l Czerny, they show decided traces of his schooling. They are not difficult for fingers inured to modern methods. When I first bought them I knew not the Etudes d'Execution Transce

phonic poem in miniature. What a superb contribution to piano literature is Liszt's. These twelve incomparable studies, the three effective Etudes de Concert (several quite Chopinish in style and technique), the murmuring Waldesrauschen, the sparkling Gnomenreigen, the stormy Ab-Irato, the poetic Au Lac de Wallenstadt and Au Bord d'une Source, have they not all tremendously

quality. He advanced by great wing-strokes toward perfection, and deprived of his music we should miss colour, sonority, richness of tinting, and dramatic and dynamic contrasts. He has had a great following. Tausig was the first to

rte technique to Liszt, who, more than any other pianist, drew upon himself the admiration of the world, and through his pupils continued to make his presence felt even after the close of his career as a virtuoso. But the cause of this false opinion is to be sought not so much in the fact that the brilliancy of his artistic personality threw all his contemporaries into the shade, as in that other fact, that he gathered up into one web the m

prise not only a sonata, a trio, two concertos, variations, polonaises, waltzes, mazurkas, one or more nocturnes, etc., but also-and this is for the question under consideration of great importance-most of, if not all, the studies of Op. 10 (Sowinski says that Chopin brought with him to Paris the MS. of the first book of his studies) and some of Op. 25; and these works prove decisively the inconclusiveness of the lady's argument. The twelfth study of Opus 10 (composed in September, 1831) invalidates all she says about fire, passion, and rushing torrents. In fact, no cogent reason can be given why the works mentioned by her should not be the outcome of unaided development. [That is to say, development not aided in the way indicated by Miss Ramann.] The first Scherzo alone might make us pause and ask whether the new features that present themselves in it ought not to be fathered on Liszt. But seeing that Chopin evolved so much, why should he not also have evolved this? Moreover, we must keep in mind that Liszt had, up to 1831, composed almost nothing of what in after years was considered either by him or others

e conceived that lyrical episode! Liszt, doubtless, was the first who introduced interlocking octaves instead of the chromatic scale at the close; Tausig followed his example. But there the matter ended. Once when Chopin heard that Liszt intended to write an account