II.

_Warsaw, April 10th, 1830._

(_Anniversary of Emilyʼs death._)

I have been vainly wishing to write to you for some weeks past. I donʼt know why the time should pass so quickly now. Our musical season is at its height, Passion week even was disregarded. Last Monday there was a grand _soirée_ at Philippeusʼs, when Madame Saurin sang a duet from “Semiramis” very beautifully; I accompanied Messrs. Soliva and Gresser in a Buffo Duet from Rossiniʼs “Turk in Italy,” which, by unanimous desire, was repeated. I have sketched out a programme of the _soirée_ at Lewickiʼs, at which Prince Galizin is to take part in a quartet by Rode. I shall select Hummelʼs “La Sentinelle,” and shall finish with my polonaise with violoncello, to which I have written an Adagio by way of introduction. I have tried it already, it does not go badly. This is the latest _salon_ news, and now for the newspaper intelligence, which is no less important to me, as it includes some most favourable opinions about myself. I should like to send them to you. There was an article, two pages long, in the _Warsaw Gazette_, in which Elsner was very much abused. Soliva told me that he only avoided the controversy because two of his pupils were shortly to make a public appearance, otherwise he should certainly have replied to the attack. It is difficult to describe the whole case in a few words; I would send you the newspaper if I could, so as to make the matter quite clear. A word to the wise is sufficient, so I will give a brief outline of the affair.

My concerts called forth a great many laudatory notices, especially in the _Polish Courier_, and the _Official Journal_ also gave me a few words of praise. This was all very well, but one of the numbers of the latter newspaper, although in perfect good faith, was full of such absurdities that I felt quite in despair until I read in the _Gazette Polska_ a refutation of the exaggerated statements in the _Official Journal_. This paper was mad enough to say that Poland would one day be as proud of me as Germany is of Mozart; and that “if I had fallen into the hands of a pedant or a Rossinist (what a ridiculous expression!) I should never have been what I am.” Although, indeed, I am nothing yet, the critic is so far right in saying that if I had not studied with Elsner, I should have done still less. This taunt at a Rossinist, and praise of Elsner made somebody so angry[48] that, in an article in the _Warsaw Gazette_, beginning with Fredroʼs comedy, “Die Freunde,” and ending with “Grafen Ory,” there was the following paragraph: “Why should any gratitude be due to Elsner? he does not make pupils off hand,” and (at my second concert Nowakowskiʼs symphony was performed) “the Devil even cannot make something out of nothing.”

Thirty-five years ago Elsner wrote a quartet, to which the publisher, without the authorʼs knowledge, appended the title “Dans le meilleur gout polonais,” on account of the Polish character of the Menuet. The present reviewer, without mentioning the composerʼs name, ridicules this quartet. Soliva says truly that they would have been just as much justified in abusing “Caecilia,”[49] especially as, with all kindness and delicacy, they give me some side thrusts, and the good piece of advice that I should listen to Rossini but not copy him. No doubt this was said because the other article remarked that I had a great deal of originality.

I am invited to an Easter breakfast at Minasowiczʼs[50] for the day after to-morrow; Kurpinski is to be there, and I am very curious to see how he will behave towards me. You would not believe how amiable he always is to me. I saw him last Wednesday week at little Leskiewiczʼs concert. The latter does not play badly, although he still shows that he is a learner. It seems to me that he will be a better player than Krogulski, but I have not yet ventured to say so, though I have been often asked for an opinion.

Oh! the postman! A letter ... from you! Oh, my dear friend, how good you are! It is no wonder, however, for I am always thinking of you. As far as I can gather from your letter, you have only seen the _Warsaw Courier_; get the _Polish Courier_, and No. 91 of the _Warsaw Gazette_, if you can. Your advice is good; I had already given up some invitations for the evening as if in anticipation of it, for I always think a great deal of you in everything that I undertake. I do not know whether it is because I have learnt to think and feel with you, but when I write anything I always want to know if it pleases you, and my second concerto (E minor) will not have any value in my eyes until you have heard and approved it.

My third concert, which is being counted on here, will not take place until shortly before I leave; I think of playing the new Concerto, which is not yet finished, then, by desire, the Fantasia on Polish airs, and the Variations dedicated to you, which I am anxiously awaiting, as the Leipsic fair has already begun, and Brzezina has received a large consignment of music. The Frenchman from St. Petersburg, who wanted to treat me with champagne after my second concert, and whom people took for Field, is a pupil from the Paris Conservatoire, named Dunst. He has given several concerts in St. Petersburg, which made a great sensation, so he must play unusually well. You will, doubtless, think it strange, a Frenchman from St. Petersburg with a German name. I have the sad piece of news to add that Orlowski has been making mazurkas and galops on my themes; but I have begged him not to have them printed.