No. 2 is a very brief and easy version of this popular march, in two pages and a half. It is suited to very youthful practitioners, whom it will please, without in any degree vitiating their taste.
DUETS, PIANO-FORTE.
- Souvenirs of MEYERBEER’s Opera, Robert le Diable, consisting of the favourite Airs arranged by W. WATTS. Book 1. (Chappell.)
- Ditto. Book 2. Ditto.
Robert has already taken many shapes, and now assumes that of duets, Mr. Watts, the chief agent in the business, having so willed it, and a better qualified person for the purpose could not have been found. It is sufficient now, since we so often have had to speak of the various parts of this opera, to mention what pieces are here chosen; our opinion of their respective merits has already been given. The first book contains the introduction, with the chorus ‘Aux seuls Plaisirs;’ the popular air, ‘Jadis régnait en Normandie,’ of course; and the chorus, ‘Non! il faut qu’il soit punit.’ The second is almost wholly occupied with ‘O Fortune! à ton caprice.’ and the remainder of the scene, preceded by the chorus, ‘Nous sommes tous flattés.’
There is nothing in any of these which could have been rendered difficult when distributed among four hands, and the present is too wary an adapter to throw impediments in the way of performers of the purchasing class.
OVERTURE to Spohr’s Grand Romantic Opera Jessonda, arranged by L. ZERBINI. (Wessel and Co.)
PIANO-FORTE performers are now so abundant that overtures, and full orchestral compositions, when arranged, generally take the shape of duets. We are become so accustomed to them in this form, that very few players will singly attempt them, knowing how comparatively meagre they sound when committed to two hands. This is a faithful and good adaptation of the score, and renders that easy and effective for two performers which is quite the reverse for one.
How long will Mr. L. Zerbini continue to announce himself in his title-pages as a ‘pupil’?—The public, he ought to know, are inclined to think more favourably of publications by masters than by scholars.
- VARIATIONS on CARAFFA’s air, ‘O cara Memoria,’ arranged by A. DIABELLI. (Aldridge.)
- ‘Una Voce poco fà;’ ROSSINI’s aria in Il Barbiere, arranged by GEORGE PERRY. (Luff.)
- ‘Papuccie! chi vuol Papuccie?’ PACINI’s air in La Schiava di Bagdad, arranged by Signor Maestro G. P. CITTADINI. (Purday.)