The rondo is frolicksome, tricky, genial and
genuine piano music. It is true the first movement is too long,
too much in one set of keys, and the working-out section too much
in the nature of a technical study. The first movement of the F
minor far transcends it in breadth, passion and musical feeling,
but it is short and there is no coda. Richard Burmeister has
supplied the latter deficiency in a capitally made cadenza, which
Paderewski plays. It is a complete summing up of the movement.
The mazurka-like finale is very graceful and full of pure, sweet
melody. This concerto is altogether more human than the E minor.
Both derive from Hummel and Field. The passage work is superior
in design to that of the earlier masters, the general character
episodical,--but episodes of rare worth and originality. As
Ehlert says, "Noblesse oblige--and thus Chopin felt himself
compelled to satisfy all demands exacted of a pianist, and wrote
the unavoidable piano concerto. It was not consistent with his
nature to express himself in broad terms. His lungs were too weak
for the pace in seven league boots, so often required in a score.
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