umbers, but about the year 1840
had increased to 650 numbers, most of them complete works. He must have
understood how to ingratiate himself with the collector, otherwise he
would hardly have had the good fortune to be presented with an autograph
of Beethoven.

Chopin became also acquainted with almost all the principal publishers
in Vienna. Of Haslinger enough has already been said. By Czerny Chopin
was introduced to Diabelli, who invited him to an evening party of
musicians. With Mechetti he seems to have been on a friendly footing.
He dined at his house, met him at Dr. Malfatti's, handed over to him
for publication his Polonaise for piano and violoncello (Op. 3), and
described him as enterprising and probably persuadable to publish
Elsner's masses. Joseph Czerny, no relation of Charles's, was a mere
business acquaintance of Chopin's. Being reminded of his promise to
publish a quartet of Elsner's, he said he could not undertake to do so
just then (about January 26, 1831), as he was publishing the works of
Schubert, of which many were still in the press.

Therefore [writes Chopin to his master] I fear your MS. will
have to wait. Czerny, I have found out now, is not one of the
richest publishers here, and consequently cannot easily risk
the publication of a work which is not performed at the Sped
or at the Romische Kaiser. Waltzes are here called works; and
Lanner and Strauss, who lead the performances, Capellmeister.
In saying this, however, I do not mean that all people here
are of this opinion; on the contrary, there are many who
laugh at it. Still, it is almost only waltzes that are
published.

It is hardly possible for us to conceive the enthusiasm and ecstasy into
which the waltzes of the two dance composers transported Vienna, which
was divided into two camps:--

The Sperl and Volksgarten [says Hanslick] were on the Strauss
and Lanner days the favourite and most frequented "concert
localities." In the year 1839 Strauss and Lanner had already
each of them published more than too works. The journals were
thrown into ecstasy by every new set of waltzes; innumerable
articles appeared on Strauss, and Lanner, enthusiastic,
humorous, pathetic, and certainly longer than those that were
devoted to Beethoven and Mozart.

These glimpses of the notabilities and manners of a by-gone generation,
caught, as it were, through the chinks of the wall which time is
buildi