italian Comus, with the Lady in the en- school; but he ought to take care lesť chanted Chair.-W. Hilton, R. A.

the disappearance of novelty should The subject is from Milton's "Co- give it a monotonous effect.

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