[211] The ecclesiastical formula for an Amen being the so-called Plagal cadence of subdominant and tonic chords.
[212] He was born of a Polish mother and a French father, and these mixed strains of blood account fundamentally for the leading characteristics of his music. From the former strain came the impassioned, romantic and at times chivalrous moods, prominent in all Polish life and art; and from the latter the grace, charm and finish which we rightly associate with the French nature. For side-lights on Chopin's intimacy with George Sand see the well-known essays by Henry James and René Doumic.
[213] The few exceptions being the Polish Songs, the Trio for Violin, 'Cello and Pianoforte and the orchestral accompaniment to the two Concertos.
[214] There will occur to every one numerous passages in which the pianoforte is expected to be a kettle-drum, or where the figuration is far better suited to the violin than to the hand in connection with keys.
[215] This by reason of its combined powers in melody, harmony and rhythm. Some of these qualities it shares, to be sure, with the organ; but the organ is inherently lacking in rhythm, and its solid, block-like tones do not exercise the same fascination upon the imagination as do the fleeting sounds of the pianoforte. It is, of course, possible and desirable to enjoy both instruments—each in its own proper sphere, and each for its characteristic effects.
[216] It is understood that all the comments are based on the action of a concert-grand pianoforte, since on an upright or a square—because of mechanical limitations of space—the effects are quite different.
[217] In this connection, even at the risk of seeming to preach, let the advice be given that nothing should ever be put on top of a grand pianoforte: neither flowers, afternoon tea-sets, bird-cages, books, nor even an aquarium! For the lid is not merely a cover, but an additional sounding-board, and must always be in readiness to be so used. The pianoforte as a coloristic instrument, in short, is completely itself only when played with the lid raised.
[218] An instrument designed to reinforce these upper tones, so that they may be clearly heard, is to be found in any Physical Laboratory. That these tones really vibrate "sympathetically" may be proved by striking ff this note
and then pressing down very lightly the keys of G and E just above middle C, thus removing the individual dampers of these notes. In a quiet room the tones are distinctly audible. For another rewarding experiment of the same nature, see the Introduction to the first volume of Arthur Whiting's Pedal Studies and the well-known treatise of Helmholtz.