M. Kulau, a judicious musician, but, alas! no more, has made a very charming rondo out of Mozart’s popular air from Figaro. Like a reasonable man, he has studied the convenience of the player, and also confined himself within moderate bounds;—like a man of taste, he has been regulated by the style of the subject;—and like a musician who really understands his art, he has added nothing but what every sound harmonist will approve and admire.
- MINUETTO and TRIO, ANDANTE SENTIMENTALE, and ALLEGRO SCHERZANDO, composed by EDWARD J. LODER. Op. 19. (Goulding and D’Almaine.)
- HORN’s ‘Happy Valley,’ and ‘Dark-eyed Brunette,’ arranged, with an Introduction, by T. A. RAWLINGS. (Monro and May.)
- ‘Non più mesta,’ the Finale to La Cenerentola, arranged, with Variation, by T. A. RAWLINGS. (Monro and May.)
No. 1 evinces talent of no common kind: he who composed these pieces could, we should suppose, put parts to them, and by the addition of a single movement exalt them into a symphony, of which they seem to have been intended as portions. The three great masters are the models on which these compositions are formed, of whom Beethoven appears to be the object of the author’s highest admiration. The Minuet, in E flat, and Trio, in A flat, are spirited, and less studied in manner than the Andante, in B flat, which is impressive and recherché. The Allegretto, in A flat, is bold and energetic; the modulations here are many and fearless, and the author has ventured on discords for which he has no precedent that immediately occurs to us, thus at least proving a courage and independence which promise much as the result of his future exertions. Were our advice likely to influence Mr. E. Loder, we would recommend him to pursue his present course, only guarding him against the possibility of being allured from melody by the temptations of harmony.
The composer of a song has no chance now of success unless he fee some public performer to sing it; and the composer of a piano-forte piece must not expect that his work will attract any notice unless built on some popular air. Mr. Rawlings has long known the truth of this, and still acts on his experience. No. 2 is formed on two airs said to be popular, and No. 3 on one that unquestionably is, namely, ‘Non più mesta; of all of which he has made good use, and produced two very agreeable and recommendable publications.
- CONTRE-DANSES BRILLANTES, et VALSE, composés par J. T. SURENNE. (Robertson, Edinburgh.)
- QUADRILLE de CONTRE-DANSES, sur des motifs de l’opéra de DONIZETTI, Anna Bolena, arrangée par HENRY LEMOINE. (Wessel and Co.)
No. 1 are animated, animating dances, not exhibiting any very new thoughts, but well put together.
No. 2 are subjects from an opera that cannot boast a single original idea, therefore the compiler of this quadrille must not be censured for want of novelty; but he has well arranged the airs he has chosen, and adapted them in a convenient manner for the performer.