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... t any undue feeling of monotony. iBoth teachers and pupils will, we think, be equally pleased with Herr Pauer's melodious waltz. Chc67Xt Ro?naezZique, pour Piano. Par Alfred Jaell. THE key of this piece (F sharp major) need not frighten amateurs, for it is a slow and expressive " sonC without words," played vith the thumb of the right hand, and containing no perplexing or elaborate passages. The melody 1S extremely beautiful, and the harmonies are just sucll as should accompany so silnple a theine. The second tart, in the dominant, is written in D flat, to avoid the ormidable seven sharps which the true key would demand The arpeggios in the right hand which surround the song on its re-appearance, are graceful, effective, and easy to play; but we do not think the tro rapid cadences quite in character with the piece. Pianists who understand how to sing a song with the fingers, neecl not be told to play it " espressivo," but players accustomed to make a foot-stool of the pedal are enjoined to mark this direction of the composer-" Pedale ad ognicambiamento d'armonia sino al fine." Spinele*lied a76s "Del FIzeyende Boll(islder," von Rich. Wagner; fur das Pianoforte, von Franz Liszt. ONE of the most popular pieces from Herr Wagner's Opera 1S here treated in Liszt's happiest style. Pianists acquainted with the transcriptions of this writer can scarcely be surprised to find that the arrangement before us will severely tax their powers * but we can promise them that they will be amply rewarded for the time and attention which the piece demands. Liszt rarely leaves out any notes from the score which can possibly be played; and although this often causes confusion when his music is interpretedvby inferior performers, the defect must not be placed to the credit of the arranger, for the passages always lie well under a thoroughly trained hand. The triplet accompaniment is carefullypreserved, and the manner in which the melocly is made to flow throughout without a break is exceeclingly ingenious. NVe recommend this transcription to all xvho are not likely to be awed by its difficulty. Baltet rn?>stc, Z?6 dem Draena " Rosaml6nde." Componirt von Franz Schubert. Fiir das Pianoforte, zu zwei handen eingerichtet von Johann Herbeck. THIS beautiful ballet music is now so well known that no recommendation from us xvill be necessary to ensure it a warm welcome from all lovers of Schubert's cornpositions. The arrallgement for tsYo hancls is exceedillgly good, and one or two indications of the score will recall to the performer some of the charming effects of the instrumentation. The piece is also published as a. duet by the same arranger. Vatse Gracie76se, pour Piano. Par H. A. NVollenhaupt THERE is so much vigour and freshness about all the dance-music by this composer that mre care not how his pieces are multipliecl. Such music is in its +^ray healthy for Herr Wollenhaupt does well svhat he professes to do and is not afraid of calling a Galop, Waltz, or Polka by its right name. The " Valse Gracieuse " is an excellent specimen of its class-bright full of melody, and replete YWith elegance of treatment. T1e themes are well contrasted and the changes of key, although frequent, are never unduly forced. Good practice will be found both in the passages of repetition and the legato phr2ses with which the piece abounds. We watch'tZ her breatht)2g t7brotegh the 7ziqht. A fourtart song for S.A.T.I3. Words by q:. Hood. Music by Henry J. Poole, M.A. MR. POOLE has escaped the danger of setting music to good poetry, for his composition is far above the average We like the manner in nthich the ntords are breathed out to a pla.cid melody, quietly harmonised for the four voices, at the commencement. The change of key too, after the double bar, is extremely happy * and the fail of the seventh for the first voice at the final phrase is eloquently expressive of the words. Let those who attempt the interpretation of this part-song endeavour to make the audience linger as we linger over the excessive beauty of the verses. a an anything be more touching in its pathos than the following ? " Our very hopes belied our fears Our fears our hopes belied; We thought her dyil? when she slept And sleeping when she died." LAMB ORN C: O CK AND C O . Ceaseyourfunnzng: Old English air. ltrranged for the Pianoforte by Westley Richards. MR. WESTLEY RICHARDS seems to have discovered that we the hand, and the changes of kea prevent any undue feeling of monotony. iBoth teachers and pupils will, we think, be equally pleased with Herr Pauer's melodious waltz. Chc67Xt Ro?naezZique, pour Piano. Par Alfred Jaell. THE key of this piece (F sharp major) need not frighten amateurs, for it is a slow and expressive " sonC without words," played vith the thumb of the right hand, and containing no perplexing or elaborate passages. The melody 1S extremely beautiful, and the harmonies are just sucll as should accompany so silnple a theine. The second tart, in the dominant, is written in D flat, to avoid the ormidable seven sharps which the true key would demand The arpeggios in the right hand which surround the song on its re-appearance, are graceful, effective, and easy to play; but we do not think the tro rapid cadences quite in character with the piece. Pianists who understand how to sing a song with the fingers, neecl not be told to play it " espressivo," but players accustomed to make a foot-stool of the pedal are enjoined to mark this direction of the composer-" Pedale ad ognicambiamento d'armonia sino al fine." Spinele*lied a76s "Del FIzeyende Boll(islder," von Rich. Wagner; fur das Pianoforte, von Franz Liszt. ONE of the most popular pieces from Herr Wagner's Opera 1S here treated in Liszt's happiest style. Pianists acquainted with the transcriptions of this writer can scarcely be surprised to find that the arrangement before us will severely tax their powers * but we can promise them that they will be amply rewarded for the time and attention which the piece demands. Liszt rarely leaves out any notes from the score which can possibly be played; and although this often causes confusion when his music is interpretedvby inferior performers, the defect must not be placed to the credit of the arranger, for the passages always lie well under a thoroughly trained hand. The triplet accompaniment is carefullypreserved, and the manner in which the melocly is made to flow throughout without a break is exceeclingly ingenious. NVe recommend this transcription to all xvho are not likely to be awed by its difficulty. Baltet rn?>stc, Z?6 dem Draena " Rosaml6nde." Componirt von Franz Schubert. Fiir das Pianoforte, zu zwei handen eingerichtet von Johann Herbeck. THIS beautiful ballet music is now so well known that no recommendation from us xvill be necessary to ensure it a warm welcome from all lovers of Schubert's cornpositions. The arrallgement for tsYo hancls is exceedillgly good, and one or two indications of the score will recall to the performer some of the charming effects of the instrumentation. The piece is also published as a. duet by the same arranger. Vatse Gracie76se, pour Piano. Par H. A. NVollenhaupt THERE is so much vigour and freshness about all the dance-music by this composer that mre care not how his pieces are multipliecl. Such music is in its +^ray healthy for Herr Wollenhaupt does well svhat he professes to do and is not afraid of calling a Galop, Waltz, or Polka by its right name. The " Valse Gracieuse " is an excellent specimen of its class-bright full of melody, and replete YWith elegance of treatment. T1e themes are well contrasted and the changes of key, although frequent, are never unduly forced. Good practice will be found both in the passages of repetition and the legato phr2ses with which the piece abounds. We watch'tZ her breatht)2g t7brotegh the 7ziqht. A fourtart song for S.A.T.I3. Words by q:. Hood. Music by Henry J. Poole, M.A. MR. POOLE has escaped the danger of setting music to good poetry, for his composition is far above the average We like the manner in nthich the ntords are breathed out to a pla.cid melody, quietly harmonised for the four voices, at the commencement. The change of key too, after the double bar, is extremely happy * and the fail of the seventh for the first voice at the final phrase is eloquently expressive of the words. Let those who attempt the interpretation of this part-song endeavour to make the audience linger as we linger over the excessive beauty of the verses. a an anything be more touching in its pathos than the following ? " Our very hopes belied our fears Our fears our hopes belied; We thought her dyil? when she slept And sleeping when she died." LAMB ORN C: O CK AND C O . Ceaseyourfunnzng: Old English air. ltrranged for the Pianoforte by Westley Richards. MR. WESTLEY RICHARDS seems to have discovered that we