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Schumann found "it contained much that is repulsive," and Liszt raves rhapsodically over it; for Karasowski it was the "pain and grief of an entire nation," while Ehlert thinks "it owes its renown to the wonderful effect of two triads, which in their combination possess a highly tragical element. The middle movement is not at all characteristic. Why could it not at least have worn second mourning?
Karasowski who saw some of them says they were tinged with melancholy. Despite his artistic success Chopin needed money and began to consider again his projected trip to America. Luckily he met Prince Valentine Radziwill on the street, so it is said, and was persuaded to play at a Rothschild soiree. From that moment his prospects brightened, for he secured paying pupils.
All this is undoubtedly very pretty, and would be invaluable in a novel, but I am afraid we should embarrass Karasowski were we to ask him to name his authorities. Of this meeting at the house of the Marquis de C. i.e., the Marquis de Custine I was furnished with a third version by an eye-witness namely, by Chopin's pupil Adolph Gutmann.
Karasowski thinks that the letters numbered 1, 2, 3, and 9 were of the year 1838, and those numbered 6, 7, and 8 of the year 1839; but as the "Tarantelle," Op. 43, the "Polonaise," Op. 44, the "Prelude," Op. 45, the "Allegro de Concert," Op. 46, the third "Ballade," Op. 47, the two "Nocturnes," Op. 48, and the "Fantaisie," Op. 49, therein mentioned, were published in 1841, I have no doubt that they are of the year 1841.
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