The works enumerated above may be divided into three groups, the first of which comprises the Sonata, the Trio, and the Rondo for two pianos.

The Sonata (in C minor) for piano, Op. 4, of which Chopin wrote as early as September 9, 1828, that it had been for some time in the hands of Haslinger at Vienna, was kept by this publisher in manuscript till after the composer’s death, being published only in July, 1851.  “As a pupil of his I dedicated it to Elsner,” says Chopin.  It is indeed a pupil’s work—­an exercise, and not a very successful one.  The exigencies of the form overburdened the composer and crushed all individuality out of him.  Nowhere is Chopin so little himself, we may even say so unlike himself.  The distribution of keys and the character of the themes show that the importance of contrast in the construction of larger works was still unsuspected by him.  The two middle movements, a Menuetto and a Larghetto—­although in the latter the self-imposed fetters of the 5-4 time prevent the composer from feeling quite at his ease—­are more attractive than the rest.  In them are discernible an approach to freedom and something like a breath of life, whereas in the first and the last movement there is almost nothing but painful labour and dull monotony.  The most curious thing, however, about this work is the lumbering passage-writing of our graceful, light-winged Chopin.

Infinitely superior to the Sonata is the Trio for piano, violin, and violoncello, Op. 8, dedicated to Prince Anton Radziwill, which was published in March, 1833.  It was begun early in 1828, was “not yet finished” on September 9, and “not yet quite finished” on December 27 of that year.  Chopin tried the first movement in the summer of 1828, and we may assume that, a few details and improvements excepted, the whole was completed at the beginning of 1829.  A considerable time, however, elapsed before the composer declared it ready for the press.  On August 31, 1830, he writes:—­

I tried the Trio last Sunday and was satisfied with it, perhaps because I had not heard it for a long time.  I suppose you will say, “What a happy man!” Something occurred to me on hearing it—­namely, that it would be better to employ a viola instead of the violin, for with the violin the E string dominates most, whilst in my Trio it is hardly ever used.  The viola would stand in a more proper relation to the violoncello.  Then the Trio will be ready for the press.

The composer did not make the intended alteration, and in this he was well advised.  For his remarks betray little insight; what preciousness they possess they owe for the most part to the scarcity of similar discussions of craftsmanship in his letters.  From the above dates we see that the composer bestowed much time, care, and thought upon the work.  Indeed, there can be no doubt that as regards conventional handling of the sonata-form Chopin has in no instance been more successful.  Were we to look upon this