The name of Madame Dubois reminds me of the soiree immortalised by a letter of Madame Girardin (see the one of March 7, 1847, in Vol.  IV. of Le Vicomte de Launay), and already several times alluded to by me in preceding chapters.  At this soiree Chopin not only performed several of his pieces, but also accompanied on a second piano his E minor Concerto which was played by his pupil, the youthful and beautiful Mdlle.  Camille O’Meara.  But the musical event par excellence of the period of Chopin’s life with which we are concerned in this chapter is his concert, the last he gave in Paris, on February 16, 1848.  Before I proceed with my account of it, I must quote a note, enclosing tickets for this concert, which Chopin wrote at this time to Franchomme.  It runs thus:  “The best places en evidence for Madame D., but not for her cook.”  Madame D. was Madame Paul Delaroche, the wife of the great painter, and a friend of Franchomme’s.

But here is a copy of the original programme:—­

  First part.

     Trio by Mozart, for piano, violin, and violoncello,
     performed by mm.  Chopin, Alard, and Franchomme.

     Aria, sung by Mdlle.  Antonia Molina di Mondi.

Nocturne,  |
|--composed and performed by M. Chopin. 
Barcarole, |

     Air, sung by Mdlle.  Antonia Molina di Mondi.

Etude,     |
|--composed and performed by M. Chopin. 
Berceuse,  |

  Second part.

     Scherzo, Adagio, and Finale of the Sonata in G minor, for
     piano and violoncello, composed by M. Chopin, and performed
     by the author and M. Franchomme.

     Air nouveau from Robert le Diable, composed by M. Meyerbeer,
     sung by M. Roger.

Preludes,  |
|
Mazurkas,  |—­composed and performed by M. Chopin.
|
Valse,     |

     Accompanists:—­Mm.  Aulary and de Garaude.

The report of “M.  S.” in the Gazette musicale of February 20, 1848, transports us at once into the midst of the exquisite, perfume-laden atmosphere of Pleyel’s rooms on February 16:—­

A concert by the Ariel of pianists is a thing too rare to be given, like other concerts, by opening both wings of the doors to whomsoever wishes to enter.  For this one a list had been drawn up:  everyone inscribed thereon his name:  but everyone was not sure of obtaining the precious ticket:  patronage was required to be admitted into the holy of holies, to obtain the favour of depositing one’s offering, and yet this offering amounted to a louis; but who has not a louis to spare whep Chopin may be heard?

The outcome of all this naturally was that the fine flower of the aristocracy of the most distinguished women, the most elegant toilettes, filled on Wednesday Pleyel’s rooms.  There was also the aristocracy of artists and amateurs, happy to seize in his flight this musical sylph who had promised to let himself once more and for