Yet whence the tear that dims thy lovely eye? MEMORANDA DRAMATICA. W. The Index, and the unavoidable length of some of the articles in our Review, have, this month, obliged us to contract the Poetical and Stage department; and, on the same account, we must postpone our remarks on the novelties exhibited at the theatres, till the ensuing Number when we shall notice the revived comedies of the Busy Body, and Every Man in his Humour, and the Pantomime of Love and Magic, at Drury Lane ;—and the new Opera; Harlequin's Habeas; and Mr. Cooke's fine performance of Cato, at Cavent Garden. BON TON THEATRICALS. The play of Henry IV. was on Friday, Dec. 3, performed for the second time, at Tottenham-street theatre, with some alterations in the cast of its characters. The Hon. Mr. Macdonald being indisposed, the Part of the Prince of Wales was undertaken by Captain Hicks, who, on the first night, performed the part of the King, and the Monarch was in consequence represented by Mr. Fitzgerald, a gentleman well known to the literary world as the author of several excellent poems, and successful epilogues, who acquitted himself with all requisite diguity, and gave to every scene its full force and effect. He was greatly applauded throughout, as was also Capt. Caulfield, in the part of Hotspur, whose performance was spirited, and, on the whole, very effective. Mr. Maddocks being absent from indisposition, the arduous part of Falstaff devolved to Mr. Cubitt, formerly of Covent-Garden, who acquitted himself with credit. Lady Percy was well represented by Miss Norton, of the Haymarket theatre. The theatre was crowded with elegant company. The usual refreshments were served between the acts. The interior of the building is light and elegant, and over the front of the stage is inscribed the following modest and ingenious motto MEMORANDA MUSICA. THE death of the celebrated Dr. Arnold has deprived the committee who manage the projected commemoration of the great Dr. Arne of its ablest and warmest support. Dr. Arnold exerted all his influence in aid of this laudable undertaking. It is to be hoped that this posthumous compliment to a British composer may yet be offered to his memory-dear to those who have souls attuned to harmony and patriotism! Mr. Viotti has not been idle since his return to this country. A set of trios, for violins and a violoncello, dedicated to his friend Shield; two sets of violin duets, concertos for the piano forte, and for the violin, &c. by this inimitable master of his art, have been very lately published. It were presumption in us to attempt to analyse them-they are by Viotti. し Mr. Clementi proceeds from Paris to visit his friends and relatives in Italy, before his return to London. We contradict (with regret) the report of Mr. Shield being engaged on an opera for either house. As long as a taste for simplicity of style, good sense, and for English Music exists, the names of Purcel, Arne, and Shield will be respected. Review of new Musical Publications. "Three Duets for the Piano Forte, by Walter, Pupil of Haydn." This work does credit to the Eleve of so great a man. The composer has displayed an accurate knowledge of his instrument, and no small share of musical erudition. The modulations flow smoothly and freely, and are facile in the execution. It were to be wished that composers for this fashionable instrument would do as Mr. Walter has done, adapt their music to the capacities and execution of the unlearned, as well as the learned performer. "A Negro Song," versified (from Mungo Parke's Travels) by the Rev. S. S. Colman. Set by J. Moorehead. In this little song, the sense of the words is expressed by the music. The introductory symphony, and the accompaniment, assist the general effect. "Pleyel's Concertante in F, arranged for the Piano Forte by Field." This is the favourite piece composed by Ignace Pleyel, (now established in Paris as a Citoyen Marchand, as well as Auteur de Musique) when in London, for the members of the Professional Concert. When that harmonic society broke up, the valuable collection of M. S. music was equally divided amongst the members. The concertante now before us fell to the lot of Mr. W. Parke, a gentleman well known in the musical world for his talents as a performer on the hautboy. It is now presented to the admirers of Pleyel, in parts for an orchestra, or adapted to the piano forte, by John Field, the pupil of Muzio Clementi. "The Dusky night, arranged as a Rondeau à la Chasse, by Dr. C. Smith, of Richmond. In two movements: the introductory one slow and expressive; the second, the old English air varied with taste and skill. 3 F-VOL. XIV. "Oh, Lady fair!" a three voice Glee. Words and Music by Thomas Moore, Esq. the Translator of Anacreon. Characteristic and expressive. In addition to this young gentleman's extraordinary talents and acquirements as a scholar, we are happy to bear testimony to his ability as a composer. It is said, in the higher circles, that Mr. Moore sings and accompanies his own lyric productions in a style which would not disgrace a professor. "A Troubadour Ballad." The Poetry by C. Dibdin, junr. the Music by Moorehead. A trifle for the ladies. The Troubadours were wandering minstrels, who, something similar to the Italian Improvisatori, played and sung extemporaneously. They were well known, in ancient times, in Provence, in France. "Instructions for playing the ORGAN; to which is prefixed, a preliminary Dissertation on the Construction, Genius, and Powers of that Instrument.”— / Dedicated to Mr. Baumgarten, by his Pupil, James Hen. Leffler. We have paid particular attention to this work. It is replete with learning, ingenious observation, and laborious research. To those who wish to acquire a competent and well-grounded knowledge of that instrument, we strongly recommend the perusal—the study of this book. Mr. Leffler very properly dedicates it to his master, the learned Baumgarten, organist to the Lutheran Chapel, a professor of the very first eminence, as a performer, a composer, and a profound mathematician and contra-puntist. "A second set of six Military Divertimentos, adapted to a small or large Band,” By Frederick Eley, professor of Instrumental Music, and formerly Conduc⚫ tor of the theatrical and military Music at Hanover. Happily, "the dreadful din of War is o'er," yet Mr. Eley's compositions will be always acceptable to the lovers of martial music. The Duke of York's popular march is the production of this gentleman, and report says that the ingenious composer and compiler of Blue Beard was greatly assisted by Mr. Eley's experience in military music. "Duo Concertante" for violins, by J. Moorehead. Rather too difficult for private performers. The style is a palpable imitation of that of the inimitable Pleyel. There is one passage towards the end of the first movement which should be altered. The last movement is light and playful;-altogether, it falls infinitely short of the duets of Viotti, Pleyel, Fodor, &c. &c. Mr. M. will excuse the freedom of our strictures. Young composers may profit by well-meant hints. "Clementi's Introduction to the Art of playing on the Piano Forte, containing the Elements of Music, Preliminary Notions on fingering, with Examples, and 50 fingered Lessons in the Major and Minor Keys, mostly in use by Composers of the first Rank, ancient and modern. To which are prefixed short Preludes by the Author." A work of this description has been much wanted. Mr. Clementi has given to the musical world a treatise, clear, instructive and complete. In addition to the rules for fingering by this great master of the piano-forte, there is a valuable collection of excellent music, ancient and modern, given in progressive order. We recommend it equally to the master and scholar; it will aid the former, and instruct the latter.** FOREIGN THEATRICALS. PARIS.-Talma has appeared, on his return from Brussels, in the tragedy of Edipus. The eagerness to see his performance was so great, that the orchestra was thrown into the pit, and the music entirely dispensed with. Still many hundreds were disappointed of room. Two passages in particular were honoured with a peal of thundering applause. The first was, where Philoctetes repels the denunciation of the High Priest, who charges Edipus himself with being the murderer of the late King Laius; addressing himself to Edipus, he say "Contre vos ennemis, je vous offre mon bras, Entre un pontife, et vous, je ne balance pas. Doit ferier pour ses Rois, et non pas le maudire." At this passage, the house rang from one end to the other. The other was still more strongly characteristic: describing her late husband to Edipus, Jocasta says, "Au milieu de ses sujets, soumis a sa puissance, But reverberated plaudits shook the house at this passage, "Nos pretres ne sont point ce qu'un vain peuple pense, The theatre, originally built about a year and a half ago, for the performance of German plays, but which proved an unsuccessful speculation, and was therefore abandoned, opened on Sunday, Nov. 14, with a French translation of one of Kotzebue's plays, entitled in the original, Selbst Opfer, (Self Immolation)* but in French, Honneur et Pauverté. It was favourably received, and the translator called for to make his appearance on the stage. Theatre Louvois.-A new interlude has lately been produced at the theatre Louvois, founded on a circumstance which constituted the theme of a much admired painting, exhibited in the Gallery of the Louvre. The subject of this painting was Molicre reading his comedy of Tartuffe to the celebrated Ninon de L'Enclos, who took this method of avenging the injury done to Moliere, by the prohibition of his piece. On this occasion, all the celebrated wits of the age, in Paris, assembled at the house of Ninon de L'Enclos. Among others were the great Condé, the Marquis De Rochefoucalt, Corneille, Racine, La Fontaine, &c. On this incident, a drainatic author, of the name of Chazel, has founded an Interlude, which is entitled Moliere chez Ninon. The piece was performed twice with great applause. * Aeted at the Haymarket theatre under the title of " The Family Distress." See M. M. vol. viii. p. 47. HISTORY OF THE STAGE. FROM THE COMMENCEMENT OF GARRICK'S MANAGEMENT. Continued from Page 352. DRURY-LANE. Season 1760-1. THURSDAY, IST JAN. 1761.—B. Opera. Harl. Invasion. 2.-F. Penitent. Calista, Mrs. CIBBER (a). P. Honeycombe. 3.—[NEVER ACTED] Earl of Essex (b). Mr Sheridan [Essex], Holland (a) Calista had been performed by Mrs. Yates, in consequence of Mrs. Cibber's indisposition. (b) "This tragedy was wrote by Mr. Brooke, and performed some years ago at Dublin. The first four acts went off heavy, the last very well. Miss Mowat made her first appearance in this piece, at Drury-Lane. Prologue by Mr. Murphy-heavy; Epilogue by Mr. Garrick-great applause." Cross's Diary. "As all the pieces of this title are founded on history, on that even of our own country, and of a period the best known to every Englishman, very little liberty can be taken with the story of them. Yet Brooke seems to have varied his conduct, from that of the former plays on the subject, so much as to give it somewhat the air of novelty; and, indeed, not only from that, but from the spirit and energy of the language, this piece appears to bid the fairest for maintaining its ground, and, for a time at least, banishing its rivals from the stage. "The representative of the Earl, during the run of the piece, being in conversation with Dr. Johnson, was loud in the praise of Mr. Brooke's sentiments and poetry. The Doctor, who had neither read nor seen the work recommended, desired to be furnished with some specimen of its excellence. On this Mr. Sheridan repeated the tag at the end of the first act, concluding with this line: 'To rule o'er freemen, should shemselves be free.' This mode of reasoning, observed the doctor, is conclusive in such a degree, that it will lose nothing of its force, even though we should apply it to a more familiar subject, as follows: 'Who drives fat oxen, should himself be fat.' So happy a parody ought always to attend the crambe repetita of the Earl of Essex. Mr. Brooke, indeed, when he republished his play, took care to change the line at which the ridicule had been pointed." Baker. Murphy, in his 'Life of Garrick,' closely copies this account of Baker, adding an observation, that Dr. Johnson's parody is similar to Foote's pleasantry, when he heard Mrs. Cibber sing, "The roses will bloom, when there's peace in the breast:" He walked into the green-room, singing "The turtles will coo, when there's pease in their craws." "The tragedy of the Earl of Essex, by Banks, had long lain neglected, though no play had ever produced a stronger effect upon an audience ; for, though |