adapted to the intrinsic nature of the pianoforte, and hence fail to
arouse the enthusiasm of those whose taste has been formed by the
works of Chopin and Schumann. It was no doubt an instinctive antipathy
to Beethoven's unpianistic style (if the adjective be permissible),
which prevented Chopin from admiring Beethoven as deeply as he did
some other composers, whom he would have admitted to be his inferiors.
And Beethoven himself does not seem to have regarded his pianoforte
works with the same satisfaction as his other compositions. At least,
he wrote the following curious sentence in a corner of one of his
sketch books in 1805; "Heaven knows why my pianoforte music always
makes the worst impression on me, especially when it is played badly."
He must have felt that his ideas found a much more appropriate and
adequate expression in the orchestra than on the piano. Not being a
radical innovator he did not, in his treatment of the pianoforte, go
beyond Clementi; and so it remained for Chopin to show the world that
the pianoforte, if properly treated, will yield tones whose exquisite
sensuous beauty can hardly be surpassed by any combination of
orchestral instruments.

The two principal means by which he accomplished these reforms were
the constant employment of the pedal, and the use of extended and
scattered chords, in place of the crowded harmonies and the massive
movements of the older accompaniments.

Very few pianists seem to comprehend the exact function and importance
of the pedal. Many will be surprised to hear that the word "touch,"
which they suppose refers to the way the keys are struck by the
fingers, has quite as much to do with the feet--that is, the use of
the pedal--as with the fingers. No matter how thoroughly a pianist may
have trained his fingers, if he does not use the pedal as it was used