1. HUMMEL’s NOTTURNO, op. 49, arranged as a DUET, by N. C. BOCHSA. (Chappell.)
  2. OVERTURE to Zelmira, arranged by the same, with accompaniments for Flute and Violoncello. (Chappell.)
  3. ‘Il soave e bel contento,’ Air, arranged by the same, for two performers on the Piano-forte, with Harp accompaniment. (Chappell.)

HUMMEL’s Notturno in F is well known to most amateurs, and being one of his earlier productions, is lighter than most of his later works—less the result of study. It makes a duet exactly calculated for social circles, the difficulty not being great for either instrument, and the air as well as variations being in a familiar style.

The adaptor of No. 2 is not a very scrupulous person. There is no overture at all to Zelmira!—but as M. Bochsa is publishing arrangements of overtures, he at once changed the name of the Introduzione to this opera, and included it, under the new appellation, in his collection. It is in D minor, and one of Rossini’s best openings. The air and chorus which terminate the scene, are in the major key, and end the whole brilliantly.

The air, No. 3, certainly a popular one among lovers of modern Italian music, is converted into a trio, and makes an effective one. It is not long or difficult, but requires three correct, neat performers.

HARP.

  1. Air de Ballet, as a BRILLIANT RONDO, the subject from MEYERBEER’s Robert le Diable, arranged by THEODORE LABARRE. (Chappell.)
  2. FOUR AIRS from ROSSINI’s Aureliano in Palmira, arranged by N. C. BOCHSA. (Chappell.)
  3. ANDANTE à la Suisse, and Grande Valse in form of, &c., Rondo, from HUMMEL’s op. 72 and 103, arranged and published as the preceding.
  4. THE ALPINE MARCH, arranged by G. HOLST. (Chappell.)

No. 1 is the Bacchanale from the 3rd act of Robert, arranged in an easy manner.