The writer in question disapproves of the Italian master's drill-method in teaching singing, and says that as a composer his power of invention was inferior to his power of construction; and, further, that he was acquainted with the scores of the best musicians of all times, and an expert in accompanying on the pianoforte.

As Elsner, Zywny, and the pianist and composer Javurek have already been introduced to the reader, I shall advert only to one other of the older Warsaw musicians--namely, Charles Kurpinski, the most talented and influential native composer then living in Poland.

To him and Elsner is chiefly due the progress which Polish music made in the first thirty years of this century.
Kurpinski came to Warsaw in 1810, was appointed second conductor at the National Opera-house, afterwards rose to the position of first conductor, was nominated maitre de chapelle de la cour de Varsovie, was made a Knight of the St.Stanislas Order, &c.

He is said to have learnt composition by diligently studying Mozart's scores, and in 1811 began to supply the theatre with dramatic works.

Besides masses, symphonies, &c., he composed twenty-four operas, and published also some theoretical works and a sketch of the history of the Polish opera.