A surer proof of Frederick’s ability than the applause and favour of the aristocracy was the impression he made on the celebrated Catalani, who, in January, 1820, gave four concerts in the town-hall of Warsaw, the charge for admission to each of which was, as we may note in passing, no less than thirty Polish florins (fifteen shillings).  Hearing much of the musically-gifted boy, she expressed the wish to have him presented to her.  On this being done, she was so pleased with him and his playing that she made him a present of a watch, on which were engraved the words:  “Donne par Madame Catalani a Frederic Chopin, age de dix ans.”

As yet I have said nothing of the boy’s first attempts at composition.  Little Frederick began to compose soon after the commencement of his pianoforte lessons and before he could handle the pen.  His master had to write down what the pupil played, after which the youthful maestro, often dissatisfied with his first conception, would set to work with the critical file, and try to improve it.  He composed mazurkas, polonaises, waltzes, &c.  At the age of ten he dedicated a march to the Grand Duke Constantine, who had it scored for a military band and played on parade (subsequently it was also published, but without the composer’s name), and these productions gave such evident proof of talent that his father deemed it desirable to get his friend Elsner to instruct him in harmony and counterpoint.  At this time, however, it was not as yet in contemplation that Frederick should become a professional musician; on the contrary, he was made to understand that his musical studies must not interfere with his other studies, as he was then preparing for his entrance into the Warsaw Lyceum.  As we know that this event took place in 1824, we know also the approximate time of the commencement of Elsner’s lessons.  Fontana says that Chopin began these studies when he was already remarkable as a pianist.  Seeing how very little is known concerning the nature and extent of Chopin’s studies in composition, it may be as well to exhaust the subject at once.  But before I do so I must make the reader acquainted with the musician who, as Zyvny was Chopin’s only pianoforte teacher, was his only teacher of composition.

Joseph Elsner, the son of a cabinet and musical instrument maker at Grottkau, in Silesia, was born on June 1, 1769.  As his father intended him for the medical profession, he was sent in 1781 to the Latin school at Breslau, and some years later to the University at Vienna.  Having already been encouraged by the rector in Grottkau to cultivate his beautiful voice, he became in Breslau a chorister in one of the churches, and after some time was often employed as violinist and singer at the theatre.  Here, where he got, if not regular instruction, at least some hints regarding harmony and kindred matters (the authorities are hopelessly at variance on this and on many other points), he made his first attempts at composition, writing dances,