1815.] Review of New Musical Publications. A Voyage to Abyssinia, and Travels into the Interior of that Country; executed under the Orders of the British Government, in the Years 1809 and 1810; in which are included An Account of the Portuguese Settlements on the East Coast of Africa, visited in the course of the Voyage; a concise Narrative of late Events in Arabia Felix, and some Particulars respecting the Aboriginal African Tribes, extending from Mosambique to the Borders of Egypt: together with Vocabularies of their respective Languages. Illustrated with a Map of Abyssinia, numerous Engravings, and Charts. By Henry Salt, Esq. F. R. S. 1 vol. 4to. 51. 5s. Our ministers taking into consideration the advantages that may possibly result from cultivating a good understanding with the people of Abyssi nia, thought proper to send out such presents as were deemed most acceptable to the government of that interesting country, and the present volume is a convincing proof that the measure itself was not more judicious than the choice of the person who was to carry it into effect. Mr. Salt, who had before explored that romantic region, gives a very perspicuous and elegant narrative of his mission; in the course of which he had many opportunities of making observations for the improvement of geography and navigation, as well as of extending our acquaintance with the produc tions of nature. To the substantial verity of Bruce a willing testimouy is borne, and indubitable evidences are adduced in support of his general nar rative; and if, on one or two occasions, that inde 55 fatigable traveller is here charged with errors, it is obvious that those slips ought rather to he attri bated to the defectiveness of memory, than to any positive intention to deceive us countrymen by the suppression of truth, or the invention of facts. Even that very circumstance which brought so much ridicule upon poor Bruce, the custom of cutting food from the living animal, is here coufirmed; and this ought certainly to make readers, and even traveliers, cautious in passing censure upon those who relate manners, and describe scenes, which have not fallen under the inspection of others. We have made this remark, because it appears to us probable that Mr. Salt himself may be fated to share somewhat of the reproach which was heaped so unmercifully upon his predecessor. His etching of the monstrous cows will, we fear, stagger some of his readers as much as the old story of living beef steaks ever did those of Bruce; and the very odd adventure of the fire works is so exactly like the one told by Jauffet, in his fictitions adventures of Rolando at the court of Abys sinia, that some might be wickedly tempted to ascribe both to the same origin. Passing over these trifles, however, we can conscientiously declare, that we have been greatly amused, and, we trust, considerably instructed, by this elegant work, which would have been much more valuable had, it stood wholly independent of the author's narrative of his former visit to this country, and which is contained in the travels of Lord Valentia. All that was necessary in these volumes to the illus tration of the present, ought to have been here transcribed, or so compressed as to have formed an introduction to this account; instead of which, the reader is most unpleasantly sent for information on very interesting points to books which he possibly has not in his possession, nor the means of procuring The maps, views, and other plates, are in the most finished style of excellence; and, on the whole, the work must be pronounced a standing honour to the country. Notes on a Journey through France in 1814. By Morris Birkbeck. 8vo. 4s. REVIEW OF NEW MUSICAL PUBLICATIONS. Handel's Vocal Works, arranged for the Organ or Piano-forte. By Dr. John Clarke, of Cambridge. Button, Whitaker, and Co. This splendid work is brought out in numbers, at five shillings each. The first series, consisting of 52 numbers, is just completed. The second series, of which we have as yet seen but one number, is calculated to contain about 35, which it is supposed will complete the whole. To the respectable list of professional names under whose aus. pires this work is ushered in, we are prepared to add our mite, by bearing testimony to the utility of its design, and the excellence of its execution. The only editions extant of Handel's works are those of Mr. Walsh and Dr. Arnold, both of which this superb edition will entirely supersede. The vocal parts of the chorusses are in full, score, and the soprano, alto, and tenor clefs, are transposed into the treble clef, under which is added a sepa rate part for the organ. As an original and inventive composer, we have often had occasion to admire Dr. Clarke; and in this work, are willing to graut him the meed of praise he so justly deserves as a patient and judicious compiler; but we think his friends do him no service when they say, that what Pope is to Homer. and Dryden is to Virgil, that Dr. Clarke is to Handel!" The com parison is by no means in point: musical notes are the same in all countries; and surely the mere transposing out of one clef into another, or the compressing into two lines parts scattered about on an extensive score, though it display great industry, cannot be compared to the mighty powers of a Pope or Dryden, in their translations of the works of men to whom they were scarcely inferior in point of inventive genius. However, let us not be queralous: Dr. Clarke has done the musical world an essential service; and we heartily wisht him success in his arduous endeavours. Ladies who have learnt the first rudiments of thorough bass, and young students who are initiated in the science of simple harmonies, can have no better guide to increase their stock of knowledge, than the works of Handel as they are edited by Dr. Clarke. The Copenhagen Waltz, with Variations, for the Piano-forte Composed by T. Latour. Chappell and Co. 25. In these variations, which are only four in number, the composer has very judiciously kept to the harmony of his subject throughout; we say judiciously, because we lament to see many great com. posers neglect this grand desideratum, aud whose 56 Dramatic Register-Drury-Lane music, however agreeable in other respects, is any thing but variations on a subject. Airs, with Variations for the Piano-forte. Composed by L'Abbè Gelineck. Bland and Weller. The intercourse with the continent has introduced this charming composer to our notice, whose works we have long admired; and we are happy to announce the intention of Messrs. Bland and Weller to publish the whole of his Airs with Variations in numbers. The bold and masterly style of these pieces is equalled by few, excelled by none; yet the extreme difficulty of some passages, and the extent of hand required to execute others, will, we fear, be a great drawback from the general acceptance of them. The Robin's Petition; the Lily that blooms in the Vale; Darby Kelly. Composed by John Whitaker. Button, Whitaker, and Co. 1s. 6d. cach. These songs are by no means inferior to Mr. Whitaker's former productions. Darby Kelly is in the genuine comic style; a vein of humour runs through the whole of this song which cannot fail of rendering it a favourite with the town, and will not disgrace the composer of Paddy Carey. The Secret Pops out of her Eyes, sung by Mrs. H. Cummins, and Zephyrs Gay, a favourite comic song, sung by Mr. Lund with the utmost applause at the Sadler's Wells theatre. Composed by Mr. Reeve. Button, Whitaker, and Co. We perceive that the Veteran Reeve, after thirty years hard service, still continues to pursue the same level course in which he began, neither rising higher nor sinking lower; patient and unassuming, he has had to encounter many a rough gale, many rubs and mortifications from managers and singers. Yet this is no more than what others have felt: One of the best theatrical composers this country DRAMATIC DRURY-LANE.-Dec. 26, a new pantomime, called The Valley of Diamonds, was presented. The early part of the design is taken from the "Travels of Sinbad the Sailor." The first scene is the Precious Vale-a piece of rather striking conception and execution; the ground covered with masses of ruby and diamond, the sides precipitous, the only sign of life a few wild and scattered pines projecting from their cliffs. In the midst of this solitude, the never-to-beforgotten roc descends with Sinbad in his talons. He drops his human prey for an immense serpent, which he bears struggling into the clouds, and the adventurous sailor is left to perish in the midst of gold and jewels. The truth of history is, however, adhered to the pieces of meat which were to allure the eagles are seen descending, and Sinbad is borne up with the returning pinion: the Diamond Merchant comes to look for his produce, plunders Sinbad, and plunges him again into the vale. But he has now to meet [Feb. 1, can boast, was desired by one of these overgrown singers to give her the score of a song he had just composed expressly for her. She took it and tore it in pieces before his face, without alleging any reason. This may appear incredible to some; but we saw it. It is needless to add that he soon afterwards quitted the theatre, and his music continues to be heard and welcomed by numerous and brilliant private parties with the applause it merits. But to return to Mr. Reeve; these favourite songs will most probably be received with the ut most applause, as stated above, by the galleries and the lower part of the boxes, but no further. No 2, of the Irish Melodies, arranged for the Piano-forte or Harp, with Symphonies. Composed by John Whitaker. Button and Co. 5s. Mr. Whitaker still goes on with unabating vigour in his laudable career. The whole will be comprized in six numbers, at intervals of two months each. We think the best pieces in this collection are, "We brought the Summer with us," and the two at p. 16 and 20, the names unknown. We cannot point out any pieces of music ladies could choose fitter for their practice and amusement than these melodies. Three Catches, viz. "The London Cries; The Village Bells; Hush, Hush, you Sing too loud;" for three voices. Written and composed by John Parry, Richmond-buildings. 15. This species of composition was formerly much admired, and Purcel's Catches will ever rank in the highest scale of excellence; nor must the charming compositions of Dr. Calcott and Shield be forgotten. M1. Parry, who is an author as well as a composer, has hit off the catch style with admirable effect, and we should be happy to see him pursue this kind of writing. REGISTER. new wonders; and for the broad and measureless expanse which bewildered him before, he finds himself within a chamber, of which gold is the meanest material. While he gazes in astonishment and despair, the wall of this splendid alcove opens, and beneath a cope of surpassing brightness, the Genius of the Valley (Miss Poole) stands before him; and when the spell has fully worked, flashes upon him with that magic sword that "nothing keen or solid can oppose." He instantly becomes Harlequin. The scene now changes to a saloon in the Diamond Merchant's palace, where his daughter, (Miss Valency) and her attendants are dancing. Her father returns, and communicates his new acquisition; but in the midst of this unlicensed triumph, the Genius appears, appals him with the sight of his victim still among the living, strikes him with the more fearful apparition of his daughter running away with that same son of viscissitude, and consummates the judg 1815.] Dramatic Register-Drury Lane. ment by turning him into the "lean and slippered" pantaloon. The rest of the performance, as less classical, is of course less worthy of a regular narrative. The mechanical ingenuity of the arrangement produced great applause. Among the novelties of the piece was a hornpipe by a child only five years old. The pantomime is laughable, and that is the prime petition and praise" of such things. It has some scenes that may be omitted, and some that may be advantageously altered in future representations. 66 Jan. 2. Mr. Kean performed the character of Romeo for the first time. The confident expectations of the public, that in whatever character this artist appears, he is sure to strike out beauties unthought of before, and to give an impression to the audience unfelt on former representations, filled the theatre at an early hour, and the ideas of the concourse, as to the felicity of his delineation, were fully realized. In the level scenes of the drama, he had only to display the correct judgment of the speaker; without being endowed with the "silver sounds of lovers' tongues by night," he infuses a melting tenderness into the burning ardour of his address to Juliet in the garden scene, which made every sensible heart feel an interest in her affection. It would have been a delicious scene if the responses of his Juliet had been equally fond and delicate; but Mrs. Bartley has not the exquisite sensibility and sweetness which this fascinating character requires. She has not the art to preserve the gentleness of Juliet, where she has to express an energetic emotion. Her vehemence is rather that of a matron than of a tender bride; and yet it is our duty to say, that she was most applauded when she was most boisterous; and in this particular, the judgment of a considerable part of the audience differed essentially from ours. But to return to Mr. Kean's Romeoin his scene with Tibalt he was most animated and correct; but it was in the scene with the Friar that those bursts of passion, in which he has no rival, first swelled and agitated the bosoms of the audience. The happy and peculiar energy which he gives to sentences, and at times to single words, which from other performers pass off without emphasis or effect, were here felt in their full force, and the most enthusiastic acclamation testified the impression which he made on the house, this paroxysm was still more felt in his dying scene. It was, in NEW MONTHLY MAG.-No. 13. 57 truth, impossible for the most obdurate nature to resist the influence of his emotion, of his gestures, and particularly of his eye-the convulsion of his whole frame, and the stifled, mournful gasp of his dying breath. It was new in the conception of the actor, and yet the soul confessed the identity of the imitation.— Every observer who had an opportunity of standing over the dying anguish of a youth in the presence of the object of all his wishes, must have felt how perfectly, how strikingly he seized on and copied the convulsive struggle of the fibres-the cling to the creature of his love, and to life for her sake-the shock of disappointment, and the harrowing murmured sound with which he sighed his last. It was certainly a study for the painter, and to the amateur of the histrionic art an undeniable proof of its predominance over all the other sources of pathetic emotion.-In fact Romeo, in his hands, is a character of such influence over the heart, that we trust the managers will feel it their interest to present to the public another Juliet. We should be glad to see Miss Walstein try her talents in the part. Jan. 4, Miss Walstein performed Lady Teazle, in the celebrated comedy of "The School for Scandal." The character has been the subject of criticism and praise, till praise is exhausted, and criticism has no words for its judgment. Its present representative is, however, not yet fixed so high in her "fair and palmy state," and admiration and censure may still have no slight resources in Miss Walstein; yet, on a general view of her performance that night, we had a right to be pleased. Her figure, which we think strikingly fitted for stage effect, seemed to have emancipated itself from much of that uneasy and embarrassed stiffness, which hitherto impeded its motions alike of grace and dignity. Her voice, gradually more accustomed to the capacity of the house, is acquiring the roundness that was alone wanting to her perfect delivery. Even that evil of lingering recitation which hung so heavily upon the excellence of her Calista, sad which seemed so systematic as to be incurable, is diminishing rapidly, and nothing but the purer model of a British theatre may be wanting to practise this actress into one of the ablest reciters that the modern drama has seen. To judge from the feelings of the house, her Lady Teazle was highly attractive. Elegant and lively, she sustained the comic part of the character VOL. III. I 58 Dramatic Register-Covent Garden. with uncommon spirit: tender and relieved by a pause in that unmeasured [Feb. 1, hoodwink her credulous husband. Mr. Elliston would not have much to regret in the total loss of his present style of elocution. COVENT-GARDEN.-On Dec. 26, a new pantomime was produced at this theatre founded on the story of, and called "Whittington and his Cat." The child's story has been strictly adhered to till the transformation of Whittington into Harlequin, after which there is the usual train of pursuits, tricks, and escapes, which we expect in this species of drollery. The contriver has made good use of the fashionable taste for a jaunt to Paris, and this affords admirable scope for several humorous exhibitions at Dover, Calais, the Gate of St. Denis, the Pont Neuf, and the Bouvelard. The scene returns to England, and there we have an exhibition of the late royal fate in the Parks, with Garnerin's balloon and parachute, the illuminated pagoda, the Temple of Concord, and brilliant fire-works. The balloon is made to rise over the stage, and the parachute, with Mademoiselle Blanche Garnerin, drops through the opening in the ceiling; after which there are fire-works. It concludes with a scene entitled the Hall of Industry, and an allegorical representation of Whittington, Lord Mayor of London. The pantomime abounds in humorous tricks, and was received with warm and universal applause. The pantomimes have been performed every evening since their appearance, and still seem to continue their attrac tion. NEW PATENTS. Mr. MICHAEL LARKINS, of Blackwall, for Improvements in Windlasses for Ships and other Vessels, dated August 16, 1814. THIS improvement consists in fixing to the shaft or barrel of the common windlass one, two, three, or more circles or cylinders of wood or metal, generally from three to four feet in diameter, and from six to twelve inches in thickness, but which may be more or less. In each of these cylinders are holes for the handspikes or levers, generally eight in numher, which, acting at a greater distance from the centre, afford a greater increase of power; and these holes, being all sunk a certain distance into the cylinder, the handspikes always abut against the bottom of the hole; they are thereby more easily and certainly fixed and disengaged than they can be in the common windlass. In one or more of these cylinders the stops are to be cut for the palls, by which the windlass is prevented from recoiling; and here the greater diameter of the cylinder, compared with that of the barrel of the windlass, greatly diminishes the strain on the palls, and gives room for them to catch more frequently than they can be made to do with equal security on a smaller circle. This windlass possesses the following advantages:-1st. An increase of power obtained by using the handspikes or levers (which are to be all alike, and such as are in common use, about six feet long) in the holes prepared for them in the circles; this carries the ends of them full eighteen inches from the centre, 1815.] Account of Larkins and Dunnage's Patents. 59 This increase of power will be at least or oars: this improvement consists in equal to one-fourth; but where the making the stretcher moveable, and in handspikes are perpendicular in the connecting it with the oar or oars, or shafts, and the men at them are able to with an additional oar or float-board, to exert but little power, then the hand- be worked at the head or stern of barges, spikes in the intermediate holes in the or other large vessels, in either ca e rencircles will stand at an angle of 46 de- dering the stretcher an active instead of grees of elevation, and the men at them a passive instrument.-Mr. D. expressly will be able to reach the ends while declares, that making the force of the standing upon the deck, and conse- feet and under parts of the rower assist quently will be able to exert their great- his bands and upper parts by pulling est force. In this situation, which must the oars in a contrary direction to the happen in every revolution of the wind- force exerted by the feet, or otherwise, lass, three men (one at each circle) will by enabling the feet to work an addibe able to do inore than six men can do tional oar or float-board, thus outaining at six handspikes in the shafts. There a purchase in the water independent of is no doubt that nine men at a windlass the vessel, is what he claims as his inwith this improvement will be able to do vention or improvement. He observes, as much as twelve men at the common that the apparatus used to produce these windlass, and with more dispatch, safe- effects may, and must be varied beyond ty, and ease to themselves. The hand- all possibility of description, according to spikes in the circles abutting at the bot- the kind and size of vessel to be protom of the holes, will be easier to ma pelled; but notwithstanding such varianage, especially in dark nights, and by tion of means, while they enable the unskilful seamen, and will be less liable feet and hands of the rower to pull toge to wear.-2dly. Greater security in pall- ther in the same direction, or enable the ing, or stopping, to prevent the wind- rower to work an additional oar or floatlass from recoiling. In the common board by his feet, they are to be consiwindlass, the palls catch into stops cut dered as different ways of obtaining the in the shaft, which is seldom more than same end. According to this method, twenty inches in diameter, and only af- in a boat where one man only is emfords room for eight stops. In this, the ployed, a light iron frame, sixteen or palls catch in the stops cut in one or eighteen inches wide, and eight or nine more of the circles, which, in a ship that inches deep, is suspended on hinges or has a windlass of twenty inches diame- castors from the thwart or seat of the ter, will be four feet, and will afford rower. At the upper corners of this room for sixteen or twenty-four stops. frame are sockets to receive two light By this increase of diameter, the palls iron stanchions, made of such length, act at a distance of twenty-four inches that when shipped into the sockets, they from the centre, consequently the strain may stand from 16 to 18 inches, or more upon them will be as 10 to 24 compared if necessary, above, the thwart. Through with the common method of palling. an eye at the upper end of these stan Having double or triple the number of chions, let one end of a rope be fastened, stops, will also cause the palls to catch and the other end be formed into a more frequently than an equal number small loop, just sufficient to receive the can in the usual way; and the palis act- handle of the oar. From the lower coring so high above the centre, will pre-mers of the iron frame must be attached yent the possibility of the windlass rising or upsetting, which has too often happened to the great danger of those working at it, and also of the ship. GEORGE DUNNAGE's, Upper Mall, Hammersmith, Esq. for a Method of rowing or propelling Boats or any other Vessels. Dated Nov. 14, 1814. Whereas, in the usual method of row ing, the feet of the rower press against a part of the vessel, as in barge rowing or in boat rowing against a fixed stretcher, which commonly lies across the boat, and rests against the sides of it; by means of which stretcher the rower obtains a purchase, enabling him to apply a part of his strength to pulling the oar two iron rods, running towards the stern of the boat. The other ends of these rods must be screwed or otherwise fastened to a moveable stretcher, made to run on two small wheels or rollers. The stanchions being placed in the sockets, the loops put over the ends of the oars, and the rower having placed himself on the seat, with his feet resting on the moveable stretcher, it is obvious, that when he pulls the oars with his hands, he must push the stretcher with equal force with his feet; and it is equally plain, that this force so applied to the stretcher, must immediately pull the oars, and thereby assist the labour of the rower, In a boat in which two or |