In his letter of December 27, 1828, Chopin makes some allusions to the Warsaw theatres.  The French company had played Rataplan, and at the National Theatre they had performed a comedy of Fredro’s, Weber’s Preciosa, and Auber’s Macon.  A musical event whichmust have interested Chopin much more than the performances of the two last-mentioned works took place in the first half of the year 1829—­namely, Hummel’s appearance in Warsaw.  He and Field were, no doubt, those pianists who through the style of their compositions most influenced Chopin.  For Hummel’s works Chopin had indeed a life-long admiration and love.  It is therefore to be regretted that he left in his letters no record of the impression which Hummel, one of the four most distinguished representatives of pianoforte-playing of that time, made upon him.  It is hardly necessary to say that the other three representatives—­of different generations and schools let it be understood—­were Field, Kalkbrenner, and Moscheles.  The only thing we learn about this visit of Hummel’s to Warsaw is that he and the young Polish pianist made a good impression upon each other.  As far as the latter is concerned this is a mere surmise, or rather an inference from indirect proofs, for, strange to say, although Chopin mentions Hummel frequently in his letters, he does not write a syllable that gives a clue to his sentiments regarding him.  The older master, on the other hand, shows by his inquiries after his younger brother in art and the visits he pays him that he had a real regard and affection for him.

It is also to be regretted that Chopin says in his letters nothing of Paganini’s appearance in Warsaw.  The great Italian violinist, who made so deep an impression on, and exercised so great an influence over, Liszt, cannot have passed by without producing some effect on Chopin.  That the latter had a high opinion of Paganini may be gathered from later utterances, but what one would like is a description of his feelings and thoughts when he first heard him.  Paganini came to Warsaw in 1829, after his visit to Berlin.  In the Polish capital he was worshipped with the same ardour as elsewhere, and also received the customary tributes of applause, gold, and gifts.  From Oreste Bruni’s Niccolo Paganini, celebre violinista Genovese, we learn that his Warsaw worshippers presented him with a gold snuff-box, which bore the following inscription:—­Al Cav.  Niccolo Paganini.  Gli ammiratori del suo talento.  Varsovia 19 Luglio 1829.

Some months after this break in what he, no doubt, considered the monotonous routine of Warsaw life, our friend made another excursion, one of far greater importance in more than one respect than that to Berlin.  Vienna had long attracted him like a powerful magnet, the obstacles to his going thither were now removed, and he was to see that glorious art-city in which Gluck, Haydn, Mozart, Beethoven, Schubert, and many lesser but still illustrious men had lived and worked.