only
of its performance and the circumstances connected with it.

On September 18, 1830, Chopin writes that a few days previously he
rehearsed the Concerto with quartet accompaniment, but that it does not
quite satisfy him:--

Those who were present at the rehearsal say that the Finale
is the most successful movement (probably because it is
easily intelligible). How it will sound with the orchestra I
cannot tell you till next Wednesday, when I shall play the
Concerto for the first time in this guise. To-morrow I shall
have another rehearsal with quartet.

To a rehearsal with full orchestra, except trumpets and drums (on
September 22, 1830), he invited Kurpinski, Soliva, and the select
musical world of Warsaw, in whose judgment, however, he professes to
have little confidence. Still, he is curious to know how--

the Capellmeister [Kurpinski] will look at the Italian
[Soliva], Czapek at Kessler, Filipeus at Dobrzynski, Molsdorf
at Kaczynski, Ledoux at Count Sohyk, and Mr. P. at us all. It
has never before occurred that all these gentlemen have been
assembled in one place; I alone shall succeed in this, and I
do it only out of curiosity!

The musicians in this company, among whom are Poles, Czechs, Germans,
Italians, &c., give us a good idea of the mixed character of the musical
world of Warsaw, which was not unlike what the musical world of London
is still in our day. From the above remark we see that Chopin had
neither much respect nor affection for his fellow-musicians; indeed,
there is not the slightest sign in his letters that an intimacy existed
between him and any one of them. The rehearsals of the Concerto keep
Chopin pretty busy, and his head is full of the composition. In the same
letter from which I quoted last we find the following passage:--

I heartily beg your pardon for my hasty letter of to-day; I
have still to run quickly to Elsner in order to make sure
that he will come to the rehearsal. Then I have also to
provide the desks and mutes, which I had yesterday totally
forgotten; without the latter the Adagio would be wholly
insignificant, and its success doubtful. The Rondo is
effective, the first Allegro vigorous. Cursed self-love! And
if it is anyone's fault that I am conceited it is yours,
egoist; he who associates with such a person becomes like
him. But in one point I am as yet unlike you. I can never
make up my mind quickly