is on record that he was present at the concert at Warsaw in 1825
at which Frederick played. We have already considered and
disposed of the question whether the Prince, as has been averred
by Liszt, paid for young Chopin's education. As a dilettante
Prince Radziwill occupied a no less exalted position in art and
science than as a citizen and functionary in the body politic. To
confine ourselves to music, he was not only a good singer and
violoncellist, but also a composer; and in composition he did not
confine himself to songs, duets, part-songs, and the like, but
undertook the ambitious and arduous task of writing music to the
first part of Goethe's Faust. By desire of the Court the Berlin
Singakademie used to bring this work to a hearing once every
year, and they gave a performance of it even as late as 1879. An
enthusiastic critic once pronounced it to be among modern works
one of those that evince most genius. The vox populi seems to
have repealed this judgment, or rather never to have taken
cognisance of the case, for outside Berlin the work has not often
been heard. Dr. Langhans wrote to me after the Berlin performance
in 1879:--

I heard yesterday Radziwill's Faust for the first time, and,
I may add, with much satisfaction; for the old-fashioned
things to be found in it (for instance, the utilisation of
Mozart's C minor Quartet fugue as overture, the strictly
polyphonous treatment of the choruses, &c.) are abundantly
compensated for by numerous traits of genius, and by the
thorough knowledge and the earnest intention with which the
work is conceived and executed. He dares incredible things in
the way of combining speech and song. That this combination
is an inartistic one, on that point we are no doubt at one,