" and its "enveloping the dancer
deeper and deeper in its floods." This language is altogether out
of proportion with the thing spoken of; for Op. 18 differs from the
master's best waltzes in being, not a dance-poem, but simply a dance,
although it must be admitted that it is an exceedingly spirited one,
both as regards piquancy and dash. When, however, we come to Op. 34,
"Trois Valses brillantes" (published in December, 1838), Op. 42, "Valse"
(published in July, 1840), and Op. 64, "Trois Valses" (published in
September, 1847), the only other waltzes published by him, we find
ourselves face to face with true dance-poems. Let us tarry for a moment
over Op. 34. How brisk the introductory bars of the first (in A flat
major) of these three waltzes! And what a striking manifestation of the
spirit of that dance all that follows! We feel the wheeling motions;
and where, at the seventeenth bar of the second part, the quaver figure
enters, we think we see the flowing dresses sweeping round. Again what
vigour in the third part, and how coaxingly tender the fourth! And,
lastly, the brilliant conclusion--the quavers intertwined with triplets!
The second waltz (in A minor; Lento) is of quite another, of a more
retired and private, nature, an exception to the rule. The composer
evidently found pleasure in giving way to this delicious languor, in
indulging in these melancholy thoughts full of sweetest, tenderest
loving and longing. But here words will not avail. One day when Stephen
Heller--my informant--was at Schlesinger's music-shop in Paris, Chopin
entered. The latter, hearing Heller ask for one of his waltzes, inquired
of him which of them he liked best. "It is difficult to say which I like
best," replied Heller, "for I like them all; but if I were pressed for
an answer I would probably say the one in A minor." This gave Chopin
much pleasure. "I am glad you do," he said; "it is also my favourite."
And in an exuberance of amiability he invited Heller to lunch with
him, an invitation which was accepted, the two artists taking the meal
together at the Cafe Riche. The third waltz (in F major; Vivace) shows
a character very different from the preceding one. What a stretching of
muscles! What a whirling! Mark the giddy motions of the melody beginning
at bar seventeen! Of this waltz of Chopin's and the first it is more
especially true what Schumann said of all three: "Such flooding life
moves within these waltzes that they seem to have be