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On March 17, 1830, he gave his first concert in Warsaw, and selected the adagio and rondo of his first concerto, the one in F minor, and the Potpourri on Polish airs. His playing was criticised for being too delicate an old complaint but the musicians, Elsner, Kurpinski and the rest were pleased. Edouard Wolff said they had no idea in Warsaw of "the real greatness of Chopin."
Among the Polish composers of the second half of the last century and the beginning of the present whose polonaises enjoyed in their day, and partly enjoy still, a high reputation, are especially notable Kozlowski, Kamienski, Elsner, Deszczynski, Bracicki, Wanski, Prince Oginski, Kurpinski, and Dobrzynski.
For instance, in the Fantaisie, op. 13, the theme of Kurpinski moves and saddens us; but the composer does not give time for this impression to become durable; he suspends it by means of a long trill, and then suddenly by a few chords and with a brilliant prelude leads us to a popular dance, which makes us mingle with the peasant couples of Mazovia.
Thus came the Kosciuszko, the Oginski, the Moniuszko, the Kurpinski, and a long list written by composers with names ending in "ski." It is really a march, a processional dance, grave, moderate, flowing, and by no means stereotyped. Liszt tells of the capricious life infused into its courtly measures by the Polish aristocracy.
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