TE: In the Allgemeine musikalische Zeitung of April 3, 1833.] to
have characterised Field's performances as quite novel and incredible;
and Fetis, who speaks of them in the highest terms, relates that on
hearing the pianist play a concerto of his own composition, the public
manifested an indescribable enthusiasm, a real delirium. Not all
accounts, however, are equally favourable.

[FOOTNOTE: In the Revue musicale of December 29, 1832. The criticism is
worth reproducing:--"Quiconque n'a point entendu ce grand pianiste ne
peut se faire d'idee du mecanisme admirable de ses doigts, mecanisme tel
que les plus grandes difficultes semblent etre des choses fort simples,
et que sa main n'a point l'air de se mouvoir. Il n'est d'ailleurs pas
mains etonnant dans l'art d'attaquer la note et de varier a l'infini
les diverses nuances de force, de douceur et d'accent. Un enthousiasme
impossible a decrire, un veritable delire s'est manifeste dans le public
a l'audition de ce concerto plein de charme rendu avec une perfection de
fini, de precision, de nettete et d'expression qu'il serait impossible
de surpasser et que bien peu de pianistes pourraient egaler." Of a MS.
concerto played by Field at his second concert, given on February 3,
1833, Fetis says that it is "diffus, peu riche en motifs heureux, peu
digne, en un mot, de la renommee de son auteur," but "la delicieuse
execution de M. Field nous a tres-heureusement servi de compensation"]

Indeed, the contradictory criticisms to be met with in books and
newspapers leave on the reader the impression that Field disappointed
the expectations raised by his fame. The fact that the second concert
he gave was less well attended than the first cannot but confirm this
impression. He was probably no longer what he had been; and the reigning
pianoforte style and musical taste were certainly no longer what they
had been. "His elegant playing and beautiful manner of singing on the
piano made people admire his talent," wrote Fetis at a later period (in
his "Biographie universelle des Musiciens"), "although his execution had
not the power of the pianists of the modern school." It is not at
all surprising that the general public and the younger generation of
artists, more especially the romanticists, were not unanimously moved
to unbounded enthusiasm by "the clear limpid flow" and "almost somnolent
tranquillity" of Field's playing, "the placid tenderness, graceful
candour, and charming ingenuousness o