THE concerto now before us is by a young musician, who has only just completed his seventeenth year, a pupil of the Royal Academy of Music, and is published ‘by the express direction of the committee’ of that institution. We were present when it was performed by the author, in the Hanover Square Rooms, and in our Number for May last have spoken of it in terms dictated by the impression it then made on us. We have now considered it deliberately, and unconditionally state, that, as the work of so youthful a composer, it is a surprising production. Even viewed without reference to his age, it is entitled to a very considerable share of praise, especially if compared with the current compositions of the day, most of which, including several by masters of some name, are inferior to it, both in design and in the manner of treating the subjects.

This concerto is in three movements of reasonable length: the first, an allegro—moderato in D minor; the second, an andante in F; and the finale, a presto, ending the piece in the key in which it began.

The principal subject of the first movement is resolute, and commands attention; the subordinate one, in F, is gentle and expressive, and contrasts well with the other. The motivo of the andante is a melody in which is much elegance, but less of decided originality; it is, however, a promising specimen of the author’s taste; though, had he adhered more to the subject, and spared some of the not very congenial runs of half-demisemiquavers, we should better have liked the movement. The finale is bold and energetic, and, in our opinion, the most effective part of the concerto. The spirit of this is kept up to the last note, and it has a unity which leads us to prefer it to the other movements.

The success of this work ought to operate on the youthful composer as an incitement to study and write much; but let us advise him to publish little at present, however flattering the temptations thrown in his way. What he may produce and think worth preserving, he should lay aside, and at the end of about half the period recommended by Horace to poets, examine and retouch it: then, having first consulted a judicious friend, he may venture into print without endangering that fame of which his present publication will have laid a very good foundation.

  1. THE BEAUTIES OF NEUKOMM, a characteristic FANTASIA, in which are introduced The Stormy Petrel, Count Balthazar, and The Sea Rover, arranged by J. B. CRAMER. (Cramer and Co.)
  2. BEAUTIES OF NEUKOMM, a FANTASIA, in which are introduced The Bloodhound and The Roaming Mariners, arranged by J. N. HUMMEL. (Cramer and Co.)

OUR readers have by this time made up their minds on the merit of the above airs of M. Neükomm, for there are few by whom they have not been heard: we have therefore no occasion to speak of them but as applicable to the purposes to which they are now applied by these eminent composers; and such is the charm of good melody—a very distinguishing feature in the ingenious Chevalier’s compositions—that it pleases, whatever the form it may assume.

These fantasias are calculated for a rather superior, though numerous, class of performers. Both have, as indeed a matter of course, an introductory movement, and are nearly equal in length. But the particular style of each master is obvious in his respective work. In the one, great refinement and expression, not devoid of spirit, are the leading traits; in the other, freshness of fancy, energy, and depth of harmony, mark the more vigorous composer. The introduction to the first is brilliant, and familiarly written: that to the second inclines to the grand, and is rather studiously composed; the syncopated passage towards the end is a charming bit of classical harmony, and the author is apparently aware of its attractive qualities, for he repeats it in the body of the fantasia. These will prove valuable additions, in every sense, to any musical catalogue.

  1. SECOND RONDINO, on ‘Questa e la Dea,’ the Quintet in ROSSINI’s Opera Corradino, by CHARLES CZERNY.
  2. SOUVENIR DE BELLINI, VARIATIONS sur un Motif de l’Opéra La Sonnambula, par ANTONIO FAUNA. (Goulding and D’Almaine.)

No. 1 is to be counted among the least perplexed and extravagant of M. Czerny’s labours. There are two or three whimsical, but short passages in it, that serve to show his propensities, but, upon the whole, we can speak of this as an agreeable arrangement; the connecting parts and the additions to the original materials are in character, and a good player—for it is beyond the means of mediocre performers—will find it worthy of some notice.[79]