But, it was not merely in the accent of the dance forms, that he
introduced an agreeable innovation; he was one of the giants who helped
to create a new epoch in art, by breaking these old forms altogether,
and substituting new ones better suited to modern tastes. And here we
come across one of the most ludicrous misconceptions which have been
fostered concerning Chopin by shallow critics, and which brings us back
again for a moment to the question of Jumboism. I do not know whether
he was a German or a French critic who first wrote that Chopin,
although great in short pieces, was not great enough to master the
sonata form. Once in print, this silly opinion was repeated parrot-like
by scores of other critics. _How_ silly it is may be inferred from the
fact that such third-rate composerlings as Herz and Hummel were able to
write sonatas of the most approved pattern--and that, in fact, _any_
person with the least musical talent can learn in a few years to write
sonatas that are absolutely correct as regards form. And yet we are
asked to believe that Chopin, one of the most profound and original
musical thinkers the world has ever seen, could not write a correct
sonata! _Risum teneatis amici_! Chopin not able to master the sonata
form? The fact is, _the sonata form could not master him_.
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