Schumann, in his “N’eue Zeitschrift,” sums up the characteristics of the Polish composer admirably; “Genius creates kingdoms, the smaller states of which are again divided by a higher hand among talents, that these may organize details which the former, in its thousand-fold activity, would be unable to perfect.  As Hummel, for example, followed the call of Mozart, clothing the thoughts of that master in a flowing, sparkling robe, so Chopin followed Beethoven.  Or, to speak more simply, as Hummel imitated the style of Mozart in detail, rendering it enjoyable to the virtuoso on one particular instrument, so Chopin led the spirit of Beethoven into the concert-room.

“Chopin did not make his appearance accompanied by an orchestral army, as great genius is accustomed to do; he only possessed a small cohort, but every soul belongs to him to the last hero.

“He is the pupil of the first masters—­Beethoven, Schubert, Field.  The first formed his mind in boldness, the second his heart in tenderness, the third his hand to its flexibility.  Thus he stood well provided with deep knowledge in his art, armed with courage in the full consciousness of his power, when in the year 1830 the great voice of the people arose in the West.  Hundreds of youths had waited for the moment; but Chopin was the first on the summit of the wall, behind which lay a cowardly renaissance, a dwarfish Philistinism, asleep.  Blows were dealt right and left, and the Philistines awoke angrily, crying out, ’Look at the impudent one!’ while others behind the besieger cried, ’The one of noble courage.’

“Besides this, and the favorable influence of period and condition, fate rendered Chopin still more individual and interesting in endowing him with an original pronounced nationality; Polish, too, and because this nationality wanders in mourning robes in the thoughtful artist, it deeply attracts us.  It was well for him that neutral Germany did not receive him too warmly at first, and that his genius led him straight to one of the great capitals of the world, where he could freely poetize and grow angry.  If the powerful autocrat of the North knew what a dangerous enemy threatens him in Chopin’s works in the simple melodies of his mazurkas, he would forbid music.  Chopin’s works are cannons buried in flowers....  He is the boldest, proudest poet soul of to-day.”

But Schumann could have said something more than this, and added that Chopin was a musician of exceptional attainments, a virtuoso of the very highest order, a writer for the piano pure and simple preeminent beyond example, and a master of a unique and perfect style.