t all
criticism should be silenced that fails to allow Chopin a place among
the greatest creative musicians. We are here in the presence of Chopin
the musician, not Chopin the composer for piano.

III

In 1840, Trois Nouvelles Etudes, by Frederic Chopin, appeared in the
"Methode des Methodes pour le piano," by F. J. Fetis and I. Moscheles.
It was odd company for the Polish composer. "Internal evidence seems to
show," writes Niecks, "that these weakest of the master's
studies--which, however, are by no means uninteresting and certainly
very characteristic--may be regarded more than op. 25 as the outcome of
a gleaning."

The last decade has added much to the artistic stature of these three
supplementary studies. They have something of the concision of the
Preludes. The first is a masterpiece. In F minor the theme in triplet
quarters, broad, sonorous and passionate, is unequally pitted against
four-eight notes in the bass. The technical difficulty to be overcome
is purely rhythmic, and Kullak takes pains to show how it may be
overcome. It is the musical, the emotional content of the study that
fascinates. The worthy editor calls it a companion piece to the F minor
study in op. 25. The comparison is not an apt one. Far deeper is this
new study, and although the doors never swing quite open, we divine the
tragic issues concealed.

Beautiful in a different way is the A flat study which follows. Again
the problem is a rhythmical one, and again the composer demonstrates
his exhaustless invention and his power of evoking a single mood,
viewing all its lovely contours and letting it melt away like dream
magic. Full of gentle sprightliness and lingering sweetness is this
study. Chopin has the hypnotic quality more than any composer of the
century, Richard Wagner excepted. After you have enjoyed playing this
study read Kullak and his "triplicity in biplicity." It may do you
good, and it will not harm the music.

In all the editions save one that I have seen the third study in D flat
begins on A flat, like the famous Valse in D flat. The exception is
Klindworth, who starts with B flat, the note above. The study is full
of sunny, good humor, spiritualized humor, and leaves the most cheering
impression after its performance. Its technical object is a
simultaneous legato and staccato. The result is an idealized Valse in
allegretto tempo, the very incarnation of joy, tempered by aristocratic
reserve. Chopin never romps, but h