instance, the utilisation of
Mozart's C minor Quartet fugue as overture, the strictly
polyphonous treatment of the choruses, &c.) are abundantly
compensated for by numerous traits of genius, and by the
thorough knowledge and the earnest intention with which the
work is conceived and executed. He dares incredible things in
the way of combining speech and song. That this combination
is an inartistic one, on that point we are no doubt at one,
but what he has effected by this means is nevertheless in the
highest degree remarkable....

By-and-by Chopin will pay the Prince a longer visit, and then we shall
learn what he thought of Faust, and how he enjoyed himself at this
nobleman's house.

Chopin's studies at the Lyceum terminated in the year 1827. Through his
final examination, however, he did not pass so brilliantly as through
his previous ones; this time he carried off no prize. The cause of this
falling-off is not far to seek; indeed, has already been hinted at.
Frederick's inclination and his successes as a pianist and composer,
and the persuasions of Elsner and other musical friends, could not
but lessen and at last altogether dispel any doubts and misgivings the
parents may at first have harboured. And whilst in consequence of this
change of attitude they became less exacting with their son in the
matter of school-work, the latter, feeling the slackening of the reins,
would more and more follow his natural bent. The final examination was
to him, no doubt, a kind of manumission which freed him from the last
remnant of an oppressive bondage. Henceforth, then, Chopin could,
unhindered by disagreeable tasks or other obstacles, devote his whole
time and strength to the cultivation of his chosen art. First, however,
he spent now, as in the preceding year, some weeks with his friends
in Strzyzewo, and afterwards travelled to Danzig, where he visited
Superintendent von Linde, a brother of the rector of the Warsaw Lyceum.

Chopin was fond of listening to the singing and fiddling of the country
people; and everyone acquainted with the national music of Poland as
well as with the composer's works knows that he is indebted to it
for some of the most piquant rhythmic, melodic, and even harmonic
peculiarities of his style. These longer stays in the country would
offer him better opportunities for the enjoyment and study of this land
of music than the short excursions which he occasionally made with his