And so I played at the Conservatoire [Concerts du Conservatoire] most unexpectedly in 1844, and had every reason to be satisfied with the reception that was accorded to me. I had chosen Beethoven's E flat concerto, my interpretation of which met with almost general approval. I say ' almost ' because after the performance a much respected member of the orchestra, Urban, the principal viola, apostrophised me with: 'Why do you change Beethoven?' I had not really changed anything in the text, but, misled by the example of Liszt, I used then for the sake of effect to play some passages in octaves instead of in single notes, and otherwise amplify certain passages. This Urban did not like, and his rebuke was well merited. << less