1 Whatever opinion the Continent may entertain of the musical taste of the English public in general, Mr. Rossini may be assured, that the bulk of the audience in the King's Theatre consists of persons capable of forming a most correct judg ment in musical matters, little swayed by transient musical fashions, strict ly impartial, and often fastidious critics. These audiences, he ought to consider, are familiar with every thing classic in music: Mozart, Haydn, Beethoven have for years constituted their almost daily musical fare; and of Rossini they have of late had such abundance, that the least repetition, plagiarism, or reminiscence will not escape unnoticed. Commonplace ideas of the Italian school, hackneyed terminations, cannot be expected to create sensation at the King's Theatre. 2 in it which strongly reminded us of Beethoven's profound strains. The allegro is Rossini all over, and over and over again; for it is full of his mannerisms, and presents many reminiscences from his former works. The latter, we regret to say, is a fea ture which every successive production of this gentleman exhibits with greater force and frequency, and =which has tended to diminish the number of his votaries, and to lessen in some degree the enthusiasm still fondly harboured by those whom his previous works had filled with delight. The author is at this moment in the midst of us: he has been called from the scene of his earlier triumphs and of his more recent failures to a country fully sensible of his merits, and willing to honour them. He is engaged to write new works for our stage: we are anxious for their success. May we be permitted to of- Melody, fresh, original, bloomy fer two words of advice towards the melody, will be the most essential accomplishment of these our sanguine charm by which a composer for that wishes? We are the more induced establishment can expect to fascinate to take this liberty, by the opinion we, his hearers. Next to that, we place and the majority of the public, have the attraction of rich, select, and wellformed of the first opera-not a new entwined harmony, as distant from one it is true-which has been recent- the homely fare we are frequently ly brought out under his own direc- doomed to endure at our national tion, But for this latter circumstance, theatres, as it should be free from Zelmira, we make no doubt, would the eccentricities which form blehave proved a failure: the two or three mishes of the modern school, and pieces of real merit which it presents which have crept into the more rewould not have been deemed an in- cent works of Rossini himself. Noise demnity for the abstruse eccentrici- and clangour of wind instruments, ties, not to say more, the want of fresh brass and ass's skin, such as the opemelody, and the stunning noise of ra of Zelmira is loaded with, will not trumpets, drums, and trombones, enhance or maintain Rossini's fame which disfigure this composition. in this country. These expedients, The overwhelming din of these in-like paint in the other sex, while they struments before and behind the cur- momentarily conceal defects or imtain renders the choruses of thirty perfections, at the same time act as or more vocalists scarcely audible! heralds of their existence. Vol. III. No. XV.. A A 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 com- 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 inquate compass, and how to intersperse 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. short, tasteful, and judiciously con- 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 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, g, in Eb, universally adThis 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 Barbiere di Siviglia, &c. all of which we have in their turn commented upon in terms of deserved approbation. The present collection and arrange-tleman's industrious perseverance has 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 gen already brought the collection; while, || The waltz probably not; for the sub at the same time, it afforded a strong conviction of the success which has attended the undertaking. =Select Italian Airs arranged for the Piano-forte, by S. F. Rimbault. Nos. V. and VI. Pr. 23. each.- | (Hodsoll.) ject, 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 Select French Romances for the Pi-execution is not difficult. ano-forte, by the same. No. VIII. || A Serenada for the Flute and Pi Pr. 1s. 6d.—(Hodsoll.) ano-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.) No. 5. of the Italian airs consists of "Una voce poco fà," from the Barbiere di Siviglia; and No. 6. I 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 ad! ditions, and in a familiar and very satisfactory style of adaptation. The air from "La Donna del Lago," besides a short introduction, not particularly 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, ner. All these three publications are evidently written for scholars of moderate attainments, and they are entitled to unqualified recommendation in this respect, as combining the means of instructive practice with the attractions of good melody. Spanish Bolero and Waltz, composed and arranged for the Pianoforte, by S. F. Rimbault. Pr. 2s. -(Hodsoll.) The title leaves it in doubt how much of this publication is claimed by Mr. R. as his own composition. 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 movement bears a want of keeping and a 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 VOCAL MUSIC. Vocal Anthology, or the Flowers Hopkinson. Pr. 2s. 6d.-(Royal | and the various subsequent contra· Harmonic 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 written with due feeling, and the distri-" 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 co-rant, a celebrated harmonist of the da is in character. renowned Flemish school in the 16th century. . ORGAN. 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 Wael 2. A song from The Beggar's “Cum sancto spiritu," Grand Cho-Opera, "Would I might be hanged," rus from Mozart'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, by J. M'Murdie, Mus. Bac. Oxon, Organist of the Philanthropic Society's Chapel. Pr. 3.-(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 authentic 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 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 for the Piano-forte, by H. J. Ba-" County Guy," the Poetry from nister. Pr. 2s.-(Royal Harmonic Institution.) "Quentin Durward," sung by 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. Imitatory passages, of mere transposition, like that in 1. 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. 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 description are the words, "Ah! FINE ARTS. EXHIBITION OF THE BRITISH INSTITUTION. on the whole a gratifying proof of the rapidly progressive advancement of our artists in the various walks of their profession. It certainly contains, and particularly among those furnished by the students, more numerous and diversified specimens of graphic improvement, than we re THE Directors of the British In- || sent Exhibition, we think it furnishes stitution have opened the Gallery this year with a good collection of the pictures of our own artists, for whose especial advantage indeed the Institution was formed. A collection, like the present, composed of such a great variety of subjects, and in styles so different and often contrasted, 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 picturestution. 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 against ant 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- controul of wholesome precept, which |