PIANO FORTE.
FIFTH CONCERTO, (in C major) with or without Orchestral Accompaniments, composed by I. MOSCHELES. Op. 87. (Cramer and Co. and Mori.)
THIS Concerto was produced, for the first time, if we mistake not, at Mr. Moscheles’ concert in June last; and the impression it made on us was so strong, that the piano-forte part alone now brings to our recollection most of the effects produced by an efficient orchestra. This might almost be considered as a symphony, so full and active are the instrumental parts; but the present publication, without the accompaniments, includes all that belongs to the instrument for which it is principally written, and is so far complete in itself; though, of course, much of the grandeur of the composition, as well as many highly important effects, must be lost, if unaccompanied. The very opening of the concerto leads us to expect a work of great originality, and we are not disappointed in its progress. The following are the first dozen bars:—
The solo part enters thus unceremoniously,—
The progress of the principal and subordinate subjects is through nearly all the keys and every variety of passage, and the ingenuity with which this is managed is, in most instances, rewarded by the effect produced. Though it must be granted that there are, in this movement, certain difficulties which can have no other object than to show the dexterity of the performer. And as to the sestine of semiquavers, (page 20,) against four of the same notes, we must say that, even when executed with mathematical precision, which is nearly impossible, (would it were quite so!) the result is confusion between the two parts, and, consequently, the effect on the ear painful.
The second movement is beautiful throughout; the commencement, in which the violoncello takes the melody, is so lovely a piece of simple harmony, that we cannot forbear extracting it:—
But the most popular part of the present work,—and amongst much originality we may also mention it as the most original,—is the finale, or last movement. When performed, on the occasion before alluded to, the very opening excited a murmur of applause, and increasing satisfaction was marked on the countenances of the audience as it proceeded. An examination of this does not lessen our admiration of it; the invention, consistency, and spirit of the whole, are manifest from the first to the last bars. We shall add to our quotations the commencement of this, by which the reader will see that the movement is not cast in a common mould.
The three bars, or second subject, from the word dolce, are afterwards taken, but in the relative minor, as the point of a fugato, which morsel of science à l’ancienne, coming in so unexpectedly, and not continuing long enough to puzzle and weary the unlearned, must be counted among the happiest thoughts in the work.
This concerto, having been written for Mr. Moscheles’ own performance, therefore for effect of all kinds, including a display of his powers of execution, is, as will be supposed, abundantly difficult—we therefore only recommend it to very superior players; to such it cannot but prove highly valuable.
- RONDO BRILLANT (à la Russe) with an Introduction, composed by J. B. CRAMER. (Cramer and Co.)
- La Narcisse POLONAISE, composée par CHARLES CZERNY, avec Introduction, par JEROME PAYER, Op. 175. (Wessel and Co.)
THE opera, 8 of Cramer, long ago taught us to associate agreeably his name and airs à la Russe; we therefore anticipated much of the pleasure which the above publication has afforded us, and feel confident that it will find an admirer in every lover of true piano-forte music. The Rondo Brillant is in A, 24 time, allegretto scherzando; the subject simple, melodious, and treated in a fanciful, sprightly manner;—with great taste, it is superfluous to add, for whoever knew this quality wanting in any of Cramer’s productions? It is also practicable by all tolerable performers, and comprehensible to every one with a musical ear, a praise unmerited by many composers of great name in the present day. We were much struck by a very bold enharmonic change from E to E
and back again (page 3); it will always rouse the attention of the hearer, however drowsy he may happen to be. The introduction, adagio, is expressive, energetic, and just the right length. At page 6, bar 15, is a C
, which ought to be D
. As the same error is repeated two bars beyond, it might mislead the performer, if not pointed out as a misprint.
No. 2 is a Polonaise, which, if played in the time indicated by the composer,—that is, not quick, for so we are to understand the term grazioso,—will produce very considerable effect. The subject is exciting, and well supported, the modulations good, the passages mostly lie well for the hand, and the whole being included in nine pages, the interest never flags. But as if M. Payer were resolved that no one composition by M. Czerny should appear without some drawback, he has written an introduction to this, in which is a passage of semitones more ingeniously tormenting to the ear than any we ever had the ill-fortune to meet with. The whole of this part is full of pretence, and wretchedly unmeaning. We advise the performer (who ought to be a skilful one to execute the Polonaise) to substitute a few chords for M. Payer’s senseless page, begrimmed as it is with half demi-semiquavers, for so sure as his hideous notes are played, the auditors will simultaneously take to flight; while the canine species, if any are within hearing, will proclaim their sufferings in corresponding sounds.
- AIR DE BALLET, tiré de l’opera La Tentation, et arrangé en Rondeau, par J. HERZ, Op. 23. No. 1. (Mori and Lavenu.)
- L’ORGIE, RONDO sur des thêmes de La Tentation, arrangée par ADOLPHE ADAM. (Chappell.)
No. 1, from an opera now having a great run in Paris, composed by Halevy, is an excellent rondo, the air graceful and pleasing, and the amplification of it exhibiting delicacy of taste and a full knowledge of the character and capabilities of the instrument. Here we find no notes sixty-four to a bar,—no leaps of 17ths and 19ths,—no howling runs of semitones,—all is rational, and worthy of a clever, spirited writer. Let it, however, be observed, that the author of this is not Henri Herz, but his brother, who appears to have a soul for music; while his relative only shows that he has fingers and thumbs for the art. This air is named La Romeca in the opera; it is by comparison short, and though it looks easy, requires an experienced player, and one with a wide hand, the base passages continually embracing ten notes.
No. 2 is clearly a dance-tune: its rhythm of three and two bars shows that the measure is made to yield to stage action. The air is rather pretty—somewhat national in character, and the composer’s chief aim seems to have been, to make the rondo as easy to the performer as was possible, short of being rendered fit for a learner of three months’ standing.
- ‘Nel cor piu,’ arranged, with variations after the style of PAGANINI, &c. &c. &c. by JOHN PURKIS. (Purday.)
- RONDOLETTO, from the Barcarole of Marie, by HENRY KARR. (Welsh.)
THE least meritorious part of No. 1 is the title-page, which we have cut short; not, however, from any disrespect to her Majesty, our queen, whose name, ‘by special permission,’ appears on it, but because it contains much nonsense. The five variations on Paisiello’s air, ‘Nel cor piu non mi sento,’ are rather clever in contrivance, and pleasing, but let us hope that not above half of these were ever played on the organ, for semidemisemiquavers on that instrument would be as much out of character as a bravura from the pulpit. Indeed, we must say that, however well suited to the piano-forte, there is hardly a single page of this calculated for that noble piece of mechanism, the organ. If, nevertheless, the whole were ever performed on the Apollonicon, and met with the ‘unbounded applause’ which the composer—reviving a vain, childish, absurd phrase, which we hoped had been exploded—boasts of, such applause only proves what a modicum of discrimination his auditors must have brought with them into the room.
No. 2 has much to recommend it to general notice;—the barcarolle, by Herold, is a beautiful melody; it is exceedingly well worked into a rondo, by Mr. Karr; the piece is not long, shews much taste, and is well adapted to the instrument.
- SIX VARIATIONS on The Blue Bells of Scotland, composed by J. T. SURENNE. (Monro and May.)
- Air, ‘The stilly night,’ with variations, composed byJ. F. LEESON. (Dublin, Power.)
THE variations on the Blue-bells are very much like numberless other things of the kind; the composer does not seem to have even made an effort to strike out of the highway; he has followed the beaten path, and committed no offence. The only attempt at novelty is to be found in the title-page—(your title-pages are great tests of understanding)—where, in dedicating his variations to a friend, in English, he tells us, in French, that the dedicatee is an ‘élève de Bochsa!’—as if the words were untranslatable; and also as if the world cared one straw about such a piece of information.
The delicious air, ‘Oft in the stilly night,’ would, we should have thought, have spoken for itself, and pointed out an elegant calmness as the proper character of any variations written on it; but the composer either has not heard, or has not listened to, the ‘still small voice’ of reason; he has given us, first, a page of demisemiquavers, ‘brillante’, 24 time; next a crowd of skipping triplets; then poured on us another flood of three-tailed notes, ‘Con Fuoco;’ and afterwards as many more of the same kind, ‘presto!’—to say nothing of a coda in a similar style. There is not a single new idea to be found in the whole piece. If such things as this confer the title of ‘composer,’ we then can only say that it is a title very easily obtained.