LL —————— rl hh rh t— 
1925] 
The variations give examples of almost 
every possible variety of style; the best, in 
our opinion, are the 3d and 5th, which are 
brilliant, the 8th per imitazione, and the 
9th, where the air is taken up in the bass 
with a running accompaniment ; the theme, 
though trifling and uninteresting in itself, 
is a good subject to work upon. 
A Favourite Air, composed by Carl Marie 
von Weber, arranged as a Rondo or the 
Piano-Forte, by J. Wesley. 2s. Birchall 
and Co. 
There are a number of very melodious 
passages and fine harmonies scattered 
through this rondo, that plainly speak the 
composer to be master of his profession ; 
but there is a want of determinate design 
in the piece, it rather gives the idea of a 
fine performer extemporising on a subject, 
than of a written, and, of course, premedi- 
tated composition. 
Les Petits Amusements, Nos. 7, 8. J.Calkin. 
Is. 6d. each. Chappel & Co. 
These two numbers contain the favourite 
airs, “ Zitti Zitti,” and_“ Fra tanti Angos- 
cie,” pleasingly arranged for juvenile per- 
formers. ‘ 
Favourite Airs from Rossini’s Zelmira, for 
Piano-Forte, with Flute accompaniments, 
Samuel Webbe. 6s. Clementi & Co. 
These airs are well adapted, and form a 
pleasing lesson ; but the author is wrong 
in calling the flute an accompaniment, it is 
completely obligato in “‘ Riedi al soglio,” 
and has several passages principale in the 
other airs. 
The Jager Chorus, arranged with variations 
for two performers. G. F. Harris. 33s. 
Clementi. 
There is no very great portion of origi- 
nality in the variations or introduction; but 
it is a lesson of a useful class, and produces 
an agreeable effect. 
Airs from Ricciardo and Zoraide, arranged 
for two performers. Nos. 1,2. W. 
Watts. 4s. Clementi. 
Mr. W. is one of the most effective com- 
posers of P. F. Duets that we know, there 
is an elegance and chastity about his ar- 
rangements—we are not stunned with an 
everlasting din of aspeggio chords. The 
two numbers before us contain, “ Sella rai 
é ognor,” “ Confusa smarrita,”’ “ Qual suono 
terribile,” “ Qual giorno ohime,”’ “ Qual in- 
sultante orgoglio,” and “ Ricciardo che veggo,”” 
a selection which does credit to Mr. W.’s 
taste. 
‘Theatrical Review ; and Music. 
71 
HARP. 
Select Pieces from the Opera of Der Fries. 
chutz, arranged for the Harp, by Bochsa, 
intwo Books, 5s. each. Boosey & Co. 
This is a very useful little work to ama- 
teur performers ; with the exception of 
about two pages in the whole work, it is 
a mere arrangement of the best airs for the 
peculiarities of the instrument, whlch is well 
executed and much facilitates the acquisi- 
tion. 
A ninth set of Quadrilles, selected from the 
Frieschutz, dedicated to Mrs. Otway Cave. 
Wieppart. 4s. Clementi & Co. 
This work is nearly the same thing as the 
last, on a smaller scale, and adapted to a 
purpose which will render it more generally 
popular. 
Overture to Der Frieschutz, arranged for the 
Harp and Piano-Forte, with Flute and 
Violoncello accompaniments. G. Holst. 6s. 
Cocks & Co. 
Favounte Airs in the Frieschutz, arranged | for 
ditto ditto. Burrows. Two Books. 6s. 
Clementi. 
Mr. Host’s arrangement we think equal 
to any we have seen; it is simple, but every 
note produced its effect. Mr. Burrow’s 
harp is as owfré as the overture, which we 
noticed last month, and the combinations 
are pleasing. 
FLUTE. 
Eighth Fantasia for Flute and Piano-Forte, 
introducing La Biondina, with variations. 
C. Nicholson. 4s. Clementi. 
The air.on which Mr. Nicholson has 
grounded the greatest part of his composi- 
tion has long been admired for its simple 
elegance ;.the adagio introduction is. very 
graceful, and the variations brilliant with- 
out being characterized by any of those pre- 
posterous difficulties which rather annoy 
than gratify the performer, even when 
acquired. 
Les Belles Fleurs, No. "7. Themes by Rossini, 
Solar and Bruguier. 4s. Chappel. 
This number consists of three movements 
from Rossini’s Opera, a larghetto march, and 
allegretto in turn. Wedo not think it by 
any means equal to the last. The flute, 
except in the first movement, “‘ Cielo il mio 
labbro,’’has too much the style of an accom- 
paniment, but though inferior to the former 
number, it still ranks high as a most pleas- 
ing arrangement. ; 
VARIETIES, 
