exhibition of the highest points of excellence in execution which the author has been able to reach. An examination therefore of the concertos of any composer, enables us in some measure to form a judgment of that which peculiarly characterises him, and on the other hand, he who knows the artist can readily conceive the character and style of his concertos. This is no doubt the cause why compositions of this nature can only have their full effect when the writer himself performs them, for then there is a unity of sentiment in composition and execution which produces a deeper impression on the hearer than any other person can hope to effect. An impression like this, at once splendid and seducing, was produced on the writer of this article and the numerous audiences which attended Mr. Moscheles's concerts in this city. The composition and performance, the fancy and the feeling, were in perfect unity; but above all, that fascinating lustre which surrounds every thing produced by the hands of this extraordinary artist, on this occasion, burst forth in its fullest glory. The same admiration cannot fail to accompany these compositions wherever they shall be executed by the same hands. Besides this, they carry with them the strongest recommendation to all those who wish to make themselves masters of the highest school of piano forte playing-to overcome the greatest difficulty of the art to reach the perfection of lightness, elegance, precision, and brilliany of touch, and to enable themselves to enter the lists of competitors on the musical arena.

"The above concertos, but principally the one in G minor, is distinguished by richness of fancy and splendor of orchestral effect. In this respect we especially notice the latter part of the adagio in recitative style, which is replete with singular grandeur and sublimity. This is contrasted by the concerto in E major, which is a key in itself highly calculated for brilliant effects, and which the author has turned to the greatest possible advantage, particularly in the spirited and joyous last movement where he has introduced the British Grenadier's March. The concerto in E may be considered as the most characteristic of Mr. Moscheles's peculiar style of performance, The grandeur of the subject is finely supported by the richness and splendor of the orchestral accompaniments, and every tutti seems like an exultation at the success of the preceding solo. The concerto in F major (which is the first and the earliest,

although in a more simple style than the rest) shews a masterly hand, and displays a combination of spirit, elegance, and brilliancy, which cannot fail to make it highly attractive to all proficients on the instrument.'

""

Melange on favourite Airs from Il Crociato, composed for the Piano Forte, by Camille Pleyel.

Cruda Sorte, theme favori de Rossini, arranged as a Rondo for the Piano Forte, by Camille Pleyel.

Int. and Rondo on a favourite Air from La Gazza Ladra, composed for the Piano Forte, by Camille Pleyel.

A First Rondino on "Cara deh attendimi," from Zelmira, for the Piano Forte, by Charles Czerney.

A Second Rondino on the favourite Quintett from Coradino, for the Piano Forte, by Charles Czerney.

Int. and Rondo on Caraffa's "Fra tante angoscie e palpiti," for the Piano Forte, by J. P. Pixis.

London. R. Cocks and Co.

We have already had before us one lesson from a superior hand on the same subject, and of the same description with the first on our list. Mr. Pleyel has however, with one exception, selected different airs from Il Crociato, and his whole lesson is of a simpler form than Mr. Cramer's. On compositions of this description there is little to be said. It is a most happy method of preserving to piano forte players the beauties of vocal composers, in a form adapted to their instrument, and the merit of the piece must very much depend upon the selection made. Il Crociato is universally admired. Mr. Pleyel has chosen some of its most captivating parts, and combined them in a manner likely to be generally pleasing. In the lesson on Cruda sorte, as Mr. P. depends more on his own talent, so there is more room for praise. He attempts no difficulties in execution, nor has he introduced any passages of particularly brilliant effect, but there is an even tenor of good taste and an accordance with the style of the air, throughout the whole, that render it certain of a favourable reception.

On the air from La Gazza Ladra Mr. Pleyel has formed a piece of a different character, but not less worthy of commendation. It is short, animated, and effective, and presents a very beautiful theme in a still more attractive dress to the tolerably advanced performer.

Mr. Czerney is now one of the stars of the musical hemisphere, both as regards performance and composition for the piano forte. The two lessons before us are of rather a lighter character than his general productions, but they are not the less attractive for this reason. One peculiarity must be observed by the performer who attempts the music of this composer-viz. great delicacy of touch, for the particular marks of his style lie in passages of neat and tasteful execution on the highest part of the scale of the instrument, which, if not struck with the nicest art, are usually disagreeable in tone, and Mr. Czerney's lessons are so well adapted to their character, as to require great attention to this particular. The first rondino is the best, but they both contain much novelty and grace. In No. 1, page 11, in the last line, begins an original. and effective passage, as is also the conclusion; in the second may likewise be found passages of a novel construction, which in the present time is in itself a sufficient recommendation.

Mr. Pixis is always original, always imaginative, but in the present instance he has not succeeded quite as well as heretofore. His subject is not very happy, and he has hardly made as much of it as we should have expected, from his genius. Nevertheless we cannot look at the lesson without discovering the marks of a superior mind.

Impromptu pour le Piano Forte, par J. Moscheles. Cramer, Addison, and Beale.

"Le Tribut à la mode," Deux Airs favoris de Rossini, arrangés et

variés pour le Piano Forte, par F. Kalkbrenner. Clementi & Co. Divertimento for the Piano Forte, on the favourite Airs in Preciosa, by Pio Cianchettini. Chappell and Co.

One great proof of the talent of a composer is his power to sustain the character with which he proposes to invest his music

throughout his work, of whatever class it may be; it is indeed a scarcely less certain demonstration of ability than that of assigning the character itself. Although it is hardly possible to impart so much of this necessary distinction to piano forte music as to vocal, or concerted instrumental pieces, it is yet wonderful to observe with what true and consistent expression the conceptions of a superior mind will develope themselves, even in this confined sphere of action, however peculiar they may be. Mr. Moscheles's Impromptu is a striking exemplification of this truth. It is hardly of a kind to come within the reach of analysis, but its excellences are too prominent not to be immediately perceived. It is short, (but even this is proper to its class) and every bar contains some touch of genius or feeling; above all, the freedom, the vigour of imagination it displays, shows it to be a spontaneous effort of the fancy, such as its name denotes, and therefore such as its character ought to express. Although this lesson is not distinguished by difficult execution, yet the performer must understand the style of the composer to render it justice.

Mr. Kalkbrenner's lesson, both from its title and construction, appears to us to carry a sarcasm under its dubious denomination. The maestoso with which it commences is little better than a string of passages, of not difficult execution, put together so as to convey no meaning, "full of sound and fury, signifying nothing," or at least nothing than we can interpret. Then comes the theme (Aurora che sorgerai), which is not adorned by the manner of its arrangement. The first two variations, like the introduction, have a great deal, yet nothing in them, and are apparently so constructed as to prove that the composer can show his brilliancy of execution and even write upon a regular plan, while he probably means only to ridicule the prevailing taste for the mere mul-tiplication of notes. From this general description we except the adagio, of which we doubt not the composer himself and the players of his school can make much. The sudden and incongruous change to the last movement of the duet, Al idea di quel metallo, again however impresses us with the belief that Mr. K. is indulging his vein of humour, and purposes to have it understood, with "what vast ideas" the lust of gold exalts those artists, whose noble ambition it is to write for the shops. If we have translated Mr. Kalkbrenner's "tribute to fashion" rightly, it is an ingeni

ous performance, and that we have done so we have little doubt, because, considered as a legitimate train of variations, it exhibits too many anomalies to allow us to treat it as a serious production from so powerful a mind.

Mr. Cianchettini's divertimento is of a light and facile kind, which places it within the reach of performers in general, as far as regards execution; but there is an elegance and delicacy about it which will always render it attractive, in spite of its apparent simplicity. This is particularly to be remarked in a very tasteful return to the subject, (a short but beautiful trait from Preciosa) at bar 6, page 6.

The celebrated March of the Emperor Alexander, with an Introduction and Variation for the Harp and Piano Forte, composed by N. C. Bochsa. London. Chappell and Co.

Grand Fantasia for the Harp on "Auld Robin Gray," composed by N. C. Bochsa. London. Chappell and Co.

First set of Bagatelles for the Harp, composed by N. C. Bochsa. London, Chappell and Co.

“The Soldier's Return," with Introduction and Variations for the Harp, by T. P. Chipp. London. Chappell and Co. "By that Lake whose gloomy Shores," with Introduction and Variations for the Harp, by F. L. Hummel. London. Power.

Mr. Bochsa's duet is written purely for effect, without presenting many difficulties: he has succeeded in his object. The whole is showy and attractive, full of animation, and bearing the marks of a brilliant fancy, such as very few beside himself possess, but when more minutely analysed it presents nothing particularly striking. Variations 4 and 5 are the best and most original; in the latter the harp is very effectually employed, as well as in the allegro. The fantasia is a lesson of much greater talent. It possesses strength and freedom in the introduction. The air is very ably arranged, and the variations, though not particularly novel, are of a superior cast, and display Mr. B.'s peculiar felicity in showing the powers of the instrument to advantage.

Though last not least in favour are the Bagatelles. These