December, 1831, and stayed there
till about the middle of April, 1832, associated a good deal with this
set of striving artists. The diminutive "Chopinetto," which he makes
use of in his letters to Hiller, indicates not only Chopin's delicate
constitution of body and mind and social amiability, but also
Mendelssohn's kindly feeling for him. [Footnote: Chopin is not mentioned
in any of Mendelssohn's Paris letters. But the following words may refer
to him; for although Mendelssohn did not play at Chopin's concert, there
may have been some talk of his doing so. January 14, 1832: "Next week
a Pole gives a concert; in it I have to play a piece for six performers
with Kalkbrenner, Hiller and Co." Osborne related in his "Reminiscences
of Frederick Chopin," a paper read before a meeting of the Musical
Association (April 5, 1880), that he, Chopin, Hiller, and Mendelssohn,
during the latter's stay in Paris, frequently dined together at a
restaurant. They ordered and paid the dinner in turn. One evening at
dessert they had a very animated conversation about authors and their
manuscripts. When they were ready to leave Osborne called the waiter,
but instead of asking for la note a payer, he said "Garcon, apportez-moi
votre manuscrit." This sally of the mercurial Irishman was received with
hearty laughter, Chopin especially being much tickled by the profanation
of the word so sacred to authors. From the same source we learn also
that Chopin took delight in repeating the criticisms on his performances
which he at one time or other had chanced to overhear.

Not the least interesting and significant incident in Chopin's life was
his first meeting and early connection with Kalkbrenner, who at that
time--when Liszt and Thalberg had not yet taken possession of the
commanding positions they afterwards occupied--enjoyed the most
brilliant reputation of all the pianists then living. On December 16,
1831, Chopin writes to his friend Woyciechowski:--

You may easily imagine how curious I was to hear Herz and
Hiller play; they are ciphers compared with Kalkbrenner.
Honestly speaking, I play as well as Herz, but I wish I could
play as well as Kalkbrenner. If Paganini is perfect, so also
is he, but in quite another way. His repose, his enchanting
touch, the smoothness of his playing, I cannot describe to
you, one recognises the master in every note--he is a giant
who throws all other artists into the shade. When I visited