ot
unnaturally suggests itself. Be this as it may, that she is, or was,
a good player, who as an intimate friend and countrywoman thoroughly
entered into the spirit of her master's music, seems beyond question.

[FOOTNOTE: "The Princess Marcelline Czartoryska," wrote Sowinski in
1857 in the article "Chopin" of his "Musicien polonais," "who has a
fine execution, seems to have inherited Chopin's ways of procedure,
especially in phrasing and accentuation. Lately the Princess performed
at Paris with much success the magnificent F minor Concerto at a concert
for the benefit of the poor." A critic, writing in the Gazette Musicale
of March 11, 1855, of a concert given by the Princess--at which she
played an andante with variations for piano and violoncello by Mozart,
a rondo for piano and orchestra by Mendelssohn, and Chopin's F minor
Concerto, being assisted by Alard as conductor, the violoncellist
Franchomme, and the singers Madame Viardot and M. Fedor--praised
especially her rendering of the ADAGIO in Chopin's Concerto. Lenz was
the most enthusiastic admirer of the Princess I have met with. He calls
her (in the Berliner Musikzeitung, Vol. XXVI) a highly-gifted nature,
the best pupil [Schulerin] of Chopin, and the incarnation of her
master's pianoforte style. At a musical party at the house of the Counts
Wilhorski at St. Petersburg, where she performed a waltz and the Marche
funebre by Chopin, her playing made such an impression that it was
thought improper to have any more music on that evening, the trio of
the march having, indeed, moved the auditors to tears. The Princess told
Lenz that on one occasion when Chopin played to her this trio, she fell
on her knees before him and felt unspeakably happy.]

G. Chouquet reminded me not to omit to mention among Chopin's pupils
Madame Peruzzi, the wife of the ambassador of the Duke of Tuscany to the
court of Louis Philippe:--

This virtuosa [wrote to me the late keeper of the Musee of the
Paris Conservatoire] had no less talent than the Princess
Marcelline Czartoryska. I heard her at Florence in 1852, and I
can assure you that she played Chopin's music in the true
style and with all the unpublished traits of the master. She
was of Russian origin.

But enough of amateurs. Mdlle. Friederike Muller, now for many years
married to the Viennese pianoforte-maker J. B. Streicher, is regarded
by many as the most, and is certainly one of the most gifted of Chopin's
favourite