Pistrucci's Improvisation...
we forn frlgave aabrief account of the performances of this mi- irOmietore. The qualities by which they are distinguishied arel considerable fluency and copiousness of language, a great acquaint- ance with thc commor-places of poetry, a ready cammand of rhymes, and a very animated recitation. These are sufficient to carry him througb with eelat in a short and uriform Rddress on anygiven sub^ ject-whether the praises of a hero or a poe%, the celebration of a victory, the description of a work of nature or art, or the numerous aptlications of a moral maxim. Whete anv spark of poetical enthusiasm exists in the mind of thc improvisatorc, it is lkely to be kindled by the applauses of a multitude. or the ambi- tdon to f3otain them; and if kindled, it may genierally be expected to burn during the short effusion. But Senor Pistrucci Inst night de- parted from this simple course, and abandoned this comparatively easy victory. A complete drama was announced as a portion Of his improvisation, and after a kind of monody on tha death of Lord Byron, which contained some animated passages in allusion to ancient Greek story, he made the attempt. Various subjects had been laid upop his table, including tragedy, comedvy and farce, and after an apparent consultation with the portion of Iis audience nearest the stage he selected that of a comedy of love. It was then that the awkwardness of a dravnatic sketch for an effort of improvisn- hon appeared. The poet was obliged to enumerate his drarnatis erson-e, and to describe his theatre of action-things which seemed as littic fitted for improvisation as a dissertation on fluxions, M? thede. rlption of a steam-engine. The plot, he told us, 'was b rhYclude ah enamou,red old man, *rhonn he begged leave to call Ro- acr n yong lady with whom he was in love, whom of course he !obUiined leave to call Adeaide; her fathler, Don Carlos her lover, Edoardo- with the proper complement of servants and confidants. The scene was to be laid at a viltag-iatezra, or country reidence of Roberto's. The piece opened with a dialogue between Roberto and his servant, iR which the old gentleman reveals his pas.ion, telling his valet that he was like iMont Gibello (iEtna)- snow without,and fire within. After this conversation,we have achoral song of shepherds, which advances the action just about as snuch as the noteof the lark er the cuck-o near the old gentleman's villa. WVe have afterwards, in succeasion, interviews and dialogues between Ed- rward and his rerant, Carlos and his daughter. In the latter scene, 'we hear of a letter from iRoberto, asking the young lady in marriage. It must be confessed that there was neither much invention in the plot, nor humour in the dialogue of this comedy, ot' which we were promised two acts, but which, like " the storv of the bear and the fiddle, broke off adroitly in the middle." The tennination and epilogue were the best part of the entertainment; for, though short, the comedy just lasted so long as to lead to manv other dialogues besides that which was in progress on the stage. When the impro- zisatore escaped from this comic plot, (which, if it had continued, rniihthave beers serious.)he gave an excellent description of a Dandy, 'which was one of the subjects placed on his table. The next subject 'was, the " end of the world," which suggested to him some better pas- sages and more animated expres"ions titan we ever heard either from him orany other im,pravi.ratore. We came away just as he had finished with great are A very difficult sonnet, of which the rhymes and the subject were supplied by thc audience. Upon the whole, the amuse- meat of the eventgesw very interesting, and the display of dex- terty and presence of mind verycreditable to theperformer. The A-.gyll Roomns were rewded to excess with respectable people, who -went away apparently pleased with themselves and their entertain- ment. 4SP'U&Ci'S IMPROVISATIONS.