1. GEMS OF SCOTTISH MELODY, a Selection of the most popular Airs of Scotland, arranged with a Variation to each, by J. M. MULLER, No, 1. (Edinburgh, Paterson and Co.)
  2. Ditto No. 2, ditto.
  3. Ditto No. 3, ditto.
  4. Ditto No. 4, ditto.

In every one of these numbers are eight airs, each of which, with the single variation, fills one page only. Now much as we disapprove the numerous variations, or the interminably long ones, which so frequently appear, yet two or three, of moderate length, are desirable, for the sake of that variety which the term implies, and, if moderately good, can never be thought tedious. This is all we have to object to in the present publication, which are of a very useful kind, the melodies being chosen with taste, and arranged with judgment for rather juvenile students. But in truth, really good players need not be ashamed to bestow two or three minutes upon any one of them, for we do not find a single melody among the thirty-two that is not worthy of being listened to by any lover of national music; such music, too, as that of Caledonia.

  1. Délassemens de l’Etude, 25 FAVOURITE AIRS, arranged and fingered by FRANÇOIS HÜNTEN. Book I. (Chappell.)
  2. Ditto. Book II.

We have here another publication that will prove of great utility: it is a collection of the most popular modern airs from foreign operas, or by foreign composers—by Mozart, Beethoven, Rossini, Weber, Meyerbeer, &c.,—arranged and fingered for the use of learners almost of the youngest class, and in a manner which justifies M. Hünten in affixing his name to the work, for he has evidently bestowed an attention on it which proves that he knows the importance of putting only what is correct, and likely to form a good ear, into the hands of children.

DUETS PIANO-FORTE.

  1. Les Deux Amis, composed by J. N. HUMMEL. Op. 117. (Cramer, Addison, and Beale.)
  2. The Archduke Rudolph’s TRIUMPHAL MARCH, König Stephan, composed by L. VAN BEETHOVEN; arranged by C. A. DE WINKHLER. (Wessel and Co.)
  3. MEHUL’s OVERTURE to Une Folie, arranged with Accompaniments (ad lib.) for Flute, Violin, and Violoncello, by S. F. RIMBAULT. (Purday.)
  4. My Delight, Twelve short and melodious Pieces, composed by ANT. DIABELLI. 2 Books. (Wessel and Co.)

THE opening adagio in B minor of No. 1, is of the expressive kind, and if played with much nicety and great feeling, will be effective; though we trust that all persons who wish to discourage whatever tends to vitiate musical taste will at once cut out the run of thirds in semitones forming part of the cadenza, which, like all passages of the sort, only serves to remind us of that half-suppressed cry which a fit of the tooth-ache, or colic, sometimes extorts from the most patient sufferer. But the author seems to have exhausted himself in this movement; the second, molto vivace, in D, though, in some respects, clever, and exhibiting very bold modulation, will never have any attraction for those who think that air and grace are essential in musical composition. This is not an easy work; but we must add that the notation—the avoidance of apparently short notes—is a proof of M. Hummel’s clear understanding. Composers, in general, are not aware of the difference, in point of difficulty, which may be made by mere notation. Writing demisemiquavers and shorter notes is, commonly, either mere pedantry or sheer ignorance. Sometimes, we grant, they are necessary, but in nine cases out of ten they may be avoided, as in the present instance, by words indicating great rapidity; or by putting a bar through the C marking common time. But the metronome (which M. Hummel, like a man of sense, always uses) is the surest and best guide.

Mehul’s overture is a great favourite in French theatres, and not devoid of something like dramatic effect, but as a piano-forte duet, as drawing-room music, it is very jejune indeed.