DUETS, PIANO-FORTE.

  1. Souvenirs of MEYERBEER’s Opera, Robert le Diable, consisting of the favourite Airs arranged by W. WATTS. Book 1. (Chappell.)
  2. Ditto. Book 2. Ditto.

Robert has already taken many shapes, and now assumes that of duets, Mr. Watts, the chief agent in the business, having so willed it, and a better qualified person for the purpose could not have been found. It is sufficient now, since we so often have had to speak of the various parts of this opera, to mention what pieces are here chosen; our opinion of their respective merits has already been given. The first book contains the introduction, with the chorus ‘Aux seuls Plaisirs;’ the popular air, ‘Jadis régnait en Normandie,’ of course; and the chorus, ‘Non! il faut qu’il soit punit.’ The second is almost wholly occupied with ‘O Fortune! à ton caprice.’ and the remainder of the scene, preceded by the chorus, ‘Nous sommes tous flattés.’

There is nothing in any of these which could have been rendered difficult when distributed among four hands, and the present is too wary an adapter to throw impediments in the way of performers of the purchasing class.

OVERTURE to Spohr’s Grand Romantic Opera Jessonda, arranged by L. ZERBINI. (Wessel and Co.)

PIANO-FORTE performers are now so abundant that overtures, and full orchestral compositions, when arranged, generally take the shape of duets. We are become so accustomed to them in this form, that very few players will singly attempt them, knowing how comparatively meagre they sound when committed to two hands. This is a faithful and good adaptation of the score, and renders that easy and effective for two performers which is quite the reverse for one.

How long will Mr. L. Zerbini continue to announce himself in his title-pages as a ‘pupil’?—The public, he ought to know, are inclined to think more favourably of publications by masters than by scholars.

  1. VARIATIONS on CARAFFA’s air, ‘O cara Memoria,’ arranged by A. DIABELLI. (Aldridge.)
  2. ‘Una Voce poco fà;’ ROSSINI’s aria in Il Barbiere, arranged by GEORGE PERRY. (Luff.)
  3. ‘Papuccie! chi vuol Papuccie?’ PACINI’s air in La Schiava di Bagdad, arranged by Signor Maestro G. P. CITTADINI. (Purday.)

No. 1 consists of five clever and very pleasant variations on an air which appears to much greater advantage instrumentally than vocally. This is short enough to admit an encore, and if played with neatness and some degree of brilliancy, will very often induce the hearers to ask for it a second time.

In No. 2, Mr. Perry has given us the air, with its second movement, ‘Io sono docile,’ exactly according to the score. We do not perceive that he has added or taken away a single note; but he has transposed the whole from E to F, and this we cannot consider an improvement. In days long gone by, the key of E with four sharps looked formidably; the march of music has robbed it of its terrors; and every one who has the slightest faith in the character of keys, will protest against so violent a change.

No. 3 is the air made so amusing by Signor Lablache; though many laughed while he was crying ‘Slippers! who wants slippers?’ without very well knowing what they laughed at. Signor (Maestro) Cittadini might have chosen something better adapted to the purpose than an air, the merit of which depends so much on the words and the humour in singing them. Spread, as this is, over nineteen pages, and exhibiting so little variety, we must say that, should it sell, it will prove more useful to the stationer and publisher than the purchaser. We do not, however, mean to cast any slur on the arrangement itself, which is faultless, but in the selection made by the Maestro.