Tarantelle, for the Pianoforte

C. H. H. Sippel
1880 The Musical Times and Singing Class Circular  
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more » ... Circular. http://www.jstor.org This content downloaded from 128.235.251.160 on Sun, 1 Feb 2015 21:56:03 PM All use subject to JSTOR Terms and Conditions Mozart's artist life have been but slightly noticed "; and if a fault can be found with the work, it will assuredly be that it is rather dry in details, the various events being recorded somewhat in the form of a catalogue. Merely for the sake of reference however, this is no objection * and the dates being printed in large figures, any prominent incident in the life of the composer can be readily turned to. In speaking of Mozart's works, Dr. Pole's writings have been largely drawn upon-his observations on the Overture to " Die Zauberflote," from the programme of a Neur Philharmonic Society'sconcert, and a portion of his articles on the " Requiem," which originally appeared in THE MUSICAL TIMES, being quoted-but we have occasionally some able criticisms by Mr. Whittingham himself, which prove that he must be ranked as something above a mere compiler of materials ready to his hand. Dictn. Hunting Sketch. For the Pianoforte. Composed by Max Schroter. tHoward and Co.] ALTHOUGH character pieces are to a certain extent cut to pattern-a fenv lazy triplets in 6-8 time suggesting a Barcarole, and a trifling melody, with a monotonous twirling accompaniment, a " Spinning-song," for example-there are good, bad, and indifferent works of this class, and we are bound to say that the little Hunting Sketch before us although simple in the extreme, is both well written an sufficiently tuneful to please the young players for whom it is evidently intended. Of course nve have the huntinghorn; but the principal subject is melodious: and the second theme, in the subdominant, is an excellent contrast. We commend this unpretentious little piece to the attention of the many on the look out for " something pretty." Four Maz?Xrkas, for the Pianoforte. By Stephen Heller. [Forsyth Brothers.] ALTHOUGH all these pieces are, as might be expected musically interesting, they are unequal in merit. No. I with its characteristic descending chromatic progressions reminds us too much of one of Chopin's best Mazurkas No. 2 wants interest, even in the leading subject-but No 3 is excellent throughout. The theme given out at the commencement with the left hand is extremely striking andthe character ofthis is well preserved. No. 4 again reminds us of Chopin-but it is a musicianlike piece, an effectivepoint being the change from minor to major for the concluding bars. The Mazurkas are edited and fingered by Mr. Charles Halle. Tczzantelle, for the Pianoforte. Composed by C. H. H. Sippel. [C. Sippel, Cambridge.l MR. SIPPEL will, we fear, find the key of his Tarantelle B flat minor, somewhat impede the sale of the piece-but apart from this amateur objection, there will be nothing to prevent its cordial welcome in the drawing-room, for the passages although demanding a nimble Anger, lie well under the hand, and will amply repay practice The temporary change to the tonic major, and the crossing of the hands in the accompaniment on the return of the subject haveagood eSect, But it is extremely difficult to write anything strikingly original in the Tarantella form, and if the composer of the one before us fails in this respect, he at least fails in good company. Dczybreak; Noontide; Sunset; Gloaming; Eventide Nightfscll. Composed for the Pianoforte by W. Millward [Howard and Co.] As a rule we care not for " picture pieces," because it seems too much like selling an illustration and giving a composition; but all the little coloured sketches on these musical trifles are so exceedingly well done that they will no doubt be at least acceptable to the little pianists for whom they are designed. " Daybreak," " Sunset,X' and " Eventide " are perhaps the most melodious of the setbut they are all well written, pleasing, and carefully fingered. .
doi:10.2307/3358491 fatcat:c67kxjgsszcexdpcoxy66msmmq