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viously not very deeply acquainted. His manner is colloquial and easy, and for that very reason will probably be better relished by those whom he addresses,

No. 1. Introduction et Rondeau Ecossais, concertans pour Piano Forte et Violon; par J. Moscheles. London. Cramer, Addi son, and Beale.

No. 2. "Amicitia," Sonata for the Piano Forte, with Accompani ment for the Flute and Violin (ad lib); composed by J. B. Cramer. London. Addison and Beale.

The first of these pieces is in a style old enough in popularity, but quite novel as a subject treated by the able pen of Mr. Moscheles. He has here given us a pleasing and sprightly melody, "Alla scozzeze," worked up sufficiently to make it interesting both to the violinist and the pianist, and containing many ef, fective, although not really difficult passages. It is gratifying when eminent composers stoop from their heights of elaboration and science to amuse and instruct, by such publications as the one before us, which are intended by just means to lure the young player on to greater achievements, by a careful performance of such moderately planned but meritorious pieces. This rondeau will also be found the more useful, as the violin part is arranged for the violoncello and for the horn, which being dedicated to Mr. Puzzi it should seem, he performs, It would have been amusing to have seen such a corno obligato placed before a horns player fifty years ago-the famous Chinese puzzle would be nothing to him in the comparison.

No. 2 is a sonata of a superior description, arranged from a quintett of Mr. Cramer's, and affords another proof among the

* Mr. Moscheles has lately assisted at the Liverpool Concerts, and he has also visited Dublin, where his fine talents were as generally as justly appreciated. It is a curious fact, that no pianist has ever commanded the attention Mr. M. has attracted from mixed audiences. At the oratorios and at concerts held in the King's Theatre he has been heard with as much solicitous eagerness as in smaller places and by more scientific judges. These facts appear to us to prove the growth of taste, not less than the superior ability of the player,

many he has lately given of the author's delicate taste and refinement in composing for his instrument, "Amicitia" consists of four movements, the first an andantino in four sharps, is preceded by a few bars of introduction, in a simple but flowing style. This movement is altogether in the easy yet florid cantabile manner so frequently adopted by this composer. The subject is well treated through two pages, when a very chantant "Allegro giocoso" commences, which is worked upon in a pleasing manner through seven pages. During the whole progress of this movement an effective and elegant melody is retained, which any one accustomed to peruse Mr. Cramer's works would easily recognize as belonging to his pure and judicious style. The piano forte is principal all through the sonata, but in this as well as the remaining movements the violin takes sufficient part to be interesting to the player. At page 7 we observe a modulation, which although very common always falls agreeably upon our ears; from E to B, where at the double bar the composer gives us a relief from his subject, and playfully sports through arpeggio passages, until page 8, where he diverges into B, with partial modulation into B, which brings us back again to the original key E, where we hear the subject similarly treated, until the last stave of page 11. We have next an "Adagio Patetico," of a mild and sedate character, and capable of very great expression under the hands of a sensitive player-this continues to page 15.

At page 16, the rondo "Allegretto Scherzando con Brio (certainly the most effective movement of the whole) commences. We give the subject

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And as a mere analysis would not give half the pleasure to the student that a perusal of the piece itself most surely would afford, we shall gratify ourselves by pointing out to his notice such passages as appear most beautiful in the rondo. Page 17, stave 4, bar the 1st, is an instance of the employment of simple melody, intended to set off subsequent brilliancy, so characteristic of this composer's ideas. At page 20 is a recurrence to ecclesiastical! harmony, which shews that modern taste is not incompatible with ancient style.

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We like the variation upon this marked "piu mosso,", stave 3, of same page. After various modulations at page 22, stave 4, we again have the subject, which, with an appropriate repetition of some former passages, concludes the movement, page 23. Expression rather than elaborate execution is the means employed throughout the whole of this sonata, which cannot fail to remunerate those who have not yet sacrificed themselves (as too many young players now dó) to mere showy and noisy rattling, and who wish to cultivate classical and feeling music.

Grand Trio for the Piano Forte, Violin, and Violoncello; composed by J. N. Hummel. Op. 93. London. Chappell & Co.

In a former number of our Review we noticed a very beautiful trio of this composer's, which by all who have played it is pronounced a model for this species of composition; the present production of it falls short (as we think it does) in the freshness of air,

and bold harmony of the former trio equals it in the skill and contrivance, which every where gives notice that the hand of a master has prepared and put together so excellent a composition. The subject of the first movement is not particularly attractive, but to a musician the materials for moulding it into form, so apparent at page 3, compensate for the defect. Here each of the instruments have their turn of display, at the same time tacitly acknowledging the piano as their leader. The marcato passages, in many places in the base, are characteristic of Mr. Hummel's style. This movement continues through 13 pages, well relieved by alternate, showy, and harmonious passages. At page 14 we find a slow movement in five sharps, which reminds us strongly of something we have heard in our very youngest days; we give the subject, that others may find out the same coincidence.

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This movement deserves consideration, as although not very difficult in regard to execution, is perpetually varying in its expression, and requires constant attention to the numerous marks placed over the notes for that purpose. The rondo, page 18, is the most able part to our apprehension of the whole piece; Mr. Hummel in this respect resembles the artist who, after carrying his friend through a long gallery of pictures, every one of which he admired, at last opened a large door, which discovered an elaborate altar piece, painted with so much beauty, skill, and truth of conception, that his friend forgot every one of the former productions in his admiration of this last and greatest work. This movement must be heard, and heard frequently, to give a thorough relish for its beauties. There is no part of it more worthy of notice than the following fugal passage from page 24.

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If the million of performers as well as composers would not erroneously conceive (entirely owing to their idleness in not studying it) that fugue is the dryest and most unprofitable part of a composition, they might here learn how delightfully it is found to embellish the writings of a musician who knows how to blend elegance with this apparently ancient mode of colouring a musical picture. The alternations between the violin and piano, with the freedom and strength of the accompanying parts, will afford much gratification to the skilful performer.

"Giovinetto Cavalier" (nel Crociato,) Fantasie pour la Flute and Accompagnement de Piano. Op. 40. Tulou. Cocks and Co.

This composer is a sweet and graceful performer on his instrument-his writings partake of the same qualities-the present fantasie is founded upon the well-known romance of Meyerbeer, and will be found a pleasing addition to the stores of the flute, it being perfectly easy, and at the same time flowing and shewy.

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