That Chopin is here not altogether innocent is at once shown by the premeditated consecutive minor ninths between the melody and accompaniment in the first and second measures of op. 29. The six introductory measures of op. 36 are a carefully written two-part bass which, blending with the treble melody entering at the seventh measure, forms with it a three-part harmony worthy of the most painstaking writer. In op. 51, Chopin is chromatic and winding and premeditating as is his wont. Op. 66 comes nearest the title, «Impromptu.» Interest here centers in the right hand, which, throughout the first and the third sections, is an uninterrupted torrent of semiquavers, and, in the D flat middle movement, is a sustained and melodious cantabile which yet is not the master's true cantabile, that noble and tender and pensive poetry pervading, for instance, the con anima of the B flat minor Scherzo. The instrumental music of Haydn and Mozart furnishes many models of the true Scherzo. The Sonatas and Symphonies of Beethoven exhibit in its fullness this evolution of the old Minuet, but, coming to the four Scherzos of Chopin, the mere classifier is puzzled and halted while the real musician is exalted and led onward. Leaving the consideration of name and structure and logical sequence to the hypercritical, he enters without cavil this unique, forest-encompassed temple of art where joy and laughter indeed are not, for an elegiac sadness murmurs from the over-roofing green, and oftentimes the winds without, those whisperers in their woodland tongue, will swell to impassioned euphony or hopeless, wild lament, and suddenly midst Nature's momentary hush, a solemn, deep-toned temple hymn is breathed around, and then, above, the swaying branches make their moan anew, and hark! the harsh, capricious blast is pouring once again its tale of wretchedness and woe. The mind of Chopin, like that of every man and woman of true genius, exhibits both male and female characteristics, for the sexless human soul, the source of those characteristics, would stamp itself clearly and wholly on the impressionable brain of such as he. Chopin's masculineness, so often in abeyance, as throughout the Nocturnes, at once asserts itself in the noble Fantaisie op. 49, whose recurring first figure requires no fortissimo to drive it deep into the heart. The true genius has his moment when, sole and venturous, he lifts him loftier than the eagle. The sun beyond--the light he failed to reach--did it not from the airless heaven scorn his defeat and leave him humbled in the height? And yet the tree-tops, far beneath upon the mountain, were proud with wings that never dared as he. Many fanciful and imaginative interpretations we have of that empyrean flight the F minor Fantaisie, but, as if too conscious of failure in the unattainable, the author would discredit them all with a commonplace explanation.