Sterndale Bennett comparatively seldom rises to emotional heights; however, see his Op, 28, No. 1, the Introduction and Pastorale in A, particularly the early bars of the Introduction, where, if he does not attain the seventh heaven of a man or an archangel, he at least reaches the clear empyrean of the happy skylark. He touches the same high level towards the close of the Pastorale itself. For other examples of his capacity for the expression of deep feeling compare also the third and fourth movements of the “Maid of Orleans” Sonata, Op. 46, an idyllic work, almost unknown, and scarcely ever played. Description of this Sonata would be useless: it should be studied. It shows Sterndale Bennett at his best and worst--it shows all his strength, and some of his peculiar weaknesses. Space prevents more than the mere mention of other works in which the pianoforte takes a prominent part:--The Concerto in F minor, Op. 19 (played by Sterndale Bennett himself “at the concerts of Leipsic”); the violoncello and piano duet, Op. 32; the Sextett for two violins, viola, violoncello and contrabasso, with pianoforte, Op. 8; the pianoforte Trio in A, Op. 26; and, not least important, from the point of view of this book, the twelve songs, the accompaniments of which are of ideal beauty.] [Illustration: Chopin’s Hand. From a marble in the National Museum at Budapest.] [126] Cx (C double sharp), bar 11 of Trio. [127] See Papillons, No. 2, bar 5. The phrase (“after-stroke accompaniment”) is untranslateable; and the rhythmical formula referred to, though quite common, is not to be described in words. [128] “Flail-years” = “wild oats time.” [129] S = E flat or A flat. [130] This sentence refers to the marvellous and perfectly inexpressible passage in the Fantasia Op. 17, beginning forty-one bars before the “Mässig, durchaus energisch.”