The reader will remember what the Viennese critic said about Chopin's "aim"; that it was not to dazzle by the superficial means of the virtuoso, but to impress by the more legitimate ones of the genuine musician.

This is true if we compare the Chopin of that day with his fellow-virtuosos Kalkbrenner, Herz, &c.; but if we compare him with his later self, or with Mozart, Beethoven, Mendelssohn, Schumann, &c., the case is different.

Indeed, there can be no doubt but that in this and the other pieces of this group, Chopin's aim was that of the virtuoso, only his nature was too rich, too noble, to sink into the inanity of an insipid, conventional brilliancy.

Moreover, whilst maintaining that in the works specified language outruns in youthful exuberance thought and emotion, I hasten to add that there are premonitory signs--for instance, in the Op.

2 under discussion, more especially in the introduction, the fifth variation, and the Finale--of what as yet lies latent in the master's undeveloped creative power.
The Grande Fantaisie sur des airs polonais (A major) for the pianoforte and orchestra, Op.