as by his constant intercourse with
Liszt and Chopin during his stay of several years in Paris to the
rich passage work of the new school, appeared to him old-fashioned.
Mendelssohn, who in his letters repeatedly alludes to his sterility in
the matter of new pianoforte passages, allowed himself to be persuaded
by Hiller to rewrite the pianoforte part, and was pleased with the
result. It is clear from the above that if Mendelssohn failed to give
Chopin his due, Chopin did more than apply the jus talionis.

Schumann, however, found still less favour in the eyes of Chopin than
Mendelssohn; for whilst among the works which, for instance, Madame
Dubois, who was Chopin's pupil for five years, studied under her master,
Mendelssohn was represented at least by the Songs without Words and the
G minor Concerto, Schumann was conspicuous by his total absence. And let
it be remarked that this was in the last years of Chopin's life, when
Schumann had composed and published almost all his important works for
pianoforte alone and many of his finest works for pianoforte with other
instruments. M. Mathias, Chopin's pupil during the years 1839-1844,
wrote to me: "I think I recollect that he had no great opinion of
Schumann. I remember seeing the "Carnaval," Op. 9, on his table; he did
not speak very highly of it." In 1838, when Stephen Heller was about
to leave Augsburg for Paris, Schumann sent him a copy of his "Carnaval"
(published in September, 1837), to be presented to Chopin. This copy had
a title-page printed in various colours and was most tastefully bound;
for Schumann knew Chopin's love of elegance, and wished to please him.
Soon after his arrival in Paris, Heller called on the Polish musician
and found him sitting for his portrait. On receiving the copy of the
"Carnaval" Chopin said: "How beautifully they get up these things in
Germany!" but uttered not a word about the music. However, we shall see
presently what his opinion of it was. Some time, perhaps some years,
after this first meeting with Chopin, Heller was asked by Schlesinger
whether he would advise him to publish Schumann's "Carnaval." Heller
answered that it would be a good speculation, for although the work
would probably not sell well at first, it was sure to pay in the long
run. Thereupon Schlesinger confided to Heller what Chopin had told
him--namely, that the "Carnaval" was not music at all. The contemplation
of this indifference and more than indifference of a gre