y's studies in pianoforte
playing, relates that Frederick, being struck with the fine effect of
a chord in extended harmony, and unable, on account of the smallness of
his hands, to strike the notes simultaneously, set about thinking how
this physical obstacle could be overcome. The result of his cogitations
was the invention of a contrivance which he put between his fingers and
kept there even during the night, by this means endeavouring to increase
the extensibility and flexibility of his hands. Who, in reading of this
incident in Chopin's life, is not reminded of Schumann and his attempt
to strengthen his fingers, an attempt that ended so fatally for his
prospects as a virtuoso! And the question, an idle one I admit, suggests
itself: Had Chopin been less fortunate than he was, and lost, like
Schumann, the command of one of his hands before he had formed his
pianoforte style, would he, as a composer, have risen to a higher
position than we know him to have attained, or would he have achieved
less than he actually did? From the place and wording of Karasowski's
account it would appear that this experiment of Chopin's took place at
or near the age of ten. Of course it does not matter much whether we
know or do not know the year or day of the adoption of the practice,
what is really interesting is the fact itself. I may, however, remark
that Chopin's love of wide-spread chords and skips, if marked at all,
is not strongly marked in the Variations on the German air and the first
Rondo. Let the curious examine with regard to this matter the Tempo di
Valse of the former work, and bars 38-43 of the Piu lento of the latter.
In the Rondeau a la Mazur, the next work in chronological order, this
peculiarity begins to show itself distinctly, and it continues to grow
in the works that follow. It is not my intention to weary the reader
with microscopical criticism, but I thought the first manifestations of
Chopin's individuality ought not to be passed over in silence. As to his
style, it will be more fully discussed in a subsequent chapter, where
also the seeds from which it sprang will be pointed out.

CHAPTER IV.

FREDERICK WORKS TOO HARD.--PASSES PART OF HIS HOLIDAYS (1826)
IN REINERZ.--STAYS ALSO AT STRZYZEWO, AND PAYS A VISIT TO PRINCE
RADZIWILL.--HE TERMINATES HIS STUDIES AT THE LYCEUM (1827). ADOPTION
OF MUSIC AS HIS PROFESSION.--EXCURSIONS.--FOLK-MUSIC AND THE POLISH
PEASANTRY.--SOME MORE COMPOSITIONS.--PROJECTED TR