This rather acute critique, translated by Dr. Niecks, is from the
Wiener "Theaterzeitung" of August 20, 1829. The writer of it
cannot be accused of misoneism, that hardening of the faculties
of curiousness and prophecy--that semi-paralysis of the organs of
hearing which afflicts critics of music so early in life and
evokes rancor and dislike to novelties. Chopin derived no money
from either of his concerts.

By this time he was accustomed to being reminded of the lightness
and exquisite delicacy of his touch and the originality of his
style. It elated him to be no longer mistaken for a pupil and he
writes home that "my manner of playing pleases the ladies so very
much." Thismanner never lost its hold over female hearts, and the
airs, caprices and little struttings of Frederic are to blame for
the widely circulated legend of his effeminate ways. The legend
soon absorbed his music, and so it has come to pass that this
fiction, begotten of half fact and half mental indolence, has
taken root, like the noxious weed it is. When Rubinstein, Tausig
and Liszt played Chopin in passional phrases, the public and
critics were aghast. This was a transformed Chopin indeed, a
Chopin transposed to the key of manliness. Yet it is the true
Chopin. The young man's manners were a trifle feminine but his
brain was masculine, electric, and his soul courageous. His
Polonaises, Ballades, Scherzi and Etudes need a mighty grip, a
grip mental and physical.

Chopin met Czerny. "He is a good man, but nothing more," he said
of him. Czerny admired the young pianist with the elastic hand
and on his second visit to Vienna, characteristically inquired,
"Are you still industrious?" Czerny's brain was a tireless