lessons, are of opinion that I play as well as Kalkbrenner, and that it is only vanity that makes him wish to have me for his pupil.  That is nonsense.  Whoever knows anything of music must think highly of Kalkbrenner’s talent, although he is disliked as a man because he will not associate with everybody.  But I assure you there is in him something higher than in all the virtuosos whom I have as yet heard.  I have said this in a letter to my parents, who quite understand it.  Elsner, however, does not comprehend it, and regards it as jealousy on Kalkbrenner’s part that he not only praises me, but also wishes that my playing were in some respects different from what it is.  In spite of all this I may tell you confidentially that I have already a distinguished name among the artists here.

Elsner expressed his astonishment that Kalkbrenner should require three years to reveal to Chopin the secrets of his art, and advised his former pupil not to confine the exercise of his musical talent to pianoforte-playing and the composition of pianoforte music.  Chopin replies to this in a letter written on December 14, 1831, as follows:—­

In the beginning of last year, although I knew what I yet lacked, and how very far I still was from equalling the model I have in you, I nevertheless ventured to think, “I will approach him, and if I cannot produce, a Lokietek ["the short,” surname of a king of Poland; Elsner had composed an opera of that name], I may perhaps give to the world a Laskonogi ["the thin-legged,” surname of another king of Poland].”  To-day all such hopes are annihilated; I am forced to think of making my way in the world as a pianist.  For some time I must keep in the background the higher artistic aim of which you wrote to me.  In order to be a great composer one must possess, in addition to creative power, experience and the faculty of self-criticism, which, as you have taught me, one obtains not only by listening to the works of others, but still more by means of a careful critical examination of one’s own.

After describing the difficulties which lie in the way of the opera composer, he proceeds:—­

It is my conviction that he is the happier man who is able to execute his compositions himself.  I am known here and there in Germany as a pianist; several musical journals have spoken highly of my concerts, and expressed the hope of seeing me soon take a prominent position among the first pianoforte- virtuosos.  I had to-day anopportunity or fulfilling the promise I had made to myself.  Why should I not embrace it?...  I should not like to learn pianoforte-playing in Germany, for there no one could tell me precisely what it was that I lacked.  I, too, have not seen the beam in my eye.  Three years’ study is far too much.  Kalkbrenner, when he had heard me repeatedly, came to see that himself.  From this you may see that a true meritorious virtuoso does not know the feeling of envy.  I would certainly make up