hts of notes, and the
foreshadowing of the Coda of Op. 9.

Of 1827 we have also a Mazurka in A minor, Op. 68, No. 2. It is simple
and rustic, and at the same time graceful. The trio (poco piu mosso),
the more original portion of the Mazurka, reappears in a slightly
altered form in later mazurkas. It is these foreshadowings of
future beauties, that make these early works so interesting. The
above-mentioned three polonaises are full of phrases, harmonic,
progressions, &c., which are subsequently reutilised in a. purer, more
emphatic, more developed, more epigrammatic, or otherwise more perfect
form. We notice the same in the waltzes which remain yet to be discussed
here.

Whether these Waltzes (in B minor, Op. 69, No. 2; and in E major,
without opus number) were really written in the early part of 1829, or
later on in the year, need not be too curiously inquired into. As I
have already remarked, they may certainly be classed along with the
above-discussed works. The first is the more interesting of them. In
both we meet with passages that point to more perfect specimens of the
kind--for instance, certain rhythmical motives, melodic inflections, and
harmonic progressions, to the familiar Waltzes in E flat major (Op.
18) and in A flat major (Op. 34, No. 1); and the D major portion of the
Waltz in B minor, to the C major part of the Waltz in A minor (Op. 34,
No. 2). This concludes our survey of the compositions of Chopin's first
period.

In the legacy of a less rich man, the Funeral March in C minor, Op. 72b,
composed (according to Fontana) in 1829, [FOOTNOTE: In Breitkopf and
Hartel's Gesammtausgabe of Chopin's works will be found 1826 instead of
1829. This, however, is a misprint, not a correction.]would be a notable
item; in that of Chopin it counts for little. Whatever the shortcomings
of this composition are, the quiet simplicity and sweet melancholy which
pervade it must touch the hearer. But the master stands in his own.
light; the famous Funeral March in B flat minor, from the Sonata in B
flat minor, Op. 35, composed about ten years later, eclipses the more
modest one in C minor. Beside the former, with its sublime force and
fervency of passion and imposing mastery of the resources of the art,
the latter sinks into weak insignificance, indeed, appears a mere
puerility. Let us note in the earlier work the anticipation, (bar 12) of
a motive of the chef-d'ceuvre (bar 7), and reminiscences of the Funeral
March from B