La Reveillé; Morceau Militaire, pour Piano

Walter Macfarren
1873 The Musical Times and Singing Class Circular  
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact This content downloaded from on Tue, 21 21 21 21 21 being D, G. In the same song, too, we should lilie to understand what chord is intended after
more » ... d is intended after the diminishecl 7th on F$ (bar 2, page 5), for, as it stands, the harmony is perfectly inexplicable. We do not care to be over critical with such songs; but if domestic misery is to be set to music, let us at least be unhappy grammatically. La Reveille; Morceau Militaire, pour Piano. Par Walter Maefarren. A MOST attractive composition, in a major, treated in that musicianlike mannerwhich must command the attention both of teachers and performers. The principal theme is founded on the bugle-call, which is carried throughout the piece with much effect. The melodious subject, in the dominant, is excellently contrasted with the spirited militarr opening-and its re-appearance in A flat is as unespected as it is charming. Moderately advanced players will find in this little sketch much to delight and nothing to perple2 them. WEEKES AND CO. Le aor des Alpes * Melodie de Proch. Theme Allernand, de Leybach. Yatse Bq-iElante, de J. Schulhoff. Ga1,op blz Bravura, de J. Schulhoff. Facilitated and &rranged by J. Rummel. WEBE we called upon to pass judgment upon a selection of Shakespeare's plays " facilitated and arranged " for children, we should feel it our duty, in the cause of literature to protest against such a form of appeal to juvenile comprehension. The pieces before us are open to a similar o4jection; for although the originals of those taken in hand by Mr. Rummel do not certainly hold that rank in the musical art which the works vre have mentioned do in the dramatic art, they are rsterling compositions, and have lived quite long enough to claim respect. We may also say that experience has proved to us how the early impression of a piece clings to a student in after years; and can even cite an instance where an intelligent pupil, who had in her nursery days played a garbled version of Weber's " Invitation pour la Yalse " transposed into C, and with the original passages altered and simplified-would scarcely tolerate the real work * and indeed could hardly be induced to believe that it was not a kind of paraphrase of her favourite unpretending little Rondo, especially adapted for the practice of advanced performers. Music for children should be written only by those who thoroughlyunderstand their requirements * for we all know that little players are often more ambitious than big ones, and it is the duty of the master to see that this ambition is properly controlled. Difficult compositions are, we regret to say, often given at schools, with an intimation that the passages thoroughly beyond the pupil may be omitted; and we recollect (as an example of the result of this training) an aspiring young lady on one occasion informing us that she intended to play one of Beethoven's Sonatas, and " leave out all the accidentals." Apart from the objection we have urged,we maysay that Mr Rummel has most oreditably performed his taskand although we do not wish to see the numbers of " La Petite Pianiste " multiplied beyond the four numbers already published, there may be many who do, and to all such it can conscientiously be said that the pieces will prove highly acceptable. Smtle orl my Ev'ting Votlr. Sacred Song. Words by the late Miss Charlotte Elliott. T/te Old Year. Son. Words by Isabella M. Mortimer Composed by Mrs. John Holman Andrews. A CAL)r and vocal subj ect, smoothly harmonized and faultless in grammatical construction, are merits too valuable andrare to be passed over, even in such an unpretending sacred song as Mrs. Andrews has written-and to singers therefore, who are satisfied with these qualifications, we conscientiously recommend " Smile on my Ev'ning Hour," the words of which, as well as the music, &re entitled to commendation. " The Old Year " has a graceful theme and we imagine would be unexceptionable in the accompaniment, provided the innumerable errors therein can be rectified by the pianist. Let us name only a few of these. Symphony, 7th bar, A fat omitted in the last chord * 9th bar of the song, all the naturals before the A's left out * 10th b&r, flat before the last B omitted; 9th bar, page 4, E left out (we presume) in the chord of a; 1st and 2nd bars of the
doi:10.2307/3352119 fatcat:f5piysgtrfa7ldzthmc2es7iam