I feel bound, in conclusion, to supplement the criticisms of Schumann and Liszt, at that time the only representatives of the so-called music of the future, by an opinion formed at the present day, and unbiased, therefore, by the prejudices and controversies to which our masterʼs creative genius gave rise. The younger generation of musicians—and the pianists in particular—having, in a great measure, studied Chopin from their early youth, know how to appreciate him, for we can only truly estimate what we are thoroughly acquainted with, and which has, so to speak, become to us a second nature. The discussion as to Chopinʼs _status_ in the musical world is over, and his high position assigned to him once for all. It is, however, interesting to read the criticism of one of the most gifted pianists of the present day, Hermann Scholtz. In a letter, which I here quote, he says, speaking of Chopinʼs earliest compositions: [Sidenote: HERMANN SCHOLTZʼS CRITICISM.] “In considering these works, we are most astonished at the great productiveness which he displayed in early youth. What a wealth of melody, harmony, and rhythm appears even in these first compositions! His originality is marvellous, for at a period when other composers are more or less dependant on models, with him everything is new. He is rightly called the creator of a new pianoforte music; for who before him wrote for the instrument as he did? in whom do we find such nobility of thought, such spiritualization of passages? I will merely remind you of the manner in which he treated the left hand. His tone-poems in the dance form (especially his mazurkas and polonaises) receive an unusual charm from their national colouring.