James Huneker, the raconteur of the Musical Courier, discussing the compositions of Chopin, in his delightful and inspiring book, "Chopin, the Man and His Music," calls the studies Titanic experiments; the preludes, moods in miniature; the nocturnes, night and its melancholy mysteries; the ballades, faery dramas; the polonaises, heroic hymns of battle; the valses and mazurkas, dances of the soul; the scherzos, the work of Chopin the conqueror. In the sonatas and concertos he sees the princely Pole bravely carrying his banner amid classical currents. For the impromptus alone he has found no name and says of them: "To write of the four impromptus in their own key of unrestrained feeling and pondered intention would not be as easy as recapturing the first 'careless rapture of the lark.'" Unquestionably the poetry of Chopin is of the most exquisite lyric character, his leadership is supreme. So original was his conception, so finished his workmanship, so sublime his purpose, that we may well exclaim with Schumann, "He is the boldest, proudest poetic spirit of the time." "His greatness is his aristocracy," says Oscar Bie. "He stands among musicians in his faultless vesture, a noble from head to foot." [Illustration: PAGANINI] VIII Violins and Violinists--Fact and Fable That fine old bard who shaped the character of Volker the Fiddler in the Nibelungen Lay, had a glowing vision of the power of music and of the violin. Players on the videl, or fiddle, abounded in the days of chivalry, but Volker, glorified by genius, rises superior to his fellow minstrels. The inspiring force of his martial strains renewed the courage of way-worn heroes. His gentle measures, pure and melodious as a prayer, lulled them to sorely-needed rest. And what a wonderful bow he wielded! It was mighty and long, fashioned like a sword, with a keen-edged outer blade, and in his good right hand could deal a deft blow on either side. Ever ready for action was he, and his friendship for Hagen of Tronje furnished the main elements of that grim warrior's power. Together they were long invincible, smiting the foe with giant strokes, accompanied by music. The modern German poet, Wilhelm Jordan, in his Sigfridsage, clothes Volker with the attributes of a violin king he loved, and represents him tenderly handling the violin. His noble portrayal of a violinist testifies no more fully to the mission of the musician than the creation of the Nibelungen bard. In August Wilhelmj, once hailed by Henrietta Sontag as the coming Paganini, Richard Wagner saw "Volker the Fiddler living anew, until death a warrior true." So he wrote in a dedicatory verse beneath a portrait of himself, presented to "Volker-Wilhelmj as a souvenir of the first Baireuth festival."