You were indeed profusely endowed, showered with musical gifts as some cradled prince might be showered with presents and honors. Everything in your personality was grand, seigneurial, immense in scale. You were born musical King of Cyprus and Jerusalem and Armenia, titular sovereign of vast, unclaimed realms. Few composers have been more inventive. No composer has ever scattered abroad ideas with more liberal hand. Compositions like the B-minor piano-sonata, the tone-poem "Mazeppa," the "Dante" symphony, whatever their artistic value, fairly teem with original themes of a high order, are like treasure houses in which gold ornaments lie negligently strewn in piles. Indeed, your inventive power supplied not only your own compositions with material, but those of your son-in-law, Richard Wagner, as well. As James Huneker once so brightly put it, "Wagner was indebted to you for much besides money, sympathy, and a wife." For Siegmund and Sieglinde existed a long while in your "Dante" symphony before Wagner transferred them to "Die Walkuere"; Parsifal and Kundry a long while in your piano-sonata before he introduced them into his "Buehnenweihfestspiel." You were equipped for piano-composition as was no other of your time. For you the instrument was a newer, stranger, more virgin thing than it was for either Schumann or Chopin. You knew even better than they how to listen for its proper voice. You were more deeply aware than they of its proper color and quality. You seem to have come to it absolutely without preconceived ideas. Your B-minor sonata, however unsatisfactory its actual quality, remains one of the magistral works of the sort. For few works better exhibit the various ranges of the instrument, better contrast different volumes of piano-sound. The sonata actually lies on different planes, proceeds from various directions, delimits a solid form, makes even Beethoven's seem flat and two-dimensional by contrast. Here, almost for the first time, is a sonata that is distinctly music _of_ the pianoforte. And the modern achievements in pianoforte composition do not by any means lessen the wonder of your comprehension of the instrument's dynamics. The new men, Scriabine and the composers of the modern French school, may have penetrated more deeply than it was in your power to do, may have achieved where you failed. Nevertheless, they could not have progressed had it not been for your way-finding. They are immeasurably indebted to you.