n of sixty-two years in Poland, on April 18, 1854, leaving
behind him one of the most honoured names in the history of his adopted
country. Of the journeys he undertook, the longest and most important
was, no doubt, that to Paris in 1805. On the occasion of this visit
some of his compositions were performed, and when Chopin arrived there
twenty-five years afterwards, Elsner was still remembered by Lesueur,
who said: "Et que fait notre bon Elsner? Racontez-moi de ses nouvelles."
Elsner was a very productive composer: besides symphonies, quartets,
cantatas, masses, an oratorio, &c., he composed twenty-seven Polish
operas. Many of these works were published, some in Warsaw, some in
various German towns, some even in Paris. But his activity as a teacher,
conductor, and organiser was perhaps even more beneficial to the
development of the musical art in Poland than that as a composer. After
founding and conducting several musical societies, he became in 1821
director of the then opened Conservatorium, at the head of which he
continued to the end of its existence in 1830. To complete the idea of
the man, we must not omit to mention his essay In how far is the Polish
language suitable for music? As few of his compositions have been heard
outside of Poland, and these few long ago, rarely, and in few places, it
is difficult to form a satisfactory opinion with regard to his position
as a composer. Most accounts, however, agree in stating that he wrote in
the style of the modern Italians, that is to say, what were called the
modern Italians in the later part of the last and the earlier part of
this century. Elsner tried his strength and ability in all genres, from
oratorio, opera, and symphony, down to pianoforte variations, rondos,
and dances, and in none of them did he fail to be pleasing and
intelligible, not even where, as especially in his sacred music, he
made use--a sparing use--of contrapuntal devices, imitations, and fugal
treatment. The naturalness, fluency, effectiveness, and practicableness
which distinguish his writing for voices and instruments show that he
possessed a thorough knowledge of their nature and capability. It was,
therefore, not an empty rhetorical phrase to speak of him initiating
his pupils "a la science du contre-point et aux effets d'une savante
instrumentation."

[FOOTNOTE: "The productions of Elsner," says Fetis, "are in the style of
Paer and Mayer's music. In his church music there is a little too m