ment from La Donna del Lago will, we are sure, be found equally attractive. It contains four or five of the most interesting airs of that opera, so far as their nature seemed most calculated for mere instrumental exhibition; but, in this respect, we wonder the elegant female chorus, "Dinibica Donzella," has not been ad The above remarks, although not immediately applying to the article which gave rise to them, will scarcely be viewed in the light of a digression. The subject lies within our jurisdiction; and as the performances at the King's Theatre are not regularly noticed in our Miscellany, we thought ourselves warranted in taking the present opportunity of speak-mitted. This, and some other good ing a word or two in what we conceived to be the proper time and season: but our principal object in this instance has been a sincere and ardent wish for the preservation and the further advancement of a composer's fame, whose genius is justly appreciated in this country, and has no warmer admirers than ourselves. We feel anxious that his arrival in England should be viewed as an epoch by his future biographer: we are convinced that it only depends upon his will and exertions to return from our shores with increased celebrity, and with rewards adequate to ensure independence to his future career. melodies, however, may possibly have This is the sixth of the grand symphonies of Mozart, commencing with an allegro in G minor, followed by an andante, &, in E b, universally admired for its beauty and scientific construction. Mr. Rimbault's arrangement, like all his prior labours of this kind, is completely satisfactory, and by no means intricate. A the Favourite Airs selected from Rossini's celebrated Opera" La Donna del Lago," arranged as a Divertimento for the Piano-forte, with an (ad lib.) Accompaniment for the Flute, and performed on the Apollonicon, by John Purkis. Pr. 3s.-(Hodsoll, High-Holborn.) || This divertimento may be considered as a continuation, under a different name, of the several books of operatic selections published by Mr. P. under the title of Fantasias, and successively founded upon the Ma-matic catalogue of his numerous adapgic Flute, Figaro, Tancredi, Il Barbiere di Siviglia, &c. all of which we have in their turn commented upon in terms of deserved approbation. The present collection and arrange tations of classic orchestral works, on one of the leaves in this book, met our eye, and filled us with surprise at the extent to which this gentleman's industrious perseverance has already brought the collection; while, The waltz probably not; for the subject, at least, is quite familiar to our ears. Be this as it may, the latter, as well as the bolero, are deserving of attention: their style is spirited and tasteful; the waltz has some pleasant divisions, an appropriate minore, and a well-conducted termination. The Pi-execution is not difficult. Select French Romances for the 66 A Serenada for the Flute and Piano-forte, in which is (are) introduced Mozart's favourite Air "La ci darem," and " Cupid's Dream," an original Rondo, composed, and dedicated to Charles Nicholson, Esq. by J. Arthur. Pr. 3s.(Hodsoll.) In the introductory andante, which may be viewed as offering the principal portion of the author's own inditing, we have found nothing to attract particular attention; the move No. 5. of the Italian airs consists of "Una voce poco fà," from the Barbiere di Siviglia; and No. 6. contains the aria " Oh matutini albori," from La Donna del Lago. In the former the slow and quick movements are given in their complete state, with scarcely any alterations or additions, and in a familiar and very satisfactory style of adaptation. The air from "La Donna del Lago," besides a short introduction, not par-ment bears a want of keeping and a ticularly characteristic or striking, has been treated with somewhat more amplification and episodical digression, and forms a very pleasing lesson. The French romance, No. 8. is the well-known and favourite melody "L'Amour et le Temps," with three variations, conceived in an agreeable, fluent, and properly diversified man-ple in construction and treatment, stiffness which lead us to presume that Mr. A.'s experience in piano-forte composition is not of a matured description. The second movement presents Mozart's air, and nothing more, plainly but fairly arranged. The rondo, which has "Cupid's Dream" for motivo, although sim proceeds pleasantly and effectively enough: there are no harmonic combinations beyond those of a common description, but what there is, bears proper connection, and blends into a satisfactory whole. The flute, in this serenada, is indispensable; and this being the case, a greater degree of freedom and intercalatory action between the piano-forte would have been desirable: it sticks very closely. to its companion. An Introduction and Rondo for the Piano-forte, composed, and dedicated to Miss Landon, by John Hopkinson. Pr. 2s. 6d.—(Royal || and the various subsequent contraHarmonic Institution.) puntal colourings required the quaGood taste, and a familiarity with lifications above adverted to, and a good models, are conspicuous fea-zeal for the art to put them into suctures in these two pieces. The in- cessful action. troductory andante, in particular, bears this recommendation: it is writ VOCAL MUSIC. of Song." Part IX. Pr. 6s.— (Gale, Bruton-street.) ten with due feeling, and the distri- || " Vocal Anthology, or the Flowers bution of the harmony evinces both a proper knowledge of theory and a tasteful tact in its practical application. The standard subjects in the rondo cannot be called new ideas, but they are united into a congruous, fluent, and interesting whole, and the various digressions are imagined in a classic manner; some indeed may be termed elegant. The episode in F, p. 5, 1. 1, affords proper relief, the passages in the sixth and seventh pages are well devised, and the coda is in character. ORGAN. "Cum sancto spiritu," Grand Chorus from Mozart's Mass, No. VII. arranged from the Score as a Duet for the Organ or Piano-forte, by J. M'Murdie, Mus. Bac. Oxon, Organist of the Philanthropic Society's Chapel. Pr. 3s.-(Boosey and Co. Holles-street.) A composition so truly sublime, and so ably brought under the limited compass of four hands, must be a treasure to those who have not had an opportunity of enjoying it in its authentie form; and to those who have heard it in full, the adaptation is well calculated to renew the recollection of their former treat. The care, the judgment, and the ability with which Mr. M'Murdie has accomplished his undertaking, are conspicuous throughout the duet, and entitle him to our thanks. The task was not one of an ordinary kind: the fugue The present number brings the "Vocal Anthology" to half its intended career, which we believe has been attended with decided success, and certainly with considerable benefit to the interests of the art, by extending the circulation of many exquisite specimens of classic composition. The contents are as follow: 1. An ancient madrigal by Waelrant, a celebrated harmonist of the renowned Flemish school in the 16th century. 2. A song from The Beggar's Opera, "Would I might be hanged,” in whose place we would willingly, have seen something else. 3. Recitativo and hymn by Himmel, excellent. 4. A song by C. M. von Weber, the author of the " Freyschütz:" full of deep feeling and originality. 5. A quartett," Et incarnatus," from a mass of Haydn's, in the best style of that great master. 6. An original duet by Mr. Cather, from a MS. opera of his composition, calculated to convey a very favourable idea of the whole score, although in the extract the harmonic. treatment, here and there (e. g. p. 39, 1. 1,) does not proceed with the desirable aptitude and smoothness. "Love wakes and weeps," Cleveland's Serenade in the popular Novel of "The Pirate," set to Music, with an Accompaniment EXHIBITION OF THE BRITISH INSTITUTION. for the Piano-forte, by H. J. Ba-" County Guy," the Poetry from nister. Pr. 2s.—(Royal Harmonic Institution.) Mr. B.'s composition does not distinguish itself in any striking degree from many prior attempts to melodize these stanzas, which have met our eye. The introduction is in a very usual style; the beginning of his motivo resembles that of "Life let us cherish," and the words in some instances sit uneasy under the melody. The latter is regular enough, and propriety of harmony, under plain forms however, has been attended to. "Quentin Durward," sung by Mr. V. has also joined the race after the MS. score pronounced to be lost in Sir W. Scott's novel; and he has certainly picked up a paper which may fairly enter into competition with any of those that have hitherto been produced as the result of the general search. There is freshness and considerable originality in the melody; and, generally speaking, the latter is conspicuous for its successful expression of the text, especially in the first stanza. Of this "Ah! description are the words, Imitatory passages, of mere transposition, like that in l. 2, p. 3, have become so common, that, in books on composition, they are designated by the nickname of Rosalies, from an old song under that ti-County Guy," also " But where is tle, which abounds in this contrivance." County Guy," &c. 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, that it is not the best which our artists have formed at the British Institution. Upon a subject so arbitrary as "the wild vicissitudes of taste," we have only to offer opinion against opinion; and we are free to confess, that so far from repining at the pre occasion without the walls of Somerset-House. There are not, it is true, any very predominating pictures 66 no towering genius bursts upon the eye;" but, we repeat, there is abundant proof of that laborious and toilsome study, under the direction and controul of wholesome precept, which is in general a surer presage of the attainment of ultimate and permanent reputation, than experience justifies us in anticipating from the sudden and impetuous bursts of an early and fervid imagination, however brilliant and rapid in its precocious and often delusive flight. Is this the same picture, or a copy from it, that we saw in the last Exhibition at the Royal Academy? It is a work evincing great poetical conception and a fine eye for colouring; one which, we should hardly have thought, would have been permitted to pass from the walls of SomersetHouse to the artist's private gallery. If it be not the original, it is a copy, and a good one too; but an artist of such inventive powers and genuine taste ought not to copy from himself. If it be the same picture, we noticed it in terms of just commendation in our article upon the last year's Ex There are nearly four hundred works in this Exhibition, many of them by distinguished members of the Royal Academy; foremost amongst whom we were rejoiced to find Mr. Owen make his reappearance, and with powers unaffected by his severe and protracted indisposition. His picture, or rather portrait, of Rough Joe, a study from nature, evinces the unimpaired energies of his pencil. It is a study full of coarse and, at the same time, interesting expression; it conveys a great development of energetic character, and is por-hibition at the Royal Academy. trayed with a firmness of pencil and truth of colouring, which, we repeat, attests the full retention of the admired powers of this excellent artist. Iris and her Train.-Henry Howard, R. A. "Gay creatures of the element, That in the colours of the rainbow live, And play in the plighted clouds." The Death of Tita il Matto, a noted Bandit of Val de Corsa-The Bandit of the Appenines-Goatherds in the Campagna of Rome -An Italian Scene-A Contadina and her Children.--C. L. Eastlake. This artist attracted considerable attention in the Royal Academy last 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 so many of the highest requisites of the Appenines in particular is for admiration, as to render eulogium highly characteristic. superfluous. The grouping is sweetly composed; the buoyancy and aërial motion of the figures are in Mr. Howard's best style. Comus, with the Lady in the enchanted Chair.-W. Hilton, R. A. The subject is from Milton's "Co Mr. Eastlake possesses a peculiar and local tone of colouring, evidently the result of a close study of some of the best works of the Italian school; but he ought to take care lest the disappearance of novelty should give it a monotonous effect. |