was a man punctual and precise in his
habits. Associating constantly with fashionable folk his naturally
dignified behavior was increased. He was an aristocrat--there is no
other word--and he did not care to be hail-fellow-well-met with the
musicians. A certain primness and asperity did not make him popular.
While teaching, his manner warmed, the earnest artist came to life, all
halting of speech and polite insincerities were abandoned. His pupils
adored him. Here at least the sentiment was one of solidarity. De Lenz
is his most censorious critic and did not really love Chopin. The
dislike was returned, for the Pole suspected that his pupil was sent by
Liszt to spy on his methods. This I heard in Paris.

Chopin was a remarkable teacher. He never taught but one genius, little
Filtsch, the Hungarian lad of whom Liszt said, "When he starts playing
I will shut up shop." The boy died in 1845, aged fifteen; Paul
Gunsberg, who died the same year, was also very talented. Once after
delivering in a lovely way the master's E minor concerto Filtsch was
taken by Chopin to a music store and presented with the score of
Beethoven's "Fidelio." He was much affected by the talents of this
youthful pupil. Lindsay Sloper and Brinley Richards studied with
Chopin. Caroline Hartmann, Gutmann, Lysberg, Georges Mathias, Mlle.
O'Meara, many Polish ladies of rank, Delphine Potocka among the rest,
Madame Streicher, Carl Mikuli, Madame Rubio, Madame Peruzzi, Thomas
Tellefsen, Casimir Wernik, Gustav Schumann, Werner Steinbrecher, and
many others became excellent pianists. Was the American pianist, Louis
Moreau Gottschalk, ever his pupil? His friends say so, but Niecks does
not mention him. Ernst Pauer questions it. We know that Gottschalk
studied in Paris with Camille Stamaty, and made his first appearance
there in 1847. This was shortly before Chopin's death when his interest
in music had abated greatly. No doubt Gottschalk played for Chopin for
he was the first to introduce the Pole's music in America.

Chopin was very particular about the formation of the touch, giving
Clementi's Preludes at first. "Is that a dog barking?" was his sudden
exclamation at a rough attack. He taught the scales staccato and legato
beginning with E major. Ductility, ease, gracefulness were his aim;
stiffness, harshness annoyed him. He gave Clementi, Moscheles and Bach.
Before playing in concert he shut himself up and played, not Chopin but
Bach, always Bach. Absolute