FIFTH CONCERTO, (in C major) with or without Orchestral Accompaniments, composed by I. MOSCHELES. Op. 87. (Cramer and Co. and Mori.)
THIS Concerto was produced, for the first time, if we mistake not, at Mr. Moscheles’ concert in June last; and the impression it made on us was so strong, that the piano-forte part alone now brings to our recollection most of the effects produced by an efficient orchestra. This might almost be considered as a symphony, so full and active are the instrumental parts; but the present publication, without the accompaniments, includes all that belongs to the instrument for which it is principally written, and is so far complete in itself; though, of course, much of the grandeur of the composition, as well as many highly important effects, must be lost, if unaccompanied. The very opening of the concerto leads us to expect a work of great originality, and we are not disappointed in its progress. The following are the first dozen bars:—
The solo part enters thus unceremoniously,—
The progress of the principal and subordinate subjects is through nearly all the keys and every variety of passage, and the ingenuity with which this is managed is, in most instances, rewarded by the effect produced. Though it must be granted that there are, in this movement, certain difficulties which can have no other object than to show the dexterity of the performer. And as to the sestine of semiquavers, (page 20,) against four of the same notes, we must say that, even when executed with mathematical precision, which is nearly impossible, (would it were quite so!) the result is confusion between the two parts, and, consequently, the effect on the ear painful.
The second movement is beautiful throughout; the commencement, in which the violoncello takes the melody, is so lovely a piece of simple harmony, that we cannot forbear extracting it:—
