WeGA, Rezeptionsdokumente, Digitale Edition
author: Anonymus
source date: 1826
language: en
availability: Creative Commons Attribution 4.0 International (CC BY 4.0) (http://creativecommons.org/licenses/by/4.0/)

No. 1, of a Selection of Duets for the Piano Forte and Flute. The celebrated Sonata in F for the same, by Beethoven. No. 2, Sonata in D, by J. N. Hummel. La Chasse, Rondo Brillant for the Piano Forte, by Chas. Czerney. Variations on a favourite Russian Air, by C. M. de Weber. All by Cocks and Co. Brilliant Polonaise for the Piano Forte, on the German Arietta, True Love, by J. P. Pixis. Wessel and Stoddart. This Edition is revised and arranged for Piano Fortes up to C, by C. Dumon.

It is with much and sincere pleasure we observe the works of the finest German piano-forte composers daily gaining ground in England and rising into general circulation, for the fact not only secures to these artists the celebrity and estimation which are ever due to exalted talent, but proves at the same time the progress which we are making in taste and knowledge, and leads our native composers to emulate (and will we trust eventually to equal) the perfection which we admire in foreign masters. Thus we consider grateful acknowledgment to be dueto those gentlemen who bring forward works which are of such general utility.

The sonata of Beethoven's (Op. 17) in F, is one of his earliest compositions, which circumstance does not diminish its merits, as it possesses none of the eccentricity that characterizes his later works. It is distinguished by simple and beautiful melody, and execution of a solid and striking character, and is a lesson of great beauty and interest. In its original form it had, we believe, a horn accompaniment, and it may now be procured with one for a violin or violoncello.

No. 2 is a composition of considerable celebrity; it was performed by the composer last year at one of his concerts in Paris, and is of a very superior class; Mr. Hummel's style is the result of natural genius and taste, aided by the instructions of a fine master – his are the genuine productions of the enthusiast, formed on the soundest principles of art, and they consequently never fall to the standard of mediocrity. The allegro in the present is vigorous and animated, containing beautiful melody. The style of the andante possesses the solidity and intensity belonging to his school and his country, and the rondo is chaste, elegant, and inspiring. There is a brilliancy about Mr. Czerney's music that renders it always attractive, and no term can be so well applied to that before us, but it is on a hacknied subject, and is a lesson that cannot add much to its author's fame.

Poor Weber's is full of that originality and concentrated feeling which can only be perfectly relished by his admirers, but by them it cannot fail to be appreciated.

Mr. Pixis' is a composition of talent, though scarcely worthy of his genius – it has not his usual solidity. We are sorry to see his name to a set of quadrilles. Fashion cannot authorise such misapplication of talent.