One of the most celebrated of all the compositions of Chopin is the famous Polonaise in A-flat major, which seems in the fullest manner to illustrate the description of the polonaise already quoted above, from Liszt's Chopin. This remarkable work opens with a rather striking introduction, the principal subject entering in the seventeenth measure, very bold and strong. In the forty-ninth measure an extremely forcible and dramatic idea begins which presently, in the fifty-seventh measure, gives place to a more quiet melody. The most remarkable part of this piece, and the one which has had much to do with its use by virtuoso pianists, is the middle part in E major. Here, after a series of heavy chords, a sixteenth-note motion enters in octaves for the left hand, and for the right hand a melody, which is at first soft and afterward built up. This octave middle figure continues without interruption for sixteen measures, and then, after the chords are repeated, is continued again for the same length of time. When this is properly done, the passage begins quite softly and works up by degrees until the very imposing climax at the end, and in the repetition the same thing takes place again. The difficulty consists in this insistent repetition of the same figure in the left hand, and a very clear note of Chopin's genius is seen when he changes this bass figure from E major to E-flat major. This change, although apparently not significant on paper, has the keyboard peculiarity of giving the left hand a rotary motion in the opposite direction from that necessitated in the E major, and in three measures of it the player unwinds himself, as it were, and is ready to begin again with the original figure. Still another pleasing Chopin peculiarity is noted at the close of this strong part, where there is a page or more of very delightful dreamy work, at first in G major, afterward in F minor, and so at length the original subject is resumed and the Polonaise brought to an end. A work of this magnitude admits of being considered in so many different lights as to make any short discussion of it seem fragmentary and suggestive merely, and such, in fact, is the intention of the present comments. Enough that we have in it a poetic suggestion brought to expression.