his compositions, where new figures, new passages, new forms unfolded themselves in the introduction, in the first, second, and fourth Variations, and in the concluding metamorphosis of Mozart’s theme into a polacca.

Such is the ingenuousness of the young virtuoso that he undertook to come forward at the close of the concert with a free fantasia before a public in whose eyes few improvisers, with the exception of Beethoven and Hummel, have as yet found favour.  If the young man by a manifold change of his themes aimed especially at amusement, the calm flow of his thoughts and their firm connection and chaste development were nevertheless a sufficient proof of his capability as regards this rare gift.  Mr. Chopin gave to-day so much pleasure to a small audience that one cannot help wishing he may at another performance play before a larger one....

Although the critic of the Wiener Theaterzeitung is more succinct in his report (September 1, 1829) of the second concert, he is not less complimentary.  Chopin as a composer as well as an executant justified on this occasion the opinion previously expressed about him.

He is a young man who goes his own way, and knows how to please in this way, although his style of playing and writing differs greatly from that of other virtuosos; and, indeed chiefly in this, that the desire to make good music predominates noticeably in his case over the desire to please.  Also to-day Mr. Chopin gave general satisfaction.

These expressions of praise are so enthusiastic that a suspicion might possibly arise as to their trustworthiness.  But this is not the only laudatory account to be found in the Vienna papers.  Der Sammler, for instance, remarked:  “In Mr. Chopin we made the acquaintance of one of the most excellent pianists, full of delicacy and deepest feeling.”  The Wiener Zeitschrift fur Kunst, Literatur, Theater und Mode, too, had appreciative notices of the concerts.

He executes the greatest difficulties with accuracy and precision, and renders all passages with neatness.  The tribute of applause which the public paid to this clever artist was very great; the concert-piece with orchestra (the Variations) especially pleased.

This was written after the first concert, and printed on August 22, 1829.  From the criticism on the second concert, which appeared in the same paper a week later (August 29), I cull the following sentences:—­

Chopin performed a new Rondo for pianoforte and orchestra of his own composition.  This piece is written throughout in the chromatic style, rarely rises to geniality, but has passages which are distinguished by depth and thoughtful working-out.  On the whole, however, he seems to be somewhat lacking in variety.  The master showed in it his dexterity as a pianist to perfection, and conquered the greatest difficulties with felicity.  A longer stay in Vienna might be to the advantage of his touch