"I consider Chopin to be one of the three most powerful factors in the development of nineteenth-century music, the other two being, of course, Beethoven and Wagner. The absolute originality of Chopin's personality, and that of its expression through novel harmony, chromaticism, figuration justifies the assertion. And none will deny the fact who takes the trouble to trace the Polish master's influence on his contemporaries and successors. The greatest and most powerful composers came under this influence, to a large extent, by the process of infiltration." Kelley gives us chapter and verse in the particular case of Wagner and his absorption of the harmonic schemes of Chopin, as did the late Anton Seidl many times for my particular benefit. However, this only brings us to Chopin the innovator, whereas it is the aspect of the classic Chopin which has been neglected. "As far back as 1840 Chopin was employing half-tones with a freedom that brought upon him the wrath of conservative critics," writes Hadow, who admires the Pole with reservations, not placing him in such august company as has Kelley and Niecks. True, Chopin was a pioneer in several departments of his art, yet how few recognised or recognise to-day that Schumann is the more romantic composer of the pair; his music is a very jungle of romantic formlessness; his Carneval the epitome of romantic musical portraiture--with its "Chopin" more Chopin than the original. Contrast the noble Fantasy in C, Opus 17 of Schumann, with the equally noble Fantasy in F minor, Opus 49 of Chopin, and ask which is the more romantic in spirit, structure, and technique. Unquestionably to Schumann would be awarded the quality of romanticism. He is more fantastic, though his fantasy is less decorative; he strays into the most delightful and umbrageous paths and never falters in the preservation of romantic atmosphere. Now look on the other picture. There is Chopin, who, no matter his potentialities, never experimented in the larger symphonic mould, and as fully imbued with the poetic spirit as Schumann; nevertheless a master of his patterns, whether in figuration or general structure. His Mazourkas are sonnets, and this Fantasy in F minor is, as Kelley points out, a highly complex rondo; as are the Ballades and Scherzos. Beethoven, doubtless, would have developed the eloquent main theme more significantly; strictly speaking, Chopin introduces so much new melodic material that the rondo form is greatly modified, yet never quite banished. The architectonics of the composition are more magnificent than in Schumann, although I do not propose to make invidious comparisons. Both works are classics in the accepted sense of the term. But Chopin's Fantasy is more classic in structure and sentiment.