.
"Was ein junges Madchen liebt" has a short introduction, in which the
reminiscence hunter may find a true bit of "Meistersinger" color.
Simple in structure and sentiment, the Chopin lieder seem almost
rudimentary compared to essays in this form by Schubert, Schumann,
Franz, Brahms and Tschaikowsky.

A word of recommendation may not be amiss here regarding the technical
study of Chopin. Kleczynski, in his two books, gives many valuable
hints, and Isidor Philipp has published a set of Exercises Quotidiens,
made up of specimens in double notes, octaves and passages taken from
the works. Here skeletonized are the special technical problems. In
these Daily Studies, and his edition of the Etudes, are numerous
examples dealt with practically. For a study of Chopin's ornaments,
Mertke has discussed at length the various editorial procedure in the
matter of attacking the trill in single and double notes, also the
easiest method of executing the flying scud and vapors of the
fioriture. This may be found in No. 179 of the Edition Steingraber.
Philipp's collection is published in Paris by J. Hamelle, and is
prefixed by some interesting remarks of Georges Mathias. Chopin's
portrait in 1833, after Vigneron, is included.

One composition more is to be considered. In 1837 Chopin contributed
the sixth variation of the march from "I Puritani." These variations
were published under the title: "Hexameron: Morceau de Concert. Grandes
Variations de bravoure sur la marche des Puritans de Bellini, composees
pour le concert de Madame la Princesse Belgiojoso au benefice des
pauvres, par MM. Liszt, Thalberg, Pixis, H. Herz, Czerny et Chopin."
Liszt wrote an orchestral accompaniment, never published. His pupil,
Moriz Rosenthal, is the only modern virtuoso who plays the Hexameron in
his concerts, and play it he does with overwhelming splendor. Chopin's
contribution in E major is in his sentimental, salon mood. Musically,
it is the most impressive of this extraordinary mastodonic survival of
the "pianistic" past.

The newly published Fugue--or fugato--in A minor, in two voices, is
from a manuscript in the possession of Natalie Janotha, who probably
got it from the late Princess Czartoryska, a pupil of the composer. The
composition is ineffective, and in spots ugly--particularly in the
stretta--and is no doubt an exercise during the working years with
Elsner. The fact that in the coda the very suspicious octave
pedal-point and trills may be omi