fruits, so he manifested as much estimable individuality in
his compositions, where new figures, new passages, new forms
unfolded themselves in the introduction, in the first,
second, and fourth Variations, and in the concluding
metamorphosis of Mozart's theme into a polacca.

Such is the ingenuousness of the young virtuoso that he
undertook to come forward at the close of the concert with a
free fantasia before a public in whose eyes few improvisers,
with the exception of Beethoven and Hummel, have as yet found
favour. If the young man by a manifold change of his themes
aimed especially at amusement, the calm flow of his thoughts
and their firm connection and chaste development were
nevertheless a sufficient proof of his capability as regards
this rare gift. Mr. Chopin gave to-day so much pleasure to a
small audience that one cannot help wishing he may at another
performance play before a larger one....

Although the critic of the Wiener Theaterzeitung is more succinct in
his report (September 1, 1829) of the second concert, he is not less
complimentary. Chopin as a composer as well as an executant justified on
this occasion the opinion previously expressed about him.

He is a young man who goes his own way, and knows how to
please in this way, although his style of playing and writing
differs greatly from that of other virtuosos; and, indeed
chiefly in this, that the desire to make good music
predominates noticeably in his case over the desire to
please. Also to-day Mr. Chopin gave general satisfaction.

These expressions of praise are so enthusiastic that a suspicion might
possibly arise as to their trustworthiness. But this is not the only
laudatory account to be found in the Vienna papers. Der Sammler, for
instance, remarked: "In Mr. Chopin we made the acquaintance of one of
the most excellent pianists, full of delicacy and deepest feeling."
The Wiener Zeitschrift fur Kunst, Literatur, Theater und Mode, too, had
appreciative notices of the concerts.

He executes the greatest difficulties with accuracy and
precision, and renders all passages with neatness. The
tribute of applause which the public paid to this clever
artist was very great; the concert-piece with orchestra (the
Variations) especially pleased.

This was written after the first concert, and printed on August 22,
1829. From the criticism on the second concert, which