, and he was buried with most
impressive ceremonies. His grave is not far from those of Bellini and
Cherubini. He was a man of fine wit, aristocratic presence,
distinguished manners, and a highly sensitive and poetic nature, all of
which qualities reached expression in his music.

The best biography of Chopin is that by Fr. Niecks, in two volumes.
The so-called "Chopin," by Liszt, is merely a rhapsody upon his
departed friend, having very little biographical but a great deal of
critical value, because no one knew better than Liszt how to estimate
the innovations which Chopin had made in piano playing.

It will be noticed by the attentive reader that the art of modern piano
playing, as we now have it, depends practically upon the works of
Chopin, Schumann, and Liszt, with possibly a little advance help from
Weber and Thalberg. The three artists first mentioned began to work in
their several provinces at about the same time; Chopin and Liszt
between 1826 and 1830, and Schumann from 1830 on. Liszt, however, did
not produce works of distinguished originality until after the contest
with Thalberg in Paris and after hearing Paganini, somewhere about
1834, so that, on the whole, if superior eminence were to be accorded
either of these artists in point of priority of invention, we would
perhaps give the credit to Chopin; and in point of precocity of genius,
considering the astonishing innovations he made, I think Chopin is to
be held even in advance of Mozart, Schubert, and Mendelssohn, all of
whom created remarkably mature works in new styles at a very early age.

Chopin's works are almost entirely for the pianoforte, and he was the
originator of several forms which have now become types; the salon
waltz was practically created by him, although Weber's "Invitation to
the Dance" opened the way, and the ballads, scherzi, and nocturnes of
Chopin were new types, showing his genius in the most beautiful manner.

PROGRAM I. (Easy.)

Polonaise in A major, opus 40, No. 1.
Polonaise in C-sharp minor, opus 26, No. 1.
Preludes: Opus 28. No. 4, E minor.
No. 6, B minor.
No. 7, A major.
No. 9, E major.
Prelude in D-flat, opus 28, No. 15.
Waltz in C-sharp minor, opus 64.
Waltz in D-flat, opus 64, No. 1.
Nocturne in E-flat, opus 9, No. 2.
Waltz in A-flat, opus 42.

PROGRAM II. (More difficult.)

Polonaise in A major.
Fantasia Improm