1 832.] Review of Music. 123 



The EmmetJialer Shepherd. A Swiss Song, arranged with an accompaniment for 

 the Piano, by F. Stockhausen, the words by I. A. Wade, Esq. Chappel. 



For the arrangement of this song we can say nothing ; any boy who has just 

 learnt his table of Intervals could do as well, and if he had any natural taste* 

 much better. The words are very chaste, and the air itself, with the exception 

 of the latter part (which we suspect does not belong to the original), is as fresh 

 as the mountain on which it is often breathed. In the last bar but one of page 1 

 in the melody, there is a passage peculiar to the Swiss music. It is from the 

 5th note of the scale to the sharp 4th, then to the 2d, &c. ; the reason why 

 this 4th is so often made use of in Swiss songs is, that in the scale of the Alp 

 horn the 4th is naturally sharp, which accident has very much increased the 

 peculiar character of the Swiss music. 



Goethe's Song of Mignon, " Know'st thou the Land;" the Music by Beethoven. 



Wessel and Co. 



There is in this, as well as in all the works of Beethoven, something totally 

 different from every other writer. He, alone, sought for treasures in the mine 

 of his own genius, and he found them ; all composers had their models to work 

 upon. Haydn formed his style upon the Bach's Emanuel, Bach in particular ; 

 Mozart upon Haydn ; Weber upon Beethoven ; but on whose style was Beetho- 

 ven formed ? The chief peculiarity of this song is in the rythm. The second 

 phrase contains but three bars, and the fourth, two. There is then a ritornello 

 of two bars, and a coda on the words, " Know'st thou the land," which rises in 

 a sweet, but interrogatory manner. Then follows a 6-8 movement, which will 

 remind the hearer of part of his Adelaide, though the time is not the same. By 

 all who have studied the music of Beethoven this song will be admired. 



When we two parted. Written by Lord Byron, and composed by C. Rudolphus. 



Wessel and Co. 



We see no reason why a law should not be instituted to punish musical rob- 

 bers as well as house-breakers. The crime of the one is quite as great as the 

 other. The melody of " When we two parted" is, with the alteration of a note 

 here and there, no other than " Love's Ritornella/' the song of the Brigand. 

 The accompaniment of the one might almost be played to the other, and the 

 number of phrases is also the same. This is a most unblushing robbery. But, 

 perhaps, Mr. Rudolphus, like the man in the " Forty Thieves," thought there 

 was no harm in stealing from robbers ; for Mr. T. Cooke ought not to lay claim 

 to " Gentle Zitella." We have seen it, with a trifling alteration, bearing the 

 name of Dominico Corri ; and the words have gone the rounds of nearly all the 

 composers in Great Britain. So much for novelty. 



Deux Petites Polonaises, pour le Piano-forte. Compose par J. P. Pixis. 

 Wessel et Co. 



If these Polonaises are intended for the learner they are bad ; for they con- 

 tain octaves and full chords throughout, and require a masculine hand to per- 

 form them properly, and that, well done, no effect will be produced. Of course 

 they are not intended for the musician. 



1. Deux Danses Autrichiennes pour le Piano-forte. 2. A March, performed by 



the Prague Minstrels. 3. The Farewell of Rao ul Coney. All composed and 



arranged by Ignace Moschelles. Wessel and Co. 



No. 1 are merely arrangements, and all that can be said of them is, that they 

 are cleverly done, with a link here and there which serves to hang the subject 

 upon, and which renders them very like rondini. They are good things for 

 beginners. 



No. 2 is spirited enough ; but requires a military band to give any thing like 

 effect to it. 



No. 3 is a song by Blangini, with an accompaniment for the piano, by 

 Moschelles. This air was introduced at the first concert Moschclles gave in 



