[219] For a complete and illuminating treatise on the pedals and their artistic use, see the aforesaid two volumes of Pedal Studies by Arthur Whiting (G. Schirmer, New York).
[220] The term dates from the period when this pedal controlled three shifts: una corda, due corde and tre corde; the hammer striking respectively one, two or three strings. The whole mechanism is well implied in the German word Verschiebung, i.e., the shoving along—so frequent in Schumann's works, e.g., the middle part of his Vogel als Prophet from the Waldscenen, op. 82, No. 7.
[221] American pianofortes also have a middle pedal called the "sustaining pedal," by which tones in the lower register may be prolonged. It has not proved to be of great value, though there are occasional passages, e.g., the closing measures of the second movement of César Franck's Violin Sonata, where it may be effectively employed.
[222] For a commentary on this passage see D.G. Mason's essay on Chopin in The Romantic Composers.
[223] For a detailed analysis of many special features of style see the volume by Edgar Stillman Kelly, Chopin the Composer.
[224] To save space, no one of these pieces except the Barcarolle is given in the Supplement, since they are readily accessible. The Barcarolle, however, is given in order to make it better known; for although it is one of the most inspired and beautifully expressed of all Chopin's works, it is heard comparatively seldom. The best editions of the works are those of Kullak, Mikuli and Klindworth.
[225] For an account of its origin see the chapter in Huneker's book and the article on the Polonaise in Grove's Dictionary.
[226] For a convincing account of this tragic marriage see the volume of Recollections by Ernest Legouvé.
[227] It is understood that this is merely a personal opinion of the writer and might well have been prefaced by the Socratic "it seems to me." Too much criticism reminds us of wine-tasting—Mr. So-and-So likes port, Mr. So-and-So sherry. The object of fair-minded appreciation is to understand clearly just what each composer set out to do, i.e., what was the natural tendency of his individual genius; then the only question is: did or did he not do this well? It is futile to blame him because he was not someone else or did not achieve what he never set out to do.
[228] The best edition is the complete one, beautifully engraved and with critical comments, by Malherbe and Weingartner. This is expensive, but should be found in any large library.