tea two days after the first concert.  They were inexpressibly delighted to hear that he was going to give a second, asked him to visit them on his way through Vienna to Paris, and promised him a letter of introduction to a sister of the Count’s.  This Count Lichnowski was Count Moritz Lichnowski, the friend of Beethoven, to whom the great master dedicated the Variations, Op. 35, and the Sonata, Op. 90, in which are depicted the woes and joys of the Count’s love for the singer Mdlle.  Strammer, who afterwards became his wife, and, in fact, was the Countess Lichnowska with whom Chopin became acquainted.

[Footnote:  Count Moritz Lichnowski must not be confounded with his elder brother Prince Carl Lichnowski, the pupil and friend of Mozart, and the friend and patron of Beethoven, to whom the latter dedicated his Op. 1, and who died in 1814.]

Among the letters of introduction which Chopin brought with him there was also one for Schuppanzigh, whose name is in musical history indissolubly connected with those of Beethoven and Lichnowski.  The eminent quartet leader, although his quartet evenings were over, held out to Chopin hopes of getting up another during his visitor’s stay in Vienna—­he would do so, he said, if possible.  To no one, however, either professional or amateur, was Chopin so much indebted for guidance and furtherance as to his old obliging friend Wurfel, who introduced him not only to Count Gallenberg, Count Lichnowski, and Capellmeister Seyfried, but to every one of his acquaintances who either was a man of influence or took an interest in musical matters.  Musicians whose personal acquaintance Chopin said he was glad to make were:  Gyrowetz, the author of the concerto with which little Frederick made his debut in Warsaw at the age of nine, an estimable artist, as already stated, who had the sad misfortune to outlive his popularity; Capellmeister Seyfried, a prolific but qualitatively poor composer, best known to our generation as the editor of Albrechtsberger’s theoretical works and Beethoven’s studies; Conradin Kreutzer, who had already distinguished himself as a virtuoso on the clarinet and pianoforte, and as a conductor and composer, but had not yet produced his “Nachtlager”; Franz Lachner, the friend of Franz Schubert, then a young active conductor and rising composer, now one of the most honoured veterans of his art.  With Schuppanzigh’s pupil Mayseder, the prince of the Viennese violinists of that day, and indeed one of the neatest, most graceful, and elegant, although somewhat cold, players of his instrument, Chopin had a long conversation.  The only critical comments to be found in Chopin’s letters on the musicians he came in contact with in the Austrian capital refer to Czerny, with whom he got well acquainted and often played duets for two pianos.  Of him the young Polish musician said, “He is a good man, but nothing more.”  And after having bidden him farewell, he says, “Czerny was warmer than all his compositions.”  However, it