PIANO-FORTE.

  1. INTRODUCTION et GRAND RONDEAU BRILLANT, (en A) composés par J. N. HUMMEL, Op. 56. (Wessel and Co.)
  2. RONDOLETTO BRILLANTE, composto da F. SCHOBERLECHNER. Op. 36. (Chappell.)

THE first of the above is the eleventh book of the Album des Pianistes de première force, and by far the most rational of the collection that has come under our notice, for it is only a new edition of the rondo, justly a favourite one, which has been, and long ago we believe, reviewed in our work. M. Hummel has frequently played it in public, and most of our readers are well acquainted with the composition.

It is not clear to us why the composer of No. 2 should have added a diminutive to his rondo, implying either brevity or ease, whereas it is of the ordinary length, and difficult. A short introduction, adagio, promises well for the following allegretto scherzando, the chief movement; but the latter disappoints us; it is in the skittish Mayseder style, and the passages are far from uncommon; though it certainly will be found lively if well played, and comes under the description of brilliant music, by which is understood whatever is quick, showy, and exhilarating.

  1. ‘L’Or est une Chimère,’ from MEYERBEER’s Robert le Diable, arranged with Variations by C. CZERNY. (Chappell.)
  2. THE TOURNAMENT MARCH, do. do. do.
  3. THE GAMESTER CHORUS, from do. arranged as a RONDO by J. HERZ. (Chappell.)
  4. THE FINAL CHORUS, do. do. do.

The introduction to No. 1 has not cost M. Czerny much thought, and his variations on this very popular air are not remarkable for originality, but are devoid of all those absurdities of which we have so often to complain, and are also within the reach of those who do not think it advisable to dedicate half their time to the labour of practising.

No. 2 has an introduction in A flat, which enables a moderate player to make a considerable display, provided his left hand can conveniently reach tenths. The March in C is short and simple, and what we have said of the variations to the preceding applies to the present; but these are much easier for the performer.

No. 3 takes the Chœur des Joueurs as an introductory movement; the rest of the piece is the same air as No. 1, in F, protracted to sixteen pages in the form of a rondo, but is executed with ability, and the passages are all of a reasonable kind; for it is to be observed, that we have not Henri Herz before us, but his brother.

No. 4 is a very pleasing rondo in E; the melody is agreeable and new, and Mad. Cinti’s cavatina, being embodied in the piece, imparts much variety to it. This is by no means so easy for the performer as the foregoing; and some reiterated semiquavers—fit enough for a violin, but not calculated for the piano-forte—are unnecessarily introduced; yet, on the whole, this is a clever arrangement, and such as is likely to be approved very generally.

  1. GEMS OF SCOTTISH MELODY, a Selection of the most popular Airs of Scotland, arranged with a Variation to each, by J. M. MULLER, No, 1. (Edinburgh, Paterson and Co.)
  2. Ditto No. 2, ditto.
  3. Ditto No. 3, ditto.
  4. Ditto No. 4, ditto.

In every one of these numbers are eight airs, each of which, with the single variation, fills one page only. Now much as we disapprove the numerous variations, or the interminably long ones, which so frequently appear, yet two or three, of moderate length, are desirable, for the sake of that variety which the term implies, and, if moderately good, can never be thought tedious. This is all we have to object to in the present publication, which are of a very useful kind, the melodies being chosen with taste, and arranged with judgment for rather juvenile students. But in truth, really good players need not be ashamed to bestow two or three minutes upon any one of them, for we do not find a single melody among the thirty-two that is not worthy of being listened to by any lover of national music; such music, too, as that of Caledonia.

  1. Délassemens de l’Etude, 25 FAVOURITE AIRS, arranged and fingered by FRANÇOIS HÜNTEN. Book I. (Chappell.)
  2. Ditto. Book II.

We have here another publication that will prove of great utility: it is a collection of the most popular modern airs from foreign operas, or by foreign composers—by Mozart, Beethoven, Rossini, Weber, Meyerbeer, &c.,—arranged and fingered for the use of learners almost of the youngest class, and in a manner which justifies M. Hünten in affixing his name to the work, for he has evidently bestowed an attention on it which proves that he knows the importance of putting only what is correct, and likely to form a good ear, into the hands of children.