Cracovia. In no other compositions of the master do the national
elements show themselves in the same degree of crudity; indeed, after
this he never incorporates national airs and imitates so closely
national dances. Chopin remains a true Pole to the end of his days, and
his love of and attachment to everything Polish increase with the
time of absence from his native country. But as the composer grows
in maturity, he subjects the raw material to a more and more thorough
process of refinement and development before he considers it fit for
artistic purposes; the popular dances are spiritualised, the national
characteristics and their corresponding musical idioms are subtilised
and individualised. I do not agree with those critics who think it is
owing to the strongly-marked, exclusive Polish national character that
these two works have gained so little sympathy in the musical world;
there are artistic reasons that account for the neglect, which is indeed
so great that I do not remember having heard or read of any virtuoso
performing either of these pieces in public till a few years ago, when
Chopin's talented countrywoman Mdlle. Janotha ventured on a revival
of the Fantasia, without, however, receiving, in spite of her finished
rendering, much encouragement. The works, as wholes, are not altogether
satisfactory in the matter of form, and appear somewhat patchy. This is
especially the case in the Fantasia, where the connection of parts is
anything but masterly. Then the arabesk-element predominates again quite
unduly. Rellstab discusses the Fantasia with his usual obtuseness, but
points out correctly that Chopin gives only here and there a few bars of
melody, and never a longer melodic strain. The best parts of the works,
those that contain the greatest amount of music, are certainly the
exceedingly spirited Kujawiak and Krakowiak. The unrestrained merriment
that reigns in the latter justifies, or, if it does not justify,
disposes us to forgive much. Indeed, the Rondo may be said to overflow
with joyousness; now the notes run at random hither and thither, now
tumble about head over heels, now surge in bold arpeggios, now skip
from octave to octave, now trip along in chromatics, now vent their
gamesomeness in the most extravagant capers.

The orchestral accompaniments, which in the Variations, Op. 2, are of
very little account, show in every one of the three works of this group
an inaptitude in writing for any other instrum