re of his parents
that he should travel in order that he might become familiar with the
finest works under the advantage of their perfect execution. For this
purpose he visited many of the German cities. He had left Warsaw upon
one of these short excursions, when the revolution of the 29th of
November broke out in 1830.

Forced to remain in Vienna, he was heard there in some concerts, but the
Viennese public, generally so cultivated, so prompt to seize the most
delicate shades of execution, the finest subtleties of thought, during
this winter were disturbed and abstracted. The young artist did not
produce there the effect he had the right to anticipate. He left Vienna
with the design of going to London, but he came first to Paris, where
he intended to remain but a short time. Upon his passport drawn up for
England, he had caused to be inserted: "passing through Paris." These
words sealed his fate. Long years afterwards, when he seemed not only
acclimated, but naturalized in France, he would smilingly say: I am
"passing through Paris."

He gave several concerts after his arrival in Paris, where he was
immediately received and admired in the circles of the elite, as well as
welcomed by the young artists. We remember his first appearance in the
saloons of Pleyel, where the most enthusiastic and redoubled applause
seemed scarcely sufficient to express our enchantment for the genius
which had revealed new phases of poetic feeling, and made such happy yet
bold innovations in the form of musical art.

Unlike the greater part of young debutants, he was not intoxicated or
dazzled for a moment by his triumph, but accepted it without pride
or false modesty, evincing none of the puerile enjoyment of gratified
vanity exhibited by the PARVENUS of success. His countrymen who were
then in Paris gave him a most affectionate reception. He was intimate
in the house of Prince Czartoryski, of the Countess Plater, of Madame
de Komar, and in that of her daughters, the Princess de Beauveau and the
Countess Delphine Potocka, whose beauty, together with her indescribable
and spiritual grace, made her one of the most admired sovereigns of
the society of Paris. He dedicated to her his second Concerto, which
contains the Adagio we have already described. The ethereal beauty of
the Countess, her enchanting voice enchained him by a fascination full
of respectful admiration. Her voice was destined to be the last which
should vibrate upon the musici