We consider it superfluous to say that this piece, one of the masterworks of the composer, was executed with a rare perfection of talent by the two greatest pianoforte-virtuosos of our epoch.  Brilliancy of execution combined with perfect delicacy, sustained elevation, and the contrast of the most spirited vivacity and calmest serenity, of the most graceful lightness and gravest seriousness—­the clever blending of all the nuances can only be expected from two artists of the same eminence and equally endowed with deep artistic feeling.  The most enthusiastic applause showed mm.  Liszt and Chopin better than we can do by our words how much they charmed the audience, which they electrified a second time by a Duo for two pianos composed by Liszt.

This work of Liszt’s was no doubt the Duo for two pianos on a theme of Mendelssohn’s which, according to Miss Ramann, was composed in 1834 but never published, and is now lost.

The “Menestrel” of March 22, 1835, contains a report of a concert at Pleyel’s rooms, without, however, mentioning the concert-giver, who was probably the proprietor himself:—­

The last concert at Pleyel’s rooms was very brilliant.  Men of fashion, litterateurs, and artists had given each other rendez-vous there to hear our musical celebrities—­mm.  Herz, Chopin, Osborne, Hiller, Reicha, Mesdames Camille Lambert and Leroy, and M. Hamati [read Stamati], a young pianist who had not yet made a public appearance in our salons.  These artists performed various pieces which won the approval of all.

And now mark the dying fall of this vague report:  “Kalkbrenner’s Variations on the cavatina ‘Di tanti palpiti’ were especially applauded.”

We come now to the so much talked-of concert at the Italian Opera, which became so fateful in Chopin’s career as a virtuoso.  It is generally spoken of as a concert given by Chopin, and Karasowski says it took place in February, 1834.  I have, however, been unable to find any trace of a concert given by Chopin in 1834.  On the other hand, Chopin played on April 5, 1835, at a concert which in all particulars except that of date answers to the description of the one mentioned by Karasowski.  The “Journal des Debats” of April 4, 1835, draws the public’s attention to it by the following short and curious article:—­

The concert for the benefit of the indigent Poles [i.e., indigent Polish refugees] will take place to-morrow, Saturday, at the Theatre-Italien, at eight o’clock in the evening.  Mdlle.  Falcon and Nourrit, mm.  Ernst, Dorus, Schopin [sic], Litz [sic], and Pantaleoni, will do the honours of this soiree, which will be brilliant.  Among other things there will be heard the overtures to “Oberon” and “Guillaume Tell,” the duet from the latter opera, sung by Mdlle.  Falcon and Nourrit, and romances by M. Schubert, sung by Nourrit and accompanied by Litz, &c.

To this galaxy of artistic talent I have yet to add Habeneck, who conducted the orchestra.  Chopin played with the orchestra his E minor Concerto and with Liszt a duet for two pianos by Hiller.