en by Liszt, but
the following excerpts from the other parts of the article may not be
unacceptable to the reader:--

We spoke of Schubert because there is no other nature which
has a more complete analogy with him. The one has done for the
piano what the other has done for the voice...Chopin was a
composer from conviction. He composes for himself, and what he
composes he performs for himself...Chopin is the pianist of
sentiment PAR EXCELLENCE. One may say that Chopin is the
creator of a school of pianoforte-playing and of a school of
composition. Indeed, nothing equals the lightness and
sweetness with which the artist preludes on the piano, nothing
again can be placed by the side of his works full of
originality, distinction, and grace. Chopin is an exceptional
pianist who ought not to be, and cannot be, compared with
anyone.

The words with which the critic of the Menestrel closes his remarks,
describe well the nature of the emotions which the artist excited in his
hearers:--

In order to appreciate Chopin rightly, one must love gentle
impressions, and have the feeling for poetry: to hear Chopin
is to read a strophe of Lamartine....Everyone went away full
of sweet joy and deep reverie (recueillement).

The concert, which was beyond a doubt a complete success, must have
given Chopin satisfaction in every respect. At any rate, he faced the
public again before a year had gone by. In the Gazette Musicale of
February 20, 1842, we read that on the following evening, Monday, at
Pleyel's rooms, the haute societe de Paris et tous les artistes s'y
donneront rendez-vous. The programme of the concert was to be as
follows:--

1. Andante suivi de la 3ieme Ballade, par Chopin.

2. Felice Donzella, air de Dessauer.

3. Suite de Nocturnes, Preludes et Etudes, par Chopin.

4. Divers fragments de Handel, chante par Madame Viardot-
Garcia.

5. Solo pour Violoncello, par M. Franchomme.

6. Nocturne, Preludes, Mazurkas et Impromptu.

7. Le Chene et le Roseau, chante par Madame Viardot-Garcia,
accompagne par Chopin.

Maurice Bourges, who a week later reports on the concert, states more
particularly what Chopin played. He mentions three mazurkas in A flat
major, B major, and A minor; three studies in A flat major, F minor, and
C minor; the Ballade in A flat major; four nocturnes, one of which was
that in F sharp minor; a prelude in D flat; and an impromptu in G (G
fla