terms, ever sparkling with the poetic ardor of the generous soul
through which the discriminating, yet appreciative awards were
poured. Ah! in these days of degenerate rivalries and bitter
jealousies, let us welcome a proof of affection so tender as his
"Life of Chopin"!

It would be impossible for the reader of this book to remain
ignorant of the exactions of art. While, through its eloquence
and subtle analysis of character, it appeals to the cultivated
literary tastes of our people, it opens for them a dazzling
perspective into that strange world of tones, of whose magical
realm they know, comparatively speaking, so little. It is
intelligible to all who think or feel; requiring no knowledge of
music for its comprehension.

The compositions of Chopin are now the mode, the rage. Every one
asks for them, every one tries to play them. We have, however,
but few remarks upon the peculiarities of his style, or the
proper manner of producing his works. His compositions, generally
perfect in form, are never abstract conceptions, but had their
birth in his soul, sprang from the events of his life, and are
full of individual and national idiosyncrasies, of psychological
interest. Liszt knew Chopin both as man and artist; Chopin loved
to hear him interpret his music, and himself taught the great
Pianist the mysteries of his undulating rhythm and original
motifs. The broad and noble criticisms contained in this book are
absolutely essential for the musical culture of the thousands now
laboriously but vainly struggling to perform his elaborate works,
and who, having no key to their multiplied complexities of
expression, frequently fail in rendering them aright.