But the most popular part of the present work,—and amongst much originality we may also mention it as the most original,—is the finale, or last movement. When performed, on the occasion before alluded to, the very opening excited a murmur of applause, and increasing satisfaction was marked on the countenances of the audience as it proceeded. An examination of this does not lessen our admiration of it; the invention, consistency, and spirit of the whole, are manifest from the first to the last bars. We shall add to our quotations the commencement of this, by which the reader will see that the movement is not cast in a common mould.
The three bars, or second subject, from the word dolce, are afterwards taken, but in the relative minor, as the point of a fugato, which morsel of science à l’ancienne, coming in so unexpectedly, and not continuing long enough to puzzle and weary the unlearned, must be counted among the happiest thoughts in the work.
This concerto, having been written for Mr. Moscheles’ own performance, therefore for effect of all kinds, including a display of his powers of execution, is, as will be supposed, abundantly difficult—we therefore only recommend it to very superior players; to such it cannot but prove highly valuable.
- RONDO BRILLANT (à la Russe) with an Introduction, composed by J. B. CRAMER. (Cramer and Co.)
- La Narcisse POLONAISE, composée par CHARLES CZERNY, avec Introduction, par JEROME PAYER, Op. 175. (Wessel and Co.)
THE opera, 8 of Cramer, long ago taught us to associate agreeably his name and airs à la Russe; we therefore anticipated much of the pleasure which the above publication has afforded us, and feel confident that it will find an admirer in every lover of true piano-forte music. The Rondo Brillant is in A, 24 time, allegretto scherzando; the subject simple, melodious, and treated in a fanciful, sprightly manner;—with great taste, it is superfluous to add, for whoever knew this quality wanting in any of Cramer’s productions? It is also practicable by all tolerable performers, and comprehensible to every one with a musical ear, a praise unmerited by many composers of great name in the present day. We were much struck by a very bold enharmonic change from E to E