358 
out the work, that it is well worth the 
necessary study. 
Folonaise and Introduction. Carl M. Von 
Weber. 2s. 6d. Cocks. 
Any production of this author at the 
present moment would attract attention, 
but this composition requires no assis- 
tance beyond its own merits to recom- 
mend it to the musical world. The 
style is novel and highly characteristic, 
and the harmonies rich. It is so strongly 
tinctured with the style of the author 
that any musical person would instantly 
detect him without the assistance of the 
title. 
Fantasie, in which is introduced, “ My 
Lodging is on the Cold Ground.” I. Kalk- 
brenner. 6s. Birchall. 
_ This is one of the most difficult 
pieces of this class that Mr. K. has pub- 
lished, but is very beautiful. The in- 
troduction is striking, and the variations 
brilliant. ~ 
Moxart’s. Symphonies, , No. 2,21. Day OL= 
ranged for Piano-Forte, Flute, Violin and 
Violoncello, by M. Clementi. 8s. Clementi 
and Co, 
Mozart by Clementi is a sufficient 
character, without a word of panegyric. 
The piano-forte part is complete of it- 
self, but the accompaniments are finely 
arranged, and produce a delicious effect. 
Three brilliant Waltz Rondos, by Hummel. 
3s. each. Chappel and Co. 
We should recommend these as beau- 
tiful models for the lighter species of 
lesson; they possess just sufficient 
science to render them interesting with- 
out becoming dry or difficult. 
4 Pauvre Madelon,;” Var. J.D. Cramer. 3s. 
Two Airs, dedicated to the Princess Au- 
gusta. Var, 5s. Ditto. Birchall and Co. 
The first of these productions bears 
a striking resemblance to Rousseau’s 
dream, in the style of the variations. The 
two airs’ variations are very beautiful, 
and of easy execution. 
Adagio,” from the Freyschiitz. Var. W. T. 
Ling. 3s. Clementi. 
. The thema very graceful, and the va- 
riations elegant and effective. 
“ Heureuse Retour.” Knapton. 4s. Goulding 
and Co. 
Pretty and not difficult, rather in an 
orchestral style ; the passages are well 
divided between the hands. 
Trish Melody. Introduction and Rondo. B. 
Gibson. 7s. Goulding and Co, 
The theme of this rondo (better 
known by Moore’s poetry. “ Wreath 
the Bowl)” is one of the. most beau- 
tiful of the Irish melodies, and it has 
lost nothing by the present arrange- 
ment. The introduction is probably of 
New Music and the Drama. 
[Nov. 1, 
too florid a character for the simplicity 
of the air, but the subject of the rondo 
occurs with a very pleasing and even 
novel effect, and shews_ considerable 
taste in the composer. 
Mélange, from Rossini’s Barbiere, Se. Ca* 
mille Pleyel, 3s. Birchall. 
Tenth Diverlimento on Rossini’s Airs. Bru- 
guiere. 2s. 6d. Chappel. 
These two last are merely arrange- 
ments, but are well executed. 
“ The Peasunt’s Dance,” from the Freuschiit=. 
Flute Accomp. W. 7. King. 3s. Cle- 
menti and Co, 
« Smile again my Bonnie Lassie.” 
Rawlings. 3s. Goulding. 
“© And ye shall Walk.” Var. Kialmark. 
3s. Goulding. 
Piedmontese Rondo, from Concerto Mont St. 
Bernard. Steibelt. 2s. Preston. 
These four pieces are all moderately 
easy: the flute accompaniment to the 
first yery effective. “ Smile again,” very 
brilliant. We are in doubt whether the 
last has not been printed in England 
before. oi, 
Divertimento for Piano-Forte, Op. 117. 
F. Ries. 4s. Birchall. 
“Tl faut Partir.’ Var. Ditto. 3s. Ditto. 
Mr. R. has been happy in both these 
pieces. In the latter he has varied the 
minor introduction, as well as the tema, 
which by the contrast produces an ex- 
cellent effect. 
l. “ Bochsa’s Fourth March,” arranged for 
Piano Forte. Latour. 2s. 6d. Chappel. 
“ A Shepherd once.” Var. T. Haigh. 2s. 
Preston. 
“ Le Faiseur de Foin.” Sims. 2s. Preston. 
“ Belo si Celebri.”” Craven. 2s. Preston. 
“« Tl Bianco il Rosso.” Ditto 28. Ditto. 
“ French Air in My Native Land.” Ditto. * 
2s. Ditto. 
. La Nouvelle Fantasie. Mathews. 2s. Ditto. 
. Isabelle. Var. Kialmack. 2s. Goulding. 
. Ditto. Do. Poole. 2s. Preston. ~~ 
These are all quite juvenile lessons. 
Bochsa_ has been done justice to. No. 
2 and 8 are pretty, and all the rest, 
with perhaps the exception of No. 3, 
are in a happy state of mediocrity. 
PIANO-FORTE DUETTS. 
Airs from Zelmira, No.4 and 5. Watts. 4s. 
Preston. 
“ Let not Sorrow,” from Freyschiitz. Ditto. 
2s. Gd. Ditto. 
“ Home, sweet Home,” and Should he wp- 
braid. C. Sykes. 3s.. Goulding. 
“ Blow Gentle Gales.”? Holder, M.B. 
: . Goulding. ‘ 
Airs from the Donna del Lago, No. 1. ..Rim- 
bault. 6s. Preston. ies 
* Fullof Doubt.” Trio. Bishop; arranged by 
Bruguier. 3s. Goulding. i, 
These duetts have none of ‘them any 
pretensions to originality, but are pleas- 
ingly 
Var. 
ro 
OMI Haev 
2s. 
