would be given by such expressions as "legerete impalpable," "palais
aeriens de la Fata Morgana," "wundersam und marchenhaft," and other
similar ones used with regard to it by men who may safely be accepted as
authorities.

As a pianist Chopin was sorely restricted by lack of physical vigour,
which obliged him often to merely suggest, and even to leave not a
little wholly unexpressed. His range as a composer was much wider, as
its limits were those of his spirit. Still, Chopin does not number among
those masterminds who gather up and grasp with a strong hand all the
acquisitions of the past and present, and mould them into a new and
glorious synthesis-the highest achievement possible in art, and not to
be accomplished without a liberal share of originality in addition to
the comprehensive power. Chopin, then, is not a compeer of Bach, Handel,
Mozart, and Beethoven. But if he does not stand on their level, he
stands on a level not far below them. And if the inferiority of his
intellectual stamina prevented him from achieving what they achieved,
his delicate sensibility and romantic imagination enabled him to achieve
what they were disqualified from achieving. Of universality there
was not a trace in him, but his individuality is one of the most
interesting. The artistico-historical importance of Chopin lies in his
having added new elements to music, originated means of expression for
the communication and discrimination of moods and emotions, and shades
of moods and emotions, that up to his time had belonged to the realm of
the unuttered and unutterable. Notwithstanding the high estimation
in which Chopin is held, it seems to me that his importance for the
development of the art is not rated at its full value. His influence on
composers for the pianoforte, both as regards style and subject-matter,
is generally understood; but the same cannot be said of his less obvious
wider influence. Indeed, nothing is more common than to overlook his
connection with the main current of musical history altogether, to
regard him as a mere hors d'oeuvre in the musical MENU of the universe.
My opinion, on the contrary, is that among the notable composers who
have lived since the days of Chopin there is not to be found one who
has not profited more or less, consciously or unconsciously, directly
or indirectly, by this truly creative genius. To trace his influence
we must transport ourselves back fifty or sixty years, and see what
the sta