He could not retain, within the square of an angular and rigid mould, that floating and indeterminate contour which so fascinates us in his graceful conceptions.

He could not introduce in its unyielding lines that shadowy and sketchy indecision, which, disguising the skeleton, the whole frame-work of form, drapes it in the mist of floating vapors, such as surround the white-bosomed maids of Ossian, when they permit mortals to catch some vague, yet lovely outline, from their home in the changing, drifting, blinding clouds.
Some of these efforts, however, are resplendent with a rare dignity of style; and passages of exceeding interest, of surprising grandeur, may be found among them.

As an example of this, we cite the Adagio of the Second Concerto, for which he evinced a decided preference, and which he liked to repeat frequently.

The accessory designs are in his best manner, while the principal phrase is of an admirable breadth.

It alternates with a Recitative, which assumes a minor key, and which seems to be its Antistrophe.