of the author of Adelaide (an old dead German horror), was advertised as a tragedy; but so great an impostor has seldom suffered the pains and penalties of exposure. It is, how ever, gathered to its fathers or rather, to its mother-old Mrs. Ade laide! and we shall therefore dis miss it with few words. It was an agonizing version of the Two Galley Slaves-dragged through five acts of unaccountable horrors, and ending in a happy joining of hands at the scaffold's foot, and at the instant of a parent's death. Macready played with great vigour and effect; but no acting could excuse the monstrous exaggerations which broke out in every scene. A slave and a supposed murderer are sad company through five long acts. Mr. Abbott was the only good person, for he forgot his part, which we rather think mainly contributed to the temporary success of the Drama. Every incident was carried to the verge of reality, and then as suddenly broken off. A marriage is all but solemnized-the hands are joined the altar is near-the priest has begun the ceremony→→ when the murderer with his red cross rushes in-demands to speak with the bride, and converses desperately for ten minutes, while the husband respectfully stands aloof!-An execution is all but executed! The axe is ready, the scaffold, black as the sweeper at the Obelisk, is ascended,— the neck is bared!—when a messenger arrives to say, that the intended victim's father has just died, and acknowledged himself the murderer. Of course, the axe is arrested, and the prisoner set at large;-he rushes into his mistress's arms, and they live very happy ever after. The language is bad blank verse-heavily laden with nonsense and horror. One other sin this tragedy has to answer forit has shaken our faith in the powers of Miss F. M. Kelly! - We did say that we felt sure of her but her acting in this new Tragedy has alarmed us--and until we have seen other evidence of her talents we shall suspend our great opinion of her. How is it, that she plays no other part but Juliet? REPORT OF MUSIC. THE most important novelty in the musical circles is the establishment of THE BRITISH CONCERTS. We alluded in our last report to the probability that a plan for the encouragement of British talent would be tried, and, since we wrote, the proposals have been issued. The increasing influence of foreign_musicians, and the substitution of foreign compositions for those of English masters in all our concerts, have for ages been matter of continual complaint among the professors of our own country; but nothing has hitherto been done towards combating the adversary. Every circumstance has, on the contrary, been favourable to this introduction and exaltation. Italy has ever been considered as the parent of vocal art. The Italian opera exhibits the richest specimens. Hence, as from a central light, rays are darted in every direction. The prima donna of the King's Theatre is sure to be found at every superior concert, private or public; we have too from thence a succession of superiority. Catalani, Fodor, Bellochi, and Camporese, to say nothing of the Buffa ladies, have all appeared, while the English stage has presented no other eminent vocalist than Miss Stephens, (Miss Tree can hardly yet be said to have risen to this distinction). Variety, therefore, lends its powerful aid, and the effect is such as it must ever be while opera continues in its present low state in England. From the King's Theatre, the most beautiful compositions are transmitted to the Orchestras of the Concert rooms, and of late they have even been suffered to usurp the most prominent places in the Lent Oratorios. The same circumstances attend almost all the other branches of public music. The importation of male singers is in a like comparative profusion; Mr. Vaughan, Mr. Braham, and Mr. Knyvett, are standing dishes; and they are admirable fare beyond all question; but all of them have been before the public these five-andtwenty years at least, while the Tramezzanis, the Naldis, and the Crivellis, the Ambrogettis, the Garcias, Curionis, Zuchellis, De Begnis, and a hundred others, afford a never ending train of diversity both in quality and manner. The country must be most prolific where there are so many nurseries for talent. There are not only the conservatories, but there are great theatres in almost every city. The captivation of Mozart and Rossini has completed the triumph. They are now omnipresent. The melodies and the comic concerted pieces of the latter fix themselves in every fancy. It is in vain that our musical philosophers, or philosophical musicians, appeal to sense and sentiment. Melody, catching melody, wafts away all their solid theories at a breath. Voluptuous sensations, or lively pleasures, are preferred to the lofty affections. It ought not to be so, say our wise men. Granted; replies the public-but nevertheless so it is. But though we adore Mozart, and are certainly animated and affected by Rossini; though Catalani has entranced us; though we have been raised by Tramezzani, have admired the whim of Naldi, and even wept for their miserable fate; though we have been melted by Crivelli, are still enthralled by Camporese, and are more than half in love with De Begnis (Madame, gentle reader, for we are not a Lady, though boasting ourselves the fairest of critics); in spite of all these thoughs, we are rejoiced to see our countrymen come hardily forward to vindicate their claims and to assert their powers, for in truth, they have never been able to obtain an impartial hearing. The history of the British Concerts is plainly this. About twenty-five years ago, a society of the then eminent writers of vocal English music, Webbe, Robert Cooke, Callcott, Horsley, Pring, and some others, associated for mutual correction and improvement, under the name of the Concentores. They met monthly at each other's houses, and brought some new composition every night; but jealousies crept in, and death and calamity made serious inroads amongst them, and the society was dissolved. But after a time, some of the most zealous of the survivors reunited the existing members of the body; they attracted new companions, and persevered in a cause which has been found to be privately and publicly useful. These same individuals now stand forward for the almost abandoned honour of British art; and, disavowing all personal interests, they offer to the English composer of talent an orchestra from whence his works may be heard to advantage, and to the public, the power of patronizing and warming into life and excellence the native genius of the country. At the outset they begin warily and prudently. They limit the subscription to two guineas; the admission for this sum to four persons for three Concerts. Their band will be principally vocal, with perhaps half a dozen accompanying instruments. But they declare their intention to extend their views according to the means which patronage may furnish. The Concerts are to be held on the 10th and 24th of February, and the 10th of March; the names of the members of this praise-worthy institution are as follow: Messrs. Atwood, Bishop, Elliot, Goss, Hawes, Horsley, Jolly, Linley, Sir G. Smart, and Mr. Walmesley. The associates of the society are Messrs. King, Leete, Terrail, and J. B. Sale. Messrs. Atwood, Hawes, and Horsley, are appointed directors for the present year. Here is certainly great talent, the flower indeed of English talent; and it will be the greatest dishonour the art has yet suffered in this country, if the scheme be not joined by all who are interested in the exaltation of the profession, and patronized by those who hold England in estimation. The City Amateur Concerts are abandoned; but wherefore is not known. The subscription last year • Tramezzani went mad; and Naldi was killed by the explosion of a cooking apparatus. was full, and the subscribers, to all appearance, perfectly satisfied. Such a termination, however, accords with general experience. It very rarely happens that Concerts established by Amateurs, and depending either upon their direction or performance, survive for any considerable time. It is not difficult to understand that the management of such a Concert demands from mere ameteurs even more time and attention, than from the practical and professional conductor. They soon get weary of what they find amounts to a positive restriction, both upon their time and pursuits, of far greater amount than they calculated upon: if successful, they are soon satiated with praise; if, on the contrary, things do not go on as well as they should do, they are disgusted with the envy and jealousies, and such other motives, to which alone they attribute the disregard to which they are exposed; thus they are equally spoiled by victory or defeat, and it is well if they do not fall together by the ears. At Cambridge there were three evening Concerts, but no morning performances; but, either from the election, which happened at the time, or from some other cause, though the first since his appointment, under the conduct of the new professor of music, Dr. Clarke Whitfield, the worthy professor suffered a loss. Miss Paton was the prima donna, and, with Miss Travis and Mr. Vaughan, made up the vocal orchestra. But the great strength was given to the instrumental band, which was complete throughout. Dr. Smith has had his annual Concert at Richmond. Mrs. Salmon, Miss Witham, and Mr. Rovedino, assisted. Miss Witham is a pupil of Mr. Rovedino, but, though possessed of fair abilities, gives no promise of far excelling eminence. It should seem somewhat extraordinary that Bath, a place of fashionable resort, that promises, after London, the most ample patronage, should be found unequal to the support of a public Concert. Such, however, appears of late to have been the fact. The performances have generally commenced in December (on Christmas Eve very frequently); and in January, last year, Mr. Ashe the conductor, since the death of Rauzzini, stated by advertisement, that through the losses he had experienced during the three previous seasons, together with the failure of the series then in progress, he was compelled to give up the undertaking. He announced his last benefit, and related that himself and Mrs. Ashe had relinquished permanent engagements in London, in the hope of succeeding in this enterprise, which, after a trial of twelve years, he was thus at length obliged to abandon. He subsequently even returned a part of the subscriptions, so hopeless did he consider the concern. But Sir George Smart and Mr. Loder have adventured to take them up. They advertise nine concerts, and have either engaged, or are in treaty with, the whole circle of musical talent. There is scarcely a name of eminence, either vocal or instrumental, which their list does not include; while, with a liberality which does them credit, Sir George and Mr. Loder yield both the leading and the conduct in turn to other eminent professors. The plan of the concerts, if not novel, embraces a principle which ought to be better understood, and more generally practised. This principle is to make good music cheap, and, by such means, accessible to the many. A Concert should be viewed in some such light as the following. Its expences should be estimated, and a fair compensation set apart for the risk and the trouble of management. The conductors, having made this computation, should endeavour to obtain the sum by a liberal concession to subscribers, and rather seek to gain by numbers than by a high price of admission. Nothing, we are persuaded, would so certainly tend to the diffusion of art, and to make Concerts frequent and profitable, as such a plan. And provided the room be sufficiently spacious, what does it matter to the entrepreneur, whether he derives his gains from one hundred or from two hundreds of auditors? Thus the directors of the Bath Concerts, apparently keeping this public end in view, have arranged a scale of prices, ascending in proportion to the number of tickets subscribed for. The subscriber for twenty-seven tickets (for the nine Concerts, and all transferable to ladies) pays about 4s. each; he who takes eighteen, about 5s.; he who takes nine, 6s. 6d.; and the purchaser of a single ticket is charged 8s. This scheme enables families to unite, and thus opens the door as wide as is consistently possible. In such an adaptation to circumstances, very often lies all the secret of raising the power to support a Concert. There is many a town which, by dividing the rate of admission in a similar manner, might enjoy the finest talents; whereas, by insisting upon fixing the tickets at eight shillings or half a guinea, the possibility of success is precluded. A series of Concerts is also commenced at Bristol, under the direction of Sir George Smart. The Royal Academy has taken a house in Tenterden-street, Hanoversquare, and the Committee of Management are proceeding to carry their project into practical execution. At present the subscription amounts to about 6000l. and the annual donations to about 600l. sums totally inadequate to the completion of their extensive design. One of the most remarkable circumstances is, the almost total absence of professional names from the list of subscribers, which sufficiently speaks the opinion artists entertain of its merits. At present its prospects are certainly not promising; but if the institution fails, it will be from the total want of deference to public feeling, from the absence, we may say, of all tact in the proceedings of the self-elected managers. The list of professors has undergone some material alterations. Mr. Clementi has declined the honour intended him; and Mr. John Cramer's name does not appear. It is said his terms were fixed at 2007. per annum, which were considered inadmissible!! If the time such a man as Mr. Cramer must give up be not worth such a sum, the Royal Academy must not go to the mart of eminent talent for its professors. The following are the new compositions: Introduction and Rondo for the pianoforte, by Moscheles. Op. 54. This piece, though somewhat below some of Mr. Moscheles' former compositions, in difficulty and contrivance, is equally distinguished for gracefulness and expression. The Introduction is very beautiful: we particularly admire the passage for the left hand beginning at stave 4, bar 1, page 2; it is rich and impressive. The effect of the chromatic passages, in page 3, is very good; and here we may point out to the observation of the young composer the admirable application of set forms; for though general and common phrases, they are here so introduced as to have the effect of new combinations, and conduce in no small degree to the expression. It is at this time of day so difficult to invent passages, that genius and fine taste are, perhaps, most displayed in a judicious and powerful application of those which are most striking. The Rondo is full of sweet and graceful melody, heightened and contrasted by the peculiar strength of Mr. Moscheles' style. Paisiello's favourite air, Quant é piu Bella, with variations for the organ or pianoforte, by Thomas Adams; a com position best adapted to the former instrument; and although it partakes of the lighter qualities of pianoforte music, it will be found an interesting and advantageous study to the amateur organist. variations and alterations for the pianoforte My lodging is on the cold ground, with and flute, by John Purkis. The variations contain nothing particularly new; but the union of the instruments gives them ani mation and spirit. This description also applies to the Coronation March, by the same composer. Mr. Purkis's fourth Fantasia merely consists of an arrangement of several of Mozart's favorite airs in Figaro, with an introduction and flute accompaniment. The intrinsic merit of the airs will sufficiently recommend the piece. Mr. Rimbault's Variations to Partant pour la Syrie are very easy, and will be admired by beginners. Mr. Rimbault has arranged Mozart's grand Symphony, No. 4, Jupiter, for the pianoforte, with ad. lib. accompaniments for the flute, violin, and violoncello. He has also printed Rossini's lively overture to Il Turco in Italia in the same form, Mr. Sola has adapted Rossini's Per Piacer alla Signora; Di Piacer; and Occhi miei, for the pianoforte and flute. They make very pretty duets; the part for the latter instrument is rather difficult. A series of moral songs, the words by Mr. W. Collard, and the music (with the exception of one melody) by Mr. Clifton, are light, pretty, and easy vocal exercises. In this case it happens, as we often see, that the amateur (Mr. Collard) equals, if he does not exceed, the professor in melody. Dec. 26. ABSTRACT OF FOREIGN AND DOMESTIC OCCURRENCES. SINCE the departure of Napoleon from the scene, the whole political world seems lost in speculation and uncertainty. During the entire of the last year, our lucubrations were directed almost every month to the apparently impending rupture between Russia and the Porte, an event still in suspense, and with as little prospect of any ultimate decision as ever: this year, we commence with the equally important and equally doubt ful negociations between France and Spain; what the result may be, we believe even the heads of the respective Cabinets are almost as unable to conceive as ourselves; but if, as appearances indicate, it should terminate in war, difficult indeed is it to foresee the consequences. The Congress of Verona has, however, terminated its sittings, and the different crowned heads, together with their diplomatic suites, have either returned or are on their way to their respective countries. The Duke of Wellington has already arrived in England, having made rather an abrupt departure from the French capital. The result of the negociations has been kept a profound secret, but it is said that the ground taken by the British representative was decidedly pacific, and that his remonstrances and great local knowledge of the Spanish territory, and the natural difficulties which it presents to an invading army, were not without their weight. Indeed domestic reports, and reports are all which at present we have to guide us, go still farther, and assert that our new foreign secretary is not inclined to look even with an eye of neutrality on any French interference with the internal policy of Spain. Upon this subject, it is said that Mr. Canning transmitted to Congress, through the Duke of Wellington, a state paper, which made a deep impression, and which, for its enlightened views and eloquent exposition of them, has seldom been surpassed. This, of course, will be laid before Parliament, which has at last been summoned for the 4th of February, for the dispatch of business. In France, however, the voice of the majority of the Cabinet is known to be" for war," against the understood desire of M. de Villele and the King. Accordingly we find by the Paris papers, that dispatches were transmitted definitively to Madrid, declaring the ultimatum of the French Government, in which the allied powers (with the exception of England) are thought to have concurred, and upon the answer to which depends the decision of war or peace. Unless we have mistaken much the character and energy of the Spanish constitutionalists, there can be but little doubt as to the nature of the reply. The requisitions on the part of France, as handed about in the political circles, are stated to be as follow: 1st. The restoration of the King to his personal freedom, without delay, as it is now distinctly understood that he is in a state of confinement in his palace of the Retiro. 2d. The restoration of the King to his sovereign rights. 3d. Such a change in the constitution of Spain as shall give to the nobles a great share of the power which they possessed under the old regime. 4th. The exclusion of the present ministers from office, or, at least, most of the heads of the different departments. 5th. An amnesty for all persons, of whatever rank, engaged in the cause of the Regency. 6th. A more strict regulation of the laws relating to the press. 7th. The possession of certain strong places on the frontiers of France, as a guarantee for the performance of any undertaking into which the Spanish Government may enter. Such are the requisitions circulated in France as having been made a sine quâ non, by the ultra administration of that country, with the Spanish Government. They certainly appear to us as in every point of view likely to excite the anger, rather than the assent, of those to whom they are addressed; containing as they do a direct assertion of their implied right to interfere in the internal arrangement of the affairs of the peninsula; and, as if that were not enough, even with the choice of their political ministers. To this is added, lest any thing should be wanting, an expressed doubt of the veracity of Spain. herself by the |