cially when proceeding from the lu- | the probable causes of this pre-emiminaries in the art. This notion of nence of the Germans in instrumentthe thing at least seems to be war- al music; but our ideas on the subranted by most of the pieces bearing ject, which has before now engaged the superscription of “ Impromptu,” our attention, would lead far beyond Mr. Moscheles' Op. 62. among the the slender space at present assigned rest. It is an allegro in B minor, of to us. It is these contracted limits a serious cast (rather learned), re- too which compel us to speak in geplete with elaborate modulations more neral terms only of Mr. Schlesinger's or less stern, and not particularly re- labour. Both his publications before markable for an abundance of melo- us will, we are sure, be ranked among dious thoughts.

the higher order of piano-forte comAllegro di Bravura for the Piano- | positions in any country, not Germaforte, composed and dedicated to ny excepted; indeed as first operas Ferd. Ries, by his Friend and Pu- they have excited our astonishment. pil, D. Schlesinger. Op. 1. Pr. 3s. They not only announce a pure cul.

-(J. B. Cramer and Co.) tivated musical taste, but their seIntroduction and Rondo brilliant for lect and often profound combinations · the Piano-forte, composed, and de evince the solidity, depth, and great

dicated to Miss Boode, by D. extent of the author's science. There Schlesinger. Op. 2. Pr. 4s. 6d. are things in the Allegro di Bravura -(Cramer and Co.)

which will astonish Mr. S. himself These, then, are first offerings thirty years hence-(we hope)—and attempts we must not call them--of an which, then, he will not be able to elève and countryman of Mr. Ries, make better. who, in leaving us, seems to have But it has been our particular aim, left his mantle to be worn by a fa- in perusing these books, to look after voured pupil amongst us. The coat | something more than display of scifits; nay, Mr. Schlesinger throws it ence and studied harmonic combinaon, as if it were made for him, with tions. Much of these may be acpeculiar grace, with a fasbion which quired with toiling perseverance, unitat once proclaims the artist formeded to good taste and a ready musical by nature for his calling. These tact; and much of these accordingly works breathe the genuine musical may be met with in the works of taste and feeling, which -as far at many writers of fair but not the least as regards instrumental compo- | highest qualifications. But what ocsitions--seem so entirely to have their curs more rarely, and seldoın indeed home in Germany, that the musical nowadays, is good melody; and mewriters of other countries excel only lody our eager eye looked for in in proportion to their approach to Mr. S.'s score, and the search was the models of that country, from neither laborious nor vain. We found which it seems to be as hazardous much more than we expected, and for them to deviate, as it is pre that good indeed; such as in Op. 1. sumptuous in the architect to swerve the fine cantilena in Db, p. 2; the from the forms and proportions of sweet passage in F, p. 3; another Grecian art. It would afford matter p. 5; a treasure of the like kind all of curious speculation to inquire into over p. 6, &c. In pp. 4 and 10

made for ion which led 10 goo

there is a slight smack of Rossinism, il nual and digital drill is continued very pretty indeed, and no doubt an through about thirty further exerunconscious imitation; but such things cises of multifarious kinds, progreshad better be avoided by a writer sive in themselves, and devised with like Mr. S.

I judgment, and evidently with great Although we prefer the Allegro experience as to the wants of the di Bravura to Op. 2. the latter pupil whose object is to attain a full alone would have been equally cal mastery of the instrument. culated to impress us with the high A compendious Musical Grammar, est opinion of Mr. S.'s talent; it is in which the Theory of Music is masterly in many points. Both pub completely developed (?) in a Selications indeed are elaborate in a ries of familiar Dialogues, writhigh degree, and proportionably dif ten by Bonifacio Asioli, Director ficult. In this respect we may per of the Royal Conserratorio of haps be permitted to suggest the Music at Milan; translated, with advantage-not of avoiding all intri considerable Additions and Imcacy in future works(masters like Mr. provements, by J. Jousse. Pr. S. are not expected to write primers 4s. 60.-(Cramer and Co.) and spelling lessons)- but to stully This elementary compendium, as ease and simplicity as much as pos far as it goes, is truly excellent. sible. On the extensive display of But the title is too comprehensive in science in the cases before us, we announcing the complete developdeem it unnecessary to offer any sug ment of the Theory of Music; while, gestion. It is so natural, and indeed | in fact, the little volume is limited quite proper, to put on one's best at and properly so---to those rudiments a first interview: upon more familiar which are indispensable in the study acquaintance, we of ourselves be- of the practical part of music, and come less particular and spruce, and, which are generally made the subon the other hand, more familiar, ) ject of elementary treatises, or guides communicative, affable, and engag for the piano-forte or other instruing.

ments. But what constitutes the Book II. of Preparatory Exercises value of Signor Asioli's labour is, the for the Piano-forte, calculated to systematic order of his arrangement, form the Hand, and give a correct the correctness and precision of his Idea of Fingering; chiefly in definitions, and the great simplicity tended as an Introduction to the and perspicuity of his instructions, Studies of Cramer, kalkbrenner, and of the style in general. In these Ries, Steibelt, Woelft, fc.; com- essential requisites the book is quite posed and fingered by D. Bru- remarkable; the pupil must be dull guier. Pr. 55,-(Chappelland Co.) |indeed not to understand every pa

The nature and merits of Mr. B.'s ragraph without the comment of a “ Preparatory Exercises” have been | master. In treating of the minor fully and very favourably commented scale, we are glad to find at least a upon in our review of the first book slight attempt at questioning the ri(No. 30. R. A.), to which we beg to diculous doctrine of the sixth in as. refer the reader; adding only, that | cent being indispensably and at all in the sequel, now before us, the ma- times major. This egregious error

3. Dipeppell and c: Pr.

has been parroted long enough from | tification. The pieces and passages book to book; it is quite time to give which then delighted us, but wbich it the coup de grace in good earnest. are more or less in a course of oblite

ARRANGEMENTS AND VARIATIONS. ration, reappear with all their charms; 1. The favourite Airs in Meyer- we even supply missing features

beer's Opera of " Il Crociato in of harmony and melody; we impart Egitto;" arranged for the Piano the authentic traits of emphasis and forte, with an Accompaniment for expression; we delight in seeing the the Flute, by T. Latour. Books notation of sounds which before flutI. II. and III. Pr. 5s. each.- tered in mysterious vagueness about (Chappell and Co.)

our ears; we congratulate ourselves 2. " Fleurs d'Italie," consisting of a on knowing the rights of the musical

Selection of favourite Italian Airs, mechanism. Our readers then must selected and arranged as Diver- find it quite natural if we recommend timentos for the Piano-forte, with to them what yielded to us so much a Flute Accompaniment, by D. pleasure. Mr. Latour's arrangement Bruguier. No. I. Pr. 23. 6d.- is extremely valuable, because it is (Chappell and Co.)

uncommonly effective, without being 3. Divertimento for the Piano-forte, difficult, and the selection consists

from the March and favourite of the most interesting pieces of the Airs in Rossini's Opera of “Sc-opera. One, however, we missed miramide," composed and arrang- with regret, and one which admits ed by Augustus Meves. Pr. 3s. - of a very effective transfer to the (Chappell and Co.) .

piano-furte. It is the pantomimic 4. The favourite Irish Melody," My overture, a work so eminently genial,

lodging is on the cold ground,” so full of the picturesque, that we arranged with Variations for the are at loss to account for its omission. Piano - forte, by Samuel Poole. %. The first number of Mr. BruPr. 2s.--(T. C. Bates, St. John's- guier's “ Fleurs d'Italie" has the square.)

well-known Italian air, “ La Donna 5. A Selection of Melodies from che è amante," not of molern date,

Weber's celebrated Opera Der l but of good melodic import. In the Freyschütz;" arranged for the arrangement we have met with some Violoncello and Piano - forte by cases susceptible of better treatment, H. J. Banister. Book II. Pr. 4s. such as p.2, b. 2; p. 3, li. 4, &c.; but -(Banister, Goswell-street.) it is satisfactory upon the whole, and

1. Mr. Latour's three books of the piece in this form will serve as pieces from Meyerbeer's “ Crociato an attractive lesson. in Egitto” have afforded us many 3. The divertimento of Mr. Meres an hour of real enjoyment, and still consists of the favourite march in C, continue great favourites with us. in Rossini's “ Semiramide," and two There is a peculiar feeling of pleasing other pieces in the opera. All these reminiscence in rehearsing in one's are given faithfully, and with scarceown room the concentrated abstract ly any thing in the way of digression of an opera, the performance of which or amplification. The movements on the boards had shortly before stand in their simple authentic form, been the source of the highest gra- | with the recommendation of a satis

been the boards had "mance of which ly any

factory and easy arrangement. In the London Concerts, Vauxhall, p. 9, b, 3, the first chord in the bass fc. composed by J. Whitaker. should have been A b, D, F, instead New edition. Pr. ls.6d.-(Longof Ab, E, G; a typographical error man and Bates, Ludgate-Hill.) of course.

5. Anthem for four Voices, The 4. Mr. S. Poole's variations on the God of glory sends his summons Irish air are meritorious. They pro forth;" the Words from Dr. ceed in the usual routine form, but Watts's Version of the fiftieth with great propriety and much good Psalm (on the last Judgment); taste. The latter encomium is par composed, with an Accompaniticularly applicable to the variation ment for the Organ or Pianoin F minor.

forte, by J. Morris, Organist, Har5. As we have already noticed the low, Essex. Pr. 3s. 6d.—(Monfirst book of Mr. Banister's “ Frey ro and May.) schütz" for the violoncello and piano- || 6. “ Charity," a Sung sung at the forte, we need only mention, that the Oratorios and grand Musical Fessecond livraison now given contains tivals by Mr. Braham, written by six further airs, in which the violon T. H, Bayly, Esq.; the Music cello is obligato. The arrangement, by W. H. Cutler. Pr. 2s. 60.we are bound to say, is not only un (Willis and Co. 55, St. James'sexceptionable, but of a very superi | street.) or description. With the instrument 1. The Bacchanalian song by Mr. itself, the want of which we were Monro, although presenting no new compelled to supply vocally, the ef- ideas, proceeds with propriety and fect must be excellent.

good effect. The melody is suitaVOCAL MUSIC.

ble to the text, and the accompani

ment gives it a pertinent and well 1. " I left the bowl for Ellen's eye,"

devised support. the celebrated Bacchanalian Song

2.3. Mr. Ball has a happy talent sung by Mr. Atkins, written by J,

in devising new words for good foR. Planché, Esq., composed, with

reign melodies. “Where thy naan Accompaniment for the Piano

tive streams meander,” affords an inforte, by J. Monro. Pr. 1s. 60.

teresting text for a most beantiful air (Monro and May, Holborn-Bars.)

in Weber's Preciosa, which is given 2. "Where thy native streams mean

with a very proper accompaniment, der;" the Music from Carl Ma- ||

and thus makes as pretty an English ria von Weber's Cavatina in" Pre

song as one could wish for. The word ciosa," as sung by Miss Stephens; | " precinct," however--misspelt“ prethe Words by W. Ball. Pr. 1s.- | cint," --isunmusical; a substitute (Chappell and Co.)

might casily have been found. 3. “ Now while eve's soft shadows“ Rousseau's Dream,” with its new

blending," a Canzonet, written, and text, an old friend with a new face, adapted to the Air of Rousseau's also makes a very interesting ballad, Dream, by W. Ball. Pr. 1s.- and is equally entitled to our appro(Chappell and Co.)

bation, Adaptations, when thus ex4. Come to the dale," a favourite ecuted, arc infinitely preferable to

Ballad, sung by Miss Tunstall at the numberless mouotonous ballads

daily composed, or rather compound- || stance, we are at the same time ed, in this melodious country. aware, may have its advantage, in

4. We are not sure whether Mr. || the event of the performance being Whitaker's “ O come to the dale,” | assigned to young vocalists of limited has not some time or other occupied abilities, which is frequently the fate, our critical pen; the ideas are quite and sometimes even the intent, of familiar to us: but what a memory compositions of this nature. must we have to recollect the sub- 6. Mr. Cutler's “ Charity” is a stance of between two and three cantatina of three movements: a rethousand publications submitted to citativo, an andante, and allegro moour readers for these sixteen years derato. The first of these presents past! In one instance, the only one several impressive thoughts, which we are aware of, we have been guilty we should have been inclined to supof a double review; but the regret port by stronger, at least more elawe felt was fully compensated by the borate, colouring in the accompanidiscovery, that the twofold opinion | ment. The andante deserves the was quite the same on both occa- superscription" cantabile;" it prosions. In the present case, the cir ceeds with melodious flow: but the cumstance of Mr. Wi's song being a motivo is not altogether original; at new edition, at all events justifies the | all events it reininded us instantly of notice we now take of it; and this a period in the duet in three sharps fact sufficiently attests the popula- | of the “ Freyschütz." The air of rity of the composition, which indeed | the allegro is appropriate, without is conspicuous for its good taste. 1 presenting any trait particularly reThe ideas are very pleasing, of vari markable; but surely there is too ed import, and pertinently linked to much verbal repetition. The recureach other.

rence of two lines of text, of which 5. The anthem of Mr. Morris de alone the allegrois made up, is almost mands favourable notice. It is a com- endless; and the passage in bars position of some extent, properly va- || 19, 20, 21, of p. 6, is really very or. ried as to character and style, of dinary. In this allegro, too, more clear intelligible melody, duly poised | development in the instrumental in point of keeping and good rhythmi- score would have enhanced the in. cal proportion, well cast as to the terest; the voice has a number of structure of the parts, and satisfac- long notes supported by chords of tory as regards harmonic arrange- equal duration. This may be occament. As a whole, the effect is sionally in its place, but when much such as to do the author great cre- | resorted to it produces languor and dit. Although there is some modu monotony: whereas, by a contrary lation here and there, and that of an || proceeding, i.e. by dissolving the interesting kind, we could have wish- || chords into more active instrumentaed for greater harmonic variety, for tion, we not only obtain the advanmore modulatory light and shade. tage of variety, but throw more Tonic and dominant chords are some-marked distinctness into the rhythm. what too prevalent. This circum

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