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Original Instructions for the Violin, illustrated by Precepts and Examples, composed expressly for this Work, by T. Howell. Bristol. Howell.

Towards the close of our last volume* we reviewed the instruction book for the violin prepared by Messrs. Rode, Baillot, and Kreutzer, for the pupils of the French Conservatory, and we took occasion to bring under the notice of our readers the publications of Mr. Loder and Mr. Jousse in this country. Here we have a new method from Mr. Howell, whose object appears to be, to begin his structure from the very foundation, and to proceed upon his own plan step by step, in the closest manner, as far as the elementary principles are concerned. This book leaves far less for oral instruction than any other similar treatise that we are acquainted with. Its comprehensiveness, its systematic arrangement, and its cheapness (10s. 6d.) are all strong recommendations.

The Enigma-Variations and Fantasia on a favourite Irish Air for the Piano Forte, in the style of five eminent Artists, composed and dedicated to the Originals by Cipriani Potter. London. Boosey and Co.

At page 376 of our fifth volume will be found an article which not only contains our own opinions of the early works of this accomplished musician, but commendations from foreign critics of established repute. We recur to this notice, because, as we think very highly of the talents of Mr. Potter, and as he writes with so much care that his publications are not issuing daily from the shops, we are anxious that his character and claims as a composer should be understood by those who may not perhaps have met with many of his productions.

* Vol. 6, page 527. VOL. VII. NO. XXVIII.-DEC. 1825.

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The present composition is an imitation of the style of five of the favourite writers of the present day for the piano forte.

The introduction is clearly designed to convey that of Mr. Moscheles, from the passages from bar 9. The octaves for the left hand in the last line proceeded originally from Mr. M. but are now very generally adopted. The style of this introduction in the opening is like Mr. M.'s earlier productions, whilst the latter part is in his present manner.

Ries is stamped on the face of variation 1. This imitation is excellent. All the passages and the manner of the whole is that of Mr. R. although, as all imitations must be, it is rather too highly coloured. The notes of different value, the sudden crash at the beginning of the second part, the wrist passages and arpeggie, are the marks by which the master is discoverable.

Variation 2 we should take for Mr. Kalkbrenner, as regards the concluding part, but in the first there are some passages which seem to be too meagre to present his brilliant imagination, except it be in his studios; yet there is a certain regularity in the passages, the imitations between the parts, and the cadenza and conclusion are very good. There is perhaps scarcely enough work for the left hand.

Variation 3 is one of the best imitations of the whole-it is evidently Mr. Cramer. The left hand is here very characteristicthe acciacatura and the great delicacy of touch and smoothness of style all belong to this composer.

Variation 4 puzzles us a little. There is no Italian popular composer for the instrument, and we should have supposed Mr. Potter would not have extended his imitations to any other artists, yet "All' Italiana" is its title, and no one but Rossini is presented to our idea. The style is certainly his-the embellishments and the forte indicate this, but Rossini composing for the piano forte on an Irish air looks a little like a musical bull.

Variation 5, from its title, "All' Originale," we had thought to be Beethoven, but a closer perusal proved our error. The little peculiarity of quick notes in repetition pointed out at once Mr. Moscheles; the introduction of these, however characteristic they may be, cannot be said to be quite well managed; they appear to be brought in merely because they may be introduced, whilst in Mr. M.'s style they form a prominent feature, adding to the

beauty of a piece, whilst at the same time they appear to spring naturally from the previous combinations. The passage marked Con forza is very good, as also are the sections of passages at different parts of the instrument. The title likewise of this variation shews Mr. Potter's tact: in a certain way (especially as regards execution), no one is more original than Mr. Moscheles-indeed he may be said to have added considerably by his astonishing powers to executive performance, and his combinations are almost always novel.

The fantasia follows, which, from the opposite styles of the composers imitated, is rather a medley; this however is to be looked for, as the greater the contrast, the more nearly has Mr. P. caught the varied ideas. Ries stands first, but the imitation, though evident, is scarcely so good as that in variation 1. An excellent sketch of Cramer follows, and is marked by his favourite traits of the shake in the treble, whilst the left hand takes the air, intermediate rests, and arpeggie. In the Allegretto Scherzando we again recognize Rossini by his favourite triplets and brilliant contrasts. In the Allegro con fuoco we discover Kalkbrenner by the imitation and fugues, a very favourite trait of his style.

The Andante con moto is also one of his favourite movements, but the passages are somewhat too straggling for him. Kalkbrenner seldom introduces such but in concertos, and pieces for executive display. The Allegro molto is a very good imitation of Moscheles, but the Presto, though in his style, can scarcely be taken as a faithful copy.

Our description will, we hope, set piano forte players to compare, for in the study of styles, even more than in the pleasure which unexpected resemblances convey, lies the value of such productions. In truth, regarded as directions to discover the peculiarities of manner, they are more useful as well as more agreeable than compositions that may be more strictly termed original; and as they imply a patient investigation of the materials wrought upon by eminent men as well as of the way in which they work, as they imply diligent study, acute apprehension, and facility in the adaptation of the ideas thus gleaned, such compositions are honourable to their authors. We think Mr. Potter has been very successful, and we commend his Enigma to all those who connect an intellectual with the practical pursuit of the art.

Ricordanza, Fantasia for the Piano Forte, on the Airs in the Opera of Maçon, by Frederick Kalkbrenner. Op. 76. London. Chappell and Co.

Grand March for the Piano Forte and Harp, or two Piano Fortes, by Frederick Kalkbrenner. London. Chappell and Co. Bavarian Air, composed by Spontini; arranged with an Introduction and Variations for the Piano Forte, by C. Czerney. London. Cramer, Addison, and Beale.

Mozart's "Giovinette che fate," arranged as a Rondino for the Piano Forte, by J. P. Pixis. London. Cocks and Co.

Ricordanza del Crociato in Egitto, and Melange for the Piano Forte, by J. P. Pixis. London. Boosey and Co.

A Second Divertimento for the Piano Forte, by Mayseder. London. Boosey and Co.

Introduction and Rondo on Di Piacer, for the Piano Forte, by Camille Pleyel.

Zitti, Ziti, arrangé en Rondeau pour le Piano Forte, by Camille Pleyel.

Melange on Popular Airs, from Auber's Opera of the Maçon, for the Piano Forte, by Camille Pleyel. London. Cocks and Co.

The more free the range given to Mr. Kalkbrenner's imagination, the better he succeeds in general, but in the present fantasia, although his style is neither cramped nor meagre, he has not allowed extravagance or novelty to tempt him beyond the limits of beautiful expression and fine contrast. He has displayed great taste in the choice of his subjects, and hardly less in their treatment. The first, which is preceded by a few bars of effective introduction in G minor, we subjoin—

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We think this a beautiful legato air, and it is greatly height. ened in effect by its characteristic arrangement; it is kept before us for a short time in alternate responses between the treble and base, and is succeeded by an andante of great delicacy and simplicity, on which an agitato movement of striking originality is formed. The most peculiar of its passages is one where the air is given to the left hand, whilst the right accompanies it with great delicacy in another, principally consisting of semiquavers in repetition. This is afterwards transferred to the base, while the treble takes the air. It then is carried through some effective modulation, and finally terminates by a beautifully expressive morendo, in the key of G. A light and playful allegretto follows, marked by some passages of boldness and strength for the left hand. This fantasia is calculated to add to the fame of its author, not as an executive composer, but as one of taste, originality, and feeling.

Mr. K.'s March is in his bold and animated style; easy, but very effective.

Mr. Czerney's Lesson is in rather a lighter style than his ordinary productions, but it is not unmarked by the freedom and

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