but not cognate." It was published June,
1845, and is dedicated to Comtesse E. de Perthuis.

So these sonatas of Chopin are not sonatas at all, but, throwing titles
to the dogs, would we forego the sensations that two of them evoke?
There is still another, the Sonata in G minor, op. 65, for piano and
'cello. It is dedicated to Chopin's friend, August Franchomme, the
violoncellist. Now, while I by no means share Finck's exalted
impression of this work, yet I fancy the critics have dealt too harshly
with it. Robbed of its title of sonata--though sedulously aping this
form--it contains much pretty music. And it is grateful for the 'cello.
There is not an abundant literature for this kingly instrument, in
conjunction with the piano, so why flaunt Chopin's contribution? I will
admit that he walks stiffly, encased in his borrowed garb, but there is
the andante, short as it is, an effective scherzo and a carefully made
allegro and finale. Tonal monotony is the worst charge to be brought
against this work.

The trio, also in G minor, op. 8, is more alluring. It was published
March, 1833, and dedicated to Prince Anton Radziwill. Chopin later, in
speaking of it to a pupil, admitted that he saw things he would like to
change. He regretted not making it for viola, instead of violin, 'cello
and piano.

It was worked over a long time, the first movement being ready in 1833.
When it appeared it won philistine praise, for its form more nearly
approximates the sonata than any of his efforts in the cyclical order,
excepting op. 4. In it the piano receives better treatment than the
other instruments; there are many virtuoso passages, but again key
changes are not frequent or disparate enough to avoid a monotone.
Chopin's imagination refuses to become excited when working in the open
spaces of the sonata form. Like creatures that remain drab of hue in
unsympathetic or dangerous environment, his music is transformed to a
bewildering bouquet of color when he breathes native air. Compare the
wildly modulating Chopin of the ballades to the tame-pacing Chopin of
the sonatas, trio and concertos! The trio opens with fire, the scherzo
is fanciful, and the adagio charming, while the finale is cheerful to
loveliness. It might figure occasionally on the programmes of our
chamber music concerts, despite its youthful puerility.

There remain the two concertos, which I do not intend discussing fully.
Not Chopin at his very best, the E minor and F m