regards the rupture. She visited him
when she went in the following year (1849) to Paris.

In his letter to Gutmann, Chopin speaks of his intention to give a
matinee at a private house. And he more than realised it; for he not
only gave one, but two--the first at the house of Mrs. Sartoris (nee
Adelaide Kemble) and the second at the house of Lord Falmouth. Here are
two advertisements which appeared in the Times.

June 15, 1848:--

Monsieur Chopin will give a Matinee musicale, at No. 99, Eaton
Place, on Friday, June 23, to commence at 3 o'clock. A limited
number of tickets, one guinea each, with full particulars, at
Cramer, Beale & Co.'s, 201, Regent Street.

July 3 and 4, 1848:--

Monsieur Chopin begs to announce that his second Matinee
musicale will take place on Friday next, July 7, at the
residence of the Earl of Falmouth, No. 2, St. James's Square.
To commence at half-past 3. Tickets, limited in number, and
full particulars at Cramer, Beale & Co.'s, 201, Regent Street.

The Musical World (July 8, 1848) says about these
performances:--

M. Chopin has lately given two performances of his own
pianoforte music at the residence of Mrs. Sartoris (late Miss
Adelaide Kemble), which seem to have given much pleasure to
his audiences, among whom Mdlle. Lind, who was present at the
first, seems to be the most enthusiastic. We were not present
at either, and, therefore, have nothing to say on the subject.

[FOOTNOTE: Of course, the above-quoted advertisements prove
the reporter to be wrong in this particular; there was only
one at the house of Mrs. Sartoris.]

From an account of the first matinee in the Athenaeum we learn that
Chopin played nocturnes, etudes, mazurkas, two waltzes, and the
Berceuse, but none of his more developed works, such as sonatas,
concertos, scherzos, and ballades. The critic tries to analyse
the master's style of execution--a "mode" in which "delicacy,
picturesqueness, elegance, and humour are blended so as to produce
that rare thing, a new delight"--pointing out his peculiar fingering,
treatment of scale and shake, tempo rubato, &c. But although the critic
speaks no less appreciatively of the playing than of the compositions,
the tenor of the notice of the second matinee (July 15, 1848) shows that
the former left nevertheless something to be desired. "Monsieur Chopin
played better at his second than at his first matinee--not with more
delicacy