The first stages of the development of his peculiar style may be
traced in the compositions we have just now discussed. In the
variations and first Rondo which Chopin wrote at or before the
age of fifteen, the treatment of the instrument not only proves
that he was already as much in his element on the pianoforte as a
fish in the water, but also shows that an as yet vaguely-
perceived ideal began to beckon him onward. Karasowski, informed
by witnesses of the boy's studies in pianoforte playing, relates
that Frederick, being struck with the fine effect of a chord in
extended harmony, and unable, on account of the smallness of his
hands, to strike the notes simultaneously, set about thinking how
this physical obstacle could be overcome. The result of his
cogitations was the invention of a contrivance which he put
between his fingers and kept there even during the night, by this
means endeavouring to increase the extensibility and flexibility
of his hands. Who, in reading of this incident in Chopin's life,
is not reminded of Schumann and his attempt to strengthen his
fingers, an attempt that ended so fatally for his prospects as a
virtuoso! And the question, an idle one I admit, suggests itself:
Had Chopin been less fortunate than he was, and lost, like
Schumann, the command of one of his hands before he had formed
his pianoforte style, would he, as a composer, have risen to a
higher position than we know him to have attained, or would he
have achieved less than he actually did? From the place and
wording of Karasowski's account it would appear that this
experiment of Chopin's took place at or near the age of ten. Of
course it does not matter much whether we know or do not know the
year or day of the adoption of the practice, what is really
interesting is the fact itself. I may, however, remark that