354 
general mass of good pisno-forte mu- 
sic; and, by consequence, may be 
considered as forming a valuable ac- 
quisition to the musical libraries of 
youne students. 
Parody onthe Overture to Lodoisha, for 
the Piano-Forte, with an Accompani- 
ment for the Flute. Composed by T. 
Haigh. 2s. 6d. 
Kreitzar’s overture to Lodoiska has 
so long been a prominent favourite 
with the public, that, singular as is'the 
instance of a musical parody, we are 
by no means suprised at Mr. Haigh’s 
imposing upon himself the present 
undertaking. The idea was not an 
unpromising one; and it has, we think, 
been too ably realized to fail of proving 
a successful speculation. The great 
difficulty Mr, Haigh had to encounter, 
was that of constantly and closely ap- 
proximating to his original, without 
actually coming in contact with its 
substance. Now, though strictly 
Speaking, he has not, in the conduct of 
his piece, sacredly abided by that in- 
dispensable rule; yet, has he sp gene- 
rally respected its obligation, as to 
subject himself to very little eensure 
on that score. Curiosity excited as 
much as eurs was, by the novelty of 
this- publication, naturally induced a 
Vigilant inspection of its component 
parts ; and, we must say, that we were 
somewhat surprised, and much pleased, 
ut meeting with so few bars in which 
plagiarism was substituted for parody 
or imitation. The ear, as the eom- 
poser intended, is continually re- 
minded of the production which con- 
stituted his model, but seldom recog- 
nizes the actual adoption of a previ- 
ously known passage. This we consi- 
der as argumentative of considerable 
talent of a certain description, and as 
carrying with it a claim to our enco- 
Miastic acknowledement. 
New Variations on the Celebrated Air of 
“ Inmy Cottage ncar a Wood.” Com- 
posed ina Familiar Manner by J. FP. 
Rimbault, for the Piwno-Forte. 1s. 
This little piano-forte exercise cor- 
responds, bothin length and style, with 
its title-page announcement. In its 
production, the author bas uniformly 
consulted the powers of the juvenile 
student, and so arranged the passages, 
as to qualify them to promote a com- 
mand of finger. So convinced are we 
of the utility of these initiatory compo- 
sitions, where they are judiciously 
planned and ably produced, ‘that we 
should be pleased at their more fre- 
quent appearance ; and shall be glad, 
New Music and the Drama. 
[Nov. 1, 
should our approbation of the present 
plece encourage Mr. Rimbault, to 
oblige the public with further speci- 
mens of his talent for the production of 
such serviceable trifles. 
Elementary Elucidations of the Major 
and Minor Keys, exemplifying the 
Diatonic Scales; by Hichard Ste- 
phenson 2s. 6d. 
The object of this little publication, 
is to present the public with a progres- 
sive creation and reduction’ of the 
sharps and flats, and the relative affini- 
ties of the major and minor keys. 
This is effected in a short and easy 
way; and the mode of conveying the 
promised intelligence transcends its 
own pretensions, since it includes the 
explanation of the gamuts, and com- 
pares and elucidates the uses and 
powers of the several cliffs. The idea 
of giving “ God save the king,” in all 
the different keys, by way of illus- 
trating the theory of transposition 
was as favourable to the author’s inten- 
tion as any that could have been 
adopted. In no science does visible 
example go further than in music, nor 
can it be more effectively resorted to 
in the province which the present pub- 
lication exclusively concerns. 
THE DRAMA. 2 
Covent-GAarRDEN.—Oet. 2, after a 
recess considerably longer than, for 
several years, had been allowed to 
elapse between the closing and re- 
commencement of the winter theatres, 
this splendid temple of Melpomenc 
and Thalia again opened its doors to 
the public. 'Tho spectators, on their 
entrance, were not a little gratified 
with the repairs and improvements 
which challenged their notice, Among 
the yarious changes for the better, no 
one of them, perhaps, more deservedly 
attracted the attention of the visitors of 
the, boxes, than the remoyal of what 
was not inappropriately called - the 
basket ; we allude to the former sepa- 
rated back seats, which, in more senses 
than one, were generally occupied by 
individuals peculiarly annoying to the 
more respectable company in front. 
The play selected for the opening of 
the season’s. career was Shakespeare’s 
Twelfth Night, which was faithfully 
and forcibly represented by Bartley in 
So: Toby Belch, (his first appearance 
at this theatre,) Miss Love in Olivia, 
(the. substitute for, Miss Stephens,) 
Miss ‘Tree in. Viola, Fawcet in the 
Clown, Blanchard in Sir Andrew Ague- 
check, Mrs, Gibbs in Maria, and 
Duruset, Taylor, Abbott, and Chap- 
man 
