e "Deuxieme Impromptu," Op. 36 (in F
sharp major), is, like the first, a true impromptu, but while the first
is a fresh and lusty welling forth of joy amidst the pleasures of a
present reality, this is a dreamy lingering over thoughts and scenes of
the imagination that appear and vanish like dissolving views. One would
wish to have a programme of this piece. Without such assistance the D
major section of the impromptu is insignificant. We want to see, or at
least to know, who the persons that walk in the procession which the
music accompanies are. Some bars in the second half of this section
remind one of Schumann's "Fantasia" in C. After this section a curious
transition leads in again the theme, which first appeared in F sharp
major, in F major, and with a triplet accompaniment. When F sharp major
is once more reached, the theme is still further varied (melodically),
till at last the wondrous, fairy-like phrase from the first section
brings the piece to a conclusion. This impromptu is inferior to the
first, having less pith in it; but its tender sweetness and euphony
cannot be denied. The idle forgetfulness of the more serious duties and
the deep miseries of life in the enjoyment of a dolce far niente recalls
Schubert and the "Fantasia," Op. 78, and other works of his. In the
"Troisieme Impromptu" (in G flat major), Op. 51, the rhythmical motion
and the melodical form of the two parts that serpentine their lines in
opposite directions remind one of the first impromptu (in A flat), but
the characters of these pieces are otherwise very unlike. The earlier
work is distinguished by a brisk freshness; the later one by a feverish
restlessness and faint plaintiveness. After the irresolute flutter of
the relaxing and enervating chromatic progressions and successions of
thirds and sixths, the greater steadiness of the middle section, more
especially the subdued strength and passionate eloquence at the D
flat major, has a good effect. But here, too, the languid, lamenting
chromatic passing and auxiliary notes are not wanting, and the anxious,
breathless accompaniment does not make things more cheerful. In short,
the piece is very fine in its way, but the unrelieved, or at least very
insufficiently relieved, morbidezza is anything but healthy. We may take
note of the plain chord progressions which intervene in the first
and last sections of the impromptu; such progressions are of frequent
occurrence in Chopin's works. Is there not