great extent rather by ennui, vanity,
and idle curiosity than by love of art?

The concerto is the least perfect species of the sonata genus;
practical, not ideal, reasons have determined its form, which owes its
distinctive features to the calculations of the virtuoso, not to the
inspiration of the creative artist. Romanticism does not take kindly to
it. Since Beethoven the form has been often modified, more especially
the long introductory tutti omitted or cut short. Chopin, however,
adhered to the orthodox form, taking unmistakably Hummel for his model.
Indeed, Hummel's concertos were Chopin's model not only as regards
structure, but also to a certain extent as regards the character of
the several movements. In the tutti's of the first movement, and in
the general complexion of the second (the slow) and the third (Rondo)
movement, this discipleship is most apparent. But while noting the
resemblance, let us not overlook the difference. If the bones are
Hummel's (which no doubt is an exaggeration of the fact), the flesh,
blood, and soul are Chopin's. In his case adherence to the orthodox
concerto-form was so much the more regrettable as writing for the
orchestra was one of his weakest points. Indeed, Chopin's originality
is gone as soon as he writes for another instrument than the pianoforte.
The commencement of the first solo is like the opening of a beautiful
vista after a long walk through dreary scenery, and every new entry
of the orchestra precipitates you from the delectable regions of
imagination to the joyless deserts of the actual. Chopin's inaptitude in
writing for the orchestra is, however, most conspicuous where he employs
it conjointly with the pianoforte. Carl Klindworth and Carl Tausig have
rescored the concertos: the former the one in F minor, the latter the
one in E minor. Klindworth wrote his arrangement of the F minor Concerto
in 1867-1868 in London, and published it ten years later at Moscow (P.
Jurgenson).[FOOTNOTE: The title runs: "Second Concerto de Chopin, Op.
21, avec un nouvel accompagnement d'orchestre d'apres la partition
originale par Karl Klindworth. Dedie a Franz Lizt." It is now the
property of the Berlin publishers Bote and Bock.] A short quotation from
the preface will charactise his work:--

The principal pianoforte part has, notwithstanding the entire
remodelling of the score, been retained almost unchanged.
Only in some passages, which the orchestra, in consequence of