[117] Things corresponding to these expressions, which convey scarcely anything in themselves, will be found in this order in bars 1-3; bars 5, 6, 9, 10; bars 25, 26; bar 18, et cetera, of the first movement; and will illustrate the author’s system of description. [118] “Cancrizans” (_cancer_, a crab), is an adjective applied to a tune that is the _same_ whether you play it from the beginning to the end, or the reverse way. Here it is used to characterise some rather mild reversions of the theme, _e.g._--first section with two sharps, bars 15-17. [119] This appears to be a subtle reference to the “inversion” of the subject when the fugue is resumed. The “individual” must learn to see things right side up, knowing they are upside down! [120] Thirteen bars from the end of the movement. _N.B._--A curious instance of “cribbing” on the part of Chopin stands confessed in the following passage. [Illustration: Viennese pianoforte players about 1800. Eberl. Gelinek. Wölffl. ] The Virtuosos Beethoven’s playing was naturalistic. In him there were no tricks of technique to be admired, no mere virtuosity to praise; but the hearers were stirred to their hearts. In this storm and stress, this whispering and listening, this awakening of the soul, they recognised an original naturalism of piano-playing, standing by the side of the naturalism of his creative art. Rhythm was the life of his playing. He thought out all technique with a view to rhythm. In the Berlin Library is a collection of Cramer’s Études, containing a series of annotations by Schindler, the well-known biographer of Beethoven. The expressions are so remarkable that the spirit of Beethoven has not unjustly been detected in them. Shedlock, in fact, has published them simply as Beethoven’s elucidations of Cramer, whose Études the Master is known to have prized exceedingly. In every Étude the _melos_, or latent melodic air, which lies at the base of the figurations, is brought into prominence, and the rhythmical presentation of these figurations is made as accurate as possible. The rest is for the most part left to the time, the diligence, and the ability of the player. Thus could a great creator look at Études. Of necessity he looked at them from a totally different point of view from the virtuoso pure and simple. He cared chiefly for the presentation of the idea, for the inwardness of the piece. Everything that was written down in concrete notes served to him but as a means for that expression, the mastery of which was the mastery of interpretation. From this point of view Beethoven would have written his “Klavierschule,” of which he often spoke in his latter years. With mere fingering and wrist action he would have had little indeed to do.