of the timid
groping, the awkward stumbling of the tyro. On the contrary, the
composer presents himself with an ease and boldness which cannot but
command admiration. The reader will remember what the Viennese critic
said about Chopin's "aim"; that it was not to dazzle by the superficial
means of the virtuoso, but to impress by the more legitimate ones of the
genuine musician. This is true if we compare the Chopin of that day with
his fellow-virtuosos Kalkbrenner, Herz, &c.; but if we compare him with
his later self, or with Mozart, Beethoven, Mendelssohn, Schumann, &c.,
the case is different. Indeed, there can be no doubt but that in
this and the other pieces of this group, Chopin's aim was that of the
virtuoso, only his nature was too rich, too noble, to sink into the
inanity of an insipid, conventional brilliancy. Moreover, whilst
maintaining that in the works specified language outruns in youthful
exuberance thought and emotion, I hasten to add that there are
premonitory signs--for instance, in the Op. 2 under discussion, more
especially in the introduction, the fifth variation, and the Finale--of
what as yet lies latent in the master's undeveloped creative power.

The Grande Fantaisie sur des airs polonais (A major) for the pianoforte
and orchestra, Op. 13, dedicated to J. P. Pixis, and published in April,
1834, and the Krakowiak, Grand Rondeau de Concert (F major) for the
pianoforte and orchestra, Op. 14, dedicated to the Princesse Adam
Czartoryska, and published in June, 1834, are the most overtly Polish
works of Chopin. Of the composition of the former, which, according
to Karasowski, was sketched in 1828, the composer's letters give no
information; but they contain some remarks concerning the latter. We
learn that the score of the Krakowiak was finished by December 27, 1828,
and find the introduction described as having "as funny an appearance
as himself in his pilot-cloth overcoat." In the Fantasia the composer
introduces and variates a Polish popular song (Juz miesiac zaszedl), and
an air by the Polish composer Kurpinski, and concludes with a Kujawiak,
a dance of the mazurka species, in 3-4 time, which derives its name from
the district called Kujawia. In connection with this composition I must
not omit to mention that the first variation on the Polish popular song
contains the germ of the charming Berceuse (Op. 57). The Rondo, Op. 14,
has the character of a Krakowiak, a dance in 2-4 time which originated
in