196 



Neiv Musk. 



[Feb. 



resources, to avoid the monotony whicb 

 is generally the concomitant of the ballad 

 style, where several stanzas aic repeated to 

 the same melody. 



PIANO-FOHTE. 



Scherzo and Russian Rondo for the Pia- 

 no-forte. J. N. Hummel. 3s. GovJding 

 and Co. 



Aria con Variazione and Hungarian Ron- 

 do. Do. 3s. 6d. I/O. 



La contemplazionc and Brilliant Hondo. 

 Do. 3s. 6d. Do. 



These are three of the most original, 

 beautiful, and highly-finished works that 

 have appeared in this country for some 

 time ; they are master-pieces of a mighty 

 master. The andante, with variations, is one 

 of the sweetest com])Ositions of the class, 

 if not the sweetest that we have ever met 

 with. The subject is a perfect bijnu, a 

 gem of the highest water. La contemph- 

 zione is a very elegant larghetto, and // 

 Scherzo the xexj soul of whim and elegant 

 frolic ; it is to our sorrow only three pages in 

 length. The three rondos are all excellent, 

 though of different degrees of merit ; the 

 Rondo Brillante will rank the first, and 

 afterwards the Hongroise and Russe. The 

 whole of these lessons are printed in the 

 most correct manner, and at a materially 

 less price tlian the other editions, of which 

 there are one foreign and another English. 

 Giovinetto Cavalier, ivith variations for 

 tin Piano-forte. By Thomas Valentine. 

 3s. Gouldiny and D Alniaine. — It would be 

 unfair to form any thing like a comparison 

 between one of Hummel's beauties, and a 

 lesson evidently intended for juvenile prac- 

 tice. Mr. Valentme's variations, if not 

 particularly . elegant, are brilliant, and will 

 form a very pleasing and useful lesson for 

 youthful practitioners : were we to particu- 

 larize any part in preference to another, it 

 would be the .3d variation in triplets, which 

 is very effective. 



Zilti, Zitti, Tii'me favori de Rossini 

 an'ange en Ronlcuu pour le Piano-forte. 

 Par Camille Plei/el. Is. Cocks and Co. — 

 This air has been so frequently adapted 

 before, that it requires a composer of no 

 ordinary talent to strike out any new ideas 

 on the subject. This, however, Mr. 

 Pleyel has fully accomplished ; his digres- 

 sions from the theme are constructed in 

 an original and masterly manner, and assi- 

 milate completely with the original matter. 

 The flute accompaniment is Ifrilliant, but 

 not overpowering. 



Introduction and Rondo on " Di piacer 



7?»i haha il cor." C. PleyeL With flute 

 accompaniment. 4*. Cocki and Co.— Tins 

 composition should have classed under the 

 same head as the last : the same cl>aracter 

 will nearly apply to both. 



Melange on Popular Airs, from the Opera 

 of the Mason, by Auber. Arranged by Ca- 

 mille PleyeL 3s. Cocks and Co. — This 

 opera is quite unknown in England, but 

 from the specimens Mr. Pleyel has afforded 

 lis, we trust shortly to be better acquainted 

 v.ith it. Not being acquainted with the 

 original airs, we are not able to say how far 

 the arranger has deviated from' them or 

 what original matter he has introdueed ; 

 but the general effect is excellent, the 

 subjects well contrasted, and the airs un- 

 doubtedly beautiful. 



" Giovinette chef ate," from II Don Gio- 

 vanni, arranged as a Rondo. By Pixis. 4s. 

 Cocks and Co. — This lesson is of a higher 

 class than either of the former, more scien- 

 tifically worked up, and much more difficult 

 of execution. The composer has treated 

 his subject in a very skilful manner: the 

 introduction gradually leads into the air, 

 which modulates from G, through a variety 

 of keys, introducing snatches of the original 

 melody, until the whole winds up with a 

 highly effective coda. 



" Why are you wandering here, I pray ?" 

 arranged with variations for the Piano-forte. 

 By J. Nathan. 4i. i^e«/i(7».— Tliis is the 

 first comj)osition for the piano-forte, of any 

 moment, by Mr. Nathan, that we have met 

 witli; and it demonstrates evidently that it 

 was not from any want of ability that we 

 liave not been earlier acquainted witli liis 

 ])owers as a piano-forte composer. Tlie 

 xariations, eight in numbci', aiQ brilliant 

 imd elegant, but \<c thiidv there is rather u 

 want of contr<i.st between them, 'llie fifth 

 variation is difficult, and indeed the whole 

 of them require a tolerable sluire of execu- 

 tion, but the piece is sufliciently long to 

 bear the omission of any which may be ob- 

 noxious, and indeed would be advantaged 

 by a little curtnilment. 



H. Bishop's favourite Airs, " Little Love," 

 and "I'm, yes, I read it in those Eyes," 

 arranged as a Duet. By C. Sykes. Ss. 

 Goulding and D' Almaine. — With the ex- 

 ception of about a page of introductory 

 matter, which gradually introduces the sub- 

 ject, the remainder of this duet is a close 

 adaptation of the subject for four hands, 

 without any extraneous matter ; it can. 

 therefore claim but little merit as a compo- 

 sition, but is pleasingly arranged. 



