+ interesting by their colouring and originality. They PAGE 2. 4810. = APRIL 45. FOR PIANOFORTE PLAYERS A BI-MONTHLY JOURNAL SOLD IN THE UNITED KINGOOM, BY BUCNELINDEFLORENNE,nOkSHLLER, 25, Gari Se, Covet arden WC SCHUBERT MUSICAL MOMENTS. ‘This work is composed of a series of litle pieces, ‘whieh ean be detached one from the other and played separately. —Some of them are charming ; all are ‘the two last chords should be struck piano. passage requires a perfect ensemble of both, ‘hands and a great neatness in the slaceal "The second line should be played piano wi ‘mollese, and in bringing out each part very distinct~ |g. Sufficient independence in both hands is ne~ essary, that the equality ofthe quavers be not altered Dythe triplets played bythe left hand, atthe second and third bar. —At the ith bar, the Gshould be well c= cented, the ager taken off the Band the same is tobe Alone every where these two tied notes wil be met with, ‘The oger should be rapidly lifted from the key, in or- der that the effect of the tie, which is followed by a seiniquaver rest, should be perfectly marked. —The B, of the first wo bars, at the third line, ‘must be played forte and heart ‘est (ally measured), one should resume very softly, the rst and ibied time, and get to the forte on the | and always deerescendo tothe most minute pianissimo, ‘well accented chord of the second time of the sf-_{ the G's E's which bring back, atthe hass, the theme (STD require a very intelligent and atteative study. 4, — MODERATO. It must be commenced piano and legato. —The small notes should be short light, and the time well shythmed. The scholar must not omit o lay a stress fon the Ein the second bar, norto lift the Hager from the C, which should be played rather more pian ‘At the fourth bar, there i astaceato piano which is repeated afterwards pianlsino; it should be eontina ced ereszendo at tho sixth bar, with an accent on atPAGE 3. PAGE 4 2 hoe ‘of the beginning, and this should be repeated alterna- tely by both hands, withthe same eare;—-the last theee hats of the repetition should be played at fist pianis- sina, then erescenta and fort, with similar nua ‘Wonsasat the endofthetiestrepelition, Allthe chords must be performed saccefo and very neatly. “The passage in G, to which we are gelling, isto be played piano and legatissimo. —The G's (dotted i «) af the bass should he well sustained, as well as e D's of the treble (fifth and sixth bar ofthe repeti- tion). They should be accented so as to come out very clearly. AL the next page, there comes a repetition which requires a great precision in measuring the tine, and much neatness in the execution, that it should not be confused and diltcult to A. The hase wast lees preserve an exen movement and be played pianissino, So as to be nothing but a murmur, as it were, oxer Which the subject of the treblo should let itself be heard, ‘This subject must likewise be told. pianis- sino, but in a rather more accented manner. Tt should be well shythined and none of the signs placed ‘now on the strong, now on the weak times of the har, should be overlooked, The eresrenefo must increase during three bars, to become a vigorous fort, which is to be followed, on a sudden, by a piansssino, ‘The remainder of ihe piece has nothing else particu Jar; it ean be practised according to previous indiea- tions. Not, — ANDANTE, ‘This little exvdan’ is recommendable particularly fon account of two tuneful passages which come and Tight it after rather cloudy phrases; yet these are not deprived of a certain ebiari, for plasers who eat feomprehend and express them well. ‘The performer is to count, by nine quavers im th bar, this compound triple time, whiels is at first, rae ther difficult to master, . —He must endeavour to give the frst part of the axdante a soft, but fall and well sustained sound. ‘The ensemble between both hands should be perfeet, in order to present the chords be farpeggiated, a fall so frequent among piano players. Nothing’ is more wearisome for the ear than this attaching the notes ofa chord neser together : by this Thwhit, neatness, rhythns, clearness, all is damaged, ‘The fingers likewise should be of equal strength, that the middle notes may be heard as much'as the others ‘and none be mute. The pedal should be made use ff, for the better Holding the sound of the chords in dotted minims, but pressed down only the length of these notes. A few sforsandos are to. be observed above these minims, ‘There is at the last linea pine ‘asia for which the soft pedal should be used. ‘The tune in F minor, which we meet with beve, is phhintiveand eharming. must betold with exceed- ing softness, aiding one's self with the soft pedal, whieh should be dropped at the ereserndo, ‘The tio ‘vement should remain slow, asat the beginning of the andante, The scholar should endeavour to express those touching little phrases with all the’ eharm eon- tained in hem, —The meulstions are few: amore hed accentuation on the F, at the ffth bap of this passages at the seventh, a eresernd that diminishes and dies away almost instantly ¢ those are nearly the only effects to be produced. -—Oue should, i all this passage, attend to the left hand plas the F's of the rst hars alittle staccataand welleosneet the other notes, The pianissima is to be softened more, and more, and the last two burs slightly shekened, The Subjeetin A lat must not be resumed before the sound ‘of the poses has quite died away, —The few small notes to be met with shoul! be played softly. AL the end of the page cones a phrase whieh should Ive read yery attentively, in order to avoid false notes the two parts very distinelly, partie We shotldl be played broadly, with a sound, ad the list notes, marked pinissina, are to he repeated as an echo, Then, the three fol. lovwing bars must be told hkewise very broadly, eres ‘endo, witha fine sonority, and without hurrying one's Self in playing the chorifsin seuniquavers lat term ate then, —AL the two pianisimo E's, every thing falls again into mystery; no more modulations, but 4 sound stifled by the sof pedal and the most suse tained feyafo, ‘The K's however, which are all to be heli up, now ia the bass, now inthe treble, should he Drought out. —The student should rhythm very strietly, give the semiquavers their exaet length, press dawa the keys well, in short, perform all this pase ‘age, which is simple enoagh, with perfect neatness. “The strain in B sharp mino® returns ali at once, but forte this time; it should he tod with great broad= ‘ness, inaecenting forcibly all the chords matked sign, —After this elan, whieh should be rendered very expressive the phrase returns pioma at frst, th pinnissiny, The pretty modulation, which terrain {es the phrase in the major moste ai the last bar but ‘one ofthe page, should be well brought out, “The rest of the picce was previously analysed. 3°a.— ALLEGHO MopERATO, This is preciatedt clear and Timpid. 1 deli id uinderstood by Juful litle pieee, whieh will be ap= sy bovly. All initis ere ate in this allegro, at ‘nce, liveliness and melancholy, waguish ite phrases and others replete with tenderness. Though it looks Simple, itis far from being easy to render well. The Ishule hase is tobe played staccato, and as regulacly asthe beatings of a metronome, —The frst two re pelitions should be perlormed prano, but i will be ne- ‘eossary to shytlim tiem with firmness and endeavour to give them much character. Indeed, the whole pieve respuires it; in this view, the performer should Serupuously oberve the least signs and above all, preserve rigorously the rhythm, "The frst small note rust be short and somewhat accented ; the A shonld be carvied off, the two semi~ {quasers tied, the A'S played staeeat then the two erotehets marked with an enyphasis should De foret- 2 Ye, PAGE PAGE. er.PAGE 8. ar. 2 ae. a, by accented, by holding them up their whole length; ‘he small notes shouldbe cleaeand the thirds attacked Quite ensemble, That phrase, which is met with se- vera times, istobe performed alwaysinthe same mane her, —AUthe second bar ofthe lst line, one shoul layastresson the Fand lake the finger off the My then [et the hand fll on the folowing sixth, —The barin semiquavers is tobe played legatissino; a good fnge~ ngs indispensable o execute well this hte feature and giveit the neainess and ensemble required. That ie shoal be wed th et hed in sega Allthe resumptions are to he repeated ‘The first four bars of the seroad should be pertor- med quite legato and told with a softer sentiment, Dut the two sists ofthe fth bar should be attached with much frmness,, —The two following bars hoult be soft and graceful. —the greatest eare must alway bie given to the neatness and ensemble of the double les, The student should place the third and fourth inger on the Dand E (a erotehet and aquaver). The following repetition is tobe attacked with energy and played forte, the left hand following the ‘sime modulation til the third bar of he second Tine, whenthepiangisresumied, ‘Thecharmingeboril ofthe second timeof this bars full of sentiment, and brings, in the happiest manner, the end of the phrase; it should be;well marked. "—At the sevoad and fourth Dar of this repetition, the studeat shond ger thus ‘The frat theme returns pianissimo, atthe third re: petition. —It should be performed ery dainty, ‘without neglecting the indications given before. The passage that begins at the second bar of the fourth Tine, must be told with a plaintive softness, this sen= iment should not prevent from riythming the ac- companiment which is, atthe sume time, to be played ‘ianisino. ~The sof pedal should be used atthe thee ppp and the perforce should ie this te lightfal litte phrase, which is continued in the major wide in x0 unforeseen a way, all possible grace ness, nicely, fesse, —The sound must be lessened ‘more and more, so as pot to be more them a breath at the end ofthe piece, —Itisnecessary not to overlook the accents marked on the last ime ofthe second sa foneth bars of the lst Tine, for they serve toring out {io chords ofa charming harmony. yn still oer me- Fils; we will poiat out the two repetitions in D flat, ‘which are placed between the frst and the last par Tull ofgeacetulness, originality, finesse, ‘of this pretty composition may be grea ve ‘quietly execute the long sequel of se Secession of which should not be interrupted. A ood fngering is indispensable; though ‘ficult in the first two pages, twill be essary {o study it and choose always the simples, the one thal leaves the hand in an easy position and displaces, Has leas po ‘The bass should be played as much sacatoas the treble is feqat, this stareata should be invariably eon tinued tl the following page, where the slur replaces the dot, —The first four bars ofthe moderato ace to he performed piano and one will meet, atthe second dar of the Ath fine, with a pianéssino that should be assoftas possible; andthe litle modulation ereseenda and dininuendo, which isto he found to bars far- ther, should not be overlooked recommend to observe the forte atthe begiane ng of page 10, and the pionissima whieh veluras at the fourth har of the second line a, three bars Iheoro the second planissino, the left hand should Asthma with riach firmness, paging always afaccu, ‘Thisfist part should end leyatissino, ‘The pretty passage which We are gelting 10, must be told with the softest sound, the sof pedal’ being sed. A stress should he laid however, on every erot- chet masked with an accent, andthe notes should be all Ged to and two. The last ofthe hae isto be ear= riod off exery whereit is dotted, The hiss aust be played entirely mezzo slaceato No shales should be neglected; the two bars-erex endo, followed on a sudden bya planissio, ate of & charming effect. —The bar ppis to he slackened fn imperceptible manner, then the calm pace of the Subject shonld be resumed. —This slight modula tion is reproduced several times in the page, and int always be eareflly observed, “The second repetition is ina complicated mode; it is overloaded with double fas to whieh much atten tion should be paid to preserve the harmony. False nntes slide easily into such passages. —This die fealty once conquered, all wil brighten up, aid the performer will tind much charm in those pretly mo ulations, ‘A ereaendo comes at the second bars it must be continued till the planissiue, —A fine sonorty nto that whole passage which is to be / without hesitation and with perfect, enenbte in the chords, —At the frst piantesina, ‘which comes sedi, the soft pedal should he used ‘ought to have heen carefully dropped atthe erescen- dos; the four bars preceding’ the Secotd pienisina, should be told with extreme softness and a caressing ta PAGE 0. 1 . PAGE IPAGE 19. PAGE I ¥ tne and 28 ber fgracefulness, —After a sforsando, the first subject relurns with the aceentuationsand shades we have be- fore analysed. —The performer should endeavour to impart to this page the eharm and originality of which itis fall,” —The last pact ofthe piece being the exact repetition ofthe firsty it remains only for us to say a few words of theeca, which isto be played as pianis- simo as possible and of which the last bars should be shaekened until dying away. GRO ‘This atlegro should be performed with spirit and energy; the movement is extremely lively, which in= creases the difficulty of the playing. ‘The attack of the chords, the exactness, the ehythm, the eontinual modulations, all these require much practising “The list time of each bar should be forcibly aecen= ted, and the two quavers played staccato. —The ‘pia tarked at the fifth bar imust not prevent the firmness of the rhythm, which should he maintained through all the modulations, —The erescendo (thied Dar, secon ne) should become soon a fortissimy, which is to be executed with vigour, almost violently nd in playing every chord mezzo staceato, "The seeoud repelition hegins piano, but always with the same accent on the first time, whieh accent should De still more marked at the 3rd, Sth, 9th and 14th. bars of the third line, —Then ‘comes a passage in iquaversto be played pianissimo, much modulated and rather dificult to perform well, —Itshould be ticularly well practised , always obsceving the sign marked unde the Best note of each bar, te sleccato ff the bass and the erescendo at the ith Hine of the page, This erescenda, well conducted, will eome to the forte, then to afortissimo most energetic, at the sistiy tenth and twelfth bars of the last lines —At the fst three bars of next page, the sound shout be held in, the erescenda then should be enforced until setting to the forte, and one should restame the subject OF the beginning, which is tobe told in the sarne man “The piece should finish with the alternate pianos ‘and fortissimos the student may see, commencing at the double bar anil the mode of F major. x — ALEEGRETTO. ‘This tte altegretto is a great deal simpler than all that precedes; its pace is gentle, quit, pleasing. It contains no other difficulties than its’ modulations, and frequent changes of keys, Which requires atten- tive care toaroid false notes. [A most sustained performance, a full sound which ist be prolonged by means of the pedal forthe long= fst otes, great softness and gracefulness in the man= nnecof playing the interrupted litle phrases, those are the essential requisites fo execute this pieee well. A. little more stress should be laid on the ehords in dot ted minis, whilst the following erotehet should be played rather more piano, on account of the tie that Iis important should be distinetly heard. —Atten= tian should be paid tothe notes which are tobe struck fand 10 those whieh are only to be held wp; and the perforiner must take great care to strike all the notes br the chords together avoiding to arpeggiate them. The rests, which are to divide each fragment of phra- ‘ould be likessise earefully observed. —The ndulations in the first repetition are nothing more ‘a few fortes the second of which (last bar of tha the page 15) should be well marked; the phrase ‘Should gracefully terminate piano. —The pianissima fextends in nearly all the second repetition, exc three bars marked piano, in which the melody should hoe well bromght ont ‘Afler the double bar, comes a passage in E major in whieh the strain shoul be distinctly heard, to ac= tcomplish whieh, the modulations, that are numerous, huust he well observed and exactly at the marked no- tes. We recommend besides to play those eleven bars as much legato as possible. "The soft pedal will be usefal in all the pianéssimos the open one ean be used also, but, as we said before, only for the notes of geeat length,” —AII the obser” ‘ations previously masie and several times repeated, thay bea guidaiice for playing the rest of the page eithe fortisshmo which begins the next page, shoutd be vigorously attacked and the performer must endea- your to express well the modulations marked on the way to the fr, “The trio is pretty. Lis to be performed entirely pianissino with the soft pedal. —A erescendo, at the beginning of the second repetition and some slight shailes, should not be overlooked, nor should the chords with dots above which are’ slurs and to be played therefore mesz0 staccato; they will be met fvith at the second, thied and Af lines of the page “the melodie part should always supersede the ‘iher and the most sustained legato continue to the tend. A pavticular care must be given to the passage pp beginning the last bar of the fourth Tine and Dringing back the subject of the trio, seven bars far- ther, Much gracefulness should be imparted to it, The DG roust uot be forgot; the allegretta is to be played again without repetition as far as the trio, ‘Angus CHARPENTIER, “iran a, MOGI, — FD wits — Ml (ae PAGE 16. 2 PAGE 17,MAITRE DE MUSIQUE COURS PRATIQUE | DE PIANO PUBLIE SOUS LA DIRECTION | | DE Mavame EMMELINE Raymonp p| AVEC LE CONCOURS DE MADEMOISELLE CHARPENTIER | PARIS CHEZ FIRMIN DIDOT FRERES, FILS ET Cx ve 14008, 56 4% | | | | eeMOMENS MUSICALS eee DE F. SCHUBERT. tee Moderato. a= a> KV lateNe II.NiIv. 9 P legato.10ncopa,“ Nev.Novi. Allegeetio.Mlegretto D.C.