182G.] 



Ncvi Music. 



533 



riANO-rORTE. 



Moznrt't celebrated Concerto in B fiat 

 f Nu- i), arranged for the Pimm-forte with 

 additional keys, and Accompaniments for 

 Flute, Violin and Violoncello, by ,/. D. 

 ('ramer. 6s- 6d- Cramer and Co. — These 

 compositions are so well known and appre- 

 ciateil in the musical world, that any at- 

 tempt to describe the original matter would 

 be completely a work of su])ererogation. 

 The alterations which Mr. Cramer has 

 made to adapt the passages to our present 

 extended range of key-boaid are highly 

 judicious, such indeed ))rccisely as the com- 

 poser himself would infallibly have made 

 had he lived. The accompaniments are a 

 most judicious compression of the original 

 score — ^.judicious both in the execution and 

 conception. Tlie full orchestra arrange- 

 ment is perfectly useless to 99 out of 100, 

 and yet without the accompaniments we 

 cannot enter fully into the author's con- 

 ception. The work is very correctly and 

 plainly printed, and is decidedly the best 

 edition we recollect. 



" Z.<; hon vieux Temx," air varie jwur la 

 Piano-forte, par Fred. Kalkbrenner. 3s. 6d. 

 Cramer, Addison and lieale. — The intro- 

 duction of this very elegant lesson is pre- 

 cisely what might be expected from the 

 title, a beautiful specimen of the style of the 

 last century, with syncopated notes, cliains 

 of sevenths, a j)rofusion of ninths, and nil 

 the peculiarities of the Corelli school. The 

 andante on which the variations are ground- 

 ed is like\nse a little tinged witli the same 

 style, but not so much so as to detract from 

 the grace of the subject. The variations, 

 four in number, are of the most pleasing 

 description, and a very brilliant little po- 

 lacca winds up the lesson in a splendid 

 manner. 



Introduction and Hondo on the air Ahi 

 Povero Calpige, for the Piano-forte, com- 

 ■posed by Fred. Kalkbramer, op. 78. 3s. 



Cramer, Addison, and BeaU. — Tills rondo is 

 brilliant and easy ; the subject is a favourite, 

 and the short introduction well contrasted 

 with the principal movement. As a conipo- 

 .sition, of course it is far beneath the last, 

 but we think will be deservedly a favourite 

 as a light piece. 



Rondo BriUant pour la Piano-forte, par 

 J. B. Cramer, op. 72. 4*. Cramer and 



Co The title of this rondo describes its 



particular style ; the key, E major, is pecu- 

 liarly well adapted, from its sparkling bril- 

 liancy, to compositions of this class, and 

 indeed we do not know one that we have 

 played with more pleasure. There are a 

 profusion of elegant little passages scattered 

 through the lesson, in a manner which none 

 but this composer can ever effect. The 

 cantabile in the introduction is particularly 

 graceful. 



A Pastoral Dance, by H- R. Bishop, 

 arranged with Variations and Coda, by Chat. 

 Neate. 3s. Goulding and D' Almaine.-^ 

 These variations are brilliant and original, 

 and prove Mr. Neate to be as excellent a 

 harmonist as a performer on his instru- 

 ment. The little prelude is wild and beau- 

 tiful, and the variations ingenious ; the 6th 

 particularly so. The imitation is close 

 canon, is particularly good, and the coda 

 spirited and effective. 



Lindsay's Selection of Rondolettas d la 

 Mode, Louis CamilL'. No. 1. Is.Gd. Lind- 

 say. — These, from the specimen before us, 

 must be a very useful series of little pieces 

 to teachers, schools, or juvenile performers 

 generally. They consist of the most popu- 

 lar subjects of the day, arranged as short 

 and easy rondos of about three pages in 

 lengtli, and, to judge from the specimen 

 before us, are executed in verj' good style. 

 The subject of the present nimiber is the 

 Friescluitz Waltz — we confess rather a stale 

 one ; but the advertisement of the following 

 number presents more variety. 



MONTHLY THEATRICAL REVIEW. 



The theatres during this month have 

 heen in full activity. Of all the histories of 

 vicissitude, that of the stage is most pregnant 

 with change. Di'ury-lane had begun the 

 season in the most disastrous style ; the 

 manager, " absent in Surrey," as was de- 

 clared to all inquirers — or, as it was more 

 facetiously expressed, " never abroad, but 

 always from home ;" the treasurer, only 

 second to tlie Chancellor of the Exchequer, 

 in the ditfieulties of his administration ; the 

 intellectual affairs in the hands of Mr. Geo. 

 Robins ; with Mr. Calcraft, supervisor of the 

 Corps de Theatre ,• all this produced what 

 every body expected — a desert before the 

 curtain, and a chaos behind it ! 



Mr. Kenney M'as then sent for from Paris, 

 to introduce a little common-sense into the 

 management, and on his amval things went 



on better for awhile ; but the General en chef 

 of the dramatic army, Elliston, who calls 

 himself "the Indescribable," and who pro- 

 fesses his behef in a protecting Star, now 

 shook off his fetters of all kinds, and took 

 the management into his own hands. Ken- 

 ney, scorning a divided throne, returned to 

 Paris, and all was left to Elliston and for- 

 tune. The ballet of Oscar and Malvina 

 was turned into an opera, and was i)layed 

 with tolerable success for a month. It was 

 worn out. The oratorios were to have 

 been a relief to the melodrame ; but ora- 

 torios at Drury-laue there were none. The 

 secret iistory of all this was dexterous 

 enough. From Elliston's retreat it had been 

 argued that his return would liave been 

 among the least rapid things of ithe season. 

 In the presumption that all was lost, the 



