. 47, "Troisieme Ballade" (A flat major),
dedicated to Mdlle. P. de Noailles; Op. 48, "Deux Nocturnes" (C minor
and F sharp minor), dedicated to Mdlle. L. Duperre; Op. 49, "Fantaisie"
(F minor), dedicated to Madame la Princesse C. de Souzzo; and Op. 50,
"Trois Mazurkas" (G and A flat major, and C sharp minor), dedicated to
Mr. Leon Smitkowski.

Chopin's genius had now reached the most perfect stage of its
development, and was radiating with all the intensity of which its
nature was capable. Notwithstanding such later creations as the fourth
"Ballade," Op. 52, the "Barcarolle," Op. 60, and the "Polonaise," Op.
53, it can hardly be said that the composer surpassed in his subsequent
works those which he had published in recent years, works among which
were the first three ballades, the preludes, and a number of stirring
polonaises and charming nocturnes, mazurkas, and other pieces.

However, not only as a creative artist, but also as an executant, Chopin
was at the zenith of his power. His bodily frame had indeed suffered
from disease, but as yet it was not seriously injured, at least, not
so seriously as to disable him to discharge the functions of a musical
interpreter. Moreover, the great majority of his compositions demanded
from the executant other qualities than physical strength, which was
indispensable in only a few of his works. A writer in the "Menestrel"
(April 25, 1841) asks himself the question whether Chopin had progressed
as a pianist, and answers: "No, for he troubles himself little about the
mechanical secrets of the piano; in him there is no charlatanism;
heart and genius alone speak, and in these respects his privileged
organisation has nothing to learn." Or rather let us say, Chopin
troubled himself enough about the mechanical secrets of the piano, but
not for their own sakes: he regarded them not as ends, but as means to
ends, and although mechanically he may have made no progress, he had
done so poetically. Love and sorrow, those most successful teachers of
poets and musicians, had not taught him in vain.

It was a fortunate occurrence that at this period of his career Chopin
was induced to give a concert, and equally fortunate that men of
knowledge, judgment, and literary ability have left us their impressions
of the event. The desirability of replenishing an ever-empty purse, and
the instigations of George Sand, were no doubt the chief motive powers
which helped the composer to overcome his dislik