istory of
the man and poet. The foremost in importance of the pieces comprised in
this group are no doubt the three polonaises, composed respectively
in the years 1827, 1828, and 1829. The bravura character is still
prominent, but, instead of ruling supreme, it becomes in every
successive work more and more subordinate to thought and emotion. These
polonaises, although thoroughly Chopinesque, nevertheless differ
very much from his later ones, those published by himself, which are
generally more compact and fuller of poetry. Moreover, I imagine I can
see in several passages the influence of Weber, whose Polonaise in E
flat minor, Polacca in E major, Sonata in A flat major, and Invitation
a la Valse (to mention a few apposite instances), respectively published
in 1810, 1819, 1816, and 1821, may be supposed to have been known to
Chopin. These reminiscences, if such they are, do not detract much from
the originality of the compositions; indeed, that a youth of eighteen
should have attained such a strongly-developed individuality as the D
minor Polonaise exhibits, is truly wonderful.

The Nocturne of the year 1827 (Op. 72, No. 1, E minor) is probably the
poorest of the early compositions, but excites one's curiosity as the
first specimen of the kind by the incomparable composer of nocturnes. Do
not misunderstand me, however, and imagine that I wish to exalt Chopin
at the expense of another great musician. Field has the glory not only
of having originated the genre, but also of having produced examples
that have as yet lost nothing, or very little, of their vitality. His
nocturnes are, indeed, a rich treasure, which, undeservedly neglected
by the present generation, cannot be superseded by those of his
illustrious, and now favoured successor. On the other hand, although
Field's priority and influence on Chopin must be admitted, the
unprejudiced cannot but perceive that the latter is no imitator. Even
where, as for instance in Op. 9, Nos. 1 and 2, the mejody or the form
of the accompaniment shows a distinct reminiscence of Field, such is
the case only for a few notes, and the next moment Chopin is what nobody
else could be. To watch a great man's growth, to trace a master's noble
achievements from their humble beginnings, has a charm for most minds.
I, therefore, need not fear the reader's displeasure if I direct his
attention to some points, notable on this account--in this case to
the wide-meshed chords and light-winged flig