e.)

Bach,
Prelude and Fugue in C-sharp major. Clavier, No. 3.
Beethoven,
Sonata in A-flat major, opus 26.
Schumann,
Fancy Pieces, opus 12: "In the Evening," "Soaring," "Why?"
"Whims," "End of the Song."
Chopin,
Prelude in D-flat; Scherzo in B-flat minor.
Liszt,
"A Dream of Love" (No. 3); Eighth Hungarian Rhapsody.

PROGRAM III. (Difficult.)

Bach-Liszt,
Fantasia and Fugue in G minor. (Organ.)
Beethoven,
Sonata in C minor, opus 111.
Chopin,
Fantasia Impromptu in C-sharp minor, opus 66.
Studies, opus 10, Nos. 3, 5, and 12.
Nocturne in G major, opus 37.
Schumann,
"Kreisleriana," opus 16, Nos. 1 and 2.
Liszt,
"Eclogue," "Au Bord D'Un Source."
"The Erl King." (Schubert.)

In all these programs, except the second, the order observed is that of
Bach, Beethoven, Chopin, Schumann, and Liszt. When forming a program
to be played before those not accustomed to classic music, it is quite
practicable to make a combination on a different plan, beginning with a
combination of three pieces by Bach, Chopin, and Schumann or Liszt, or
Bach, Schumann, and Chopin. These could be followed by a serious
Beethoven work, such as one of the larger sonatas; and this again by a
few small pieces, in order to relieve the overtaxed attention; the
whole concluding with a Hungarian rhapsody or some other brilliant
piece. The advantage of this arrangement is that the audience does not
have to wait so long before arriving at music which pleases.

In the ordinary arrangement--as that in the programs above--the program
follows a systematic development from the beginning to the end, in the
direction of greater freedom of expression and more brilliancy and
adaptability to the pianoforte; so the music becomes more and more
pleasing all the way through, and the only trouble is a fear lest the
early pieces may prove too severe to those who are not accustomed to
listening to music of this kind. In the case of musical clubs, and
other places where the study of art is the principal motive, this fear
is not entitled to any weight, since when it is designed to present
programs of serious works, requiring to be understood and to be heard
several times before their full meaning is apparent to the listener, a
certain amount of preliminary analysis or study ought to be done,
either by members of the club sepa