Delicate, sensitive, fastidious, Frederic Chopin (1809-1849) delivered his musical message with persuasive eloquence through the medium of the piano. It was his chosen comrade. With it he exchanged the most subtle confidences. Gaining a profound knowledge of its resources he raised it to an independent power. Polish patriotism steeped in Parisian elegance shaped his genius, and his compositions portray the emotions of his people in exquisitely polished tonal language. Spontaneous as was his creative power he was most painstaking in regard to the setting of his musical ideas and would often devote weeks to re-writing a single page that every detail might be perfect. The best that was in him he gave to music and to the piano. He enlarged the musical vocabulary, he re-created and enriched technique and diction, and to him the musician of to-day owes a debt that should never be forgotten. "He is of the race of eagles," said his teacher, Elsner. "Let all who aspire follow him in his flights toward regions sublime." The man who, by his demands on the piano, induced improvements in its manufacture that materially increased its sonority and made it available for the modern idea, was Franz Liszt (1811-1886). He will always be remembered as the creator of orchestral piano-playing and of the symphonic poem. The impetuous rhythms and unfathomable mysteries of Magyar and gipsy life surrounding him in Hungary, the land of his birth, strongly influenced the shaping of his genius. Like the wandering children of nature who had filled the dreams of his childhood, he became a wanderer and marched a conqueror, radiant with triumphs, through the musical world. Chopin, who shrank from concert-playing, once said to him: "You are destined for it. You have the force to overwhelm, control, compel the public." The bewitching tones of the gipsy violinist, Bihary, had fallen on his boyish ears "like drops of some fiery, volatile essence," stimulating him to effort. On the threshold of manhood he was inspired to apply the methods of Paganini to the piano. All his early realistic and revolutionary ideas found vent in his pianistic achievements. He gained marvelous fulness of chord power, great dynamic variety, and numerous unexpected solutions of the tone problem. Many technical means of expression were invented by him, and a wholly new fingering was required for his purposes. He taught the use of a loose wrist, absolute independence of the fingers and a new manipulation of the pedals. To carry out his designs the third or sustaining pedal became necessary. His highest ambition, in his own words, was "to leave to piano players the foot-prints of attained advance." In 1839 he ventured on the first pure piano recital ever given in the concert hall. His series of performances in this line, covering the entire range of piano literature, in addition to his own compositions, given entirely without notes, led the public to expect playing by heart from all other artists.