3, 4, 7, 8.
Chopin, Nocturne in B major, opus 32, No. 1.
Ballad in A-flat, opus 47.

PROGRAM IV. (Regardless of difficulty.)

Bach, Chromatic Fantasia and Fugue.
Beethoven, Sonata, opus III. C minor.
Schumann, Etudes Symphoniques, opus 13.
Chopin, Nocturne in D-flat major, opus 27, No. 2.
Polonaise in A-flat, opus 53.

To discuss these selections in detail would take us too far, for which
reason only those observations will be made which seem more essential.
Throughout, the intention is to alternate the thematic work of Bach and
Schumann with the lyric or quasi-lyric writing of Beethoven and Chopin.
While Beethoven was also at times thematic, his work is generally well
balanced as to its structure, and so melodious in comparison with
almost anything of Schumann (excepting a few distinctly lyric pieces)
or of Bach, that it seems like lyric melody. It was also the intention
in these programs to preserve an agreeable succession of keys. The
first three programs are of moderate difficulty, although not so easy
as might be made. Still, in the present state of piano playing there
are few seminaries or private circles where these numbers can not be
played well enough to afford pleasure and instruction.

Of the various Bach numbers upon the programs the following
distinctions may be made: The preludes and fugues are generally
contrasted in respect of the qualities of lyric and thematic writing
respectively. The prelude in C minor, for instance, is almost an
exercise, being without clearly expressed melody (although the accents
in the soprano distinctly suggest a melody), and the whole is rapid and
incisive. The fugue, on the other hand, opens with a very sprightly
idea, which is carried out delightfully, quite in the manner of a
scherzo. The prelude in D major, again, is very light and graceful,
yet having a character somewhat between a fancy piece of tone-poetry
and an exercise, being capable of receiving either construction,
according to the ability and skill of the player. The fugue, on the
contrary, is rather firm, resolute, and marked, yet with distinct
touches of sentiment--which latter quality is always to be sought for
in the playing, but without resorting to rubato. It is not enough to
present these selections, they must be made to display the best effect
of which they are capable. It is not a question of composers merely,
but why we should love and reverence them. The prel