"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 extra ordinary 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 extemporane ously. They were well known, in ancient times, in Provence, in France. "Instructions for playing the ORGAN; to which is prefixed, a preliminary Dise sertation on the Construction, Genius, and Powers of that Instrument,”— Dedicated to Mr. Baumgarten, by his Pupil, James Hen. Lefter.

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 per-former, 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.

3

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 angered 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 Elipus. 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.
Un pretre, quelqu'il soit Dieu qui l'inspire,

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,
Comme il etoit sans crainte, il marchaite sans defense
Par l'amour de son peuple, il se croyait gardé."

But reverberated plaudits shook the house at this passage,

"Nos pretres ne sont point ce qu'un vaiu peuple pense,
Notre credulité fait tout leur science."

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 Moliere 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 wifs of the age, in Paris, assembled at the house of Ninon de L'Enclos. Among others were the great Conde, 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.” Sce M. M. vol. viii. p. 47.

THE MONTHLY MIRROR.

MA HISTORY OF THE STAGE.

FROM THE COMMENCEMENT OF GARRICK'S MANAGEMENT.

Continued from Page 352.-.

DRURY-LANE.

Season 1760-1.

THURSDAY, 1ST 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 erambe 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. 39' bedryf

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

[Southampton], Davies [Cecil], Packer [Raleigh], Ackman [Lt. of the Forver], a young gentlewoman, 1st app. on this stage, [Rutland], Mrs. Kennedy [Not

the language is a wretched compound of low phrase and bombast expression, and is, indeed, much beneath criticism, yet, in the art of moving the passions, Banks has no superior; and this proceeds from his connecting his story so artfully, by a regular continuity of scenes, and placing his characters in such affecting situations, that the action alone supplied that pathos which no beauty of language could improve. Wilks and Mrs. Porter, in Essex and Queen Eliza. beth, engaged the affections of the audience so powerfully, that more tears were -never shed at any play than at Banks's Unhappy Favourite.

"The language of this tragedy had been long since reformed by Mr. James Ralph, of whom have already spoken. The whole was composed anew by Jones and Brooke. The latter seems to have been willing to retain some of the `obscure and harsh style of Banks, or at least I think he occasionally imitated the language of the old dramatic writers. Jones preserved the original economy of the tragedy, and gave it a more harmonious and pleasing dialogue than either Ralph or Brooke. He had, besides, in the representation of his play, the advantage of a Mrs. Cibber for his Rutland, and a Barry for his Essex, whose fine figure, noble manner, and pathetic feeling, rendered his exhibition superior to all the / representers of that favourite character.

"Mr. Sheridan, after having made some judicious alterations, brought the Essex of Brooke to the theatre of Drury-Lane." Davies.

Murphy tells us that this tragedy was brought out "towards the end of November," [Murphy's Life of G. vol. 1. p. 362.] a mistake which may be cor**rected from our register.

› Victor has given no account of the representation of this play; and if he had, >it most probably would have been incorrect, for his dates are often grossly wrong. Lloyd's Tears and Triumph of Parnassus, according to him, was produced at Drury Lane in September, 1760, and the Minor, and Polly Honeycombe, and the Enchanter, in the following month of October; though Mr. Lloyd's ode did not appear till the 17th Nov. the Minor till the 20th Nov. Polly Honeycombe till the 5th December, and the Enchanter till the 13th December. On the contrary, he dates the appearance of High Life below Stairs in Oct, 1761, which was produced two years before, viz. on the 31st Oct. 1759. 2 See Victor's Hist. vol. 3.

"From this tragedy arises the useful observation of that danger and 'mutability which attends court favour. In a comparison of Banks's, Jones's, and Brooke's, the former must be pronounced replete with offensive bombast, forced figures, unnatural ideas, and pitiful expression; the second, regular, chaste, and affecting ; the third, less turgid than Banks, arore laboured than Jones; nervous, but stiff ; wherefore we recommend that play which has passed review [Mr. Jones's] both for action and perusal," Dramatic Censor, 1770.

"Mr. Brooke, as well as Mr. Jones, has, in our opinion, adhered too closely to Banks's plan. The illustrious Cecil is still a sneaking villain; the great Raleigh a malicious scoundrel; and the valiant Earl, as usual, receives from the angry Queen a box on the ear, which royal favour be seems as much inclined as ever to acknowledge, by running her most gracious Majesty through the body.— But, though there is little variation in the incidents and conduct of the piece, yet qu foalie 13h 1019 a bacubung 13va bøå vela en dyb

ti gbam], Mrs. Pritchard [2, Elix, J, with a new Pl. and Epil. (c) The characters new dressed, in the habits of the times. P. Honeycomb.

5.-E. of Essex. H. Life. 6.-Stratagem. Enchanter. 7.-E. of Essex. Enchanter..

A

8. [BY COMMAND] Jane Shore. P. Hon. (d) 9.-Minor. P. Hon."

in the diction, the spirit, and pathos, our present author is greatly superior to his predecessors. Some little peculiarities, indeed, and slight defects of expression, we have remarked; but where the whole deserves so much commendation, candour will readily overlook immaterial blemishes. Monthly Review.

Miss Mowat, the young Gentlewoman who performed Rutland, is the same lady who played Jane Shore thrice at Covent Garden the preceding season. [See M. M. p. 117, vol. 10] Her acting in Mr. Brooke's tragedy is thus warmly commended by the Monthly Reviewers. Speaking of the scene in the last act, immediately after the parting between the Earl and his wife, they observe, “This scene shews the hand of a master. It is drawn with such art, and expressed with such feeling, as could not fail of animating even an actress of less ability than Miss Mowat seems to possess, so as to ensure her success in the part. The amiableness of Rutland's character, the extreme agony of her situation, the pathetic poignancy of every word she addresses to the repentant queen, during her delirium, occasioned by the loss of her husband; with the sympathizing sense which every spectator and reader must conceive of what passed in the queen's breast at such a moving juncture;-these, altogether, combine to form a most affecting scene: and we must add, that perfect justice was done to the author's design by the young lady who appeared in this part."

The other performers are thus spoken of by the critics of the day. "Mrs. Pritchard filled the part of the queen with dignity and spirit. Mr. Sheridan's Essex was a stage effort where art predominates more than nature. In several passages of the play he was unexceptionably just, almost to a degree of excellence. His suppression of anger to the queen, in the third act, by judiciously lowering -the tone of his voice, when ready to exclaim with unbridled rage of resentment, did not escape the applause of a critical audience.

"In that scene of the last act where the earl and his countess, before he is*** Jed off to execution, meet to part for ever, he well knew his inability to reach the melting tenderness of a Barry; but his tears were accompanied with, manly deportment, and without that loud vociferation of grief which resembles what is vulgarly called blubbering, into which the actor, in a scene of distress, is some-times incautiously betrayed." Davies.

Mr. Sheridan was bombastic in the passages of passion, and discordant in the tender ones; hurtful through extravagance of action to eyes, and painful through false modulation of vile tones to ears. Dramatic Censon, 1770, 2.

N. B. The Dramatic Censor alludes to Mr. Sheridan's performance at the Haymarket theatre, where he brought out the tragedy several years after its ori ginal representation at Drury Lane.

(e) The former spoken by Sheridan; the latter by Mrs. Pritchard, in the character of Queen Elizabeth.

(d) The first time we have noticed an afterpiece on the night of their Ma'jesties visit to the theatres. Miss Pope was much admired by his Majesty in 12. Polly Honeycombe.