formed the centre of an enthusiastic circle of musicians, and created a
far-reaching musical atmosphere. Felix Mendelssohn (1809-1847), in his
work for the piano, adapted to drawing-room use technical devices of his
day, and in his "Songs without Words" gave a decisive short-story form
to piano literature. His playing is described as possessing an organ
firmness of touch without organ ponderosity, and having an expression
that moved deeply without intoxicating. Living in genial surroundings,
he was never forced to struggle, and although he climbed through flowery
paths, he never reached the goal he longed for until his heart broke.

Delicate, sensitive, fastidious, Frédéric Chopin (1809-1849) delivered
his musical message with persuasive eloquence through the medium of the
piano. It was his chosen comrade. With it he exchanged the most subtle
confidences. Gaining a profound knowledge of its resources he raised it
to an independent power. Polish patriotism steeped in Parisian elegance
shaped his genius, and his compositions portray the emotions of his
people in exquisitely polished tonal language. Spontaneous as was his
creative power he was most painstaking in regard to the setting of his
musical ideas and would often devote weeks to re-writing a single page
that every detail might be perfect. The best that was in him he gave to
music and to the piano. He enlarged the musical vocabulary, he
re-created and enriched technique and diction, and to him the musician
of to-day owes a debt that should never be forgotten. "He is of the race
of eagles," said his teacher, Elsner. "Let all who aspire follow him in
his flights toward regions sublime."

The man who, by his demands on the piano, induced improvements in its
manufacture that materially increased its sonority and made it
available for the modern idea, was Franz Liszt (1811-1886). He will
always be remembered as the creator of orchestral piano-playing and of