REVIEW OF MUSIC.

CONCERT-STUCK, Larghetto affettuoso, Allegro passionato, Marcia e Rondo giojoso, für das Piano-forte, mit Begleitung des Orchesters, Von CARL MARIA Von WEBER, Königl. Sächsischer Kapellmeister. 79s. Werk. Pr. 3 Rthl. (Leipzig, im Bureau de Musique, von C. F. Peters.) CONCERT-PIECE, Larghetto affettuoso, Allegro passionato, Marcia e Rondo giojoso, for the Piano-forte, with Accompaniments for the Orchestra, by CARL MARIA Von WEBER, Kapellmeister to the King of Saxony. (Leipzic, C. J. Peters.) Imported by Black & Co. TavistockStreet.

THE name of M. de Weber was hardly known to us till about a year and a half ago, when his romantic but very charming and original opera, Der Freychütz, made its appearance in the northern and intellectual part of Germany, proving that the national genius for dramatic music,-which, since the retirment of the excellent composer, Winter, had rested under its laurels,-was again aroused into activity. An inspection of that opera excited our wish to see more of the same author, and we obtained several of his compositions, particularly for the pianoforte, all of which shew evident signs of a determination to avoid the common track, and to search for novelty in unfrequented paths. His theatrical works, so far as we have seen of them, are exclusively his own, and should it be said that his instrumental productions are formed after any other model than one created by himself, Beethoven's is the only model that can be named. But we are more disposed to think that his spirit revolts at every thing like imitation, and if his style in any one point resemble that of his great contemporary, the similitude appears only in the laborious struggle to produce new effects.

This is very properly termed a Concert-Piece; for though the movement, or time, changes, yet the whole is undivided, and forms an unbroken piece; whereas the concerto is always separated into two or more detached parts,-(in England termed movements,)-each being complete in itself. Had it been unaccompanied we should have called it a Fantasia*, for it has all the wildness of that species The first of these bars was originally used by Woelfi, and of composition, and is quite a flight of the imagination. inserted among the difficulties of his ne plus ultra. The The greater part of it is in F minor; it breaks into a March next two, which demand a span of eleven notes, are writin C major, and terminates with what is denominated, inten, we presume, for those ladies who have an extra joint the title-page, a Joyous Rondo, in F major. The open-to their fingers. Nature, except in her sportive moods, ing of this composition, Larghetto, is eminently beautiful never formed a female for such an achievement. and full of pathos; but the subject too soon is evaporated, The passages of semitones which were once rendered and a succession of velocities of all kinds,-of semitonic fashionable by Dussek,-the only blot in his musical passages in every form, of rapid and widely-spreading 'scutcheon,-disappeared with returning good sense. But arpeggios, and of skips that seem only intended for a there are cycles in all things, we fear, in fashion most machine to execute,-supervene, involving both performer undeniably, and the bad taste for rapid successions of half and hearer in difficulties that will be apt to awe-strike notes, is come round again for a time, a short time, we people with healthy understandings. The following pas- trust, and will again be banished. Hitherto we have only sage, at page 10, will show what sort of hand, and slight- met with these passages in similar progression; M. de of-hand, are necessary for the performance of this piece: Weber has improved the horror, and whetted our teeth for We here use this word n its accepted, but erroneous, sense; a any mordacious exploit, by the subjoined detestable howl, in contrary motion :

Fantasia in strict language is a piece produced all'improvviso.

There are certain flights of octaves in the Rondo, which we only allude to, because they are directed to be played as slides, for such we take as the meaning of the term "glissando" a word appertaining to some language no doubt, but to which it belongs we declare our perfect ignorance. These slides, however, are only conveniently practicable on German instruments, the light and shallow touch of which hardly requires the strength of a child. Whoever attempts them on an English piano-forte, will retire from the service with wounded fingers.

amateur,-and for whom do professors publish but amateurs ?-where indeed we may ask, is the professor-that will face such unprofitable labour? If the passages when accomplished delighted in proportion to the time and effort bestowed upon them, we would be among the first to preach up patience and perseverance; but if, when subdued, they add no grace to the conqueror's triumph, where is the glory of overcoming them? To prove, however, that we are not inimical to music that requires a brilliant finger and industry, we extract a part of page 24, which will We enter thus at large into these difficulties out of answer the double purpose of shewing the vigour and ability respect to the talents of the very author of them. There with which M. de Weber writes, and of furnishing our is elegance, there is ingenuity enough in this Concert-readers with a good practical exercise. Piece, to make many wish to play it: but where is the

The instrumental parts are very contributary to the effect || There is a little irregularity in the quantity of notes in of this composition, are easy, and may be performed by any orchestra, having a complete band of wind instruments. We cannot afford room for more extracts, otherwise we should have been glad to insert a few bars of the commencement, of which we have already spoken. The march is full of spirit, and very popular in its style. We shall endeavour to give it in our next number.

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In choosing this air as a subject for variations, Mr. Ries did well, if he considered it only as a melody. But inasmuch as it is impossible to hear it and not associate with it words that are very adverse to rapid movements and brilliant passages, he judged wrong in selecting such a song, unless he had confined himself to a graver descant. With the exception of one variation in a minor key, they are all joyous, tripping, and flighty; but they are well written, and if heard without reference to the words of the air, will be productive of effect. They are also not unreasonable in length and number, and embody useful passages for practice. The Introduction, a good slow movement, in C minor, is characteristic of the subject, which it ushers in with becoming gravity. Had the same sobriety of style been continued, the whole would have been in better keeping. But in that case, says an author, it would have proved dull, the greatest of faults. Granted; because serious airs admit of two or three variations, and no more, without becoming tedious. If many are required, a less restricted subject should be chosen, that will admit of a variety of form, and a diversity of colouring.

The two SONATINAS have afforded us more pleasure than we expected, being aware how difficult it is for a superior composer to trifle gracefully. They are adapted to learners of about two years' standing, and will not only afford them pleasure, but initiate them in some of the harmonic combinations and complex passages that abound in modern music.

EL SERENY, a favourite Spanish Air, with Variations and an Introduction, for the Piano-forte, composed and arranged by T. A. RAWLINGS. (Royal Harmonic Institution, Regent Street.)

1

This air, a kind of Guaracha, is pretty, and whether fabricated in the land of cowls and crucifixes, or only found there, is Spanish in style, whatever it be in title. But the variations upon it, are as common as an ave maria, and as 'dull as a homily. They consist almost entirely of triplets, blended with a few threadbare arpeggios. From to page 9, we are cantered on in this manner, with no page relief, except a short change of space which a march of about sixteen bars affords; and this is the only part of El Sereny, save the air itself, that we can commend, without hazarding our character for impartiality. Mr. Rawlings is equal to better things; but now the very word, Spanish, makes the heart sink; it represses effort, and is enough to lower the mind to the level of mules, friars, and petticoat workers.

SONATA for the Piano-forte, composed, and dedicated to his Friend Rigel [of Paris] by I. MosCHELES. (Chappell and Co. New Bond Street.).

This is a sonata that every tolerably good performer may undertake, and so far it differs from most of M. Moscheles' compositions, which, excellent as they are, are rarely accessible but to players of the first class. It is rather in the style of Haydn, though not indebted to him, that we I can discover, for a single passage. A melodious, wellsupported subject which is never out of sight, runs through each movement, and proclaims that the author did not neglect the study of counter-point in his early days; a culpable ignorance in which is too often betrayed by the mob of composers, that every European metropolis can shew. We have been very much gratified by the present work, which bears the stamp of a master, and ought to find a

to be permanently pleasing, a composition must spring place in the musical library of all those who are aware that from scientific principles.

1. THE TYROLESE AIR, Arranged with easy variations
for the Piano-forte, by M. HOLST.

2. "SCOTS WHA HA," with ditto by ditto.
3. "SUL MARGINE D'UN RIO," with ditto by ditto.
4. LE VAILLANT TROUBADOUR, with ditto by ditto.
5. NATIONAL WALTZ, with ditto by ditto.
6. "DI TANTI PALPITI," with ditto by ditto.

All published by (Clementi and Co., Cheapside.)
Do not imagine, gentle reader, that we are about to enter
into a critical analysis of such trifles as these; your time
and ours can be better employed than in devoting it to such
juvenile matters. But as parents, as well as teachers,
often find the want of a list of what may be termed nursery
music, we notice these airs in order to assist such persons,
lected in point of subject, are extremely easy, being fit for
by furnishing them with the titles of a few that are well se-
and are exceedingly short. Those who labour for infancy,
children that have just finished their first instruction book,
and labour successfully, perform a very useful task, and
though no glory can attend their toil, yet it ought to be re-
warded by some little praise; of which in the present case
we think Mr. Holst deserving.

1. A GRAND DUET, for the HARP and PIANO-FORTE,
Arranged from a Concerto of Dussek, and dedicated to
Lady Gwydir, by D. BRUGUIER. (John Gow and Son,
Music-sellers to HIS MAJESTY, 162 Regent Street.)

2. NADERMAN'S FANTASIA on Rousseau's Dream, ar-
ranged as a duet for the sume, by ditto. (Published by
the same.)

3. SELECTION OF FAVOURITE AIRS, from Rossini's Opera Zelmira, arranged as duets for the same, by ditto. (Published by the same.)

into a very good duet for the Harp and Piano-forte. It is Dussek's brilliant and popular Concerto, in F, converts difficult, and yet requires no extraordinary share of ability a kind of music which makes a great show, seems very nor any unusual quantity of industry, in the player.

Rousseau's Dream is well known to every body by means vertimento. of Mr. Cramer's elegant arrangement of the air as a DiM. Naderman adhered to the character of the melody in his Fantasia, as to the time; but we do not like the moving bass of quavers in the piano-forte part of the theme, it diminishes the tender effect of the longer notes in the treble.

The pieces selected from Zelmira are not very original execute, and,-which is the grand point,-they are new in feature, nor very popular in style; but they are easy to in name, if not in fact.

praise-worthy respect for the original materials, and studied In all these arrangements Mr. Bruguier has shewn a the ease of the performers, so far as is compatible with the good effect of the music. As this kind of publication is only to be considered in the light of a revival, we do not bestow the same attention on it as is due to original composition; and therefore after saying that the above works pleasure to those who have the means of enjoying that are very good things of their kind, and likely to afford charming union which the Harp and Piano-forte produces, we take our leave of them without any further comment.