PIANO-FORTE.

  1. INTRODUCTION, GRANDES VARIATIONS, et POLONAISE BRILLANTE, sur la Sentinelle, composées par J. H. WORZISCHEK. Op. 6. (Wessel and Co.)
  2. AIR DE BALLET, tiré de l’opera La Tentation, et arrangée en Rondeau, par J. HERZ. (Mori and Lavenu.)

THE first of these is the tenth number of a work under the title of Album des Pianistes de première force, a publication which has often come under our notice, and is especially suited to amateurs who have very vacant minds and many vacant hours; and most powerfully co-operates with those who wish to render piano-forte music ridiculous and repulsive. The whole of this,—introduction, variations, and all,—consists of a collection of difficult, stupid passages, not one of them having the slightest pretence to novelty, or exhibiting the smallest trait of either taste or feeling. There is nothing here, from the first note to the last, that a dull, plodding, industrious key-thumper, armed with pen, ink and paper, might not have produced, and it contains no one bar that a musician—who really understands his art—who is a man of enlarged mind—would not blush to avow. We have often warned professional men of the danger of encouraging such music, whether by using it, or by applauding it when performed in public. Their recommendation and affected approbation of it can only be placed to the account of ignorance or quackery. Ignorance in those who have not understanding enough to discriminate between good and bad in their art;—quackery in such as wish their own agility of fingers to be inferred from their admiration of it in others. But our warning has not been taken: a fact which too many know, to their cost.

No. 2, which is called La Galopade, though it consists of an introduction and allegretto, as well as the dance, is the companion to La Romeca, noticed in our last; but while it is lively and exhibits no absurdities, it is not altogether equal to the first, arranged by the same. We must, however, admit that its vivacity will please many who do not enter into merits of a more sterling kind.

  1. RONDO PASTORAL, composées par FREDERIC KULAU. (Duff.)
  2. BRILLIANT RONDO, from BELLINI’s Straniera, arranged by WILHELM HUNTEN. Op. 30. (Mori and Lavenu.)

THE Pastoral of Kulau is an elegant composition, and being neither too slight in structure to be unworthy the notice of first-rate amateurs, nor too elaborately formed for moderately good ones—a very numerous class—is likely to have a considerable circulation. The key is C; the time, we need hardly say, is six-eight; and the movement allegro non tanto:—troppo, we presume, is meant.

The second is ill named, it has more of the pastoral character than the brilliant: six-eight time, allegretto, and a predominance of quavers, do not altogether authorize such an epithet. The subject is a barren one, therefore it is not a wonder that M. Hünten has made little of it. Luckily it is not long, and a rather moderate price is fixed on it.

  1. BEAUTIES, sung by MAD. CINTI DAMOREAU, for the Piano-forte, selected from the Operas of MOZART, ROSSINI, MEYERBEER, AUBER, &c., with the Embellishments of the above vocalist, arranged as FANTASIAS, by ADOLPHE ADAM, Book 1. (Mori and Lavenu.)
  2. Do. Book 2.

THIS is certainly a comical title, however it be pointed or read; but M. Adam, who we conclude knows as much of our language as of our contingent remainders, is not responsible for its construction, we, therefore, look only to his selection and arrangement, both of which show that he has more judgment than his scribe. The compositions chosen for the first fantasia are ‘Sento un interno voce,’ and ‘O Matutini Albori,’ by Rossini; Mozart’s ‘Giovinette;’ and ‘Voici venir,’ with ‘Povera Signora,’ by Auber.

The second is composed of ‘Voyez que cette marche est belle,’ by Auber; Mozart’s ‘Batti, batti;’ a Swiss song, by Meyerbeer; ‘Ah! se tolto,’ by Rossini; ‘a song composed by Mad. Cinti;’ and almost the only praiseworthy air in La Cenerentola, ‘Non piu mesta.’ These are well amplified and combined; and if they display no extraordinary talent or vigour in the adapter, they at least prove him to be a rational being, not one of the note-splitters, who, having no brains themselves, wish to addle those of other people. These fantasias are far from difficult, and though many will find them rather too long, will prove generally acceptable.

  1. LE ROSSIGNOL WALTZ, with Introduction and Variations, by S. GÖDBE. (Collard and Collard.)
  2. INTRODUCTION and RONDO, on the Song, ‘I will not chide,’ composed by E. SOLIS. (Collard and Collard.)
  3. Les Paysannes, a first Set of QUADRILLES, by a LADY. (Banff Lithographic Press.)

No. 1 is a pretty, easy trifle; but it is quite clear that the composer either never heard the nightingale, or meant to ridicule imitations, for such notes as he has given to the ‘love-sick bird’ never yet were formed in its melancholy throat. But people will not be very scrupulous on a matter of fact of this kind, and will find this a pleasing bagatelle, of moderate length and price.

The title-page of No. 2 tells us that the song chosen is ‘an admired’ one. No doubt: every song published now-a-days is not only admired, but ‘enthusiastically applauded,’ wherever performed. But, be it known, such songs are seldom heard anywhere but under the composer’s own roof, and it would, indeed, be cruel if his guests did not extravagantly praise his productions. For ourselves, we never before heard of ‘I will not chide,’ and are not now particularly anxious to become acquainted with it.

We have played over the first page of No. 3, and—(really it grieves us to utter what may sound ungallant)—and earnestly recommend the lady-composer not to publish again till she has gained a little more knowledge of composition; and advise her, when she does again venture into print, to direct the writer on stone either to copy accurately, or mend what he copies.