1834 and 1835, was not published till 1837.

The indubitably most important musical event of the season 1835-1836,
was the production of Meyerbeer's Les Huguenots, which took place on
February 29, 1836, and had an extraordinary success. The concert-rooms,
however, concern us more than the opera-houses. This year brought to
Paris two Polish musicians: Lipinski, the violinist, and Gusikow, the
virtuoso on the Strohfiedel, [FOOTNOTE: "Straw-fiddle," Gigelira, or
Xylophone, an instrument consisting of a graduated series of bars of
wood that lie on cords of twisted straw and are struck with sticks.]
whom Mendelssohn called "a true genius," and another contemporary
pointed out as one of the three great stars (Paganini and Malibran were
the two others) at that time shining in the musical heavens. The story
goes that Lipinski asked Chopin to prepare the ground for him in Paris.
The latter promised to do all in his power if Lipinski would give a
concert for the benefit of the Polish refugees. The violinist at first
expressed his willingness to do so, but afterwards drew back, giving as
his reason that if he played for the Polish refugees he would spoil his
prospects in Russia, where he intended shortly to make an artistic tour.
Enraged at this refusal, Chopin declined to do anything to further
his countryman's plans in Paris. But whether the story is true or not,
Lipinski's concert at the Hotel de Ville, on March 3, was one of the
most brilliant and best-attended of the season. [FOOTNOTE: Revue et
Gazette musicale of March 13, 1836. Mainzer had a report to the same
effect in the Neue Zeitschrift fur Musik.]

The virtuoso, however, whose appearance caused the greatest sensation
was Thalberg. The Gazette musicale announced his arrival on November
8, 1835. He was first heard at M. Zimmermann's; Madame Viardot-Garcia,
Duprez, and De Beriot being the other artists that took active parts in
the soiree. The enthusiasm which Thalberg on this occasion as well as
subsequently excited was immense. The Menestrel expressed the all but
unanimous opinion when, on March 13, 1836, it said: "Thalberg is not
only the first pianist in the world, but he is also a most distinguished
composer." His novel effects astonished and delighted his hearers.
The pianists showed their appreciation by adopting their confrere's
manipulations and treatment of the piano as soon as these ceased to
puzzle them; the great majority of the rising Parisian pianists becam