and his teachers not to make a public appearance, which, he added, was, moreover, a politic move for this reason, that no one who has composed anything new and wishes to make a noise in the world can do so unless he performs his works himself.  In fact, everybody with whom he got acquainted was of the same opinion, and assured him that the newspapers would say nothing but what was flattering.  At last Chopin allowed himself to be persuaded, Wurfel took upon him the care of making the necessary arrangements, and already the next morning the bills announced the coming event to the public of Vienna.  In a long postscript of a long and confused letter to his people he writes:  “I have made up my mind.  Blahetka asserts that I shall create a furore, ‘being,’ as he expressed it, ’an artist of the first rank, and occupying an honourable place by the side of Moscheles, Herz, and Kalkbrenner.’” To all appearance our friend was not disposed to question the correctness of this opinion; indeed, we shall see that although he had his moments of doubting, he was perfectly conscious of his worth.  No blame, however, attaches to him on this account; self-respect and self-confidence are not only irreprehensible but even indispensable—­ that is, indispensable for the successful exercise of any talent.  That our friend had his little weaknesses shall not be denied nor concealed.  I am afraid he cannot escape the suspicion of having possessed a considerable share of harmless vanity.  “All journalists,” he writes to his parents and sisters, “open their eyes wide at me, and the members of the orchestra greet me deferentially because I walk with the director of the Italian opera arm-in-arm.”  Two pianoforte-manufacturers—­in one place Chopin says three—­offered to send him instruments, but he declined, partly because he had not room enough, partly because he did not think it worth while to begin to practise two days before the concert.  Both Stein and Graff were very obliging; as, however, he preferred the latter’s instruments, he chose one of this maker’s for the concert, and tried to prevent the other from taking offence by speaking him fair.

Chopin made his first public appearance in Vienna at the Karnthnerthor Theatre on August 11, 1829.  The programme comprised the following items:  Beethoven’s Overture to Prometheus; arias of Rossini’s and Vaccaj’s, sung by Mdlle.  Veltheim, singer to the Saxon Court; Chopin’s variations on La ci darem la mano and Krakowiak, rondeau de concert (both for pianoforte and orchestra), for the latter of which the composer substituted an improvisation; and a short ballet.  Chopin, in a letter to his people dated August 12, 1829, describes the proceedings thus:—­

Yesterday—­i.e., Tuesday, at 7 p.m., I made my debut in the Imperial Opera-house before the public of Vienna.  These evening concerts in the theatre are called here “musical academies.”  As I claimed no honorarium, Count Gallenberg hastened on my appearance.

In a letter to Titus Woyciechowski, dated September 12, 1829, he says:—­