(that could hardly be), but with more force and brio." Along
with other compositions of his, Chopin played on this occasion his
Scherzo in B flat and his Etude in C sharp minor. Another attraction of
the matinee was the singing of Madame Viardot-Garcia, "who, besides her
inimitable airs with Mdlle. de Mendi, and her queerly-piquant Mazurkas,
gave the Cenerentola rondo, graced with great brilliancy; and a song by
Beethoven, 'Ich denke dein.'"

[FOOTNOTE: No doubt, those Mazurkas by Chopin which, adapting to them
Spanish words, she had arranged for voice and piano. Hiller wrote
mostenthusiastically of these arrangements and her performance of them.]

Mr. Salaman said, at a meeting of the London Musical Association (April
5, 1880), in the course of a discussion on the subject of Chopin, that
he was present at the matinee at the house of Mrs. Sartoris, and would
never forget the concert-giver's playing, especially of the waltz in D
flat. "I remember every bar, how he played it, and the appearance of
his long, attenuated fingers during the time he was playing. [FOOTNOTE:
Their thinness may have made them appear long, but they were not really
so. See Appendix III.] He seemed quite exhausted." Mr. Salaman was
particularly struck by the delicacy and refinement of Chopin's touch,
and the utmost exquisiteness of expression.

To Chopin, as the reader will see in the letter addressed to Franchomme,
and dated August 6th and 11th, these semi-public performances had only
the one redeeming point--that they procured him much-needed money,
otherwise he regarded them as a great annoyance. And this is not to be
wondered at, if we consider the physical weakness under which he was
then labouring. When Chopin went before these matinees to Broadwood's
to try the pianoforte on which he was to play, he had each time to be
carried up the flight of stairs which led to the piano-room. Chopin had
also to be carried upstairs when he came to a concert which his pupil
Lindsay Sloper gave in this year in the Hanover Square Rooms. But
nothing brings his miserable condition so vividly before us as his own
letters.

Chopin to Grzymala, London, July 18, 1848:--

My best thanks for your kind lines and the accompanying letter
from my people. Heaven be thanked, they are all well; but why
are they concerned about me? I cannot become sadder than I am,
a real joy I have not felt for a long time. Indeed, I feel
nothing at all, I only vegetate, w