But the rest of the song, though ably composed, is neither more nor less than a moral to the tale, therefore objectionable in our eyes, because abandoning that which ought to have been the sole object,—the passion itself.
The lithographed illustrations have all considerable merit, that of Joy excepted: the work is very well brought out, and proves the liberal views of the society.
PIANO-FORTE.
- GRAND MARCH, composed by J. N. Hummel. (Cramer and Co.)
- SECOND FANTAISIE ELEGANTE, sur des Motifs favoris de l’Opéra Fra Diavolo d’AUBER, par C. CZERNY. (Chappell.)
THE first of these is one of those happy effusions of genius that rarely occur, combining originality, most agreeable effect, and that simplicity of construction as well as of notation, which places it within reach of every tolerable player. It is in B minor, and consists of but five pages.
No. 2 exhibits M. Czerny in a rational shape; he has here not only selected some of the best airs from the popular opera of Auber, but arranged them with taste, and in a manner that will exclude no ordinary performer from benefiting by his fantasia.
- Terpsichore in Vienna, a DIVERTIMENTO for the Piano-Forte and Flute, composed by I. MOSCHELES. (Chappell.)
- GEMS A LA PIXIS, the German Songs, sung by Mad. PIXIS, composed and arranged by J. P. PIXIS. Op. 124. (Dean.)
No. 1 is, we conclude, made up of German dance tunes, well blended, and arranged in an easy familiar manner for both instruments, the flute part being almost necessary as an accompaniment, if not what is understood by the term obbligato. This is a gay, exhilarating bagatelle; but some few passages, particularly for the left hand, show that it is not intended for mere tyros; and it may, without any loss of caste to the parties, be introduced by performers of the first class.