In No. 4, M. Czerny appears not only in a rational, but almost in an amiable shape. It would have been unpardonable to slay so good an air as this under its parent’s eye. The first variation is a little skittish, but afterwards the composer becomes sober, though very animated, brilliant, and agreeable. The Introduction is the best thing of the kind we ever saw from the pen of M. Czerny. The whole makes a very delightful, and not very difficult, divertimento.
Mr. Valentine, in No. 5, has given us a simple, unaffected, good arrangement of one of the most original airs in the opera. This is short, perfectly easy, and is adapted to those whose progress, or practical skill, may deter them from undertaking any of the foregoing pieces.
- GRAND WALTZ, with VARIATIONS and POLONAISE, composed by JAMES M’CALLA; Op. 10. (Goulding and D’Almaine.)
- LES BRILLANTES, WALTZER, composée par JAMES T. MAY. (Same)
- A set of QUADRILLES, composed and published as the preceding.
- A second set, ditto, ditto.
No. 1 is a pleasing, short waltz, but the grandeur of it, predicated in the title-page, has not been revealed to us, though, doubtless, very apparent to the author. The variations are few, moderate in length, spirited, and though not very novel, are agreeable. The finale, a Polacca, is exhilarating, well put together, and can never lack admirers.
No. 2 comprises five well-written waltzes, which will not fail to please. But of what country is the composer? His title would incline us to suppose him a Frenchman, but that the grammar is false. The word waltzer, neither English nor French, tempts us to ask if he is a native of Germany. Perhaps it is not a matter of very singular importance, but we abhor remaining in doubt, and like everything to be in good keeping.
No. 3 and 4 possess a sufficiency of agreeable melody, but not of that sort which surprises by its novelty. The quadrilles are all strictly correct, and call for no greater exertion on the part of the performer, than they seem to have cost the composer.