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.
- RONDO PASTORAL, composées par FREDERIC KULAU. (Duff.)
- 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.
- 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.)
- 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.