The Express.
London, England, 1846-12-16 00:00:00

woe one of the greatest masters. Clementi, honoured over
all Europe with the title of "the father of the pianoforte,"
though a native of Rome, was really an Engtieb inuideiau.
and the (header 6f this English mood. Among his imme-
bate pupils were Jahn Cramer and Field; and even Bee-
thoven himself acknowleged that he had, in a great
measure, formed himself by the study ef Clementi's works.
Ciementi and Cramer passed bang byes in England as the
11101 t distinguished teachers of their art ; and, aided
by their younger fellow-labourer in the same vine-
yard, Mo.chelee, formed such a host of pupils, both
among members of the profession and moue; the educated
classes of society, that their school 'till stands on a fbunda
tion not to be easily shaken. It is to the credit ef many
of our most eminent instructors that they adhere to it.
Bennett, Benedict, Potter, Seats, Mrs. Anderson, Madame
Dulcken, and the mast distinguished among their younger
coadjutors, particularly Jewson and Slope?, follow in the
footsteps of Clementi, Cramer, and .kfoseheles, and preserve
the character of the pianoforte as an instrument unrivalled
in the variety of its powers—an instrument capable of
giving utterance to the grandest combinations of har-
mony, the most daring flights of imagination, and
the most graceful and expressive melody. The more
modern school of the pianoforte, which has for its chief
object the display of executive power, has made its way in
England as elsewhere. Our fair amateurs, sedutxd by the
brilliant exhibitions of the Thalberga, Dohlers, Pleyele, and
Be Meyer', who annually sink our shores, are too much
given to attempt what they cannot possibly perform, and to
make themselves and their " fantasias sacial nuisance..
But the sound and classical school has no want of votaries.
In our musical circles the pianoforte coinfositions of
Beethoven, Weber, and Mendelesehu are by no means
neglected; and the love for music which speaks to
the mind and the heart will survive the ephemeral
proper:mite, to unmeaning exhibitions of dexterity.
Among the eminent English pianists of ear time,
there is not one, we are happy to say, who culti-
vates, either in writinz or playing, " the tl irid and
vitiated style " which John Cramer, in the passage we have
quoted, ea justly reprobates. These who compree have
termed their style on the works of the great m item, and
these works themselves are the most frequently performed
at our best concerts. Of the prod actions of the new school,
those of Thalbere are the only ones which, in this country,
' have been played in public by anybody except their authors;
I and the best works of Thalteerg are well entitled to thin die-
tinctien ; for r.o one will deny that he has enlarged the power. of
the instrument, and produced many new and beautiful effects;
and he certainly is not responsible for the inundation of
demisemiquavers which his example has brought upon the
land. Among our present native pianists, taking them in
the joint character of composers and performers, the highest
place must he assigned to Mr. Sterndale Bennett, the worthy
disciple of Mendelssohn, whose admirable compositions have
long been known to the public. After him, no one stands
higher than the two young artists whose names arc placed at
the head of these remarks. They have both gained
great distinction by their public performances; and some
of their recently published compositions, which we have
heard and examined, are of the highest merit. Both
of them are complete masters of the instrument, and have at
their command all the resources which the modern Khoo'
has developed but they turn these resources to their proper
account, not to frivolous display, but to the production of
legitimate effect. They have both published bouks of studies.
Those of Mr. Jewson are entitled "Sit Grandes Etudes de
Concert," dedicated to Madame Pleyel Mr. Sloper's are
entitled " Twenty-four Studies, dedicated to Stephen
Heller " In both works, the exercises are highly-
finished movements, purely and solidly written, varied an
stele, and though, without any extravagant difficulties,
admirably calculated to strengthen the hand as well as im-
prove the taste of the student. Among the other productions
of Mr. Jewson, those which have given tie especial pleasure,
are, a " Romance" in F sharp minor, dedicated to E. W.
Dutfin, Esq. ; " Three Rhapemlies" dedicated to Signor
Crivelli ; and an " ler.promptu," in A, dedicated to Oipriani •
Potter. In all these compositions we discern, though under
a more modern aspect, much of the peculiar character of
John Cramer's music. The legato predominates; the
passages are generally round, flowi g and expressive; and
some of the movements, (particularly the " Romance ")
want nothing but words to be fine vocal music.—Among
Mr. Sloper's productions there is a " Caprice pour Ic piana
quatre mains sur deux melodies de Meyerb, er," which is fall
of interest. One of the melodies which form the subject is
Meyerheer's song, the " Fischer madehen ;" the other we de
not recognise. They are both admirably treated, and ex- •
minded into a beautiful and by no means difficult piece.
There is also a " Serenata" in II minor, full of melody, sim-
plicity, and grace. Lastly, there are two sets of " Mazurkae,"
which strongly resemble those of Chopin in their originality
and strong national character; and a " Valee brillante,"
which is en pleasing that it will reconcile the young player
to the forbidding aspect of the extreme keys in which it is
written. All these worlis are most valuable additimis to the
stock of classical pianoforte music.