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(Memoir of William Sampson, Esq.), demy 18mo and royal 18mo. M'Culloch's Commercial Dictionary, 8vo. Jowett's Sermons, 12mo. Robinson's Christian Privilege, 12mo. Thurgar's Genders of the French Nouns, 12mo. Gordon on Locomotion, plates, 8vo. Marin de la Voye's Mélange, English and French, royal 18mo. 1.-Sterne's Maria. V'. Novello. MUSIC. Song, with an Accompaniment for the Pianoforte, by 2.-Doubt not my Love: a Serenade. Affectionately inscribed to the Baroness Helldorff, by her friends Mary Sabilla and Vincent Novello. 3.-Cantando un di: a Madrigalian Duet for two treble Voices. Composed by Clari, with an Accompaniment for the Pianoforte, by V. Novello. 4-The Organist's Companion: a Series of Voluntaries, chiefly selected and arranged from the Works of Handel, Bach, Graun, Haydn, Mozart, Rink, &c. Also a Collection of Interludes or Short Symphonies. By John Goss, Organist of Chelsea New Church, and Professor of Harmony at the Royal Academy of Music. No. I. Cramer, Addison, and Beale. 5.-Parochial Psalmody: a Collection of Ancient and Modern Tunes, adapted to portions of Words selected from the New Version of Psalms, and to Hymns for particular Occasions. Also a Variety of Favourite Responses to the Commandments, and Single and Double Chants. The whole arranged with an Accompaniment for the Organ or Pianoforte, by John Goss. J. Willis and Co. 1.-Sterne's Maria is an elegant adaptation of an old English air, in time; it is preceded by an accompanied recitative which displays the resources of the accomplished musician. In the accompaniment of the second verse, the harmonies are somewhat varied, as they always ought to be. Our only objection to this song is, that the subject of the first four or five bars is too often repeated. 2.-There is something inviting in the very title of the serenade Doubt not my Love, but we must confess that as far as regards the poetry, this is the best sentence in the composition. The music is delightful: a graceful melody in A major time, with a pleasing triplet accompaniment, interspersed with modulations, which distinguish the music of the class of composers to which Mr. Novello belongs, from the monotonous accompaniments of the common herd of pianoforte writers. In justice to Mrs. Novello, we ought to state that the words of Sterne's Maria, which are from her pen, will be read with pleasure: there is much pathos in them. 3.—The Italian duet ought to become a favourite, for with a very little attention its execution will be found easy enough: every now and then the parts cross each other, and produce a charming effect. It is written in the key of A, and the air is free from that quaintness which some of our conceited moderns fancy, fatally attaches to every thing bearing any relation to a madrigal. This duet derives an additional interest from its being the composition of Clari. Mr. Novello has well performed his task as arranger. 4.We have been much pleased with the first number of The Organist's Companion, and from our knowledge of Mr. Goss's other works, we feel confident it will prove a valuable acquisition to all organists, as well as to all those who have a taste for good music. The present number contains a beautiful" Dona nobis pacem" of Mozart's, in D major; that exquisite imploring song of Handel's, "Lord, remember David !" and a magnificent chorus from Graun's Te Deum. We are indebted to Mr. Goss for introducing a masterly fugue in C, by C. P. Emmanuel Bach: it is a beautiful composition, with a pleasing vein of melody throughout. To humour his fancy, the composer VOL. III. X has made the first four notes of the subject spell his own name. The first note is B flat, and the last B natural, which among the Germans is called H. There are short voluntaries, by Jomelli, Rink, and Goss. In the last line but one of the last page, the printer has placed a sharp against the A instead of the F. The work is well got up in every respect, and does credit to the publishers. 5.-The fact of the Psalmody having reached a second edition, is a pretty good test of its merit; for works of this description, however well they may be executed, are generally confined to a very limited circulation. There are about seventy psalm and hymn tunes, besides responses and chants, comprised in eighty pages 12mo; the words have never been allowed to occupy a distinct page to themselves. Over and above the selection of the favourite tunes, there are several which are original. KING'S THEATRE. Ar this theatre, failure after failure have succeeded each other with marvellous rapidity. Mr. Monck Mason promised to manage after a new fashion, and he has done so with a vengeance-he has given us trashy music and bad singers to execute it. Madame de Meric is the only good singer belonging to the establishment: Albertini, Lasise, Battiste, and Grandolfi, have successively rivalled each other in the most melancholy exhibitions of their inefficiency. The last-mentioned lady made her debut as Romeo, in Vaccai's opera of Giulietta e Romeo. In the first scene she sang dreadfully out of tune, which was welcomed with considerable applause; but, to account for this apparent anomaly we are bound to mention, that Madame Grandolfi has a very pretty face, and fine eyes; that she displayed a tolerable pair of legs à la Vestris, and wore a towering plume of feathers in her hat. Some goodnatured folks probably applauded in consideration of its being her first appearance, but we could not observe the slightest trepidation or hesitation of any kind; on the contrary, she strode towards the foot-lights with an air of the most entire satisfaction. In the second act, the Grandolfi was a little less intolerable; but, in the third, O heavens! we declare upon our critical honour, startling as the declaration may seem, that we never before heard such a cacophony, even within the walls of the Italian Opera House. The fiddlers dared not positively for their very ears, scrape their respective catguts, and consequently the charming Grandolfi was allowed to flounder about unencumbered with any sort of accompaniment. To make the matter worse, the lady had not the assistance of her feathers in this act, and was moreover dressed in deep mourning; the audience, therefore, did not clap their hands, but many of them smiled, and some few made a noise as if they were trying to speak German. However, Romeo was as unconscious as a squalling child of any defect of intonation, and persisted to the last with unabated earnestness of purpose. Signor Vaccai presided in the orchestra, and excited our commiseration. We cannot say much in favour of his music: it is much superior to Pacini, and somewhat better than Donizetti. It will not bear a comparison with Zingarelli's opera of the same name, especially in the last act, which contained the beautiful Ombra adorata, so exquisitely sung by Pasta. The new ballet, L'Anneau Magique, is a very successful one; the scenery is splendid, the dresses picturesque, and the dancing surpassingly fine. Signor Samengo and Madame Brugnoli (his wife, we believe) would make any ballet go down the rapture called forth by their dancing, approaches very nearly, if it is not equal, to that produced by Taglioni. For our own parts, we believe we are in a minority at present on this all-important subject: we still opine that La Taglioni is the only legitimate déesse de la danse. Madame Brugnoli's forte lies in her accomplishing an entire pas on the points of her toes; and her chef d'œuvre consists in effecting a double pirouette on the point of one toe. Signor Samengo's dancing is perfectly astonishing, and is far superior to any thing of the kind we ever saw. C. WHITING, BEAUFORT HOUSE, STRAND. |