n.

[FOOTNOTE: Here are some specimens of the publisher's
ingenious inventiveness:--"Adieu a Varsovie" (Rondeau, Op. 1),
"Hommage a Mozart" (Variations, Op. 2), "La Gaite"
(Introduction et Polonaise, Op. 3), "La Posiana" (Rondeau a la
Mazur, Op. 5), "Murmures de la Seine" (Nocturnes, Op. 9), "Les
Zephirs" (Nocturnes, Op. 15), "Invitation a la Valse" (Valse,
Op. 18), "Souvenir d'Andalousie" (Bolero, Op. 19), "Le banquet
infernal" (Premier Scherzo, Op. 20), "Ballade ohne Worte"
[Ballad without words] (Ballade, Op. 23), "Les Plaintives"
(Nocturnes, Op. 27), "La Meditation" (Deuxieme Scherzo, Op.
31), "Il lamento e la consolazione" (Nocturnes, Op. 32), "Les
Soupirs" (Nocturnes, Op. 37), and "Les Favorites" (Polonaises,
Op. 40). The mazurkas generally received the title of
"Souvenir de la Pologne."]

Madame Sand thanks you for the kind words accompanying the
parcel. Give directions that my letters may be delivered to
Pelletan, Rue Pigal [i.e., Pigalle], 16, and impress it very
strongly on the portier. The son of Madame Sand will be in
Paris about the 16th. I shall send you, through him, the MS.
of the Concerto ["Allegro de Concert"] and the Nocturnes [Op.
46 and 48].

These letters of the romantic tone-poet to a friend and fellow-artist
will probably take the reader by surprise, nay, may even disillusionise
him. Their matter is indeed very suggestive of a commercial man writing
to one of his agents. Nor is this feature, as the sequel will show,
peculiar to the letters just quoted. Trafficking takes up a very large
part of Chopin's Parisian correspondence; [FOOTNOTE: I indicate by this
phrase comprehensively the whole correspondence since his settling in
the French capital, whether written there or elsewhere.] of the ideal
within him that made him what he was as an artist we catch, if any, only
rare glimmerings and glimpses.

CHAPTER XXV.

TWO PUBLIC CONCERTS, ONE IN 1841 AND ANOTHER IN 1842.--CHOPIN'S STYLE OF
PLAYING: TECHNICAL QUALITIES; FAVOURABLE PHYSICAL CONDITIONS; VOLUME
OF TONE; USE OF THE PEDALS; SPIRITUAL QUALITIES; TEMPO RUBATO;
INSTRUMENTS.--HIS MUSICAL SYMPATHIES AND ANTIPATHIES.--OPINIONS ON MUSIC
AND MUSICIANS.

The concert which Chopin gave in 1841, after several years of
retirement, took place at Pleyel's rooms on Monday, the 26th of April.
It was like his subsequent concerts a semi-public rather than a public
one, for the audience consisted of