DUETS PIANO-FORTE.

  1. Les Deux Amis, composed by J. N. HUMMEL. Op. 117. (Cramer, Addison, and Beale.)
  2. The Archduke Rudolph’s TRIUMPHAL MARCH, König Stephan, composed by L. VAN BEETHOVEN; arranged by C. A. DE WINKHLER. (Wessel and Co.)
  3. MEHUL’s OVERTURE to Une Folie, arranged with Accompaniments (ad lib.) for Flute, Violin, and Violoncello, by S. F. RIMBAULT. (Purday.)
  4. My Delight, Twelve short and melodious Pieces, composed by ANT. DIABELLI. 2 Books. (Wessel and Co.)

THE opening adagio in B minor of No. 1, is of the expressive kind, and if played with much nicety and great feeling, will be effective; though we trust that all persons who wish to discourage whatever tends to vitiate musical taste will at once cut out the run of thirds in semitones forming part of the cadenza, which, like all passages of the sort, only serves to remind us of that half-suppressed cry which a fit of the tooth-ache, or colic, sometimes extorts from the most patient sufferer. But the author seems to have exhausted himself in this movement; the second, molto vivace, in D, though, in some respects, clever, and exhibiting very bold modulation, will never have any attraction for those who think that air and grace are essential in musical composition. This is not an easy work; but we must add that the notation—the avoidance of apparently short notes—is a proof of M. Hummel’s clear understanding. Composers, in general, are not aware of the difference, in point of difficulty, which may be made by mere notation. Writing demisemiquavers and shorter notes is, commonly, either mere pedantry or sheer ignorance. Sometimes, we grant, they are necessary, but in nine cases out of ten they may be avoided, as in the present instance, by words indicating great rapidity; or by putting a bar through the C marking common time. But the metronome (which M. Hummel, like a man of sense, always uses) is the surest and best guide.

Mehul’s overture is a great favourite in French theatres, and not devoid of something like dramatic effect, but as a piano-forte duet, as drawing-room music, it is very jejune indeed.

If Beethoven had never written but in the style of the Archduke’s march, his name would not have been heard beyond the confines of day-schools or Margate libraries. This is an easy, common-place affair; but, perhaps, quite good enough for the triumphs of the illustrious Rudolph, whoever he may be. What is meant by ‘König Stephan’ we pretend not to guess. Our King Stephen thought his unmentionables too expensive at a crown: we hold that his namesake’s march is much dearer at half the sum. We will not, however, imitate the son of the conqueror, and call the vendor by foul names.

M. Diabelli’s ‘Delight’—(what can be meant by so nonsensical a title?)—is, if we may judge from No. 4, to make babies play in duo. These very little pieces keep the hands in one position, being limited to the compass of five notes: so far they may answer a good purpose, and they are not disagreeable.