gain. The difficulty consists in this
insistent repetition of the same figure in the left hand, and a very
clear note of Chopin's genius is seen when he changes this bass figure
from E major to E-flat major. This change, although apparently not
significant on paper, has the keyboard peculiarity of giving the left
hand a rotary motion in the opposite direction from that necessitated
in the E major, and in three measures of it the player unwinds himself,
as it were, and is ready to begin again with the original figure.
Still another pleasing Chopin peculiarity is noted at the close of this
strong part, where there is a page or more of very delightful dreamy
work, at first in G major, afterward in F minor, and so at length the
original subject is resumed and the Polonaise brought to an end. A
work of this magnitude admits of being considered in so many different
lights as to make any short discussion of it seem fragmentary and
suggestive merely, and such, in fact, is the intention of the present
comments. Enough that we have in it a poetic suggestion brought to
expression.

CHAPTER IX.

BACH, BEETHOVEN, SCHUMANN, AND CHOPIN.

There are endless selections of compositions which might be made in
order to bring together into a single chapter enough of the music of
these four great masters to give a taste of their individualities,
style, and sentiment. Following are examples:

PROGRAM I.

Bach, Prelude and Fugue in C minor, Clavier, No. 2.
Beethoven, Sonate Pathetique, opus 13.
Schumann, Forest Scenes; "Entrance."
"Wayside Inn."
"Prophetic Bird."
"Homeward."
Bach, Fantasia in C minor. Loure in G (Heinze).
Chopin, Nocturne in G minor, opus 37, No. 1.
Waltz in A-flat, opus 42.

PROGRAM II.

Bach, Prelude and Fugue in D major, Clavier, No. 5.
Beethoven, Sonata in D, opus 10, No. 3.
Schumann, Fantasy Pieces, opus 12: "At Evening."
"Excelsior."
"Why?"
"Whims."
"Dream Visions."
"End of the Song."
Chopin, Nocturne in B major, opus 32, No. 1.
Ballad in A-flat, opus 47.

PROGRAM III.

Bach, Prelude and Fugue in C-sharp, Clavier, No. 3.
Beethoven, Sonata in A-flat, opus 26.
Schumann, Fantasy Pieces, Nos. 1, 2,