1822. ] 
without faults, we still claim for them 
the praise of taste and ingenuity, and 
feel justified in recommending them to 
the notice of those piano-forte perform- 
ers who prefer the smoothest and plea- 
santest road to a facile and graceful 
execution. 
Fantasia for the Piano-Forte, in which 
is introdnced the favourite Scotch Air, 
“We're a’Noddin; by Frederick 
Kalkbrenner. 4s. 
In the production of this fantasia, 
Mr. Kalkbrenner has evidently ex- 
erted his long-acknowledged talents, 
and has by no means been sparing of 
his science. While many of the pas- 
sages are new in their formation, the 
ingenious use made of extraneous 
sharps and flats, so abundantly re- 
sorted to in this our chromatic age, 
marks the theoretical resources of the 
composer. In some few instances, we 
meet with transitions not a little bor- 
dering on the extravagant; but, re- 
garding the publication generally, we 
think it beautiful in imagination, and 
rich in art. The introductory moye- 
ment, if not congenial with the simple 
character of the air on which the com- 
position is founded, is at least in con- 
cordance with the florid and artifieial 
manner in which the subject is treated, 
and the whole wears that air of self- 
consistency which ever constitutes a 
Jaudable featule in musical compo- 
sition. As an exercise for the instru- 
ment for which it is intended, this 
production has strong claims to our 
recommendation. By the higher class 
of practitioners, it will be found both 
improving and gratifying, and certainly 
will not be listened to with indifference 
by any cultivated ear. 
Spring Flowers, a Set of Tyrolese Airs. 
Arranged for the Piano-Forte ; by 
Samuel Poole. 3s. 
The titles under which Mr. Poole 
presents these airs to the public, are, 
the Violet, the Primrose, the Lilly of the 
Valley, the Jonquil, the Narcissa, and 
the Anemone. As a mere conceit or 
caprice of the imagination, we can 
smile at the application of these florid 
appellations to movements, between 
which and themselves there neither 
is nor can be the least intelligible 
affinity : but, if we could for a moment 
suppose that any thing like propriety or 
appropriateness was intended by the 
New Music and Drama, 
251 
nominal distinctions, we should pity 
the imbecility of the composer. With 
respect to the movements themselves, 
considering that they are all in the 
Same measure, and the restraint inevi- 
tably thrown on the fancy by that cir- 
cumstance, we think their variety ex- 
ceeds what could reasonably be ex- 
pected. They are no less pleasing 
than simple ; and, amid the numberless 
publications of the kind, will probably 
rise into more than common notice. 
Mr. W. F. Collard, of the house of 
Clementi and Co. has recently in- 
vented a mode of imparting to piano- 
fortes an augmented vibratory power, 
by which they produce an increased 
richness and brilliancy of tone. Con- 
sidering how many important improve- 
ments had already been made in keyed 
instruments, and the great advance 
they had made towards perfection, we 
indulged but little hope of their attain- 
ing any new excellence; but Mr. C., 
by his very ingeniously-constructed 
sound-board, bridge of reverberation, 
and more effectual method of disposing 
of the strings of the instrument, has 
obtained not only a more mellifluous, 
but a longer sustained, intonation. 
This novelty alone would be valuable, 
but the additional advantage derived 
from the action of those portions of the 
string situated between the old bridge 
and the new one, is more especially 
worthy of notice. Availing himself of 
the sympathy between strings unisoni- 
cally tuned, and brought sufficiently 
near each other, without coming in 
contact, the inventor has arrived at 
the means of producing what he very 
properly callsan harmonic swell. The 
effect of this perfectly new application 
of a well known law in acoustics is 
strikingly beautiful, and demonstrates 
an intellect singularly acute, and highly 
inventive. By this happy idea, all the 
augmentation of sound produced by 
former efforts is obtained ; while the 
confusion occasioned by the elevation 
of the dampers is entirely avoided. In 
addition to its intrinsic value, this in- 
vention has the recommendation of 
being applicable to piano-fortes of all 
descriptions, and at a very small ex- 
pence, considering the magnitude of 
the advantage. 
