ROBERT LE DIABLE.

  1. The OVERTURE and INTRODUCTION to the opera of Robert le Diable, with flute or violin accompaniment, ad lib., composed by G. MEYERBEER (Chappell.)
  2. The Pas de la Bouquetière, danced by Madlle. Taglioni, in the same, composed and arranged by MEYERBEER. (Chappell.)
  3. BACCHANALIAN CHORUS in the opening scene of the same, arranged as a BRILLIANT RONDO, by J. HERZ. (Chappell.)
  4. The Pilgrim’s Ballad, ‘Jadis regnait en Normandie,’ from the same, arranged with Variations, by CHARLES CZERNY. (Chappell.)
  5. SICILIENNE, ‘L’or est une chimère,’ in the same, arranged by T. VALENTINE. (Chappell.)

THE Overture to Robert is in two movements; the first an andante maestoso in C minor, meant as a prologue to the diablerie of the drama—a very much laboured composition, which does not make a return equal to the trouble bestowed on it. The second is an anticipation of the admirable and really popular air, ‘Jadis regnait en Normandie.’ The introduction wants the voices and stage action to give due effect to it, but there are some fine musical points in it, which the pianoforte is quite sufficient to bring forth. The whole of this is most judiciously arranged.

We never discovered the great merit of the Dance of the Flower-Girl, No. 2, and suspect that the grace (not, let us hope, the distortions) of Mademoiselle Taglioni produced more effect than the music. The coda to this, however, is melodious and enlivening; and the whole piece is adapted in a manner to have been expected from so sensible a man as M. Meyerbeer.

No. 3, the Chorus in the introduction, we have spoken of above. This is also remarkably well arranged by M. Jules (such Christian name we believe he bears) Herz. Much of this is pleasing, and the whole showy, without annoying the player and hearer with any sleight-of-hand tricks.

In No. 4, M. Czerny appears not only in a rational, but almost in an amiable shape. It would have been unpardonable to slay so good an air as this under its parent’s eye. The first variation is a little skittish, but afterwards the composer becomes sober, though very animated, brilliant, and agreeable. The Introduction is the best thing of the kind we ever saw from the pen of M. Czerny. The whole makes a very delightful, and not very difficult, divertimento.

Mr. Valentine, in No. 5, has given us a simple, unaffected, good arrangement of one of the most original airs in the opera. This is short, perfectly easy, and is adapted to those whose progress, or practical skill, may deter them from undertaking any of the foregoing pieces.

  1. GRAND WALTZ, with VARIATIONS and POLONAISE, composed by JAMES M’CALLA; Op. 10. (Goulding and D’Almaine.)
  2. LES BRILLANTES, WALTZER, composée par JAMES T. MAY. (Same)
  3. A set of QUADRILLES, composed and published as the preceding.
  4. A second set, ditto, ditto.

No. 1 is a pleasing, short waltz, but the grandeur of it, predicated in the title-page, has not been revealed to us, though, doubtless, very apparent to the author. The variations are few, moderate in length, spirited, and though not very novel, are agreeable. The finale, a Polacca, is exhilarating, well put together, and can never lack admirers.

No. 2 comprises five well-written waltzes, which will not fail to please. But of what country is the composer? His title would incline us to suppose him a Frenchman, but that the grammar is false. The word waltzer, neither English nor French, tempts us to ask if he is a native of Germany. Perhaps it is not a matter of very singular importance, but we abhor remaining in doubt, and like everything to be in good keeping.

No. 3 and 4 possess a sufficiency of agreeable melody, but not of that sort which surprises by its novelty. The quadrilles are all strictly correct, and call for no greater exertion on the part of the performer, than they seem to have cost the composer.

INSTRUCTIONS FOR THE PIANO-FORTE, &c., including a variety of Fingered Exercises, favourite Airs, &c. &c., by R. W. KEITH. (Keith, Prowse, and Co.)

THIS, it appears, is the fifth edition of the work, though the first that ever fell under our notice. But the word ‘edition’ is not always construed in the same manner by music publishers as by publishers of literature. By the former, a second, &c. impression, of perhaps a hundred copies from the same plates, is sometimes called an edition, though, in point of fact, two thousand copies are always taken from one set of plates, if there is a demand for so many. Correctly speaking, then, an edition of a musical work, printed from pewter plates, and that has a large sale, is never under two thousand; and if, in announcing the present as the ‘fifth edition’ is meant that eight thousand copies have already been sold, we can only express our surprise at never having met with the work till now. Comparing it with many other publications of the same nature, it certainly is entitled to commendation, though far from being perfect; indeed, as we have more than once hinted, a good elementary work: a work which, in method, perspicuity, and accuracy of definition, may rival the didactic publications of the present day in other arts and sciences, is still a desideratum.

Mr. Keith is correct in his principles: his examples, though not always judiciously selected, are well fingered, and his annotations are, for the most part, accurate and useful; but his language is frequently not sufficiently precise, his punctuation often involves him in obscurity, and his definitions are sometimes erroneous. For instance, he tells us (page 16), that a bar ‘determines the place on which the accent is laid.’ Now, a bar has nothing whatever to do with determining the accent, it only assists in pointing out the note which is to be accented. Again, in the same page, it is said, that ‘a crescendo is effected on the piano-forte, by pressing down the key immediately after it is struck.’ But the truth is, that loudness, or softness, wholly depends on the force with which the key is struck; pressure after the key is down is useful in the legato style, but cannot, by any possibility, increase or diminish the degree of sound. At page 19, and in many other parts of the book, we read of a ‘grave angle!’ The only representative, in our mind, of a grave angle, is the corner of a tomb-stone. There is but one angle used as a sign in music, and that is an acute angle.

We protest most strongly against Mr. Keith’s mode of accompanying the scale, both major and minor: his seventh, on the rising sub-mediant of the former; his minor third, on the dominant of the latter, and his change from the perfect chord to that of 42 on the octave, are opposed to the best authorities, differ from universal practice, are at variance with theory, and, in our opinion, hostile to good taste.

In his dictionary of Italian words we likewise find objectionable points. The orthography of several words stands in need of amendment, and the explanation of some is incorrect. Here, also, is a want of that strict definition, which is of so much importance in education. A child, while even learning music, might, if instructed by a well-informed, sensible master, incidentally have her mind opened on many other subjects.

We call the author’s attention to these defects, considering them remediable. If amended, his book will, we repeat, be found equal to most of the kind, and superior to many.