PIANO-FORTE.

  1. GRAND MARCH, composed by J. N. Hummel. (Cramer and Co.)
  2. SECOND FANTAISIE ELEGANTE, sur des Motifs favoris de l’Opéra Fra Diavolo d’AUBER, par C. CZERNY. (Chappell.)

THE first of these is one of those happy effusions of genius that rarely occur, combining originality, most agreeable effect, and that simplicity of construction as well as of notation, which places it within reach of every tolerable player. It is in B minor, and consists of but five pages.

No. 2 exhibits M. Czerny in a rational shape; he has here not only selected some of the best airs from the popular opera of Auber, but arranged them with taste, and in a manner that will exclude no ordinary performer from benefiting by his fantasia.

  1. Terpsichore in Vienna, a DIVERTIMENTO for the Piano-Forte and Flute, composed by I. MOSCHELES. (Chappell.)
  2. GEMS A LA PIXIS, the German Songs, sung by Mad. PIXIS, composed and arranged by J. P. PIXIS. Op. 124. (Dean.)

No. 1 is, we conclude, made up of German dance tunes, well blended, and arranged in an easy familiar manner for both instruments, the flute part being almost necessary as an accompaniment, if not what is understood by the term obbligato. This is a gay, exhilarating bagatelle; but some few passages, particularly for the left hand, show that it is not intended for mere tyros; and it may, without any loss of caste to the parties, be introduced by performers of the first class.

No. 2 are the very pretty airs sung so often in public last season by Madlle. Pixis, and now very soberly arranged by the composer, making three remarkably pleasing divertimentos, not difficult, short, and sure to be admired by nearly every description of auditors. But the title is curious, considered as coming from the author himself. Few persons have the hardihood to speak of their own productions as ‘Gems;’ and that they are in the manner of, or à la, Pixis, cannot be denied, seeing that he composed them.

  1. A FIRST PASTICCIO, consisting of an Introduction and Airs, arranged by T. A. RAWLINGS. (Monro and May.)
  2. A Second, do. do. do.
  3. INTRODUCTION AND RONDO, on BISHOP’s Cavatina, ‘Fear, ne’er assail me,’ arranged by R. ANDREWS. (Goulding and D’Almaine).

No. 1 is composed of Shield’s beautiful air, ‘The Streamlet,’ the march in Mosé, ‘Il ne sont plus,’ and the Cobourg Waltz; No. 2, of three Swiss airs. These are formed into very easy divertimentos, extremely well adapted for young players; to be occasionally mixed, however, with music of a better description than the Swiss and Cobourg productions.

We are not acquainted with the air of No. 3 in its original state, but it makes a good rondo, and Mr. Andrews’ share in this entitles him to some praise.

  1. GRAND TRIUMPHAL MARCH, by J. D. ROHLFFS. Op. 1, No. 1. (Cramer and Co.)
  2. Polonaise, do. do. do. Op. 1, No. 2.
  3. TROIS BAGATELLES, composées par HENRY LEMOINE. Nos. 1, 2, and 3. (Wessel and Co.)

No. 1 is clever, without showing much invention. His enharmonic modulation is bold and effective.

No. 2 has cost a good deal of labour without making at all a proportionate return.

The subjects of No. 3 are, the Gallope in Faust, a chansonnette of Plantada, and an air in the ‘Sybarites of Florence,’ short and easy, but not possessing much of an interesting kind.