,
every line, every colour, betrays the painter of genius. His was a
talent thoroughly indigenous--his compositions are of great simplicity;
no too complicated combinations of parts, one might even say that they
are homophonous; nevertheless what wealth of thought, what beauty of
harmony, what profoundness of sentiment do we find there! These simple
melodies clothed in pure and truly holy harmonies, written, as Gomolka
said himself, not for the Italians, but for the Poles, who are happy
in their own country, are the best specimens of the national style. "In
speaking of the early Polish church music I must not forget to mention
the famous College of the Roratists, [FOOTNOTE: The duties of these
singers were to sing Rorate masses and Requiem masses for the royal
family. Their name was derived from the opening word of the Introit,
"Rorate coeli."] the Polish Sistine Chapel, attached to the Cracow
Cathedral. It was founded in 1543 and subsisted till 1760. With the
fifteenth of seventeen conductors of the college, Gregor Gorczycki, who
died in 1734, passed away the last of the classical school of Polish
church music. Music was diligently cultivated in the seventeenth
century, especially under the reigns of Sigismund III. (1587-1632), and
Wladislaw IV. (1632-1648); but no purpose would be served by crowding
these pages with unknown names of musicians about whom only scanty
information is available; I may, however, mention the familiar names of
three of many Italian composers who, in the seventeenth century, like
many more of their countrymen, passed a great part of their lives in
Poland--namely, Luca Marenzio, Asprilio Pacelii, and Marco Scacchi.

APPENDIX II.

EARLY PERFORMANCES OF CHOPIN'S WORKS IN GERMANY.

(VOL. I., p. 268.)

The first performance of a composition by Chopin at the Leipzig
Gewandhaus took place on October 27, 1831. It was his Op. 1, the
variations on La ci darem la mano, which Julius Knorr played at a
concert for the benefit of the Pension-fund of the orchestra, but not
so as to give the audience pleasure--at least, this was the opinion of
Schumann, as may be seen from his letter to Frederick Wieck of January
4, 1832. Chopin relates already on June 5, 1830, that Emilie Belleville
knew his variations by heart and had played them in Vienna. Clara Wieck
was one of the first who performed Chopin's compositions in public. On
September 29, 1833, she played at a Leipzig Gewandhaus concert the last
mo