Operatic Fantasias. For violin, with piano accompaniment. By F. Davidson Palmer Mus.Bac.—Judging from Il Trovatore, the number before us, these fantasias should be often used for concerts and other entertainments, where a faithful transcription of operatic melodies is required, untrammelled by too many cadenzas and fireworks for the solo instrument.
La Figlia del Reggimento.—This selection is also to be commended. It is for two violins and piano, and arranged by John Barnard.
Sarabande (ancien style). Pour piano. Par Henri Roubier. Idée Dansante. For piano. By Percy Reeve.—Two dances above the average, graceful and musicianly.
William Czerny.
Partita, in D minor. For violin and piano. By Hubert Parry.—A scholarly work, made up of six sections:—Maestoso, Allemande, Presto, Sarabande, two Bourrées, and a Passepied in Rondo form. One might almost call it a Sonatina of many movements. The partita differs from the suite in not being restricted to dances only.
Je l’aimerai toujours. An easy piano piece for beginners. Composed by François Behr.
Intermezzo-Minuet. A short entr’acte for piano. By G. Bachmann.—This smoothly-written morceau is included in Czerny’s orchestral series as a string quartett.
Adoration. A meditation upon Bach’s 7th “Small Prelude.” By Oscar Wagner.—Arranged for piano and violin, or flute or violoncello, with organ and additional strings, upon the model of Gounod’s similar work, but scarcely so interesting, and certainly not so spontaneous in melodic treatment. It is also arranged as an “O Salutaris Hostia” for voice, violin, piano, and organ or harmonium.
Stars of the Summer Night. By Edouard Lassen.
My All-in-all. By Theodor Bradsky.—Both these songs have violin obbligatos, in which the chief fault appears to be that the violin never rests, not even for a bar.