[111] Meaning the “leader” of the band, practically the conductor in those days.
[112] The author here uses a term to describe Dussek, which I remove to the foot of the page, viz. Epigonus, which means “one born after,” in the sense of a descendant who merely continues his father’s work. Often it is equivalent to our “decadent.”
[113] The author may perhaps refer to the Scherzi of Op. 2, No. 3, in C, or Op. 7 in E flat.
[114] The student is not likely to find the passage marked with this word, but the author is none the less correct in his description, for it must be played so.
[115] See Op. 31, No. 3, first movement in E flat, bar 46 and ff.
[116] Apparently the passage referred to is the 10 bars which precede the second subject, in the first movement of the F sharp major sonata.
[117] Things corresponding to these expressions, which convey scarcely anything in themselves, will be found in this order in bars 1-3; bars 5, 6, 9, 10; bars 25, 26; bar 18, et cetera, of the first movement; and will illustrate the author’s system of description.
[118] “Cancrizans” (cancer, a crab), is an adjective applied to a tune that is the same whether you play it from the beginning to the end, or the reverse way. Here it is used to characterise some rather mild reversions of the theme, e.g.—first section with two sharps, bars 15-17.
[119] This appears to be a subtle reference to the “inversion” of the subject when the fugue is resumed. The “individual” must learn to see things right side up, knowing they are upside down!
[120] Thirteen bars from the end of the movement. N.B.—A curious instance of “cribbing” on the part of Chopin stands confessed in the following passage.