are variations in the Fantaisie which end
with a merry and vivacious Kujawiak.

The F minor Fantaisie will be considered later. Neither by its
magnificent content, construction nor opus number (49) does it fall
into this chapter.

The Allegro de Concert in A, op. 46, was published in November, 1841,
and dedicated to Mlle. Friederike Muller, a pupil of Chopin. It has all
the characteristics of a concerto, and is indeed a truncated one--much
more so than Schumann's F minor Sonata, called Concert Sans Orchestre.
There are tutti in the Chopin work, the solo part not really beginning
until the eighty-seventh bar. But it must not be supposed that these
long introductory passages are ineffective for the player. The Allegro
is one of Chopin's most difficult works. It abounds in risky skips,
ambuscades of dangerous double notes, and the principal themes are bold
and expressive. The color note is strikingly adapted for public
performance, and perhaps Schumann was correct in believing that Chopin
had originally sketched this for piano and orchestra. Niecks asks if
this is not the fragment of a concerto for two pianos, which Chopin, in
a letter written at Vienna, December 21, 1830, said he would play in
public with his friend Nidecki, if he succeeded in writing it to his
satisfaction. And is there any significance in the fact that Chopin,
when sending this manuscript to Fontana, probably in the summer of
1841, calls it a concerto?

While it adds little to Chopin's reputation, it has the potentialities
of a powerful and more manly composition than either of the two
concertos. Jean Louis Nicode has given it an orchestral garb, besides
arranging it for two pianos. He has added a developing section of
seventy bars. This version was first played in New York a decade ago by
Marie Geselschap, a Dutch pianist, under the direction of the late
Anton Seidl. The original, it must be acknowledged, is preferable.

The Bolero, op. 19, has a Polonaise flavor. There is but little Spanish
in its ingredients. It is merely a memorandum of Chopin's early essays
in dance forms. It was published in 1834, four years before Chopin's
visit to Spain. Niecks thinks it an early work. That it can be made
effective was proven by Emil Sauer. It is for fleet-fingered pianists,
and the principal theme has the rhythmical ring of the Polonaise,
although the most Iberian in character. It is dedicated to Comtesse E.
de Flahault. In the key of A minor, its coda ends