Of the Concertos there is less to be said, for the conventional form was imposed by the title. Here Chopin is not the Greater Chopin, notwithstanding the beautiful music for the solo instrument. The sonata form is not desperately evaded, and in the rondo of the E minor Concerto he overtops Hummel on his native heath. As to the instrumentation I do not believe Chopin had much to do with it; it is the average colourless scoring of his day. Nor do I believe with some of his admirers that he will bear transposition to the orchestra, or even to the violin. It does not attenuate the power and originality of his themes that they are essentially of the piano. A song is for the voice and is not bettered by orchestral arrangement. The same may be said of the classic concertos for violin. With all due respect for those who talk about the Beethoven Sonatas being "orchestral," I only ask, Why is it they sound so "unorchestral" when scored for the full battery of instruments? The Sonata Pathétique loses its character thus treated. So does the A flat Polonaise of Chopin, heroic as are its themes. Render unto the keyboard that which is composed for it. The Appassionata Sonata in its proper medium is as thrilling as the Eroica Symphony. The so-called "orchestral test" is no test at all; only a confusion of terms and of artistic substances. Chopin thought for the piano; he is the greatest composer for the piano; by the piano he stands or falls. The theme of the grandiose A minor Etude (Opus 25, No. 11) is a perfect specimen of his invention; yet it sounds elegiac and feminine when compared with the first tragic theme of Beethoven's C minor Symphony. The Allegro de Concert, Opus 46, is not his most distinguished work, truncated concerto as it is, but it proves that he could fill a larger canvas than the Valse. In the Mazourkas and Etudes he is closer to Bach than elsewhere. His early training under Elsner was sound and classical. But he is the real Chopin when he goes his own way, a fiery poet, a bold musician, but also a refined, tactful temperament, despising the facile, the exaggerated, and bent upon achieving a harmonious synthesis. Truly a classic composer in his solicitude for contour, and chastity of style. The Slav was tempered by the Gallic strain. Insatiable in his dreams, he fashioned them into shapes of enduring beauty.