52 
bagpiper of the 16th century. The 
original design had x great deal of 
spirit in it, and the bagpipe and the bag- 
piper were very well made out. 
A French journalist, criticising the. 
transactions of the Seotch Society of 
Antiquaries, remarks, that they are sub- 
stituting comments and conjectures for 
facts. They should take, he says, more 
comprehensive views of past ages; not 
only exhibit drawings of churches and 
convents, buf,enter into their history 
and tradifions; so as to become tlie 
New Music and the Drama. 
fAug. 1, 
depositary of the local history of the 
eountry. Notites should be recorded 
of its aneient inhabitants, their charae- 
teristic traits, &e. Their annals would 
then become invaluable for historians, 
poets, and works of fancy. In the last 
volume is an article tracing the spot 
whire the battle was fought between 
Galgacus and the Roman army. It 
seems clearly preved that Stonehaven 
was the scene of action, and not Ardoch 
or Comric, as is generally supposed. 
NEW MUSIC AND THE DRAMA. 
—s-- 
Four Volimtaries ; part of the Third Chapter 
of the Wisdom of Solomon, (three voices; ) 
and six favourite Psalm Tunes, with an 
Accompaniment for the Organ or Piano- 
forte. A’so a Capriccio for the grand 
Piano forte. 10s. 6d. 
HIS acceptable melange of organ, 
piano-forte, and vocal music, 
which is inscribed to the rector of 
Moresby, and wardens, vestry, and 
congregation, of St. Nicholas’, White- 
haven, was originally published. by 
subscription, and exhibits too hand- 
some a list of names not to show that 
the, personal character and professi- 
onal merits of the composer are duly 
appreciated. After sedulously looking 
over the fifty-seven pages of which the 
work consists, we feel justified in 
making a report of their contents, 
honourable to Mr. Howsgill’s science, 
judgment, and taste. In the organ 
pieces, we have found ample proofs of 
Mr. H.’s knowledge of the character 
and. powers of the “king of musical 
instruments ;” in his capriccio, con- 
siderable floridity and freedom of 
fancy ; and in the vocal portion of the 
publication, a tolerably intimate ac- 
quaintance with the laws of combi- 
nation, and the disposition of the in- 
ternal parts of multisonant compo- 
sition. 
The Voluntaries, as appears from the 
remarks made by Mr. Howgill at the 
end of his work, were. writien ex- 
essly for the organ in St. Nicholas’ 
chapel, Whitehaven, built by Snetzler ; 
and comparing the style of the irmove- 
ments with the stops of that instru- 
ment. a list of which is given, we think 
the pieces admirably suited to its com- 
pound and capacity. Adding. to the 
merit of the music, the judgment and 
good sense, displayed.in the observa- 
tions Mr. H. has made on chureh- 
music, and the general style of paro- 
chial psalm-singing, we fecl that he is 
entitled to considerable praise; and, as 
the friends of science and talent, have 
pleasure in awarding the eulogium he _ 
has so well earned. 
Rossini’s Overture and Introduzione to the 
Opera of Zelmira, performed at the King’s 
Theatre. Arranged for the Piano-forte, 
by S. F. Rimbault, 3s. 
Though Mr. Rimbault, in his ar- 
rangement of this overture for the 
piano-forte, has included independent 
parts for a flute, violin, and violoncello; 
they are not obligato. Availing him- 
self of the compass and power of 
combination appertaining to the in- 
strument for which the piece is here 
principally modified, he has rendered 
the piano-forte part independent of 
the tributary adjuncts, so that the 
effect produceable without the aid of 
the accompaniments, if not complete, 
is far from being meagre or unsatis- 
factory. _ Of the piece, in its score, or 
original state, speaking from our feel- 
ings as excited by its performance at 
the Opera House, we have only the 
language of eulogium to use. It de- 
monstrates a degree of genius, faste, 
science, and practical experience, that 
could not but gratify every real judge 
of music: and we give it as our opi- 
nion, that in its present form, it pre- 
serves as much of its orchestral result 
as could well be compressed in the, 
limited place to which Mr. R. was 
necessarily confined. rs 
“ Riego’s Hymn,” Variations avee Intro- 
duction et Finale d'une Execution facile 
et briilante, pour le Piano-forte; com- 
posé par I. Ancut. 4s. ; 
This piece is written with spirit, and 
many of the passages have in them an 
air of Criginality that announees no 
mean cast of imagination. The in- 
troduction, in common time of four 
crotohets, 
