1825.} 
Genman by Wulfert.. The third is thatwhich 
we havesmentioned above; and isin fable 
and executiom equally interesting, romantic, 
and pathetic. 9! 
| AMERICA, 
)ThesrAmerican .press;: owing’ to the 
cheapness ofthe operation there,’ is in 
greatiactivity.°\:Dhe importation: of books 
is almost confined to germs for American 
editionsy "It isealculated that books, to 
the value of between 2 and 3,000,000 dol- 
lars))are annually published there ; and not- 
withstanding the insecurity of that species 
of'property, 125 eopyrights were purchased 
between January 1822 and April 1823. Five 
are AMIE 
New: Music and the Drama. 
845 
hiindred ‘thousand dollars were invested in 
one edition‘of Rees’s Encyclopedia. Nearly 
200,000. copies’ of the Waverley novels, 
comprising 500,000 volumes, have issued 
from the American press, in nine ‘years ; 
and 4,000 copies of a late American ‘novel 
were disposed of immediately on its publi- 
cation. » The itinerant. book-trade-forms a 
characteristic feature in’ their ‘literary his- 
tory. More than 200 waggons| are’ said to 
be employed in it ; 50,000 copies of Weem's 
Life of Washington have ‘been mostly dis- 
posed of by this mode of circulation." Ma- 
gazines, journals, and reviews abound, and 
multitudes of newspapers. 
POUTY 
“NEW. MUSIC AND THE DRAMA: 
—=z_ a 
Grand’ Concerto, Op. 64. J. Moeschelles, 
) "8s. Chappel'and Co. 
WHERE is more melody throughout 
this concerto, than we generally meet 
with’ iit the works of this composer. The 
principal subject is in a cantabile style in 
Esharp, with occasional brilliant digres- 
sions—the adagio in C. major, is less com- 
plex than is customary in the German 
school. The rondo on the British Grena- 
diers’ March, is well worked up, and forms 
a spirited conclusion. 
Third Grand Concerto, performed at the 
Philharmonic. Concert. J. Moeschelles, 
. 8s. Chappel. : 
This concerto as an origins] composition 
ranks much higher than the last, and bears 
manifest traces of the, seientific orchestra 
and audience for which it was composed : 
the instrumental accompaniments are more 
difficult and more dispersed through the 
body of the work, and the general charac- 
ter of the piece is of a superior cast. The 
first and last moyements are in G minor, 
and are rather scientific than melodious. 
The adagio in E flat is extremely beautiful, 
but depends: much on the orchestral con- 
trasts. . We do not think this concerto will 
be so popular with amateurs as the last. 
A’ Favowrite French Air with Variations, 
Flute ad lib. Latour 3s. Chappel. 
Beethoven's Favourite Serenade with Varia- 
tions. Kialmark:. 3s. Chappel. 
These lessons are about the same scale 
of difficulty ; both of the simplest construc- 
tion ; consisting of a repetition of brilliant 
passages, rather of a common place descrip- 
tion, but the general effect is light and 
pleasing. 
Finale to “la Fée de France’ with Varia- 
Ele tions. Czerny 3s. Boosey. 
The author characterizes this composi- 
tion as being in an easy style, and com- 
pared with the wild and almost unplayable 
that generally proceeds from Mr. 
zerny’s pen, it may be,called so, but it is 
more difficult than most of the English 
ositions, even of a higher class. It 
ontary Maa, No. 404. 
is more likely fromthe style, to have a 
general circulation than any of his for- 
mer works. 
Divertimento for the Piano Forte, dedicated 
- to Miss Rowet...Gi E. Griffin. 38. 6d. 
Clementi and Co. \ : 
We recognize the elegant, style of, our 
old favourite in almost every passage 5, and 
regret, that amongst the massiof new Music 
that passes through our hands, we do not 
more frequently meet his. name... The 
divertimento consists of a larghetto, intro- 
duction, in four flats, of a sweet, legato 
character, with an arpeggio bass, running 
throughout, and an allegro in the seme key, 
A flat, very much.broken, and ¢ “Sed be- 
tween the hands. The piece al... «Yer is 
beautiful, and not too easy for gu - j/prac- 
tice without presenting any very terrible 
difficulties. : 
A Favourite Waltz, with Variations for the 
Piano Forte; by all the most eminent 
German Composers. 5s. Boosey and Co. 
This is a selection of the most celebrated 
names, from a work under the same title 
which has lately made its appearance in 
Vienna, and caused a great interest. The 
variations were (we have understood) 
procured by some finesse, and without any 
party imagining the purpose to which they 
were to be applied; which, though not very 
agreeable to the persons concerned, is pro- 
bably the best manner of forming a correct 
estimate of their genuine style. The origi- 
‘nal work is on a very large scale, and con- 
tains many names quite unknown to the 
British public, from ‘which a very judicious 
selection has been made; amongst which 
are, Beethoven, Czerny, Mozart, jun. 
Gelinck, Hummel, Kalkbrenner, Moeschel- 
les, Mayseder, Lizt, &c. We have not 
room to enter on an analysis, but hope we 
have roused the curiosity of our readers to 
attempt that task themselves. 
PIANO-FORTE; AND, FLUTE. 5, 
Operatic Divertimentos, No. 5, fromthe Freis- 
chutas by I. G. Klose. 38_ Chappel... 
This is a mere arrangement, but it is exe- 
4A cuted 
