Rezension: „Grande Polonaise“ op. 21 und 7 Variationen über ein „Zigeunerlied“ op. 55 von Carl Maria von Weber

Introduction and Polonaise for the Piano Forte; by C. M. de Weber. R. Cocks and Co.

Variations on a Gipsey Air for the Piano Forte; by C. M. de Weber. R. Cocks and Co.

These lessons, evincing great talent and imagination, are not for those who are caught by the glitter of showy execution, or delighted by sweetness of melody. Not that they are devoid of either the one or the other, but these qualities are mingled with such originality of design and interspersed with passages of such strength and freedom, that they alone who enter thoroughly into the peculiarities of this composer and his school can enjoy them. The first and best opens with an introduction, short, but decided, and completely in the nervous and deeply contrasted style of its composer. It is in E flat minor, and consists of a | tremando, accompanied by a marked base, followed by a few passages of simple expression which lead to the Polonaise. This very quaint and original melody is strongly contrasted by its lightness with the preceding sombre introduction. The air assumes a variety of characters during the lesson, and at page 6 there is a change of key into C major, introducing a few bars of pretty melody, and of rather a curious construction. The air is given to the second, third, and fourth fingers of the right hand, whilst the thumb and first have an accompaniment of two notes in repetition, and the whole is very effective. The execution of this lesson is not difficult, but without strict attention to its leading feature, contrast, it is nothing. The air with variations is in the same style of originality and strongly marked design. The theme is pleasing but eccentric, and is treated in the variations with corresponding singularity. Nos. 4 and 5 are stamped with the true German impress, and are both very good. This lesson is shorter, easier, and more showy than the Polonaise, though not so excellent.