VIII.

_Paris, December 25th, 1831._

For the second time, my dear Titus, I have to send my birth-day congratulations from a long, long distance. A look, a pressure of the hand would say more than a dozen letters, so I will not waste many words. I cannot write _ex abrupto_, and I have not yet bought one of the books of congratulations which the boys are shrieking about the streets at two sous a copy. The Parisians are a strange people; towards evening you hear nothing but the names of new books, which consist of three or four pages of printed nonsense. The youngsters push their wares so well, that in the end, whether you will or no, you are sure to lay out a sou or two. The following are some specimens of the titles, “lʼart de faire des amours et de les conserver ensuite;” “les amours des prêtres;” “lʼArcheveque de Paris avec Madame la duchesse de Berry,” and hundreds of like absurdities, which are, however, often very wittily written. It is really astonishing what means are resorted to for earning a penny, for there is a great deal of distress in Paris just now, and money is scarce. There are a good many shabby, desperate looking men about, and one over-hears some threatening talk about Louis Philippe and his ministry only hanging by a hair. The populace are enraged against the Government, and would like to overthrow it, for the sake of putting an end to the misery abroad; but the latter are too much on their guard, and the smallest crowd is dispersed by the mounted gendarmerie. You must know that I am living on the fourth floor, but in one of the boulevards in the best part of Paris. I have a balcony over-looking the street, and so have a good view right and left over the moving masses. General Ramorino has taken up his quarters exactly opposite in the Cité bergère.[57]

You know, of course, how the Germans everywhere received him, how in Strasburg the French dragged his carriage in triumph through the streets; in short, you know all about the enthusiasm of the populace for our general. Paris did not wish to be behind in this respect. The “école de médecine” and the “jeune France,” who wear beards and neckties after a certain pattern, arranged for a grand demonstration. The ultra sections of every political party have their peculiar badge: the Carlists wear green waistcoats; the Republicans, Napoleonists, (these include “la jeune France”) and the Simonists, who profess a new religion, and have already a great number of proselytes, wear blue, and so forth. Nearly a thousand of these enthusiasts paraded the streets with a tri-color banner to give Ramorino an ovation. Although he was at home he would not appear in spite of the shouts of “vive les Polonais,” for fear of offending the government. His adjutant came out and said that the general was unfortunately unable to receive them, and begged that they would come another day. But next morning he had gone to another lodging. A few days later an enormous mob gathered outside the Pantheon, marched across the Seine towards Ramorinoʼs house, like an avalanche, increasing in force as they proceeded, till they reached the Pont neuf where the mounted gendarmes, after several charges, dispersed them. Although many were wounded a fresh crowd assembled on the boulevards under my windows, for the purpose of joining those who came from the other side of the Seine. The police were powerless, the crowd grew larger and larger, until a division of infantry and a squadron of hussars arrived, when the commandant ordered the municipal guard and the troops to clear the streets and arrest the ringleaders. (This is their free nation!)

The panic spread like lightning: the shops were closed, crowds congregated at the corners, and the orderlies were hissed as they galloped about the streets. Every window was crammed with spectators, as on grand fête-days with us, and the uproar lasted from 11 a.m. till 11 p.m. I thought once some mischief might have followed, but about midnight they struck up “allons, enfants de la patrie,” and went home. I cannot describe to you the effect of the harsh voices of this excited and discontented mob. Everyone feared the _émeute_ would begin again next morning, but it did not. Grenoble alone followed the example of Lyons, but the devil knows what will come of it.

At a theatre, where only dramas have hitherto been performed, the whole history of our late revolution is being given, and people go like mad to see the fights and the national costumes. Mlle. Plater and some other ladies take the names of Lodoiska, Faniska, and Floreska, and a General Gigult appears as brother to Countess Plater.[58] But nothing amazed me so much as the announcement on the play bill of a small theatre that the mazurka “Dabrowski, Poland is not lost yet,” would be performed during the entrʼactes.

All I can tell you about my concert is that I must postpone it until January 15th, as the operatic director, Mons. Véron, refuses to let me have a vocalist. There is to be a grand concert to-day at the Italian opera house, in which Malibran, Rubini, Lablache, Santini, Madame Raimbaux, Madame Schröder, and Madame Casadory are to appear; Herz and Bériot, with whom Madame Malibran is in love, will assist in the instrumental portion.

Oh, how I wish you were with me.... You cannot think how wretched it makes me to have no one to whom I can unbosom myself. You know how fond I am of society, and how easily I make acquaintances. I have scores of such friends now, but no one with whom I can sigh. My heart is, so to speak, always beating in “syncopation,” which torments me, and makes me seek for a pause, for solitude, so that no one could see me or speak to me all day. It is most disagreeable that while I am writing to you, the bell rings and some tedious visitor is announced. Just as I was going to describe to you a ball, at which I met a divine creature with a rose in her dark hair, your letter arrived. All the creations of my fancy disappeared; my thoughts fly to you, I take your hand and weep.... When shall we meet again?... Perhaps never, for in all seriousness my health is miserable. I seem merry enough perhaps, especially when among friends, but there is something constantly troubling me within: melancholy forebodings, restlessness, bad dreams, sleeplessness, yearning, no pleasure in life, and indifference to death. It often seems to me as if a torpor came over my spirits; a heavenly calm descends on my head, and images I cannot get rid of haunt my imagination, and harass me beyond measure. In short, it is a mixture of feelings not easily described.... Forgive me, dear Titus, for pouring it all out to you, but this is enough.... Now I will go and dress for the dinner that our countrymen are giving to-day to Ramorino and Langermann.... Your letter gave me a great deal of news; you wrote four sides and thirty-seven lines; you have never been so generous before, and I really was so much in need of something when your letter came.

What you say about my artistic career is very true, and I am quite convinced of it myself. I drive in my own carriage, but the coachman is hired. I conclude, or I shall be too late for the post, for I am all in one, master and servant. Take pity on me, and write as often as possible.

Yours till death,

FREDERIC.

[Illustration]

LIST OF CHOPINʼS WORKS.

I. _Works with opus numbers. (a) Published in his life-time._

_Op. Nos._

1. Premier Rondeau, C minor.

2. La ci darem la mano, B flat major, varié pour le piano, avec accomp. dʼOrchestre.

3. Introduction et Polonaise brillante, C major, pour piano et violincelle.

4. Sonate, C minor, pour le piano (œuvre posthume.)

5. Rondeau à la Mazur, F major, pour le piano.

6. Quatre Mazurkas, F sharp minor, C sharp minor, E major, E flat minor, pour le piano.

7. Cinq Mazurkas, B flat major, A minor, F minor, A flat major, C major.

8. Premier Trio, G minor, pour piano, violin et violincelle.

9. Trois Nocturnes, B minor, E flat major, B major.

10. Douze Grandes Etudes, C major, A minor, E major, C sharp minor, G flat major, E flat minor, C major, F major, F minor, A flat major, E flat major, C minor.

11. Grand Concerto, pour le piano, E minor, avec Orchestre.

12. Variations brillantes, B major, pour le piano, sur le Rondeau favori de Ludovic de Herold. “Je vends des Scapulaires.”

13. Grande Fantaisie, A major, pour le piano sur des airs polonais, avec Orchestre.

14. Krakowiak grand rondeau de Concert, F major, pour le piano, avec Orchestre.

15. Trois Nocturnes, F major, F sharp major, G minor, pour le piano.

16. Rondeau, E flat major.

17. Quatre Mazurkas, B major, E minor, A flat major, A minor.

18. Grande Valse brillante, E flat major.

19. Bolero, C major.

20. Premier Scherzo.

21. Second Concerto, F minor, avec Orchestre.

22. Grande Polonaise brillante, E flat major, précédée dʼun Andante spianato avec Orchestre.

23. Ballade, G minor.

24. Quatre Mazurkas, G minor, C major, A flat major, B minor.

25. Douze Etudes, A flat major, F minor, F major, A minor, E minor, G sharp minor, C sharp minor, D flat major, G flat major, B minor, A minor, C minor.

26. Deux Polonaises, C sharp minor, E flat minor.

27. Deux Nocturnes, C sharp minor, D flat major.

28. Vingt quatre Preludes.

29. Impromptu, A flat major.

30. Quatre Mazurkas, C minor, B minor, D flat major, C sharp minor.

31. Deuxième Scherzo, B minor.

32. Deux Nocturnes, B major, A flat major.

33. Quatre Mazurkas, G sharp minor, D major, C major, B minor.

34. Trois Valses brillantes, A flat major, A minor, F major.

35. Sonate, B minor, avec une Marche funèbre.

36. Deuxième Impromptu, F sharp major.

37. Deux Nocturnes, G minor, G major.

38. Deuxième Ballade, F major.

39. Troisième Scherzo, C sharp minor.

40. Deux Polonaises, A major, C minor.

41. Quatre Mazurkas, C sharp minor, E minor, B major, A flat major.

42. Valse, A flat major.

43. Tarantelle, A flat major.

44. Polonaise, F sharp minor.

45. Prelude, C sharp minor.

46. Allegro de Concert, A major.

47. Troisième Ballade, A flat major.

48. Deux Nocturnes, C minor, F sharp minor.

49. Fantaisie, F minor.

50. Trois Mazurkas, G major, A flat major, C sharp minor.

51. Allegro vivace, Troisième Impromptu, G flat major.

52. Quatrième Ballade, F minor.

53. Huitième Polonaise, A flat major.

54. Scherzo No. 4, E major.

55. Deux Nocturnes, F minor, E flat major.

56. Trois Mazurkas, B major, C major, C minor.

57. Berceuse, D flat major.

58. Sonate, B minor.

59. Trois Mazurkas, A minor, A flat major, F sharp minor.

60. Barcarolle, F sharp major.

61. Polonaise-Fantaisie, A flat major.

62. Deux Nocturnes, B major, E major.

63. Trois Mazurkas, B major, F minor, C sharp minor.

64. Trois Valses, D flat major, C sharp minor, A flat major.

65. Sonate, G minor, pour piano et violincelle.

(_b_) _Posthumous Works._

66. Fantaisie-Impromptu, C sharp minor.

67. Quatre Mazurkas, G major, composed in the year 1835; G minor, 1849; C major, 1835; A minor, 1846.

68. Quatre Mazurkas, C major, 1830; A minor, 1827; F major, 1830; F minor, 1849.

69. Deux Valses, F minor, 1836; B minor, 1829.

70. Trois Valses, G flat major, 1835; F minor, 1843; D flat major, 1830.

71. Trois Polonaises, D minor, 1827; B major, 1828; F minor, 1829.

72. Nocturne, E minor, 1827. Marche funèbre, C minor, 1829, et trois Ecossaises, D major, G major, D flat major, 1830.

73. Rondeau, C major, pour deux pianos, 1828.

74. Seventeen Polish Songs (by Witwicki, Mickiewicz, Zaleski, &c.) with pianoforte accompaniment.

II. _Works without Opus Numbers._

Trois nouvelles Etudes, F minor, A flat major, D flat major, extraites de la Méthode des Méthodes.

Grand Duo concertant, E major, pour piano et violincelle sur des thêmes de “Robert le Diable,” par F. Chopin et A. Franchomme.

Mazurka, A minor.

Variations, E major, sur un air national allemand.

Hexaméron. The last variation alone No. 6, E major, composed by Chopin.

Mazurka, A minor.

Polonaise G sharp minor.

Valse, E minor.

[59] Mazurka, F sharp major.

Deux Valses Mélancoliques, F minor, B minor.

⁂ _The names of the foreign publishers appended to the above list have been omitted as unnecessary for English readers; nor has it been deemed desirable to give the alphabetical list of persons mentioned in the Work._

FOOTNOTES:

[1] Maximilian Stadler, born at Molk, in Lower Austria, August 4th, 1748, was an excellent pianist and organist. His ecclesiastical compositions were extremely popular in Vienna. In the last years of his life he was much occupied in writing on art, history, and science. He died universally esteemed and beloved in Vienna, November 8th, 1833.

[2] An author and musical _connoisseur_, born in 1792, died of cholera September, 1831.

[3] An esteemed friend, who was to accompany Chopin to Paris.

[4] Chopin dedicated to Merk his “Introduction et Polonaise Brillante pour piano et violoncello,” (op. 3.)

[5] M. L. Peter Norblin, born in Warsaw, 1781, was first violoncellist at the Grand Opera in Paris, and teacher at the Conservatoire. He died 1852.

[6] “Cicimara said, there was no one in Vienna, who accompanied as well as I did. I thought to myself, I have been convinced of this a long time. Hush.”—(Remark of Chopinʼs.)

[7] The ring presented by the Emperor Alexandra I. See Chap. III.

[8] Aloys Fuchs, born 1799 in Austrio-Silesia, was for some time musical historiographer and antiquarian at the Austrian Royal Chapel. He possessed a great many autographs and portraits; and scores of the masters of the sixteenth and seventeenth centuries; also Mozartʼs compositions, in his own handwriting. Fuchs played the violoncello very well, and was one of Beethovenʼs intimate friends. At the sale of Beethovenʼs property, Fuchs bought, among other manuscripts, one of the sketch books, which he sent, as a mark of respect, to Mendelssohn. Another of these books was bought by Meyerbeerʼs brother, William Beer. Fuchsʼs fine collection was dispersed at his death, in 1852.

[9] This Rondo appeared among the posthumous works, as op. 73.

[10] Alexander Count Von Fredro, born 1793, celebrated as a writer of excellent comedies, and called by his countrymen, the Polish Molière, began his literary labours with a translation of Goetheʼs “Clavigo.” His comedies sparkle with original ideas, and are an ornament to the national stage. He died at Lemberg, July 14th, 1876.

[11] The Pleyel piano sent from Scotland in 1858, was fortunately in the possession of Chopinʼs niece, Madame Ciechomska, who lived in the country.

[12] There is a notice of this concert, probably by Kandler, in No. 38 of the _Allgemeine Musikalische Zeitung_ for September 21st, 1831. It says, “Frederic Chopin, whose visit, last year, showed him to be a pianist of the first rank, has given a concert here. The performance of his new Concerto, which is of an earnest character, gave us no occasion to alter our first opinion. So sincere a worshipper of true art is worthy of all honour.” Other Vienna journals spoke in the same manner of his compositions, and praised his skilful and expressive playing; but these acknowledgments did not satisfy the hopes and wishes of the young artist.

[13] Leipsic was foremost in this. Many German poets also expressed their sympathy with the oppressed Polish nation in spirited songs.

[14] Lokietek and Laskonogi were Kings of Poland, and so called, the former on account of his small size, the latter because he had spindle legs. Elsner wrote an opera, in 1818, entitled “Lokietek,” which was very successful.

[15] This friend says that the later letters, from Paris, are all lost, with the exception of two little notes written in the year of Chopinʼs death, the last he wrote to Woyciechowski.

[16] The Polish Revolution.

[17] An opera by Kurpinski, performed with great success in Warsaw.

[18] See Moschelesʼs Life.

[19] This work was first performed in England at one of the trials for the Kingʼs Scholarship, at the Royal Academy of Music.—_Translatorʼs Note._

[20] The author says, in a note, that he does not know to what critique or to which Mazurkas Elsner refers. There are eight sets of these “cabinet pictures,” as Liszt calls them, and, as one of Chopinʼs most enthusiastic critics remarks, they vividly portray his patriotic and home feelings. He calls them green spots in the desert, quaint snatches of melancholy song, outpourings of an unworldly and trustful soul, musical floods of tears and gushes of pure joyfulness.—_Translatorʼs Note._

[21] The God of festive mirth is represented in the Greek mythology as a winged youth.

[22] “Mendelssohnʼs Letters.” Second Series.

[23] This letter bears no date, but was probably written about the end of September, 1835. It is to be found in the autograph collection of Hermann Scholtz, at Dresden.

[24] “Eine Biographie,” von Joseph Wilhelm von Wasietewski, Dresden, 1869.

[25] In what was formerly called the Reichenbach, but now the Gerhard Gardens, there is a monument of Prince Poniatowski, who was drowned in the Elster, October 19th, 1813.

[26] Hiller wrote some beautiful verses full of deep feeling for the festival in memory of Chopin, held at Düsseldorf, November 3rd, 1849.

[27] In the same year Chopin paid a short visit to London in company with Camillo Pleyel and Stanislas Kozmian, senior.

[28] “Histoire de ma vie.” Vol. III. chap. 6 and 7.

[29] The middle movement, for example, of No. 15 in D flat major.

[30] No. 6, B minor.

[31] Adolphe Nourrit, the greatest tenor of his day, born at Montpelier, March 3rd, 1802, threw himself out of a window, in Naples, March 3rd, 1839, because he fancied he was not receiving so much applause as formerly.

[32] These compositions are: second impromptu, op. 36; two nocturnes, op. 37; scherzo (C sharp minor), op. 39; two polonaises, op. 40; four mazurkas, op. 41; valse, op. 42; tarantelle, op. 43; &c., &c.

[33] Chopin relates this in a letter to his parents, which I myself read, but which, unfortunately, is among those that were destroyed.

[34] “Musikalische Studienköpfe.” Leipzig.

[35] Lenz once said to Chopin, “Do you study much just before a concert?” He answered, “It is a dreadful time for me; I do not like public life, but it is a part of my profession. I shut myself up for a fortnight and play Bach. That is my preparation. I do not practise my own compositions.”

[36] Liszt said of him: “If he travels I shall shut up shop.” (Lenzʼs “Great Pianists of the present day.”)

[37] This establishment is not in existence now.

[38] Published by S. Richault, in Paris, and by Stern & Co., Berlin.

[39] Alexander Thies, born in Warsaw, 1804, died in Paris, 1846, a Polish pianist and State functionary. He published, in addition to many scientific articles in home and foreign journals, “Dernier Mot sur le pouvoir social” (Paris, 1836), “Code civil de lʼempire de Russie” (Paris, 1841), “Précis des notions historiques sur la formation du corps des lois russes” (Petersbourg, 1843.)

[40] From December, 1840, till March, 1844, Mickiewicz lectured at the Collège de France, on Slavic literature. His wide-spread fame and his ability as a lecturer attracted crowded audiences. But he sank into a morbid mysticism, and talked of a visionary millennium instead of literature, and was, on that account, suspended by the authorities. His lectures are published under the title of “Les slaves. Cours professé au Collège de France.” (Paris, 1849.)

[41] “Histoire de ma vie.” Vol. XIII.

[42] It cannot be said that Chopin obtruded himself on the public notice; for, from 1834 to 1848, he only gave one public concert (Feb. 21st, 1842) with the assistance of Viardot-Garcia and Franchomme, when Chopin performed the following compositions: Ballade (A flat major); three mazurkas (A flat, B, A minor); three studies (A flat, F minor, C minor); prelude (D flat); impromptu (G flat); nocturne (D flat.) As this concert naturally made a much better impression than the first given in the Italian theatre, on account of Chopinʼs poetical and expressive playing, he held _séances_ in the Pleyel Hall nearly every year, when he always played alone, and his admirers and friends paid twenty francs for their tickets.

[43] Chopinʼs last concert began with one of Mozartʼs trios, in which Alard and Franchomme took part. Then Chopin played his new ʼcello-sonata in G minor (op. 65), and some smaller pieces—studies, preludes, mazurkas, and waltzes.

[44] Chopin always wanted flowers about him, and, if possible, violets.

[45] A facsimile of the original draught of the E minor prelude will be found at the end of this volume.

[46] It is inexplicable why Liszt should have frequently spoken of his “blue eyes.”

[47] A very long winter overcoat, made by Boy, in which his friends said he cut a very comical figure.

[48] The bandmaster Kurpinski, who because he gave scarcely any operas but Rossiniʼs, was often called a Rossinist. There is no doubt that he wrote the anonymous article referred to.

[49] A Polish national opera by Kurpinski.

[50] A Polish poet, died 1849.

[51] Another instance of Chopinʼs inclination to superstition.

[52] A castle of the King of Prussia, beautifully situated at the foot of the Riesengebirge.

[53] A reference to his attachment to Mlle. Gladkowska.

[54] General Rozniecki, who was then president of the National Theatre.

[55] Chopin places the instruments in this order.

[56] Mons. Woyciechowskiʼs estate, where he is still living.

[57] Girolamo Ramorino, illegitimate son of Marshal Lannes, was born in Genoa, 1792; he left his country for political reasons, and entered the French army, to take part in the war against Austria and Russia. During the Restoration he lived in Savoy. When the revolution broke out in Piedmont in 1821, he bravely and successfully commanded the insurgent forces. When the disturbances were over he went to France, and in 1830, to Warsaw, when he became colonel in the Polish army. He distinguished himself in several battles and soon obtained the rank of General. At the end of August, 1831, he was ordered to lead 20,000 men against the Russian general, Rosen, on the right bank of the Vistula, and to victual Warsaw. But he failed shamefully. He might easily have beaten Rosen and relieved Warsaw; but, owing to his carelessness, and neglect of the Commander-in-chiefʼs orders, he did not reach the besieged city in time. Instead, therefore, of an ovation he deserved the utmost contempt and reprobation, as the main cause of the miseries which from that time fell thick and fast upon Poland. But Nemesis at length overtook him. In the beginning of 1849, he entered the Sardinian army, and took the command of the fifth (Lombard) division; but he once more disobeyed orders, and opened the way for the Austrians into Piedmont. He was imprisoned, tried by court-martial, and shot at Piazza dʼArmi, near Turin, May 22nd, 1849.

[58] Countess Emilie Plater, a young Polish heroine, who, during the revolution of 1831, served as a soldier, assumed manʼs attire and entered General Gielgudʼs division. (The French altered the name to Gigult.) She died during a flight. Her biography has been fully written by Straszewicz.

[59] The authorship of this piece is regarded as doubtful. G.

INDEX.

Accent, Exaggeration of, 288.

Adagio in the E minor Concerto, op. 11, 99.

Adagio in 2nd Concerto, 113, 136.

Aelomelodicon, 33.

Allgemeine Musikalische Zeitung, 216.

Art Forms, Lisztʼs observations on, 335.

Bach, Sebastian, 289, 290, 329.

Ballade, op. 23, 241.

Ballads, op. 23, 38, 47, 52, 344.

Barcarole, op. 60, 301.

Beethoven, 129, 330, 340.

Beethovenʼs Adagio from the C sharp minor Sonata, 279.

Beethovenʼs Last Trio, 102.

Beethovenʼs Opinions, 142.

Beethovenʼs Pianoforte Concertos, 142.

Beethovenʼs Sonatas, 141.

Beethovenʼs Violin Concerto, 142.

Belleville, Mlle., 359, 360.

Berceuse, op. 57, 301.

Berlioz, 328.

Blahetka, Leopolda, 77.

Bolero, op. 19, 241.

Brodzinski, Casimir, 125.

Broken Chords, 138.

Catalini, 19, 145.

Cavaignac, Gottfried, 327.

Chmiel, 69.

Chopin as a Teacher, 273.

Chopinʼs Imitative Talent, 276.

Chopin, (Emily), 11.

Chopin, (Justine), 8.

Chopin, (Louisa), 11.

Chopin, (Nicholas), 3.

Chord, Detached, 21.

Chord, Slurred, 21.

Cibini, Fräulein, 167.

Clary, The Princess Aloysia von, 83.

Classic School, 328.

Clementiʼs “Gradus ad Parnassum,” 285.

Compositions published in Warsaw, 101.

Concerto in E minor, 119, 217, 246.

Concerto in F minor, 107, 118, 165, 233.

Concertos, 133.

Constantine, 20, 171.

Counterpoint, Knowledge of, 28.

Cramer, 143.

Czerny, 97, 166, 201.

“Dame Blanche,” 69.

Damereau-Cinti, Madame, 236.

Dance Forms, 339.

Dances, 91.

Der Freischütz, 41, 140.

Diminished Chord, 138.

Don Juan Variations, 336.

Dudevant, Aurora, 261.

Dunst, 355.

Earliest Compositions, 19.

Elsner (Joseph Xaver), 15, 21, 212, 233, 352, 354, 367.

Elsnerʼs Echo Variations, 156.

Elsnerʼs Masses, 195.

Etudes, op. 10, 133.

Etude in A flat, No. 10, op. 10, 139.

Etudes, 348.

Fantasia on Polish Airs, 55, 107, 120, 133, 137, 336.

Fantasie Impromptu, op. 66, 348.

Fantasie Polonaise, op. 61, 343.

Faust, 86.

Feeling in Pianoforte playing, 286.

Fétis, 228.

Fidelio, 140.

Field, John, 132, 133, 143.

Fingering, Novelty of, 242.

Fioritures, 337.

Floriani, Lucrezia, 303.

Flotow, 144.

Fontana, Julius, 35.

Form, Newness of, 131.

“Fra Diavolo,” 169.

Franchomme, 338.

Fuchsʼ, Aloys, Collection of Autograph Works, 206.

Funeral March in the Sonata, op. 35, 321, 338.

Gazette Polska, 353.

Gladkowska, 117, 359, 361.

Glasgow, 312.

Gluck, 329.

Grande Polonaise Brillante, op. 22, 241.

Grzymala, Franz, 38.

Gutmann, 307, 320.

Gyrowetzʼs Pianoforte Concerto, 18.

Handel, 329.

Handelʼs “Ode on St. Ceciliaʼs Day,” 50.

Handelʼs Oratorio, 41.

Haydn, 329.

Heine, 263, 334.

Heinefetter, Sabine, 169, 185.

Herz, 143, 231.

Hesse, 155, 201.

Hiller, 231, 233.

Hummel, 60, 143, 196, 336.

Hummelʼs influence, 129.

Hummelʼs “La Sentinelle,” 352.

Impromptu, op. 29, 241.

Impromptu, op. 36, 275.

Improvisation, 23, 29, 58, 68, 71, 95, 260, 279.

Independence of fingers, 285.

Introduction et Polonaise Brillante pour Piano et ʼCello, op. 3, 129.

Iris, The, 133.

Jewish Wedding March, 25.

Kalkbrenner, 143, 221, 231.

Kalkbrennerʼs Concerto, 24.

Klengel, August Alexander, 79, 81, 97, 143, 159, 160, 161.

Klengelʼs 48 Canons and Fugues, 97.

Köhler, 155.

Kreutzer, 146.

Kreutzer, “Das Nachtlager von Granada,” 144.

Kurjer Szafarski, 24, 25.

Kurpinski, 340, 353.

Kurpinskiʼs Szarlatan, 235.

Lablache, 235.

Lachner, 144.

“La ci darem la mano,” op. 2, 130.

La Mara, 287.

Larghetto from the 2nd Concerto, 137.

Left Hand in Pianoforte Playing, 289.

Leiden Christi, 15.

Likl, 175.

Lind, Jenny, 314.

Linde (Madame von), 13.

Lipinski, Charles, 145.

Liszt, 135, 260, 277, 278, 279, 280, 328, 332.

Lortzing, 144.

Louis Ferdinand, Prince, 102.

Majorca, 266.

Majufes, 25, 201.

Malfatti, 166, 170.

Malibran, 235.

“Marquise de Brinvilliers,” The, 236.

Marschner, “Der Templar und die Jüdin,” 144.

Marschner, “Hans Heiling,” 144.

“Matrimonio Segreto,” 50.

Matuszynski, Johann, 151, 300.

Maysederʼs Solos, 66.

Mazurka, Chopinʼs Last, 348.

Mazurkas, 91, 180, 287, 339.

Mazurkas, op. 6 and 7, 131, 339.

Mazurkas, op. 17, 339.

Mazurkas, op. 24, 241, 339.

Mazurkas, op. 30, 339.

Mazurkas, op. 33, 339.

Mazurkas, op. 41, 275.

Mazurkas, op. 50, 339.

Mazurkas, op. 56, 339.

Mazurkas, op. 59, 301, 331.

Mazurkas, op. 63, 301, 339.

Mazurkas, op. 67 and 68, 348.

Mazovians, The, 31.

Memory, Astonishing, of Chopin and Liszt, 280.

Mendelssohn, 143, 249.

Mendelssohn on Chopinʼs Pianoforte playing, 253.

Mendelssohn, Songs without words, No. 1, Book 2, 139.

Merk, 202.

Meyerbeer, 148, 321.

Meyerbeer, “Les Huguenots,” 144.

Meyerbeer, “Ritter des Kreuzes,” 144.

Meyerbeerʼs “Robert le Diable,” 144, 235.

Mickiewicz, 343, 344.

Miemcewicz (Julius Ursin), 18.

Miltitz, Baron, Mass, 160.

Mistake, The, or the “Imaginary Rogue,” 23.

Moscheles, 143,

Moscheles on Chopinʼs Early Works, 242.

Moscheles on Chopinʼs Pianoforte playing, 276.

Moschelesʼ Variations on the Alexander March, 112.

Mozart, 147, 329.

Mozart, Chopinʼs admiration for, 320.

Mozartʼs “Midritate Rè di Ponto,” 147.

Musset, Alfred de, 126.

Mutes of Portici, The, 169.

Nidecki, Thomas, 71.

Nocturne, Marche Funebre, Trois Ecossaises, op. 72, 348.

Nocturnes, op. 9, 132, 345.

Nocturnes, op. 15, 241, 345.

Nocturnes, op. 27, 241, 346.

Nocturnes, op. 37, 275, 346.

Nocturnes, op. 48, 62, 72, 346.

Nourrit, Adolphe, 273.

Nowakowskiʼs Symphony, 353.

Official Journal, 353.

Oginski, Prince Michael, 340.

Onslowʼs “Die Hausirer” (“Le Colporteur”), 50.

Organ, Chopinʼs Preference for the, 8.

Orlowski, Anton, 169, 355.

Overture to “William Tell,” 119.

Paerʼs Agnese, 114.

Paganini, 145, 146.

Pasta, 235.

Pianoforte playing, 92.

Pichon, M., 25.

Pixisʼ Concerto, 100.

Polish Courier, 353, 354.

Polish folk-songs, 331.

Polish Songs, Sixteen, op. 74, 348.

Polonaise, op. 3, 338.

Polonaise, op. 22, 337.

Polonaises, op. 26, 241, 342.

Polonaises, op. 40, 275, 341, 342.

Polonaises, op. 44, 341.

Polonaises, op. 53, 301, 341.

Polonaises, op. 71, 342, 348.

Polonaise in F minor, op. 71, 105.

Polonaise Fantasia, op. 61, 301.

Polonaise, Origin of the, 340.

Potocka, The Countess Delphine, 248, 318, 319.

Preludes, 347.

Preludes in B minor and E minor, 321.

Radziwill, Prince Anton, 36.

Radziwillʼs, (Prince), Faust, 104.

Rellstab, 133.

Ries, Die Räuberbraut, 227.

“Robert le Diable,” 338.

Romanticism, 343.

Romantic School, 328.

Rondeau pour deux Pianos, op. 73, 348.

Rondo à la Mazur, op. 5, 34, 137.

Rondo Cracovienne, 65, 95, 108, 133, 137, 350.

Rondo, op. 1, ded. to Madame Linde, 13, 34, 128.

Rondo in C for 2 Pianos, op. 73, 43, 351.

Rossini, 140.

Rubini, 235.

Salieri, 148.

Sammler, The Vienna, 98.

Sand, George, 261, 265, 297, 298, 302, 307, 310, 311, 315, 327.

Sarmatian Melodies, 126.

Scherzi, 346, 347.

Scherzo, op. 20, 241.

Scherzo in C sharp minor, op. 39, 275.

Schmitt, Aloys, 187.

Schnabel, 154.

Scholtz, Herman, on Chopinʼs Earliest Compositions, 136.

Schubert, 143, 330, 340.

Schulhoff, Julius, 293.

Schumann, Article in the Allgemeine Musikalische Zeitung, 129.

Schumannʼs “Gesammelte Schriften über Musik und Musiker,” 134.

Schumann, Neue Zeitschrift für Musik, 243.

Schumann on Chopinʼs “Ballade,” 257.

Schumannʼs Romance in F sharp, 139.

Schuppanzigh, 141.

Slavonic folk-songs, 30, 32.

Slawick, 177, 201.

Soliva, 115.

Sonata in C minor, op. 4, 64, 129, 137, 338.

Sonata in B flat minor, op. 35, 338.

Sonata in B minor, op. 58, 301, 338.

Sonata in G minor, op. 65, 301, 338.

Sonntag, Mlle., 358, 360.

Spohr, 227, 340.

Spohrʼs “Azor and Zemire,” 144.

Spohrʼs disparagement of Paganini, 145.

Spohrʼs Faust, 144.

Spohrʼs “Jessonda,” 144.

Spohrʼs Octett, 99.

Spohrʼs Quintett for Piano, Clarionet, Bassoon, French Horn and Flute, 364.

Spontiniʼs “Ferdinand Cortez,” 47, 50.

Stadler, The Abbé, 194.

Stirlingʼs, Miss, Chopin Museum, 212.

Stradellaʼs Hymn to the Virgin, 319.

Studies, 138, 348.

Study in C minor, 138, 218.

Tarantelle, op. 43, 275.

Tarnowski, Count Stanislas, 303.

Tempo rubato, 289.

Thalberg, 143, 187.

Thies, Alexander, 297.

“Third of May, The,” 349.

Touch, Cultivation of, 285.

Trio in G minor, op. 8, 43, 44, 129.

Urban, 245.

Valse, op. 42, 275.

Valses, op. 69, and 70, 348.

Variations on “La ci darem la mano,” op. 2, 64, 129, 137.

Variations brillantes, op. 12, 133.

Variations, ded. to Woyciechowski, 94, 106.

Veltheim, Charlotte, 68.

Vienna, The Imperial Library of, 198.

Violoncello, Chopinʼs preference for, 337.

Wagner, 139.

Waltzes, op. 18, 34, 42, 64, 69, 70, 344.

Warsaw Courier, 354, 356.

Warsaw Gazette, 352, 353, 354.

Weber, 340.

Weber, Dionys, 143.

Weiglʼs “Schweizerfamilie,” 144.

Wély, Lefébure, 321.

Wieck, Clara, 131, 252.

Wieck, Frederic, Letter of, 251.

Wiener Theater Zeitung, 76, 97, 364.

Wildt, Franz, 169, 185.

Winterʼs “Das unterbrochene Opferfest,” 46, 144.

Wodzynski, Maria, 255.

Worlitzer, 112.

Wockow, Fräulein, 116, 117, 359.

Würfel, 165.

Zeitschrift für Literatur, 98.

Zwyny, (Adalbert), 14.

G. HILL, STEAM PRINTER, 154, WESTMINSTER BRIDGE ROAD S.E.