PINE ARTS. 167 



that ever existed), he is yet not an unskilful composer, and in the 

 present Instance he has managed to make much of rather an unpro- 

 mising theme. 



1 . Capriciofor the Piano, intended as a study for the right hand. — 

 Purday. 2. Le Depart pour Munich ; Rondo varie, for the 

 Piano, by the same. London : Paine and Hopkins. 



The character of both these pieces is the same. They are in- 

 tended rather as studies than as pieces de concert, and, considered 

 in this light, are excellent. 



The Violin. By George Dubourg. London : Colburn. 1836. 

 12mo., pp. 276. 



We have here an amusing and, in some measure, instructive 

 little volume, giving an account of the origin of the violin — a short 

 biographical notice of its most eminent professors, from the time 

 when it was first employed as a solo instrument to the present day 

 — a chapter on amateurs, but too descriptive, we fear, of that class 

 — and anecdotes and puns without end. Indeed, it appears to be 

 Mr. Dubourg's decided opinion that the bitter pill of instruction is 

 easiest swallowed when gilded with the tinsel of amusement ; and 

 he is right for all we know to the contrary. The volume is en- 

 riched with numerous spirited wood- cuts. 



Zephyr et l' Amour, Volses brillantes, composees pour le piano forte, 

 par Adolph Marschan. London : T. Boosey. 



We are not of those who despise a waltz merely because it is a 

 waltz, and think themselves mighty wise because they are above a 

 quadrille. When cleverly treated and kept to its proper sphere this 

 kind of music is not unworthy the cultivation of the scientific musi- 

 cian. That Mr. Marschan is of this class appears evident from the 

 very pleasing composition before us, which displays, in a degree too 

 rare in music of this description, excellence of modulation combined 

 with elegance of melody. We cordially recommend it to all lovers 

 of the intoxicating whirl, and of music, its enchanting accompani- 

 ment. 



