PIANO-FORTE.

FIRST CONCERTO, with Orchestral Accompaniments, as performed by the Author at the Public Concert of the Royal Academy of Music, 1833; composed by W. STERNDALE BENNET. (Cramer, Addison, and Beale.)

THE concerto now before us is by a young musician, who has only just completed his seventeenth year, a pupil of the Royal Academy of Music, and is published ‘by the express direction of the committee’ of that institution. We were present when it was performed by the author, in the Hanover Square Rooms, and in our Number for May last have spoken of it in terms dictated by the impression it then made on us. We have now considered it deliberately, and unconditionally state, that, as the work of so youthful a composer, it is a surprising production. Even viewed without reference to his age, it is entitled to a very considerable share of praise, especially if compared with the current compositions of the day, most of which, including several by masters of some name, are inferior to it, both in design and in the manner of treating the subjects.

This concerto is in three movements of reasonable length: the first, an allegro—moderato in D minor; the second, an andante in F; and the finale, a presto, ending the piece in the key in which it began.

The principal subject of the first movement is resolute, and commands attention; the subordinate one, in F, is gentle and expressive, and contrasts well with the other. The motivo of the andante is a melody in which is much elegance, but less of decided originality; it is, however, a promising specimen of the author’s taste; though, had he adhered more to the subject, and spared some of the not very congenial runs of half-demisemiquavers, we should better have liked the movement. The finale is bold and energetic, and, in our opinion, the most effective part of the concerto. The spirit of this is kept up to the last note, and it has a unity which leads us to prefer it to the other movements.

The success of this work ought to operate on the youthful composer as an incitement to study and write much; but let us advise him to publish little at present, however flattering the temptations thrown in his way. What he may produce and think worth preserving, he should lay aside, and at the end of about half the period recommended by Horace to poets, examine and retouch it: then, having first consulted a judicious friend, he may venture into print without endangering that fame of which his present publication will have laid a very good foundation.

  1. THE BEAUTIES OF NEUKOMM, a characteristic FANTASIA, in which are introduced The Stormy Petrel, Count Balthazar, and The Sea Rover, arranged by J. B. CRAMER. (Cramer and Co.)
  2. BEAUTIES OF NEUKOMM, a FANTASIA, in which are introduced The Bloodhound and The Roaming Mariners, arranged by J. N. HUMMEL. (Cramer and Co.)

OUR readers have by this time made up their minds on the merit of the above airs of M. Neükomm, for there are few by whom they have not been heard: we have therefore no occasion to speak of them but as applicable to the purposes to which they are now applied by these eminent composers; and such is the charm of good melody—a very distinguishing feature in the ingenious Chevalier’s compositions—that it pleases, whatever the form it may assume.

These fantasias are calculated for a rather superior, though numerous, class of performers. Both have, as indeed a matter of course, an introductory movement, and are nearly equal in length. But the particular style of each master is obvious in his respective work. In the one, great refinement and expression, not devoid of spirit, are the leading traits; in the other, freshness of fancy, energy, and depth of harmony, mark the more vigorous composer. The introduction to the first is brilliant, and familiarly written: that to the second inclines to the grand, and is rather studiously composed; the syncopated passage towards the end is a charming bit of classical harmony, and the author is apparently aware of its attractive qualities, for he repeats it in the body of the fantasia. These will prove valuable additions, in every sense, to any musical catalogue.

  1. SECOND RONDINO, on ‘Questa e la Dea,’ the Quintet in ROSSINI’s Opera Corradino, by CHARLES CZERNY.
  2. SOUVENIR DE BELLINI, VARIATIONS sur un Motif de l’Opéra La Sonnambula, par ANTONIO FAUNA. (Goulding and D’Almaine.)

No. 1 is to be counted among the least perplexed and extravagant of M. Czerny’s labours. There are two or three whimsical, but short passages in it, that serve to show his propensities, but, upon the whole, we can speak of this as an agreeable arrangement; the connecting parts and the additions to the original materials are in character, and a good player—for it is beyond the means of mediocre performers—will find it worthy of some notice.[79]

No. 2 presents us with six variations on one of the many common airs in an opera which good singing and some good acting have kept for a time on our denaturalized national stage. About half of these, the last, alla Polacca, especially, really take a form somewhat new,—a fact which argues favourably of the composer’s talent; for the writer of variations, above all others, must have learnt by experience how very little novelty there is under the sun. Altogether this publication has afforded us pleasure.

  1. Hommage à Handel, DIVERTIMENTO on the air, The Harmonious Blacksmith, composed by PIO CIANCHETTINI. Op. 27. (Chappell.)
  2. THE GIPSIES’ MARCH, being No. 4 of Recreations for the Piano-Forte, arranged by E. C. VERNET. (Cramer and Co.)

TO his Divertimento Mr. Cianchettini has prefixed a prelude, consisting of nothing but arpeggios in demisemiquavers, to the almost incredible extent of seven pages! We have been present when pianists have begun to indulge themselves in such long-winded extemporaneous effusions, but never had self-devotion enough to wait the conclusion; and we shrewdly suspect that if any one shall have the courage to play through the black forest of notes which has grown up under Mr. C.’s hand, the auditors, however numerous at the beginning, will glide away, till the performer is ‘left alone with his glory.’ After the prelude comes (mercy on us!) an Introduzione, in which the subject is, à la mode, anticipated. Then we at length arrive at Handel’s air; but how altered! how wo-begone!—transposed into B flat, and treated as a theme for modern descant! Had Handel added no variations to it himself, this would have been allowable; but as he has written many, and most fitting and beautiful ones, it was really a bold thing to render homage to the great composer in language which, however well meant, his spirit must view in the light of a very gauche compliment.

We know not the arranger, as he modestly terms himself, of No. 2, but whoever or wherever he may be, we feel indebted to him for a pleasant divertimento, formed on the original and beautiful march of Weber; the latter very advantageously adapted, and well set off, by what Mr. Vernet has added. The Introduction to this, à la militaire, is spirited and brilliant, and the whole is showy, without being difficult.

SELECT AIRS from AUBER’s Ballet-Opera, La Bayadère, or, The Maid of Cashmere, arranged with a Flute accompaniment, ad lib., by J. F. BURROWES. Books 1 and 2. (Chappell.)

These books contain nearly the whole of the opera, but not the overture, arranged in Mr. Burrowes’s matter-of-fact manner. We have always approved his plan, because he places within reach of most players what many would so adapt as to become useful to only a comparative few. He has given ten pieces, but as we know nothing of the score of La Bayadère, we are enabled merely to say, that he appears to have embodied all the essential parts of the accompaniments in his arrangement, so far as a pair of hands can take them in with that ease which is a main object with publishers who calculate on a large sale.

Of the opera we have had occasion to speak before; it is, intentionally we suppose, the lightest that the modern theatre ever produced, and prettiness is the only quality to which it can make any pretence. In fact La Bayadère is of mongrel breed, half ballet, half opera; the music, therefore, is fitted to it accordingly. The overture to this will be found noticed in our next article.