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Updated: May 25, 2025
He dons his mask whenever his object is to flatter himself into some one's good opinion; and you may pay just as much attention to it as if it were made of wax or cardboard, never forgetting that excellent Italian proverb: non é si tristo cane che non meni la coda, there is no dog so bad but that he will wag his tail.
From these alone we may almost reconstruct the real Chopin, the inner Chopin, whose conventional exterior so ill prepared the world for the tragic issues of his music. The first Scherzo is a fair model. There are a few bars of introduction the porch, as Niecks would call it a principal subject, a trio, a short working-out section, a skilful return to the opening theme, and an elaborate coda.
Constance did not remain in the kitchen, because the cups and saucers were left for Maggie to wash up as a fitting coda to Maggie's monthly holiday. The parlour door closed. And the vision of Mr. Povey in his antimacassar swept Sophia off into another convulsion of laughter and tears.
Looked at from the brigadier's point of view, as a means of passing the time on Sunday, they reminded me of the Litany; pulling off each leaf was like listening to each short clause and eating the unimportant little bit at the end was like intoning the little response; then the larger piece that was left, when all the leaves were off, followed like the coda and finale of the Litany after the more monotonous part has been disposed of.
It is the best rounded specimen of Chopin's experimenting with the form. The prolonged trill on E flat, summoning us to the ballroom, the suggestive intermingling of rhythms, duple and triple, the coquetry, hesitation, passionate avowal and the superb coda, with its echoes of evening have not these episodes a charm beyond compare?
They are creatures of moods, melodic air plants, swinging to the rhythms of any vagrant breeze. The metronome is for the student, but metronome and rubato are, as de Lenz would have said, mutually exclusive. The third Mazurka of op. 24 is in A flat. It is pleasing, not deep, a real dance with an ornamental coda. But the next! Ah! here is a gem, a beautiful and exquisitely colored poem.
Tausig overcame this threatening group of terrific difficulties, whose appearance in the piece is well explained by the programme, without the slightest effect. The coda, in modulated harp tones, came to a stop before a fermata which corresponded to those before mentioned, in order to cast anchor in the haven of the dominant, finishing with a witches' dance of triplets, doubled in thirds.
Wagner was willing to yield to the desire for a ballet, but he could not place it where the habits of the opera-going public demanded it. Instead, he remodelled the overture and, sacrificing the coda which brought back a return of the canticle of the pilgrims, he lengthened the middle portion to fit an extended choreographic scene, and with it led into the opera without a break.
Scales had been used too much, hence Chopin's sparing employment of them. In the first C sharp minor study, op. 10, there is a run for the left hand in the coda. In the seventh study, same key, op. 25, there are more. The second study of op. 10, in A minor, is a chromatic scale study; but there are no other specimens of the form until the mighty run at the conclusion of this A minor study.
The first questioning theme is heard again, and with a perpendicular roar the presto comes upon us. For two pages the dynamic energy displayed by the composer is almost appalling. A whirlwind I have called it elsewhere. It is a storm of the emotions, muscular in its virility. I remember de Pachmann a close interpreter of certain sides of Chopin playing this coda piano, pianissimo and prestissimo.
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