and back again (page 3); it will always rouse the attention of the hearer, however drowsy he may happen to be. The introduction, adagio, is expressive, energetic, and just the right length. At page 6, bar 15, is a C
, which ought to be D
. As the same error is repeated two bars beyond, it might mislead the performer, if not pointed out as a misprint.
No. 2 is a Polonaise, which, if played in the time indicated by the composer,—that is, not quick, for so we are to understand the term grazioso,—will produce very considerable effect. The subject is exciting, and well supported, the modulations good, the passages mostly lie well for the hand, and the whole being included in nine pages, the interest never flags. But as if M. Payer were resolved that no one composition by M. Czerny should appear without some drawback, he has written an introduction to this, in which is a passage of semitones more ingeniously tormenting to the ear than any we ever had the ill-fortune to meet with. The whole of this part is full of pretence, and wretchedly unmeaning. We advise the performer (who ought to be a skilful one to execute the Polonaise) to substitute a few chords for M. Payer’s senseless page, begrimmed as it is with half demi-semiquavers, for so sure as his hideous notes are played, the auditors will simultaneously take to flight; while the canine species, if any are within hearing, will proclaim their sufferings in corresponding sounds.
- AIR DE BALLET, tiré de l’opera La Tentation, et arrangé en Rondeau, par J. HERZ, Op. 23. No. 1. (Mori and Lavenu.)
- L’ORGIE, RONDO sur des thêmes de La Tentation, arrangée par ADOLPHE ADAM. (Chappell.)