At that time he was pretty well pleased with the piece, and a month afterwards talked of playing it with his friend Fontana at the Ressource.

Subsequently he must have changed his opinion, for the Rondo did not become known to the world at large till it was published posthumously.

Granting certain prettinesses, an unusual dash and vigour, and some points of interest in the working-out, there remains the fact that the stunted melodies signify little and the too luxuriant passage-work signifies less, neither the former nor the latter possessing much of the charm that distinguishes them in the composer's later works.

The original in this piece is confined to the passage-work, and has not yet got out of the rudimentary stage.

Hence, although the Rondo may not be unworthy of finding occasionally a place in a programme of a social gathering with musical accompaniments and even of a non-classical concert, it will disappoint those who come to it with their expectations raised by Chopin's chefs-d'oeuvre, where all is poetry and exquisiteness of style.
The second group contains Chopin's concert-pieces, all of which have orchestral accompaniments.