“Among his weakest compositions are the ‘Rondo, op. 1,’ ‘Sonata, op. 4,’ and ‘Rondo à la Mazur, op. 5,’ which in form leaves much to be desired, but, by its melodic charm and grace of feeling, is so irresistably fascinating that its weaknesses are more than counterbalanced. Exception might be taken to the instrumentation of the ‘Cracovienne,’ the Fantasia on Polish airs, the Variations on ‘Don Juan,’ and the two Concertos, but on examining the pianoforte part we find it full of the most beautiful thoughts, besides an unusual number of passages quite new of their kind and affording ample opportunity for the display of the pianistʼs virtuosity. I would particularly mention the _Larghetto_, from the second Concerto, a piece full of poetic charm. In it all the attributes of a perfect work of art appear in the happiest union: noble melody, choice harmonies, agreeable figures, and the perfection of form, while the thoroughly original ideas are finely contrasted. One thing, indeed, is frequently lacking in Chopinʼs compositions—especially in those written in the larger forms—the thematic work, which is the _point dʼappui_ in the works of Beethoven and the older masters. In view of his undeniable excellencies, we readily look with indulgence on these minor failings in an artist of such rare imaginative power as Chopin, who, while revealing to his hearers a new world of thought, is himself, completely absorbed in the creations of his fancy, for which reason most of his shorter works give the impression of an improvisation. “Chopin gives us his finest and most finished work in the smallest forms, such as the nocturnes, in which we see the real enthusiasm of his nature; his studies even are redolent with poetry. Play numbers 3, 6, 9, 10, and 12 from op. 10, and you cannot fail to agree with me. I consider the last study (in C minor), with its heroic character, as the most beautiful in this collection. To Chopin is due the merit of having first used the broken chords in a spread-out form, which had formerly been written only in a close position. To this innovation we owe a host of interesting figures, as his studies and concertos abundantly prove. The transposition of the third and other intervals to a higher octave produces that agreeable effect which is so captivating in his music. Chopin may possibly have received a suggestion from Weber, who used plenty of firm chords in a scattered position. [Sidenote: CHARACTERISTICS OF HIS MUSIC.]