ressed to Pixis, to the manager of the theatre, and to
other musical big-wigs. The distinguished violin-virtuoso, professor
at the Conservatorium, and conductor at the theatre, Frederick Pixis
(1786--1842), received Chopin very kindly, gave up some lessons that he
might keep him longer and talk with him, and invited him to come again
in the afternoon, when he would meet August Alexander Klengel, of
Dresden, whose card Chopin had noticed on the table. For this esteemed
pianist and famous contrapuntist he had also a letter of introduction,
and he was glad to meet him in Prague, as he otherwise would have missed
seeing him, Klengel being on his way to Vienna and Italy. They made each
other's acquaintance on the stairs leading to Pixis' apartments.

I heard him play his fugues for two hours; I did not play, as
they did not ask me to do so. Klengel's rendering pleased me,
but I must confess I had expected something better (but I beg
of you not to mention this remark of mine to others).

Elsewhere he writes:--

Of all the artists whose acquaintance I have made, Klengel
pleased me most. He played me his fugues (one may say that
they are a continuation of those of Bach. There are forty-
eight of them, and the same number of canons). What a
difference between him and Czerny!

Klengel's opus magnum, the "Canons et Fugues dans tons les tons majeurs
et mineurs pour le piano, en deux parties," did not appear till 1854,
two years after his death, although it had been completed some decades
previously. He carried it about with him on all his travels, unceasingly
improving and perfecting it, and may be said to have worked at it for
the space of half his life. The two artists who met at Pixis' house
got on well together, unlike as they were in their characters and aims.
Chopin called on Klengel before the latter's departure from Prague, and
spent two hours with him in conversation, neither of them being for
a moment at a loss for material to talk about. Klengel gave Chopin
a letter of introduction to Morlacchi, the address of which ran: Al
ornatissimo Signore Cavaliere Morlacchi, primo maestro della capella
Reale, and in which he asked this gentleman to make the bearer
acquainted with the musical life of Dresden. How favourably Klengel
had impressed his younger brother in art may be gathered from the
above-quoted and the following remarks: "He was to me a very agreeable
acquaintance, whom I esteem more hig