The Adagio in E major is conceived in a romantic, quiet, half melancholy spirit. It is to give the impression of the eye resting on some much loved landscape which awakens pleasant recollections, such as a lovely spring moon-light night. I have written for the violins to accompany _con sordini_. Will that have a good effect? Time will show. Write and tell me when you are coming back to Warsaw, for it would be worse than it was the first time if I had to give my concert without you. You do not know how I love you. Oh, if I could only prove it! What would I not give to be able to embrace you heartily once again. * * * * * _Warsaw, August 21st, 1830._ This is my second letter to you. You will scarcely think it possible, but so it is. I wrote to you directly after my prosperous return to Warsaw, but as my parents stopped at Count Skarbekʼs, at Zelazowa Wola, I, of course stopped too, and in the hurry forgot to post my letter. But there is nothing bad in the world that has not some good in it. Perhaps I shall not weary you so much with this as with the last letter, when I had the image of your quiet country life, which I had just quitted, constantly before my eyes. I may say, truly, that I recall it with delight; I always feel a certain longing after your beautiful country seat. I do not forget the weeping willow, that Arbaleta! Oh, with what pleasure do I remember it! You have teased me enough about it to punish me for all my sins. Let me tell you what I have done since you left, and what is settled about my departure. [Sidenote: CONSTANTIA GLADKOWSKA.] I was especially interested with Paërʼs opera, “Agnese,” because Fräulein Gladkowska made her _débût_ in it. She looks better on the stage than in a drawing-room. Her first-rate tragic acting leaves nothing to be desired, and her vocalization, even to the high F sharp or G, is excellent. Her _nuances_ are wonderful, and if her voice was rather tremulous at first, through nervousness, she sang afterwards with certainty and smoothness. The opera was curtailed which, perhaps, did not make it seem so tedious to me. The harp romance which Fräulein Gladkowska sang in the second act was very fine. I was quite enraptured. She was recalled at the conclusion of the opera, and greeted with unbounded ovations.[60] In a weekʼs time Fräulein Watkow[61] is to play the _rôle_ of Fiorilla, in the opera of “Il Turco in Italia,” which will be sure to please the public better. A great many people blame the opera of “Agnese,” without knowing why. I do not contend that Soliva[62] might have chosen something better for Gladkowska; “Vestalin” would, perhaps, have been more suitable, but “Agnese” is beautiful also; the music has many good points, which the young _debutante_ brought out capitally.