Chopin [wrote Anton Schindler in 1841 [footnote:  Beethoven in Paris, p. 71] is the prince of all pianists, poesy itself at the piano...His playing does not impress by powerfulness of touch, by fiery brilliancy, for Chopin’s physical condition forbids him every bodily exertion, and spirit and body are constantly at variance and in reciprocal excitement.  The cardinal virtue of this great master in pianoforte-playing lies in the perfect truth of the expression of every feeling within his reach [dessen er sich bemeistern darf], which is altogether inimitable and might lead to caricature were imitatior attempted.

Chopin was not a virtuoso in the ordinary sense of the word.  His sphere was the reunion intime, not the mixed crowd of concert audiences.  If, however, human testimony is worth anything, we may take it as proven that there never was a pianist whose playing exercised a charm equal to that of Chopin.  But, as Liszt has said, it is impossible to make those who have not heard him understand this subtle, penetrating charm of an ineffable poesy.  If words could give an idea of Chopin’s playing, it would be given by such expressions as “legerete impalpable,” “palais aeriens de la Fata Morgana,” “wundersam und marchenhaft,” and other similar ones used with regard to it by men who may safely be accepted as authorities.

As a pianist Chopin was sorely restricted by lack of physical vigour, which obliged him often to merely suggest, and even to leave not a little wholly unexpressed.  His range as a composer was much wider, as its limits were those of his spirit.  Still, Chopin does not number among those masterminds who gather up and grasp with a strong hand all the acquisitions of the past and present, and mould them into a new and glorious synthesis-the highest achievement possible in art, and not to be accomplished without a liberal share of originality in addition to the comprehensive power.  Chopin, then, is not a compeer of Bach, Handel, Mozart, and Beethoven.  But if he does not stand on their level, he stands on a level not far below them.  And if the inferiority of his intellectual stamina prevented him from achieving what they achieved, his delicate sensibility and romantic imagination enabled him to achieve what they were disqualified from achieving.  Of universality there was not a trace in him, but his individuality is one of the most interesting.  The artistico-historical importance of Chopin lies in his having added new elements to music, originated means of expression for the communication and discrimination of moods and emotions, and shades of moods and emotions, that up to his time had belonged to the realm of the unuttered and unutterable.  Notwithstanding the high estimation in which Chopin is held, it seems to me that his importance for the development of the art is not rated at its full value.  His influence on composers for the pianoforte, both as regards style and subject-matter, is generally understood; but the