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tion of the Drill Plough; by E. Darwin, .M. D. with Plates, 4to. l. 11s. 6d. boards.
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Literary and Characteristical Lives of John Gregory, M. D. Henry Home, Lord Kames, David Hume, Efq. and Adam Smith, L. L. D. To which are added, A Differtation on Public Spirit; and Three Effays; by the late Wm. Smellic, Member of the Antiquarian and Royal Societies of Edinburgh. 7s. boards. Ogle.
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REVIEW OF NEW MUSICAL PUBLICATIONS.
to practice. Mr. King then proceeds to the eflential principles of the fcience; af. ter which he treats of harmony or thorough-bafs, fhews the application of harmony by the laws which govern its ufe, and gives an analyfis, in which he enters fufficiently into the compofition to illuftrate the preceding part of his work. In the fecond paragraph of the preface we find the author justly obferving, that "the princi ples of a fcience always remain the fame; but the manner in which they may he beft explained, muft depend on those who treat of them; it is for this reafon that each writer on the fubject adopts a method of his own; and it is on this ground that I have purfued a plan very different from any yet followed." Indeed we frequently find him differing from fome great authorities, but never without affigning reafons, to moft of which we cannot but fubfcribe. Three Sonatas for the Piano-forte, with an Accompaniment for the Violin (ad libitum). Compofed, and dedicated to Mifs Maria Read, by D. Steibelt.
THE Overtures, Songs, Choruffes, Marches, and
The merits of the mufic in Joanna has already been fo amply and so justly remarked upon, in the various diurnal and periodical prints, that but few obfervations will be neceffary from us. The predominant features in the airs are smartnefs, fpirit, and truth of expreffion, while the outline, the choruffes, and fymphonies clearly indicate that the works of Purcell, Handell, and Corelli have chiefly formed the fchool of this compofer. The real connoiffeurs in music will certainly feel themselves much obliged to Mr. BUSBY for endeavouring to revive the beauty and energy of thefe great matters; and will be highly gratified to find, that the art of pure and fublime compofition is, in fome degree, till preferved among us. We congratulate Mr. Busby on the exalted notice with which his first dramatic effort has been honoured. The well known tatte and judgment of the GREAT PERSONAGE, who has permitted her name to adora his publication, brings a fanction to the public opinion which muft gratify his highest wishes.
A General Treatise on Mufic, particularly on Harmony or thorough Bafs, and its Application, in Compofition, containing alje many effential and ariginal Subjects, tending to explain and illuftrate the Whole. By M. P. King. rl 13. Goulding, Phipps, and D'Almaine. Regularity and progreffive order, which fhould ever form the great features of didactic works, is the leading recommendation of Mr. King's prefent publication, and on that merit we chiefly reft our favorable report of his ingenious and elaborate undertaking. All that he now teaches has in courfe been taught before, but feldom with that clearne's and perfpicuity which we here obferve. The author, mafter of his fubject, and happy in his method, is always lucid and intelligible; and gives his meaning with fulness and force. The introduction contains the first principles of mufic, as they particularly relate
Goulding, Phipps, and D'Almaine. Mr. Steibelt's ufual tafte and volatility of execution prevails through these fonatas. The flow movements do not always poffefs that pathos which we generally find in his adagios; nor are the parts put together with that finish of which this excellent compofer is fo capable. The work, however, on the whole, ftands in the first rank of piano forte productions, and cannot fail to highly gratify every lover of fterling compofition.
Lightly o'er the Dewey Way," a new Song,
We find an ease and grace in this little air which distinguishes it from the generality of ballad melodies. The obligato accompaniment for a flute is very ingenioufly conftructed, and adds much beauty of effect to a fong in ittelf highly worthy of the pen of its refpectable author.
Grand March of the Priests and Pricfeffes in the Temple of the Sun, in Pizarro. Compofed by Gluck. Arranged as a Rendo for the PianoForte, by T. Haigh. 1s. Reife
the fubject matter of the pieces, as every where to display the great master.
However well Mr. Haigh may have acquitted himself in the task of arrangement, we cannot compliment him on the fubje&t of which he has made choice. The name even of Gluck cannot fanction indifferent compofition; and we fcruple not to pronounce the prefent march a dull, heavy, and taftelefs prodution. At the fame time, we muft in juftice allow, that Mr. Haigh has difplayed much fancy and ingenuity in the manner in which he has treated his theme, and that he has contrived to render it a pleafing and improving exercise.
"The Banks of the Tyne," a Ballad, fung by Mafter Elliot at the Nobility's Concerts. Compojed by Reginald Spofforth. 15. 1 Bland and Weller.
It is with particular pleasure that we trace the progre's of real talent. Mr. Spofforth has produced feveral compe tions highly creditable to his abilities, but the prefent excels them, both in fweetness ef melody and accuracy of conftruction. A little more variety in the paffages would, perhaps, have given additional force to the effect. but this we offer rather an opinion, than as a founded objection.
A Favourite Overture for the Piano-forte, with an Accompaniment for the Flute or Violin and Violoncella, as performed by Mafer Parker, the Musical Child, at the Theatre Royal, Covent Garden, and at the Hanover Square Concerts. Compofed by Mr. Latour.
The fubject with which this overture commences is bold and novel, and is fucceeded by paffages pleafingly imagined, and perfectly concatenated. The fecond movement confifts of " Adefte Fideles," and happily relieves the spirit and vivacity of the first, while the following rondo is encommonly pretty, and forms an excellent exercife for the juvenile finger. The whole is calculated for a piano-forte, with or without the additional keys, and may be performed with confiderable effect indepen dent of the accompaniments.
Three grand Sonatas for the Piano-forte, with ac-
38. Bland and Wellers.
Thele fonatas are fo fweet, flowing, and fpirited in their ftyle, and fo fkilfully conftructed in refpect to the adjustment of their parts, as to reflect additional luftre on thofe talents which have already deriv. ed fo much honour from the excellence of former productions. The execution is, in many inftances, remarkably brilliant, and the accompaniment fo incorporated with
Sixteen New Country Dances for the Year 1800, with their proper Figures. Printed for the Harp, Ha pfichord, and Violin, as performed at the Prince of Wales's and other Grand Balls and Affemblies. Is. 6d. Fentum. Most of these country dances are conceived with spirit and vivacity, and quali fied for thofe moments "when mufic foftens, and when dancing fires." The moft ftriking among them are" the Navel Pillar, Short and Sweet, the Black Caftle, Tunbridge Wells, and La Tambourine."
THEATRICAL RETROSPECT FOR FEBRUARY, 1800.
NEW mufical after-piece, entitled Of Age To-morrow, was performed on the ift of this month, at Drury-lane Theatre. It is taken from a comedy in three acts, by Kotzebue, entitled, Der Wildfang. The fubject has been often handled on the ftage. It confifts of the difguifes and tricks of a lover to get into the prefence of his miftrefs. Notwithfanding this defect, the piece is far from creating difguft in the spectator. The bufanels is airy, and rapid in its movements; and the characters humorous, though without novelty. The acting in this piece deserves to be seen. Mifs de Camp, in the part of a lady's maid, is uncommonly gay and pirited; Mr. Bannister, jun. in the character of the lover; Mr. Wewitzer, in that of an old maimed foldier; and Mr. Suet, as a sportsman, are all excellent. The mufic, compofed by Mr. Kelly, is peculiarly pleafing. This after-piece is a favourite with the public; and really has more pretenfions to favour than moft of the recent productions of the fame kind..
The comedy, written by Mr. Moreton, entitled Speed the Plough, was performed, for the first time, on the 8th of this month, at Covent Garden Theatre. This play is constructed on the German model; but, in offending by the blemishes of the German dramatic writers, it does not compenfate with the excellencies of Kotzebue, and one or two more of those writers. Kotzebue, who seems to have occafioned a fpecies of revolution on our stage, abounds with affecting incidents and delightful expreffions of paffion; but with those beauties which are of the higher order, he falls infinitely fhort of the taste and refinement of the most polished of our dramatic writers. His beft pieces are disfigured with the defects of an art in its infancy: he is often extravagant, irregular, and uncouth. If he begets delight or aftonifhment by fomething beautiful or gigantic, in the fame work he difgufts with fomething despicable for its infignificance, or ridiculous for its want of propriety. If the English ftage was growing dull, it was not amifs to go to Germany for paffion, and its confequent force. But there was no neceffity, in the nature of the traffic, to bring from Germany the abfurdities of a stage-comparatively barbarous.
Speed the Plough is partly comic and
partly ferious. One of the characters fup poles himself to be the murderer of his brother.-What is to be faid of fuch a circumftance in a comedy? or a play; for the writer may be allowed the benefit of that name? The fuppofed murderer stalks about with a phrenzy that may very well ftand for a burlesque on fuch fort of compofition. The fcenes here alluded to are capable enough of pleafing the vulgar. They fympathize with the appearance of forrow or anguish, however inartificially the tale is told. They are like a favage who, for the first time fees a ftatue, and who would be delighted with the work of the most clumfy carver in wood. But it is the bufinefs of the ftage to improve the tafte of every part of the audience. The actual employment of the writers, who run to Germany for their models, is ftill further to corrupt and injure the feeling and judgment of the multitude; nor is true, that they are obliged to lower themfelves to the level of their audiences: there is this important diftinction to be made,→→ the most ignorant are quick in perceiving faithful and ftrong exhibitions of nature; in the worst picture there is a resemblance of the original, and it is the refemblance the populace admire; the ignorance thei efore that prevents the difcovery of faul.s, is not fuch as to exclude the spectator from feeling part at least of the charms of masterly imitation. Let thofe who question the truth of this opinion refort to fact; let them watch an audience on the first night of a piece; they will find, that in all paffages remarkable for the truth of their delineation, applaufe as often springs from the gallery as any part of the houfe.
But although Mr. Moreton's play is faulty, and even monftrous, in the greater part of the ferious incidents; it has many beauties both of character and fituation. The whole character of farmer Ashfield is delightfully drawn: it has the two quali ties, difficult to combine, lof vigour and chaftenefs. The part of Henry, though in another ftyle, has the fame excellencies. The fituation of the Farmer, when his landlord requires him to turn Henry out of his houfe, Henry the object of his protection and love, is exquifitely beautiful, and is even, perhaps, without defect. There are other beauties in the piece ; but they are, for the most part, either faint, or are copies of other works.-Indeed the author
author has too often condescended to take from others, which is the more to be lamented, because he has given unequivocal proofs of his capacity to contrive and execute for himself.
Speed the Flough is played admirably throughout. Mr. Knight's farmer, and Mr. H. Johnston's Henry, are already perfect performances. The fimplicity of the former is unalloyed with coarfenefs; and the animation of the latter, with rant. Mr. H. Johnston and Miss Murray are in terefting in their respective characters; and Mr. Munden makes his part more lively than the feebleness of the drawing feems to promife. The prologue to this play is dull; the epilogue tolerable sprightly.
A new musical after-piece, written by Mr. Dibdin, jun. entitled True Friends, was performed on the 20th at Covent Garden. When a production is deftitute of every one of the charms of writing, remarks on any of its members are foreign to the ufes of criticifm this piece is of that defcription; and deferves to be difmiffed with that general cenfure.
The mufic, however is to be diftinguished from the writing. It has confiderable merit in parts. It is the compofition of -Mr. Attwood.
A pamphlet, highly interefting to every lover of the drama, has been recently publithed, containing a statement of the differences fubfifting between the proprietors and performers of Covent Garden Theatre, with the correspondence occafioned by the difpute. It is the avowed publication of the follow. ing principal actors of that theatre-Meff. 7. Johnstone, Holman, Pope, Incledon, Munden, Fawcett, Knight, and H. Johnfton. The object of the statement is de
clared to be, the doing away the prejudices which may otherwife be imbibed against the cause of the performers, from the clandeftine representations made by the proprietors, or their agents. The pamphlet is full of curious facts, relative to the prefent fituation of the performers of Covent Garden Theatre, compared with the fituation of performers in the times of Barry and his contemporaries, and to a variety of other topics. The claims of the performers are stated and asserted in a plain and manly ftyle. The correfpondence is the chief vehicle of the information given to the public; and upon the face of that, the conduct of the eight gentlemen, named above, appears to have been not only just in its principle, but dignified in its manner. As this publication profeffes to have had no other object than to lay a fimple statement of the cafe before the public, the perfons whofe names are fubfcribed to it, declare their refolution, to pursue every legal and bonourable means to effect fuch a restoration of justice as will give them the rights which ancient ufage prescribes to them as actors.
The concluding paragraph deferves to be given for the propriety of its feeling and expreffion. "Having thus poffeffed the public with the whole proceedings, and by that means fecured our caufe and conduct from mifreprefentation,we hope we fhall be accompanied with the wifhes of all good men, for the ultimate fuccefs of our endeavours to rescue the members of that profeffion, which contributes so essentially to the rational entertainment of this great kingdom, from a ftate of oppreffion, which no other fubjects in it can poffibly expe rience."
MR. WILLIAM LANDER FOR RAISING
WATER BY PUMPS.
PATENT was granted, November, 1799, to Mr. WILLIAM LANDER, of Mefe, in the County of Wilts, Brafs Founder, for a method of raifing water by pumps or other engines, by means of an apparatus for moving the piston rod.
The principle of this invention is to adapt to the moving power a femicircular wheel, with teeth moving in a rack or racks connected with the piston rod. The femicircular wheel (or with a larger fegment of a circle where the machinery will