The principal pianoforte part has, notwithstanding the entire remodelling of the score, been retained almost unchanged. Only in some passages, which the orchestra, in consequence of a richer instrumentation, accompanies with greater fulness, the pianoforte part had, on that account, to be made more effective by an increase of brilliance. By these divergences from the original, from the so perfect and beautifully effectuating [effectuirenden] pianoforte style of Chopin, either the unnecessary doubling of the melody already pregnantly represented by the orchestra was avoided, or—in keeping with the now fuller harmonic support of the accompaniment—some figurations of the solo instrument received a more brilliant form.
Of Tausig’s labour [footnote: “Grosses Concert in E moll. Op. 11.” Bearberet von Carl Tausig. Score, pianoforte, and orchestral parts. Berlin: Ries and Erler.] I shall only say that his cutting-down and patching-up of the introductory tutti, to mention only one thing, are not well enough done to excuse the liberty taken with a great composer’s work. Moreover, your emendations cannot reach the vital fault, which lies in the conceptions. A musician may have mastered the mechanical trick of instrumentation, and yet his works may not be at heart orchestral. Instrumentation ought to be more than something that at will can be added or withheld; it ought to be the appropriate expression of something that appertains to the thought. The fact is, Chopin could not think for the orchestra, his thoughts took always the form of the pianoforte language; his thinking became paralysed when he made use of another medium of expression. Still, there have been critics who thought differently. The Polish composer Sowinski declared without circumlocution that Chopin “wrote admirably for the orchestra.” Other countrymen of his dwelt at greater length, and