diff options
Diffstat (limited to '4973-h')
| -rw-r--r-- | 4973-h/4973-h.htm | 30383 |
1 files changed, 30383 insertions, 0 deletions
diff --git a/4973-h/4973-h.htm b/4973-h/4973-h.htm new file mode 100644 index 0000000..e1195b6 --- /dev/null +++ b/4973-h/4973-h.htm @@ -0,0 +1,30383 @@ +<?xml version="1.0" encoding="iso-8859-1"?> + +<!DOCTYPE html + PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd" > + +<html xmlns="http://www.w3.org/1999/xhtml" lang="en"> + <head> + <title> + Frederick Chopin As a Man and Musician, Conplete by Frederick Niecks + </title> + <style type="text/css" xml:space="preserve"> + + body { margin:5%; background:#faebd0; text-align:justify} + P { text-indent: 1em; margin-top: .25em; margin-bottom: .25em; } + H1,H2,H3,H4,H5,H6 { text-align: center; margin-left: 15%; margin-right: 15%; } + hr { width: 50%; text-align: center;} + .foot { margin-left: 20%; margin-right: 20%; text-align: justify; text-indent: -3em; font-size: 90%; } + blockquote {font-size: 97%; font-style: italic; margin-left: 10%; margin-right: 10%;} + .mynote {background-color: #DDE; color: #000; padding: .5em; margin-left: 10%; margin-right: 10%; font-family: sans-serif; font-size: 95%;} + .toc { margin-left: 10%; margin-bottom: .75em;} + .toc2 { margin-left: 20%;} + div.fig { display:block; margin:0 auto; text-align:center; } + div.middle { margin-left: 20%; margin-right: 20%; text-align: justify; } + .figleft {float: left; margin-left: 0%; margin-right: 1%;} + .figright {float: right; margin-right: 0%; margin-left: 1%;} + .pagenum {display:inline; font-size: 70%; font-style:normal; + margin: 0; padding: 0; position: absolute; right: 1%; + text-align: right;} + pre { font-style: italic; font-size: 90%; margin-left: 10%;} + +</style> + </head> + <body> +<pre xml:space="preserve"> + +The Project Gutenberg EBook of Frederick Chopin as a Man and Musician, by +Frederick Niecks + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Frederick Chopin as a Man and Musician + Volume 1-2, Complete + +Author: Frederick Niecks + +Release Date: December 12, 2009 [EBook #4973] +Last Updated: February 4, 2013 + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK FREDERICK CHOPIN *** + + + + +Produced by John Mamoun, Charles Franks, David Widger, and +the Online Distributed Proofreading Team + + + + + + +</pre> + <p> + <br /><br /> + </p> + <h1> + FREDERICK CHOPIN <br /><br />AS A MAN AND MUSICIAN + </h1> + <p> + <br /> + </p> + <h3> + Volumes 1-2, Complete + </h3> + <p> + <br /> + </p> + <h2> + By Frederick Niecks + </h2> + <p> + <br /> + </p> + <h3> + Third Edition (1902) + </h3> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> + </p> + <blockquote> + <h2> + Contents + </h2> + <p class="toc"> + <a href="#link2H_4_0001"> <b>VOLUME I.</b> </a> + </p> + <p class="toc"> + <a href="#link2H_PREF1"> PREFACE TO THE FIRST EDITION </a> + </p> + <p class="toc"> + <a href="#link2H_PREF2"> PREFACE TO THE SECOND EDITION. </a> + </p> + <p class="toc"> + <a href="#link2H_PREF3"> PREFACE TO THE THIRD EDITION. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0005"> PROEM. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0006"> POLAND AND THE POLES. </a> + </p> + <p class="toc"> + <a href="#link2HCH0001"> CHAPTER I. </a> + </p> + <p class="toc"> + <a href="#link2HCH0002"> CHAPTER II </a> + </p> + <p class="toc"> + <a href="#link2HCH0003"> CHAPTER III </a> + </p> + <p class="toc"> + <a href="#link2HCH0004"> CHAPTER IV. </a> + </p> + <p class="toc"> + <a href="#link2HCH0005"> CHAPTER V. </a> + </p> + <p class="toc"> + <a href="#link2HCH0006"> CHAPTER VI </a> + </p> + <p class="toc"> + <a href="#link2HCH0007"> CHAPTER VII </a> + </p> + <p class="toc"> + <a href="#link2HCH0008"> CHAPTER VIII </a> + </p> + <p class="toc"> + <a href="#link2HCH0009"> CHAPTER IX. </a> + </p> + <p class="toc"> + <a href="#link2HCH0010"> CHAPTER X. </a> + </p> + <p class="toc"> + <a href="#link2HCH0011"> CHAPTER XI. </a> + </p> + <p class="toc"> + <a href="#link2HCH0012"> CHAPTER XII </a> + </p> + <p class="toc"> + <a href="#link2HCH0013"> CHAPTER XIII </a> + </p> + <p class="toc"> + <a href="#link2HCH0014"> CHAPTER XIV. </a> + </p> + <p class="toc"> + <a href="#link2HCH0015"> CHAPTER XV. </a> + </p> + <p class="toc"> + <a href="#link2HCH0016"> CHAPTER XVI. </a> + </p> + <p class="toc"> + <a href="#link2HCH0017"> CHAPTER XVII </a> + </p> + <p class="toc"> + <a href="#link2HCH0018"> CHAPTER XVIII </a> + </p> + <p class="toc"> + <a href="#link2HCH0019"> CHAPTER XIX. </a> + </p> + <p> + <br /> + </p> + <p class="toc"> + <a href="#link2H_4_0032"> <b>VOLUME II.</b> </a> + </p> + <p class="toc"> + <a href="#link2HCH0020"> CHAPTER XX. </a> + </p> + <p class="toc"> + <a href="#link2HCH0021"> CHAPTER XXI. </a> + </p> + <p class="toc"> + <a href="#link2HCH0022"> CHAPTER XXII. </a> + </p> + <p class="toc"> + <a href="#link2HCH0023"> CHAPTER XXIII. </a> + </p> + <p class="toc"> + <a href="#link2HCH0024"> CHAPTER XXIV. </a> + </p> + <p class="toc"> + <a href="#link2HCH0025"> CHAPTER XXV. </a> + </p> + <p class="toc"> + <a href="#link2HCH0026"> CHAPTER XXVI. </a> + </p> + <p class="toc"> + <a href="#link2HCH0027"> CHAPTER XXVII. </a> + </p> + <p class="toc"> + <a href="#link2HCH0028"> CHAPTER XXVIII. </a> + </p> + <p class="toc"> + <a href="#link2HCH0029"> CHAPTER XXIX. </a> + </p> + <p class="toc"> + <a href="#link2HCH0030"> CHAPTER XXX. </a> + </p> + <p class="toc"> + <a href="#link2HCH0031"> CHAPTER XXXI. </a> + </p> + <p class="toc"> + <a href="#link2HCH0032"> CHAPTER XXXII. </a> + </p> + <p class="toc"> + <a href="#link2H_EPIL"> EPILOGUE. </a> + </p> + <p class="toc"> + <a href="#link2H_APPE1"> APPENDICES. </a> + </p> + <p class="toc"> + <a href="#link2H_APPE2"> APPENDIX I. </a> + </p> + <p class="toc"> + <a href="#link2H_APPE3"> APPENDIX II. </a> + </p> + <p class="toc"> + <a href="#link2H_APPE4"> APPENDIX III. </a> + </p> + <p class="toc"> + <a href="#link2H_APPE5"> APPENDIX IV. </a> + </p> + <p class="toc"> + <a href="#link2H_APPE6"> APPENDIX V. </a> + </p> + <p class="toc"> + <a href="#link2H_APPE7"> APPENDIX VI. </a> + </p> + <p class="toc"> + <a href="#link2H_APPE8"> APPENDIX VII. </a> + </p> + <p class="toc"> + <a href="#link2H_APPE9"> APPENDIX VIII. </a> + </p> + <p class="toc"> + <a href="#link2H_APPE10"> APPENDIX IX. </a> + </p> + <p class="toc"> + <a href="#link2H_APPE11"> APPENDIX X. </a> + </p> + <p> + <br /> + </p> + <p class="toc"> + <a href="#link2H_4_0059"> I.—WORKS PUBLISHED WITH OPUS NUMBERS + DURING THE COMPOSER'S LIFETIME. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0060"> II.—WORKS PUBLISHED WITHOUT OPUS NUMBERS + DURING THE COMPOSER'S </a> + </p> + <p class="toc"> + <a href="#link2H_4_0061"> III.—WORKS PUBLISHED WITH OPUS NUMBERS + AFTER THE COMPOSER'S DEATH. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0062"> IV.—WORKS PUBLISHED WITHOUT OPUS NUMBERS + AFTER THE COMPOSER'S DEATH. </a> + </p> + </blockquote> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> <a name="link2H_4_0001" id="link2H_4_0001"></a> + </p> + <h1> + VOLUME I. + </h1> + <p> + <a name="link2H_PREF1" id="link2H_PREF1"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + PREFACE TO THE FIRST EDITION + </h2> + <p> + While the novelist has absolute freedom to follow his artistic instinct + and intelligence, the biographer is fettered by the subject-matter with + which he proposes to deal. The former may hopefully pursue an ideal, the + latter must rest satisfied with a compromise between the desirable and the + necessary. No doubt, it is possible to thoroughly digest all the requisite + material, and then present it in a perfect, beautiful form. But this can + only be done at a terrible loss, at a sacrifice of truth and + trustworthiness. My guiding principle has been to place before the reader + the facts collected by me as well as the conclusions at which I arrived. + This will enable him to see the subject in all its bearings, with all its + pros and cons, and to draw his own conclusions, should mine not obtain his + approval. Unless an author proceeds in this way, the reader never knows + how far he may trust him, how far the evidence justifies his judgment. For—not + to speak of cheats and fools—the best informed are apt to make + assertions unsupported or insufficiently supported by facts, and the + wisest cannot help seeing things through the coloured spectacles of their + individuality. The foregoing remarks are intended to explain my method, + not to excuse carelessness of literary workmanship. Whatever the defects + of the present volumes may be—and, no doubt, they are both great and + many—I have laboured to the full extent of my humble abilities to + group and present my material perspicuously, and to avoid diffuseness and + rhapsody, those besetting sins of writers on music. + </p> + <p> + The first work of some length having Chopin for its subject was Liszt's + "Frederic Chopin," which, after appearing in 1851 in the Paris journal "La + France musicale," came out in book-form, still in French, in 1852 + (Leipzig: Breitkopf and Hartel.—Translated into English by M. W. + Cook, and published by William Reeves, London, 1877). George Sand + describes it as "un peu exuberant de style, mais rempli de bonnes choses + et de tres-belles pages." These words, however, do in no way justice to + the book: for, on the one hand, the style is excessively, and not merely a + little, exuberant; and, on the other hand, the "good things" and + "beautiful pages" amount to a psychological study of Chopin, and an + aesthetical study of his works, which it is impossible to over-estimate. + Still, the book is no biography. It records few dates and events, and + these few are for the most part incorrect. When, in 1878, the second + edition of F. Chopin was passing through the press, Liszt remarked to me:— + </p> + <p> + "I have been told that there are wrong dates and other mistakes in my + book, and that the dates and facts are correctly given in Karasowski's + biography of Chopin [which had in the meantime been published]. But, + though I often thought of reading it, I have not yet done so. I got my + information from Paris friends on whom I believed I might depend. The + Princess Wittgenstein [who then lived in Rome, but in 1850 at Weimar, and + is said to have had a share in the production of the book] wished me to + make some alterations in the new edition. I tried to please her, but, when + she was still dissatisfied, I told her to add and alter whatever she + liked." + </p> + <p> + From this statement it is clear that Liszt had not the stuff of a + biographer in him. And, whatever value we may put on the Princess + Wittgenstein's additions and alterations, they did not touch the vital + faults of the work, which, as a French critic remarked, was a symphonie + funebre rather than a biography. The next book we have to notice, M. A. + Szulc's Polish Fryderyk Chopin i Utwory jego Muzyczne (Posen, 1873), is + little more than a chaotic, unsifted collection of notices, criticisms, + anecdotes, &c., from Polish, German, and French books and magazines. + In 1877 Moritz Karasowski, a native of Warsaw, and since 1864 a member of + the Dresden orchestra, published his Friedrich Chopin: sein Leben, seine + Werke und seine Briefe (Dresden: F. Ries.—Translated into English by + E. Hill, under the title Frederick Chopin: "His Life, Letters, and Work," + and published by William Reeves, London, in 1879). This was the first + serious attempt at a biography of Chopin. The author reproduced in the + book what had been brought to light in Polish magazines and other + publications regarding Chopin's life by various countrymen of the + composer, among whom he himself was not the least notable. But the most + valuable ingredients are, no doubt, the Chopin letters which the author + obtained from the composer's relatives, with whom he was acquainted. While + gratefully acknowledging his achievements, I must not omit to indicate his + shortcomings—his unchecked partiality for, and boundless admiration + of his hero; his uncritical acceptance and fanciful embellishments of + anecdotes and hearsays; and the extreme paucity of his information + concerning the period of Chopin's life which begins with his settlement in + Paris. In 1878 appeared a second edition of the work, distinguished from + the first by a few additions and many judicious omissions, the original + two volumes being reduced to one. But of more importance than the second + German edition is the first Polish edition, "Fryderyk Chopin: Zycie, + Listy, Dziela," two volumes (Warsaw: Gebethner and Wolff, 1882), which + contains a series of, till then, unpublished letters from Chopin to + Fontana. Of Madame A. Audley's short and readable "Frederic Chopin, sa vie + et ses oeuvres" (Paris: E. Plon et Cie., 1880), I need only say that for + the most part it follows Karasowski, and where it does not is not always + correct. Count Wodzinski's "Les trois Romans de Frederic Chopin" (Paris: + Calmann Levy, 1886)—according to the title treating only of the + composer's love for Constantia Gladkowska, Maria Wodzinska, and George + Sand, but in reality having a wider scope—cannot be altogether + ignored, though it is more of the nature of a novel than of a biography. + Mr. Joseph Bennett, who based his "Frederic Chopin" (one of Novello's + Primers of Musical Biography) on Liszt's and Karasowski's works, had in + the parts dealing with Great Britain the advantage of notes by Mr. A.J. + Hipkins, who inspired also, to some extent at least, Mr. Hueffer in his + essay Chopin ("Fortnightly Review," September, 1877; and reprinted in + "Musical Studies"—Edinburgh: A. & C. Black, 1880). This ends the + list of biographies with any claims to originality. There are, however, + many interesting contributions to a biography of Chopin to be found in + works of various kinds. These shall be mentioned in the course of my + narrative; here I will point out only the two most important ones—namely, + George Sand's "Histoire de ma Vie," first published in the Paris newspaper + "La Presse" (1854) and subsequently in book-form; and her six volumes of + "Correspondance," 1812-1876 (Paris: Calmann Levy, 1882-1884). + </p> + <p> + My researches had for their object the whole life of Chopin, and his + historical, political, artistical, social, and personal surroundings, but + they were chiefly directed to the least known and most interesting period + of his career—his life in France, and his visits to Germany and + Great Britain. My chief sources of information are divisible into two + classes—newspapers, magazines, pamphlets, correspondences, and + books; and conversations I held with, and letters I received from, + Chopin's pupils, friends, and acquaintances. Of his pupils, my warmest + thanks are due to Madame Dubois (nee Camille O'Meara), Madame Rubio (nee + Vera de Kologrivof), Mdlle. Gavard, Madame Streicher (nee Friederike + Muller), Adolph Gutmann, M. Georges Mathias, Brinley Richards, and Lindsay + Sloper; of friends and acquaintances, to Liszt, Ferdinand Hiller, + Franchomme, Charles Valentin Alkan, Stephen Heller, Edouard Wolff, Mr. + Charles Halle, Mr. G. A. Osborne, T. Kwiatkowski, Prof. A. Chodzko, M. + Leonard Niedzwiecki (gallice, Nedvetsky), Madame Jenny Lind-Goldschmidt, + Mr. A. J. Hipkins, and Dr. and Mrs. Lyschinski. I am likewise greatly + indebted to Messrs. Breitkopf and Hartel, Karl Gurckhaus (the late + proprietor of the firm of Friedrich Kistner), Julius Schuberth, Friedrich + Hofmeister, Edwin Ashdown, Richault & Cie, and others, for information + in connection with the publication of Chopin's works. It is impossible to + enumerate all my obligations—many of my informants and many + furtherers of my labours will be mentioned in the body of the book; many, + however, and by no means the least helpful, will remain unnamed. To all of + them I offer the assurance of my deep-felt gratitude. Not a few of my kind + helpers, alas! are no longer among the living; more than ten years have + gone by since I began my researches, and during that time Death has been + reaping a rich harvest. + </p> + <p> + The Chopin letters will, no doubt, be regarded as a special feature of the + present biography. They may, I think, be called numerous, if we consider + the master's dislike to letter-writing. Ferdinand Hiller—whose + almost unique collection of letters addressed to him by his famous friends + in art and literature is now, and will be for years to come, under lock + and key among the municipal archives at Cologne—allowed me to copy + two letters by Chopin, one of them written conjointly with Liszt. + Franchomme, too, granted me the privilege of copying his friend's + epistolary communications. Besides a number of letters that have here and + there been published, I include, further, a translation of Chopin's + letters to Fontana, which in Karasowski's book (i.e., the Polish edition) + lose much of their value, owing to his inability to assign approximately + correct dates to them. + </p> + <p> + The space which I give to George Sand is, I think, justified by the part + she plays in the life of Chopin. To meet the objections of those who may + regard my opinion of her as too harsh, I will confess that I entered upon + the study of her character with the impression that she had suffered much + undeserved abuse, and that it would be incumbent upon a Chopin biographer + to defend her against his predecessors and the friends of the composer. + How entirely I changed my mind, the sequel will show. + </p> + <p> + In conclusion, a few hints as to the pronunciation of Polish words, which + otherwise might puzzle the reader uninitiated in the mysteries of that + rarely-learned language. Aiming more at simplicity than at accuracy, one + may say that the vowels are pronounced somewhat like this: a as in "arm," + aL like the nasal French "on," e as in "tell," e/ with an approach to the + French "e/" (or to the German "u [umlaut]" and "o [umlaut]"), eL like the + nasal French "in," i as in "pick," o as in "not," o/ with an approach to + the French "ou," u like the French ou, and y with an approach to the + German "i" and "u." The following consonants are pronounced as in English: + b, d, f, g (always hard), h, k, I, m, n, p, s, t, and z. The following + single and double consonants differ from the English pronunciation: c like + "ts," c/ softer than c, j like "y," l/ like "ll" with the tongue pressed + against the upper row of teeth, n/ like "ny" (i.e., n softened by i), r + sharper than in English, w like "v," z/ softer than z, z. and rz like the + French "j," ch like the German guttural "ch" in "lachen" (similar to "ch" + in the Scotch "loch"), cz like "ch" in "cherry," and sz like "sh" in + "sharp." Mr. W. R. Morfill ("A Simplified Grammar of the Polish Language") + elucidates the combination szcz, frequently to be met with, by the English + expression "smasht china," where the italicised letters give the + pronunciation. Lastly, family names terminating in take a instead of i + when applied to women. + </p> + <p> + April, 1888. + </p> + <p> + <a name="link2H_PREF2" id="link2H_PREF2"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + PREFACE TO THE SECOND EDITION. + </h2> + <p> + The second edition differs from the first by little more than the + correction of some misprints and a few additions. These latter are to be + found among the Appendices. The principal addition consists of interesting + communications from Madame Peruzzi, a friend of Chopin's still living at + Florence. Next in importance come Madame Schumann's diary notes bearing on + Chopin's first visit to Leipzig. The remaining additions concern early + Polish music, the first performances of Chopin's works at the Leipzig + Gewandhaus, his visit to Marienbad (remarks by Rebecca Dirichlet), the + tempo rubato, and his portraits. To the names of Chopin's friends and + acquaintances to whom I am indebted for valuable assistance, those of + Madame Peruzzi and Madame Schumann have, therefore, to be added. My + apologies as well as my thanks are due to Mr. Felix Moscheles, who kindly + permitted a fac-simile to be made from a manuscript, in his possession, a + kindness that ought to have been acknowledged in the first edition. I am + glad that a second edition affords me an opportunity to repair this much + regretted omission. The manuscript in question is an "Etude" which Chopin + wrote for the "Methode des Methodes de Piano," by F. J. Fetis and I. + Moscheles, the father of Mr. Felix Moscheles. This concludes what I have + to say about the second edition, but I cannot lay down the pen without + expressing my gratitude to critics and public for the exceedingly + favourable reception they have given to my book. + </p> + <p> + October, 1890. + </p> + <p> + <a name="link2H_PREF3" id="link2H_PREF3"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + PREFACE TO THE THIRD EDITION. + </h2> + <p> + BESIDES minor corrections, the present edition contains the correction of + the day and year of Frederick Francis Chopin's birth, which have been + discovered since the publication of the second edition of this work. + According to the baptismal entry in the register of the Brochow parish + church, he who became the great pianist and immortal composer was born on + February 22, 1810. This date has been generally accepted in Poland, and is + to be found on the medal struck on the occasion of the semi-centenary + celebration of the master's death. Owing to a misreading of musicus for + magnificus in the published copy of the document, its trustworthiness has + been doubted elsewhere, but, I believe, without sufficient cause. The + strongest argument that could be urged against the acceptance of the date + would be the long interval between birth and baptism, which did not take + place till late in April, and the consequent possibility of an error in + the registration. This, however, could only affect the day, and perhaps + the month, not the year. It is certainly a very curious circumstance that + Fontana, a friend of Chopin's in his youth and manhood, Karasowski, at + least an acquaintance, if not an intimate friend, of the family (from whom + he derived much information), Fetis, a contemporary lexicographer, and + apparently Chopin's family, and even Chopin himself, did not know the date + of the latter's birth. + </p> + <p> + Where the character of persons and works of art are concerned, nothing is + more natural than differences of opinion. Bias and inequality of knowledge + sufficiently account for them. For my reading of the character of George + Sand, I have been held up as a monster of moral depravity; for my daring + to question the exactitude of Liszt's biographical facts, I have been + severely sermonised; for my inability to regard Chopin as one of the great + composers of songs, and continue uninterruptedly in a state of ecstatic + admiration, I have been told that the publication of my biography of the + master is a much to be deplored calamity. Of course, the moral monster and + author of the calamity cannot pretend to be an unbiassed judge in the + case; but it seems to him that there may be some exaggeration and perhaps + even some misconception in these accusations. + </p> + <p> + As to George Sand, I have not merely made assertions, but have earnestly + laboured to prove the conclusions at which I reluctantly arrived. Are + George Sand's pretentions to self-sacrificing saintliness, and to purely + maternal feelings for Musset, Chopin, and others to be accepted in spite + of the fairy-tale nature of her "Histoire," and the misrepresentations of + her "Lettres d'un Voyageur" and her novels "Elle et lui" and "Lucrezia + Floriani"; in spite of the adverse indirect testimony of some of her other + novels, and the adverse direct testimony of her "Correspondance"; and in + spite of the experiences and firm beliefs of her friends, Liszt included? + Let us not overlook that charitableness towards George Sand implies + uncharitableness towards Chopin, place. Need I say anything on the + extraordinary charge made against me—namely, that in some cases I + have preferred the testimony of less famous men to that of Liszt? Are + genius, greatness, and fame the measures of trustworthiness? + </p> + <p> + As to Chopin, the composer of songs, the case is very simple. His + pianoforte pieces are original tone-poems of exquisite beauty; his songs, + though always acceptable, and sometimes charming, are not. We should know + nothing of them and the composer, if of his works they alone had been + published. In not publishing them himself, Chopin gave us his own opinion, + an opinion confirmed by the singers in rarely performing them and by the + public in little caring for them. In short, Chopin's songs add nothing to + his fame. To mention them in one breath with those of Schubert and + Schumann, or even with those of Robert Franz and Adolf Jensen, is the act + of an hero-worshipping enthusiast, not of a discriminating critic. + </p> + <p> + On two points, often commented upon by critics, I feel regret, although + not repentance—namely, on any "anecdotic iconoclasm" where fact + refuted fancy, and on my abstention from pronouncing judgments where the + evidence was inconclusive. But how can a conscientious biographer help + this ungraciousness and inaccommodativeness? Is it not his duty to tell + the truth, and nothing but the truth, in order that his subject may stand + out unobstructed and shine forth unclouded? + </p> + <p> + In conclusion, two instances of careless reading. One critic, after + attributing a remark of Chopin's to me, exclaims: "The author is fond of + such violent jumps to conclusions." And an author, most benevolently + inclined towards me, enjoyed the humour of my first "literally ratting" + George Sand, and then saying that I "abstained from pronouncing judgment + because the complete evidence did not warrant my doing so." The former (in + vol. i.) had to do with George Sand's character; the latter (in vol. ii.) + with the moral aspect of her connection with Chopin. + </p> + <p> + An enumeration of the more notable books dealing with Chopin, published + after the issue of the earlier editions of the present book will form an + appropriate coda to this preface—"Frederic Francois Chopin," by + Charles Willeby; "Chopin, and Other Musical Essays," by Henry T. Finck; + "Studies in Modern Music" (containing an essay on Chopin), by W. H. Hadow; + "Chopin's Greater Works," by Jean Kleczynski, translated by Natalie + Janotha; and "Chopin: the Man and his Music," by James Huneker. + </p> + <p> + Edinburgh, February, 1902. + </p> + <p> + <a name="link2H_4_0005" id="link2H_4_0005"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + PROEM. + </h2> + <p> + <a name="link2H_4_0006" id="link2H_4_0006"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + POLAND AND THE POLES. + </h2> + <p> + THE works of no composer of equal importance bear so striking a national + impress as those of Chopin. It would, however, be an error to attribute + this simply and solely to the superior force of the Polish musician's + patriotism. The same force of patriotism in an Italian, Frenchman, German, + or Englishman would not have produced a similar result. Characteristics + such as distinguish Chopin's music presuppose a nation as peculiarly + endowed, constituted, situated, and conditioned, as the Polish—a + nation with a history as brilliant and dark, as fair and hideous, as + romantic and tragic. The peculiarities of the peoples of western Europe + have been considerably modified, if not entirely levelled, by centuries of + international intercourse; the peoples of the eastern part of the + Continent, on the other hand, have, until recent times, kept theirs almost + intact, foreign influences penetrating to no depth, affecting indeed no + more than the aristocratic few, and them only superficially. At any rate, + the Slavonic races have not been moulded by the Germanic and Romanic races + as these latter have moulded each other: east and west remain still apart—strangers, + if not enemies. Seeing how deeply rooted Chopin's music is in the national + soil, and considering how little is generally known about Poland and the + Poles, the necessity of paying in this case more attention to the land of + the artist's birth and the people to which he belongs than is usually done + in biographies of artists, will be admitted by all who wish to understand + fully and appreciate rightly the poet-musician and his works. But while + taking note of what is of national origin in Chopin's music, we must be + careful not to ascribe to this origin too much. Indeed, the fact that the + personal individuality of Chopin is as markedly differentiated, as + exclusively self-contained, as the national individuality of Poland, is + oftener overlooked than the master's national descent and its significance + with regard to his artistic production. And now, having made the reader + acquainted with the raison d'etre of this proem, I shall plunge without + further preliminaries in medias res. + </p> + <p> + The palmy days of Poland came to an end soon after the extinction of the + dynasty of the Jagellons in 1572. So early as 1661 King John Casimir + warned the nobles, whose insubordination and want of solidity, whose love + of outside glitter and tumult, he deplored, that, unless they remedied the + existing evils, reformed their pretended free elections, and renounced + their personal privileges, the noble kingdom would become the prey of + other nations. Nor was this the first warning. The Jesuit Peter Skarga + (1536—1612), an indefatigable denunciator of the vices of the ruling + classes, told them in 1605 that their dissensions would bring them under + the yoke of those who hated them, deprive them of king and country, drive + them into exile, and make them despised by those who formerly feared and + respected them. But these warnings remained unheeded, and the prophecies + were fulfilled to the letter. Elective kingship, pacta conventa, + [Footnote: Terms which a candidate for the throne had to subscribe on his + election. They were of course dictated by the electors—i.e., by the + selfish interest of one class, the szlachta (nobility), or rather the most + powerful of them.] liberum veto, [Footnote: The right of any member to + stop the proceedings of the Diet by pronouncing the words "Nie pozwalam" + (I do not permit), or others of the same import.] degradation of the + burgher class, enslavement of the peasantry, and other devices of an + ever-encroaching nobility, transformed the once powerful and flourishing + commonwealth into one "lying as if broken-backed on the public highway; a + nation anarchic every fibre of it, and under the feet and hoofs of + travelling neighbours." [Footnote: Thomas Carlyle, Frederick the Great, + vol. viii., p. 105.] In the rottenness of the social organism, venality, + unprincipled ambition, and religious intolerance found a congenial soil; + and favoured by and favouring foreign intrigues and interferences, they + bore deadly fruit—confederations, civil wars, Russian occupation of + the country and dominion over king, council, and diet, and the beginning + of the end, the first partition (1772) by which Poland lost a third of her + territory with five millions of inhabitants. Even worse, however, was to + come. For the partitioning powers—Russia, Prussia, and Austria—knew + how by bribes and threats to induce the Diet not only to sanction the + spoliation, but also so to alter the constitution as to enable them to + have a permanent influence over the internal affairs of the Republic. + </p> + <p> + The Pole Francis Grzymala remarks truly that if instead of some thousand + individuals swaying the destinies of Poland, the whole nation had enjoyed + equal rights, and, instead of being plunged in darkness and ignorance, the + people had been free and consequently capable of feeling and thinking, the + national cause, imperilled by the indolence and perversity of one part of + the citizens, would have been saved by those who now looked on without + giving a sign of life. The "some thousands" here spoken of are of course + the nobles, who had grasped all the political power and almost all the + wealth of the nation, and, imitating the proud language of Louis XIV, + could, without exaggeration, have said: "L'etat c'est nous." As for the + king and the commonalty, the one had been deprived of almost all his + prerogatives, and the other had become a rightless rabble of wretched + peasants, impoverished burghers, and chaffering Jews. Rousseau, in his + Considerations sur le gouvernement de Pologne, says pithily that the three + orders of which the Republic of Poland was composed were not, as had been + so often and illogically stated, the equestrian order, the senate, and the + king, but the nobles who were everything, the burghers who were nothing, + and the peasants who were less than nothing. The nobility of Poland + differed from that of Other countries not only in its supreme political + and social position, but also in its numerousness, character, and internal + constitution. + </p> + <p> + [Footnote: The statistics concerning old Poland are provokingly + contradictory. One authority calculates that the nobility comprised + 120,000 families, or one fourteenth of the population (which, before the + first partition, is variously estimated at from fifteen to twenty + millions); another counts only 100,000 families; and a third states that + between 1788 and 1792 (i.e., after the first partition) there were 38,314 + families of nobles.] + </p> + <p> + All nobles were equal in rank, and as every French soldier was said to + carry a marshal's staff in his knapsack, so every Polish noble was born a + candidate for the throne. This equality, however, was rather de jure than + de facto; legal decrees could not fill the chasm which separated families + distinguished by wealth and fame—such as the Sapiehas, Radziwills, + Czartoryskis, Zamoyskis, Potockis, and Branickis—from obscure + noblemen whose possessions amount to no more than "a few acres of land, a + sword, and a pair of moustaches that extend from one ear to the other," or + perhaps amounted only to the last two items. With some insignificant + exceptions, the land not belonging to the state or the church was in the + hands of the nobles, a few of whom had estates of the extent of + principalities. Many of the poorer amongst the nobility attached + themselves to their better-situated brethren, becoming their dependents + and willing tools. The relation of the nobility to the peasantry is well + characterised in a passage of Mickiewicz's epic poem Pan Tadeusz, where a + peasant, on humbly suggesting that the nobility suffered less from the + measures of their foreign rulers than his own class, is told by one of his + betters that this is a silly remark, seeing that peasants, like eels, are + accustomed to being skinned, whereas the well-born are accustomed to live + in liberty. + </p> + <p> + Nothing illustrates so well the condition of a people as the way in which + justice is administered. In Poland a nobleman was on his estate prosecutor + as well as judge, and could be arrested only after conviction, or, in the + case of high-treason, murder, and robbery, if taken in the act. And whilst + the nobleman enjoyed these high privileges, the peasant had, as the law + terms it, no facultatem standi in judicio, and his testimony went for + nothing in the courts of justice. More than a hundred laws in the statutes + of Poland are said to have been unfavourable to these poor wretches. In + short, the peasant was quite at the mercy of the privileged class, and his + master could do with him pretty much as he liked, whipping and selling not + excepted, nor did killing cost more than a fine of a few shillings. The + peasants on the state domains and of the clergy were, however, somewhat + better off; and the burghers, too, enjoyed some shreds of their old + privileges with more or less security. If we look for a true and striking + description of the comparative position of the principal classes of the + population of Poland, we find it in these words of a writer of the + eighteenth century: "Polonia coelum nobilium, paradisus clericorum, + infernus rusticorum." + </p> + <p> + The vast plain of Poland, although in many places boggy and sandy, is on + the whole fertile, especially in the flat river valleys, and in the east + at the sources of the Dnieper; indeed, it is so much so that it has been + called the granary of Europe. But as the pleasure-loving gentlemen had + nobler pursuits to attend to, and the miserable peasants, with whom it was + a saying that only what they spent in drink was their own, were not very + anxious to work more and better than they could help, agriculture was in a + very neglected condition. With manufacture and commerce it stood not a + whit better. What little there was, was in the hands of the Jews and + foreigners, the nobles not being allowed to meddle with such base matters, + and the degraded descendants of the industrious and enterprising ancient + burghers having neither the means nor the spirit to undertake anything of + the sort. Hence the strong contrast of wealth and poverty, luxury and + distress, that in every part of Poland, in town and country, struck so + forcibly and painfully all foreign travellers. Of the Polish provinces + that in 1773 came under Prussian rule we read that— + </p> +<pre xml:space="preserve"> + the country people hardly knew such a thing as bread, many + had never in their life tasted such a delicacy; few villages + had an oven. A weaving-loom was rare; the spinning-wheel + unknown. The main article of furniture, in this bare scene of + squalor, was the crucifix and vessel of holy-water under + it....It was a desolate land without discipline, without law, + without a master. On 9,000 English square miles lived 500,000 + souls: not 55 to the square mile. [Footnote: Carlyle. + Frederick the Great, vol. x., p. 40.] +</pre> + <p> + And this poverty and squalor were not to be found only in one part of + Poland, they seem to have been general. Abbe de Mably when seeing, in + 1771, the misery of the country (campagne) and the bad condition of the + roads, imagined himself in Tartary. William Coxe, the English historian + and writer of travels, who visited Poland after the first partition, + relates, in speaking of the district called Podlachia, that he visited + between Bjelsk and Woyszki villages in which there was nothing but the + bare walls, and he was told at the table of the ——— that + knives, forks, and spoons were conveniences unknown to the peasants. He + says he never saw— + </p> +<pre xml:space="preserve"> + a road so barren of interesting scenes as that from Cracow to + Warsaw—for the most part level, with little variation of + surface; chiefly overspread with tracts of thick forest; + where open, the distant horizon was always skirted with wood + (chiefly pines and firs, intermixed with beech, birch, and + small oaks). The occasional breaks presented some pasture- + ground, with here and there a few meagre crops of corn. The + natives were poorer, humbler, and more miserable than any + people we had yet observed in the course of our travels: + whenever we stopped they flocked around us in crowds; and, + asking for charity, used the most abject gestures....The + Polish peasants are cringing and servile in their expressions + of respect; they bowed down to the ground; took off their + hats or caps and held them in their hands till we were out of + sight; stopped their carts on the first glimpse of our + carriage; in short, their whole behaviour gave evident + symptoms of the abject servitude under which they groaned. + [FOOTNOTE: William Coxe, Travels in Poland, Russia, Sweden, + and Denmark (1784—90).] +</pre> + <p> + The Jews, to whom I have already more than once alluded, are too important + an element in the population of Poland not to be particularly noticed. + They are a people within a people, differing in dress as well as in + language, which is a jargon of German-Hebrew. Their number before the + first partition has been variously estimated at from less than two + millions to fully two millions and a half in a population of from fifteen + to twenty millions, and in 1860 there were in Russian Poland 612,098 Jews + in a population of 4,867,124. + </p> + <p> + [FOOTNOTE: According to Charles Forster (in Pologne, a volume of the + historical series entitled L'univers pittoresque, published by Firmin + Didot freres of Paris), who follows Stanislas Plater, the population of + Poland within the boundaries of 1772 amounted to 20,220,000 inhabitants, + and was composed of 6,770,000 Poles, 7,520,000 Russians (i.e., White and + Red Russians), 2,110,000 Jews, 1,900,000 Lithuanians, 1,640,000 Germans, + 180,000 Muscovites (i.e., Great Russians), and 100,000 Wallachians.] + </p> +<pre xml:space="preserve"> + They monopolise [says Mr. Coxe] the commerce and trade of the + country, keep inns and taverns, are stewards to the nobility, + and seem to have so much influence that nothing can be bought + or sold without the intervention of a Jew. +</pre> + <p> + Our never-failing informant was particularly struck with the number and + usefulness of the Jews in Lithuania when he visited that part of the + Polish Republic in 1781— + </p> +<pre xml:space="preserve"> + If you ask for an interpreter, they bring you a Jew; if you + want post-horses, a Jew procures them and a Jew drives them; + if you wish to purchase, a Jew is your agent; and this + perhaps is the only country in Europe where Jews cultivate + the ground; in passing through Lithuania, we frequently saw + them engaged in sowing, reaping, mowing, and other works of + husbandry. +</pre> + <p> + Having considered the condition of the lower classes, we will now turn our + attention to that of the nobility. The very unequal distribution of wealth + among them has already been mentioned. Some idea of their mode of life may + be formed from the account of the Starost Krasinski's court in the diary + (year 1759) of his daughter, Frances Krasinska. [FOOTNOTE: A starost + (starosta) is the possessor of a starosty (starostwo)—i.e., a castle + and domains conferred on a nobleman for life by the crown.] Her + description of the household seems to justify her belief that there were + not many houses in Poland that surpassed theirs in magnificence. In + introducing to the reader the various ornaments and appendages of the + magnate's court, I shall mention first, giving precedence to the fair sex, + that there lived under the supervision of a French governess six young + ladies of noble families. The noblemen attached to the lord of the castle + were divided into three classes. In the first class were to be found sons + of wealthy, or, at least, well-to-do families who served for honour, and + came to the court to acquire good manners and as an introduction to a + civil or military career. The starost provided the keep of their horses, + and also paid weekly wages of two florins to their grooms. Each of these + noble-men had besides a groom another servant who waited on his master at + table, standing behind his chair and dining on what he left on his plate. + Those of the second class were paid for their services and had fixed + duties to perform. Their pay amounted to from 300 to 1,000 florins (a + florin being about the value of sixpence), in addition to which gratuities + and presents were often given. Excepting the chaplain, doctor, and + secretary, they did not, like the preceding class, have the honour of + sitting with their master at table. With regard to this privilege it is, + however, worth noticing that those courtiers who enjoyed it derived + materially hardly any advantage from it, for on week-days wine was served + only to the family and their guests, and the dishes of roast meat were + arranged pyramidally, so that fowl and venison went to those at the head + of the table, and those sitting farther down had to content themselves + with the coarser kinds of meat—with beef, pork, &c. The duties + of the third class of followers, a dozen young men from fifteen to twenty + years of age, consisted in accompanying the family on foot or on + horseback, and doing their messages, such as carrying presents and letters + of invitation. The second and third classes were under the jurisdiction of + the house-steward, who, in the case of the young gentlemen, was not + sparing in the application of the cat. A strict injunction was laid on all + to appear in good clothes. As to the other servants of the castle, the + authoress thought she would find it difficult to specify them; indeed, did + not know even the number of their musicians, cooks, Heyducs, Cossacks, and + serving maids and men. She knew, however, that every day five tables were + served, and that from morning to night two persons were occupied in + distributing the things necessary for the kitchen. More impressive even + than a circumstantial account like this are briefly-stated facts such as + the following: that the Palatine Stanislas Jablonowski kept a retinue of + 2,300 soldiers and 4,000 courtiers, valets, armed attendants, huntsmen, + falconers, fishers, musicians, and actors; and that Janusz, Prince of + Ostrog, left at his death a majorat of eighty towns and boroughs, and + 2,760 villages, without counting the towns and villages of his starosties. + The magnates who distinguished themselves during the reign of Stanislas + Augustus (1764—1795) by the brilliance and magnificence of their + courts were the Princes Czartoryski and Radziwill, Count Potocki, and + Bishop Soltyk of Cracovia. Our often-quoted English traveller informs us + that the revenue of Prince Czartoryski amounted to nearly 100,000 pounds + per annum, and that his style of living corresponded with this income. The + Prince kept an open table at which there rarely sat down less than from + twenty to thirty persons. [FOOTNOTE: Another authority informs us that on + great occasions the Czartoryskis received at their table more than twenty + thousand persons.] The same informant has much to say about the elegance + and luxury of the Polish nobility in their houses and villas, in the + decoration and furniture of which he found the French and English styles + happily blended. He gives a glowing account of the fetes at which he was + present, and says that they were exquisitely refined and got up regardless + of expense. + </p> + <p> + Whatever changes the national character of the Poles has undergone in the + course of time, certain traits of it have remained unaltered, and among + these stands forth predominantly their chivalry. Polish bravery is so + universally recognised and admired that it is unnecessary to enlarge upon + it. For who has not heard at least of the victorious battle of Czotzim, of + the delivery of Vienna, of the no less glorious defeats of Maciejowice and + Ostrolenka, and of the brilliant deeds of Napoleon's Polish Legion? And + are not the names of Poland's most popular heroes, Sobieski and + Kosciuszko, household words all the world over? Moreover, the Poles have + proved their chivalry not only by their valour on the battle-field, but + also by their devotion to the fair sex. At banquets in the good olden time + it was no uncommon occurrence to see a Pole kneel down before his lady, + take off one of her shoes, and drink out of it. But the women of Poland + seem to be endowed with a peculiar power. Their beauty, grace, and + bewitching manner inflame the heart and imagination of all that set their + eyes on them. How often have they not conquered the conquerors of their + country? [FOOTNOTE: The Emperor Nicholas is credited with the saying: "Je + pourrais en finir des Polonais si je venais a bout des Polonaises."] They + remind Heine of the tenderest and loveliest flowers that grow on the banks + of the Ganges, and he calls for the brush of Raphael, the melodies of + Mozart, the language of Calderon, so that he may conjure up before his + readers an Aphrodite of the Vistula. Liszt, bolder than Heine, makes the + attempt to portray them, and writes like an inspired poet. No Pole can + speak on this subject without being transported into a transcendental + rapture that illumines his countenance with a blissful radiance, and + inspires him with a glowing eloquence which, he thinks, is nevertheless + beggared by the matchless reality. + </p> + <p> + The French of the North—for thus the Poles have been called—are + of a very excitable nature; easily moved to anger, and easily appeased; + soon warmed into boundless enthusiasm, and soon also manifesting lack of + perseverance. They feel happiest in the turmoil of life and in the bustle + of society. Retirement and the study of books are little to their taste. + Yet, knowing how to make the most of their limited stock of knowledge, + they acquit themselves well in conversation. Indeed, they have a natural + aptitude for the social arts which insures their success in society, where + they move with ease and elegance. Their oriental mellifluousness, + hyperbolism, and obsequious politeness of speech have, as well as the + Asiatic appearance of their features and dress, been noticed by all + travellers in Poland. Love of show is another very striking trait in the + character of the Poles. It struggles to manifest itself among the poor, + causes the curious mixture of splendour and shabbiness among the + better-situated people, and gives rise to the greatest extravagances among + the wealthy. If we may believe the chroniclers and poets, the + entertainments of the Polish magnates must have often vied with the + marvellous feasts of imperial Rome. Of the vastness of the households with + which these grands seigneurs surrounded themselves, enough has already + been said. Perhaps the chief channel through which this love of show + vented itself was the decoration of man and horse. The entrance of Polish + ambassadors with their numerous suites has more than once astonished the + Parisians, who were certainly accustomed to exhibitions of this kind. The + mere description of some of them is enough to dazzle one—the superb + horses with their bridles and stirrups of massive silver, and their + caparisons and saddles embroidered with golden flowers; and the not less + superb men with their rich garments of satin or gold cloth, adorned with + rare furs, their bonnets surmounted by bright plumes, and their weapons of + artistic workmanship, the silver scabbards inlaid with rubies. We hear + also of ambassadors riding through towns on horses loosely shod with gold + or silver, so that the horse-shoes lost on their passage might testify to + their wealth and grandeur. I shall quote some lines from a Polish poem in + which the author describes in detail the costume of an eminent nobleman in + the early part of this century:— + </p> +<pre xml:space="preserve"> + He was clad in the uniform of the palatinate: a doublet + embroidered with gold, an overcoat of Tours silk ornamented + with fringes, a belt of brocade from which hung a sword with + a hilt of morocco. At his neck glittered a clasp with + diamonds. His square white cap was surmounted by a + magnificent plume, composed of tufts of herons' feathers. It + is only on festive occasions that such a rich bouquet, of + which each feather costs a ducat, is put on. +</pre> + <p> + The belt above mentioned was one of the most essential parts and the chief + ornament of the old Polish national dress, and those manufactured at Sluck + had especially a high reputation. A description of a belt of Sluck, "with + thick fringes like tufts," glows on another page of the poem from which I + took my last quotation:— + </p> +<pre xml:space="preserve"> + On one side it is of gold with purple flowers; on the other + it is of black silk with silver checks. Such a belt can be + worn on either side: the part woven with gold for festive + days; the reverse for days of mourning. +</pre> + <p> + A vivid picture of the Polish character is to be found in Mickiewicz's + epic poem, Pan Tadeusz, from which the above quotations are taken. + </p> + <p> + [FOOTNOTE: I may mention here another interesting book illustrative of + Polish character and life, especially in the second half of the eighteenth + century, which has been of much use to me—namely, Count Henry + Rzewuski's Memoirs of Pan Severin Soplica, translated into German, and + furnished with an instructive preface by Philipp Lubenstein.] + </p> + <p> + He handles his pencil lovingly; proclaiming with just pride the virtues of + his countrymen, and revealing with a kindly smile their weaknesses. In + this truest, perhaps, of all the portraits that have ever been drawn of + the Poles, we see the gallantry and devotion, the generosity and + hospitality, the grace and liveliness in social intercourse, but also the + excitability and changefulness, the quickly inflamed enthusiasm and sudden + depression, the restlessness and turbulence, the love of outward show and + of the pleasures of society, the pompous pride, boastfulness, and other + little vanities, in short, all the qualities, good and bad, that + distinguish his countrymen. Heinrich Heine, not always a trustworthy + witness, but in this case so unusually serious that we will take advantage + of his acuteness and conciseness, characterises the Polish nobleman by the + following precious mosaic of adjectives: "hospitable, proud, courageous, + supple, false (this little yellow stone must not be lacking), irritable, + enthusiastic, given to gambling, pleasure-loving, generous, and + overbearing." Whether Heine was not mistaken as to the presence of the + little yellow stone is a question that may have to be discussed in another + part of this work. The observer who, in enumerating the most striking + qualities of the Polish character, added "MISTRUSTFULNESS and + SUSPICIOUSNESS engendered by many misfortunes and often-disappointed + hopes," came probably nearer the truth. And this reminds me of a point + which ought never to be left out of sight when contemplating any one of + these portraits—namely, the time at which it was taken. This, of + course, is always an important consideration; but it is so in a higher + degree in the case of a nation whose character, like the Polish, has at + different epochs of its existence assumed such varied aspects. The first + great change came over the national character on the introduction of + elective kingship: it was, at least so far as the nobility was concerned, + a change for the worse—from simplicity, frugality, and patriotism, + to pride, luxury, and selfishness; the second great change was owing to + the disasters that befell the nation in the latter half of the last + century: it was on the whole a change for the better, purifying and + ennobling, calling forth qualities that till then had lain dormant. At the + time the events I have to relate take us to Poland, the nation is just at + this last turning-point, but it has not yet rounded it. To what an extent + the bad qualities had overgrown the good ones, corrupting and deadening + them, may be gathered from contemporary witnesses. George Forster, who was + appointed professor of natural history at Wilna in 1784, and remained in + that position for several years, says that he found in Poland "a medley of + fanatical and almost New Zealand barbarity and French super-refinement; a + people wholly ignorant and without taste, and nevertheless given to + luxury, gambling, fashion, and outward glitter." + </p> + <p> + Frederick II describes the Poles in language still more harsh; in his + opinion they are vain in fortune, cringing in misfortune, capable of + anything for the sake of money, spendthrifts, frivolous, without judgment, + always ready to join or abandon a party without cause. No doubt there is + much exaggeration in these statements; but that there is also much truth + in them, is proved by the accounts of many writers, native and foreign, + who cannot be accused of being prejudiced against Poland. Rulhiere, and + other more or less voluminous authorities, might be quoted; but, not to + try the patience of the reader too much, I shall confine myself to + transcribing a clenching remark of a Polish nobleman, who told our old + friend, the English traveller, that although the name of Poland still + remained, the nation no longer existed. "An universal corruption and + venality pervades all ranks of the people. Many of the first nobility do + not blush to receive pensions from foreign courts: one professes himself + publicly an Austrian, a second a Prussian, a third a Frenchman, and a + fourth a Russian." + </p> + <p> + <a name="link2HCH0001" id="link2HCH0001"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER I. + </h2> + <p> + FREDERICK CHOPIN'S ANCESTORS.—HIS FATHER NICHOLAS CHOPIN'S BIRTH, + YOUTH, ARRIVAL AND EARLY VICISSITUDES IN POLAND, AND MARRIAGE.—BIRTH + AND EARLY INFANCY OF FREDERICK CHOPIN.—HIS PARENTS AND SISTERS. + </p> + <p> + GOETHE playfully describes himself as indebted to his father for his frame + and steady guidance of life, to his mother for his happy disposition and + love of story-telling, to his grandfather for his devotion to the fair + sex, to his grandmother for his love of finery. Schopenhauer reduces the + law of heredity to the simple formula that man has his moral nature, his + character, his inclinations, and his heart from his father, and the + quality and tendency of his intellect from his mother. Buckle, on the + other hand, questions hereditary transmission of mental qualities + altogether. Though little disposed to doubt with the English historian, + yet we may hesitate to assent to the proposition of the German + philosopher; the adoption of a more scientific doctrine, one that + recognises a process of compensation, neutralisation, and accentuation, + would probably bring us nearer the truth. But whatever the complicated + working of the law of heredity may be, there can be no doubt that the + tracing of a remarkable man's pedigree is always an interesting and rarely + an entirely idle occupation. Pursuing such an inquiry with regard to + Frederick Chopin, we find ourselves, however, soon at the end of our + tether. This is the more annoying, as there are circumstances that + particularly incite our curiosity. The "Journal de Rouen" of December 1, + 1849, contains an article, probably by Amedee de Mereaux, in which it is + stated that Frederick Chopin was descended from the French family Chopin + d'Arnouville, of which one member, a victim of the revocation of the Edict + of Nantes, had taken refuge in Poland. [Footnote: In scanning the Moniteur + of 1835, I came across several prefects and sous-prefects of the name of + Choppin d'Arnouville. (There are two communes of the name of Arnouville, + both are in the departement of the Seine et Oise—the one in the + arrondissement Mantes, the other in the arrondissement Pontoise. This + latter is called Arnouville-les-Gonesse.) I noticed also a number of + intimations concerning plain Chopins and Choppins who served their country + as maires and army officers. Indeed, the name of Chopin is by no means + uncommon in France, and more than one individual of that name has + illustrated it by his achievements—to wit: The jurist Rene Chopin or + Choppin (1537—1606), the litterateur Chopin (born about 1800), and + the poet Charles-Auguste Chopin (1811—1844).] Although this + confidently-advanced statement is supported by the inscription on the + composer's tombstone in Pere Lachaise, which describes his father as a + French refugee, both the Catholicism of the latter and contradictory + accounts of his extraction caution us not to put too much faith in its + authenticity. M. A. Szulc, the author of a Polish book on Chopin and his + works, has been told that Nicholas Chopin, the father of Frederick, was + the natural son of a Polish nobleman, who, having come with King Stanislas + Leszczynski to Lorraine, adopted there the name of Chopin. From Karasowski + we learn nothing of Nicholas Chopin's parentage. But as he was a friend of + the Chopin family, and from them got much of his information, this silence + might with equal force be adduced for and against the correctness of + Szulc's story, which in itself is nowise improbable. The only point that + could strike one as strange is the change of name. But would not the death + of the Polish ruler and the consequent lapse of Lorraine to France afford + some inducement for the discarding of an unpronounceable foreign name? It + must, however, not be overlooked that this story is but a hearsay, + relegated to a modest foot-note, and put forward without mention of the + source whence it is derived. [FOOTNOTE: Count Wodzinski, who leaves + Nicholas Chopin's descent an open question, mentions a variant of Szulc's + story, saying that some biographers pretended that Nicholas Chopin was + descended from one of the name of Szop, a soldier, valet, or heyduc + (reitre, valet, ou heiduque) in the service of Stanislas Leszczinski, whom + he followed to Lorraine.] Indeed, until we get possession of indisputable + proofs, it will be advisable to disregard these more or less fabulous + reports altogether, and begin with the first well-ascertained fact—namely, + Nicholas Chopin's birth, which took place at Nancy, in Lorraine, on the + 17th of August, 1770. Of his youth nothing is known except that, like + other young men of his country, he conceived a desire to visit Poland. + Polish descent would furnish a satisfactory explanation of Nicholas' + sentiments in regard to Poland at this time and subsequently, but an + equally satisfactory explanation can be found without having recourse to + such a hazardous assumption. + </p> + <p> + In 1735 Stanislas Leszczynski, who had been King of Poland from 1704 to + 1709, became Duke of Lorraine and Bar, and reigned over the Duchies till + 1766, when an accident—some part of his dress taking fire—put + an end to his existence. As Stanislas was a wise, kind-hearted, and + benevolent prince, his subjects not only loved him as long as he lived, + but also cherished his memory after his death, when their country had been + united to France. The young, we may be sure, would often hear their elders + speak of the good times of Duke Stanislas, of the Duke (the philosophe + bienfaisant) himself, and of the strange land and people he came from. But + Stanislas, besides being an excellent prince, was also an amiable, + generous gentleman, who, whilst paying due attention to the well-being of + his new subjects, remained to the end of his days a true Pole. From this + circumstance it may be easily inferred that the Court of Stanislas proved + a great attraction to his countrymen, and that Nancy became a chief + halting-place of Polish travellers on their way to and from Paris. Of + course, not all the Poles that had settled in the Duchies during the + Duke's reign left the country after his demise, nor did their friends from + the fatherland altogether cease to visit them in their new home. Thus a + connection between the two countries was kept up, and the interest taken + by the people of the west in the fortunes of the people in the east was + not allowed to die. Moreover, were not the Academie de Stanislas founded + by the Duke, the monument erected to his memory, and the square named + after him, perpetual reminders to the inhabitants of Nancy and the + visitors to that town? + </p> + <p> + Nicholas Chopin came to Warsaw in or about the year 1787. Karasowski + relates in the first and the second German edition of his biography of + Frederick Chopin that the Staroscina [FOOTNOTE: The wife of a starosta + (vide p. 7.)] Laczynska made the acquaintance of the latter's father, and + engaged him as tutor to her children; but in the later Polish edition he + abandons this account in favour of one given by Count Frederick Skarbek in + his Pamietniki (Memoirs). According to this most trustworthy of procurable + witnesses (why he is the most trustworthy will be seen presently), + Nicholas Chopin's migration to Poland came about in this way. A Frenchman + had established in Warsaw a manufactory of tobacco, which, as the taking + of snuff was then becoming more and more the fashion, began to flourish in + so high a degree that he felt the need of assistance. He proposed, + therefore, to his countryman, Nicholas Chopin, to come to him and take in + hand the book-keeping, a proposal which was readily accepted. + </p> + <p> + The first impression of the young Lorrainer on entering the land of his + dreams cannot have been altogether of a pleasant nature. For in the summer + of 1812, when, we are told, the condition of the people had been + infinitely ameliorated by the Prussian and Russian governments, M. de + Pradt, Napoleon's ambassador, found the nation in a state of + semi-barbarity, agriculture in its infancy, the soil parched like a + desert, the animals stunted, the people, although of good stature, in a + state of extreme poverty, the towns built of wood, the houses filled with + vermin, and the food revolting. This picture will not escape the suspicion + of being overdrawn. But J.G. Seume, who was by no means over-squeamish, + and whom experience had taught the meaning of "to rough it," asserts, in + speaking of Poland in 1805, that, Warsaw and a few other places excepted, + the dunghill was in most houses literally and without exaggeration the + cleanest spot, and the only one where one could stand without loathing. + But if the general aspect of things left much to be desired from a + utilitarian point of view, its strangeness and picturesqueness would not + fail to compensate an imaginative youth for the want of order and comfort. + The strong contrast of wealth and poverty, of luxury and distress, that + gave to the whole country so melancholy an appearance, was, as it were, + focussed in its capital. Mr. Coxe, who visited Warsaw not long before + Nicholas Chopin's arrival there, says:— + </p> +<pre xml:space="preserve"> + The streets are spacious, but ill-paved; the churches and + public buildings large and magnificent, the palaces of the + nobility are numerous and splendid; but the greatest part of + the houses, especially the suburbs, are mean and ill- + constructed wooden hovels. +</pre> + <p> + What, however, struck a stranger most, was the throngs of humanity that + enlivened the streets and squares of Warsaw, the capital of a nation + composed of a medley of Poles, Lithuanians, Red and White Russians, + Germans, Muscovites, Jews, and Wallachians, and the residence of a + numerous temporary and permanent foreign population. How our friend from + quiet Nancy—which long ago had been deserted by royalty and its + train, and where literary luminaries, such as Voltaire, Madame du + Chatelet, Saint Lambert, &c., had ceased to make their fitful + appearances—must have opened his eyes when this varied spectacle + unfolded itself before him. + </p> +<pre xml:space="preserve"> + The streets of stately breadth, formed of palaces in the + finest Italian taste and wooden huts which at every moment + threatened to tumble down on the heads of the inmates; in + these buildings Asiatic pomp and Greenland dirtin strange + union, an ever-bustling population, forming, like a + masked procession, the most striking contrasts. Long-bearded + Jews, and monks in all kinds of habits; nuns of the strictest + discipline, entirely veiled and wrapped in meditation; and in + the large squares troops of young Polesses in light-coloured + silk mantles engaged in conversation; venerable old Polish + gentlemen with moustaches, caftan, girdle, sword, and yellow + and red boots; and the new generation in the most incroyable + Parisian fashion. Turks, Greeks, Russians, Italians, and + French in an ever-changing throng; moreover, an exceedingly + tolerant police that interfered nowise with the popular + amusements, so that in squares and streets there moved about + incessantly Pulchinella theatres, dancing bears, camels, and + monkeys, before which the most elegant carriages as well as + porters stopped and stood gaping. +</pre> + <p> + Thus pictures J. E. Hitzig, the biographer of E. Th. A. Hoffmann, and + himself a sojourner in Warsaw, the life of the Polish capital in 1807. + When Nicholas Chopin saw it first the spectacle in the streets was even + more stirring, varied, and brilliant; for then Warsaw was still the + capital of an independent state, and the pending and impending political + affairs brought to it magnates from all the principal courts of Europe, + who vied with each other in the splendour of their carriages and horses, + and in the number and equipment of their attendants. + </p> + <p> + In the introductory part of this work I have spoken of the misfortunes + that befel Poland and culminated in the first partition. But the buoyancy + of the Polish character helped the nation to recover sooner from this + severe blow than could have been expected. Before long patriots began to + hope that the national disaster might be turned into a blessing. Many + circumstances favoured the realisation of these hopes. Prussia, on + discovering that her interests no longer coincided with those of her + partners of 1772, changed sides, and by-and-by even went the length of + concluding a defensive and offensive alliance with the Polish Republic. + She, with England and other governments, backed Poland against Russia and + Austria. Russia, moreover, had to turn her attention elsewhere. At the + time of Nicholas Chopin's arrival, Poland was dreaming of a renascence of + her former greatness, and everyone was looking forward with impatience to + the assembly of the Diet which was to meet the following year. Predisposed + by sympathy, he was soon drawn into the current of excitement and + enthusiasm that was surging around him. Indeed, what young soul possessed + of any nobleness could look with indifference on a nation struggling for + liberty and independence. As he took a great interest in the debates and + transactions of the Diet, he became more and more acquainted with the + history, character, condition, and needs of the country, and this + stimulated him to apply himself assiduously to the study of the national + language, in order to increase, by means of this faithful mirror and + interpreter of a people's heart and mind, his knowledge of these things. + And now I must ask the reader to bear patiently the infliction of a brief + historical summary, which I would most willingly spare him, were I not + prevented by two strong reasons. In the first place, the vicissitudes of + Nicholas Chopin's early life in Poland are so closely bound up with, or + rather so much influenced by, the political events, that an intelligible + account of the former cannot be given without referring to the latter; and + in the second place, those same political events are such important + factors in the moulding of the national character, that, if we wish to + understand it, they ought not to be overlooked. + </p> + <p> + The Diet which assembled at the end of 1788, in order to prevent the use + or rather abuse of the liberum veto, soon formed itself into a + confederation, abolished in 1789 the obnoxious Permanent Council, and + decreed in 1791, after much patriotic oratory and unpatriotic obstruction, + the famous constitution of the 3rd of May, regarded by the Poles up to + this day with loving pride, and admired and praised at the time by + sovereigns and statesmen, Fox and Burke among them. Although confirming + most of the privileges of the nobles, the constitution nevertheless bore + in it seeds of good promise. Thus, for instance, the crown was to pass + after the death of the reigning king to the Elector of Saxony, and become + thenceforth hereditary; greater power was given to the king and ministers, + confederations and the liberum veto were declared illegal, the + administration of justice was ameliorated, and some attention was paid to + the rights and wrongs of the third estate and peasantry. But the patriots + who already rejoiced in the prospect of a renewal of Polish greatness and + prosperity had counted without the proud selfish aristocrats, without + Russia, always ready to sow and nurture discord. Hence new troubles—the + confederation of Targowica, Russian demands for the repeal of the + constitution and unconditional submission to the Empress Catharine II, + betrayal by Prussia, invasion, war, desertion of the national cause by + their own king and his joining the conspirators of Targowica, and then the + second partition of Poland (October 14, 1793), implying a further loss of + territory and population. Now, indeed, the events were hastening towards + the end of the sad drama, the finis poloniae. After much hypocritical + verbiage and cruel coercion and oppression by Russia and Prussia, more + especially by the former, outraged Poland rose to free itself from the + galling yoke, and fought under the noble Kosciuszko and other gallant + generals with a bravery that will for ever live in the memory of men. But + however glorious the attempt, it was vain. Having three such powers as + Russia, Prussia, and Austria against her, Poland, unsupported by allies + and otherwise hampered, was too weak to hold her own. Without inquiring + into the causes and the faults committed by her commanders, without + dwelling on or even enumerating the vicissitudes of the struggle, I shall + pass on to the terrible closing scene of the drama—the siege and + fall of Praga, the suburb of Warsaw, and the subsequent massacre. The + third partition (October 24, 1795), in which each of the three powers took + her share, followed as a natural consequence, and Poland ceased to exist + as an independent state. Not, however, for ever; for when in 1807 + Napoleon, after crushing Prussia and defeating Russia, recast at Tilsit to + a great extent the political conformation of Europe, bullying King + Frederick William III and flattering the Emperor Alexander, he created the + Grand Duchy of Warsaw, over which he placed as ruler the then King of + Saxony. + </p> + <p> + Now let us see how Nicholas Chopin fared while these whirlwinds passed + over Poland. The threatening political situation and the consequent + general insecurity made themselves at once felt in trade, indeed soon + paralysed it. What more particularly told on the business in which the + young Lorrainer was engaged was the King's desertion of the national + cause, which induced the great and wealthy to leave Warsaw and betake + themselves for shelter to more retired and safer places. Indeed, so + disastrous was the effect of these occurrences on the Frenchman's tobacco + manufactory that it had to be closed. In these circumstances Nicholas + Chopin naturally thought of returning home, but sickness detained him. + When he had recovered his health, Poland was rising under Kosciuszko. He + then joined the national guard, in which he was before long promoted to + the rank of captain. On the 5th of November, 1794, he was on duty at + Praga, and had not his company been relieved a few hours before the fall + of the suburb, he would certainly have met there his death. Seeing that + all was lost he again turned his thoughts homewards, when once more + sickness prevented him from executing his intention. For a time he tried + to make a living by teaching French, but ere long accepted an engagement + as tutor in the family—then living in the country—of the + Staroscina Laczynska, who meeting him by chance had been favourably + impressed by his manners and accomplishments. In passing we may note that + among his four pupils (two girls and two boys) was one, Mary, who + afterwards became notorious by her connection with Napoleon I., and by the + son that sprang from this connection, Count Walewski, the minister of + Napoleon III. At the beginning of this century we find Nicholas Chopin at + Zelazowa Wola, near Sochaczew, in the house of the Countess Skarbek, as + tutor to her son Frederick. It was there that he made the acquaintance of + Justina Krzyzanowska, a young lady of noble but poor family, whom he + married in the year 1806, and who became the mother of four children, + three daughters and one son, the latter being no other than Frederick + Chopin, the subject of this biography. The position of Nicholas Chopin in + the house of the Countess must have been a pleasant one, for ever after + there seems to have existed a friendly relation between the two families. + His pupil, Count Frederick Skarbek, who prosecuted his studies at Warsaw + and Paris, distinguished himself subsequently as a poet, man of science, + professor at the University of Warsaw, state official, philanthropist, and + many-sided author—more especially as a politico—economical + writer. When in his Memoirs the Count looks back on his youth, he + remembers gratefully and with respect his tutor, speaking of him in highly + appreciative terms. In teaching, Nicholas Chopin's chief aim was to form + his pupils into useful, patriotic citizens; nothing was farther from his + mind than the desire or unconscious tendency to turn them into Frenchmen. + And now approaches the time when the principal personage makes his + appearance on the stage. + </p> + <p> + Frederick Chopin, the only son and the third of the four children of + Nicholas and Justina Chopin, was born on February 22, 1810, + </p> + <p> + [FOOTNOTE: See Preface, p. xii. In the earlier editions the date given was + March 1,1809, as in the biography by Karasowski, with whom agree the + earlier J. Fontana (Preface to Chopin's posthumous works.—1855), C. + Sowinski (Les musiciens polonais et slaves.—1857), and the writer of + the Chopin article in Mendel's Musikalisches Conversations-Lexikon (1872). + According to M. A. Szulc (Fryderyk Chopin.—1873) and the inscription + on the memorial (erected in 1880) in the Holy Cross Church at Warsaw, the + composer was born on March 2, 1809. The monument in Pere Lachaise, at + Paris, bears the date of Chopin's death, but not that of his birth. Felis, + in his Biographie universelle des musiciens, differs widely from these + authorities. The first edition (1835—1844) has only the year—1810; + the second edition (1861—1865) adds month and day—February 8.] + </p> + <p> + in a mean little house at Zelazowa Wola, a village about twenty-eight + English miles from Warsaw belonging to the Countess Skarbek. + </p> + <p> + [FOOTNOTE: Count Wodzinski, after indicating the general features of + Polish villages—the dwor (manor-house) surrounded by a "bouquet of + trees"; the barns and stables forming a square with a well in the centre; + the roads planted with poplars and bordered with thatched huts; the rye, + wheat, rape, and clover fields, &c.—describes the birthplace of + Frederick Chopin as follows: "I have seen there the same dwor embosomed in + trees, the same outhouses, the same huts, the same plains where here and + there a wild pear-tree throws its shadow. Some steps from the mansion I + stopped before a little cot with a slated roof, flanked by a little wooden + perron. Nothing has been changed for nearly a hundred years. A dark + passage traverses it. On the left, in a room illuminated by the reddish + flame of slowly-consumed logs, or by the uncertain light of two candles + placed at each extremity of the long table, the maid-servants spin as in + olden times, and relate to each other a thousand marvellous legends. On + the right, in a lodging of three rooms, so low that one can touch the + ceiling, a man of some thirty years, brown, with vivacious eyes, the face + closely shaven." This man was of course Nicholas Chopin. I need hardly say + that Count Wodzinski's description is novelistically tricked out. His + accuracy may be judged by the fact that a few pages after the above + passage he speaks of the discoloured tiles of the roof which he told his + readers before was of slate.] + </p> + <p> + The son of the latter, Count Frederick Skarbek, Nicholas Chopin's pupil, a + young man of seventeen, stood godfather and gave his name to the new-born + offspring of his tutor. Little Frederick's residence at the village cannot + have been of long duration. + </p> + <p> + The establishment of the Grand Duchy of Warsaw in 1807 had ushered in a + time big with chances for a capable man, and we may be sure that a young + husband and father, no doubt already on the look-out for some more + lucrative and independent employment, was determined not to miss them. Few + peaceful revolutions, if any, can compare in thoroughness with the one + that then took place in Poland; a new sovereign ascended the throne, two + differently-constituted representative bodies superseded the old Senate + and Diet, the French code of laws was introduced, the army and civil + service underwent a complete re-organisation, public instruction obtained + a long-needed attention, and so forth. To give an idea of the extent of + the improvement effected in matters of education, it is enough to mention + that the number of schools rose from 140 to 634, and that a commission was + formed for the publication of suitable books of instruction in the Polish + language. Nicholas Chopin's hopes were not frustrated; for on October 1, + 1810, he was appointed professor of the French language at the + newly-founded Lyceum in Warsaw, and a little more than a year after, on + January 1, 1812, to a similar post at the School of Artillery and + Engineering. + </p> + <p> + The exact date when Nicholas Chopin and his family settled in Warsaw is + not known, nor is it of any consequence. We may, however, safely assume + that about this time little Frederick was an inhabitant of the Polish + metropolis. During the first years of his life the parents may have lived + in somewhat straitened circumstances. The salary of the professorship, + even if regularly paid, would hardly suffice for a family to live + comfortably, and the time was unfavourable for gaining much by private + tuition. M. de Pradt, describing Poland in 1812, says:— + </p> +<pre xml:space="preserve"> + Nothing could exceed the misery of all classes. The army was + not paid, the officers were in rags, the best houses were in + ruins, the greatest lords were compelled to leave Warsaw from + want of money to provide for their tables. No pleasures, no + society, no invitations as in Paris and in London. I even saw + princesses quit Warsaw from the most extreme distress. The + Princess Radziwill had brought two women from England and + France, she wished to send them back, but had to keep them + because she was unable to pay their salaries and travelling + expenses. I saw in Warsaw two French physicians who informed + me that they could not procure their fees even from the + greatest lords. +</pre> + <p> + But whatever straits the parents may have been put to, the weak, helpless + infant would lack none of the necessaries of life, and enjoy all the + reasonable comforts of his age. + </p> + <p> + When in 1815 peace was restored and a period of quiet followed, the family + must have lived in easy circumstances; for besides holding appointments as + professor at some public schools (under the Russian government he became + also one of the staff of teachers at the Military Preparatory School), + Nicholas Chopin kept for a number of years a boarding-school, which was + patronised by the best families of the country. The supposed poverty of + Chopin's parents has given rise to all sorts of misconceptions and + misstatements. A writer in Larousse's "Grand dictionnaire universel du + XIXe siecle" even builds on it a theory explanatory of the character of + Chopin and his music: "Sa famille d'origine francaise," he writes, + "jouissait d'une mediocre fortune; de la, peut-etre, certains froissements + dans l'organisation nerveuse et la vive sensibilite de l'enfant, + sentiments qui devaient plus tard se refleter dans ses oeuvres, empreintes + generalement d'une profonde melancolie." If the writer of the article in + question had gone a little farther back, he might have found a sounder + basis for his theory in the extremely delicate physical organisation of + the man, whose sensitiveness was so acute that in early infancy he could + not hear music without crying, and resisted almost all attempts at + appeasing him. + </p> + <p> + The last-mentioned fact, curious and really noteworthy in itself, acquires + a certain preciousness by its being the only one transmitted to us of that + period of Chopin's existence. But this scantiness of information need not + cause us much regret. During the first years of a man's life biography is + chiefly concerned with his surroundings, with the agencies that train his + faculties and mould his character. A man's acts and opinions are + interesting in proportion to the degree of consolidation attained by his + individuality. Fortunately our material is abundant enough to enable us to + reconstruct in some measure the milieu into which Chopin was born and in + which he grew up. We will begin with that first circle which surrounds the + child—his family. The negative advantages which our Frederick found + there—the absence of the privations and hardships of poverty, with + their depressing and often demoralising influence—have already been + adverted to; now I must say a few words about the positive advantages with + which he was favoured. And it may be at once stated that they cannot be + estimated too highly. Frederick enjoyed the greatest of blessings that can + be bestowed upon mortal man—viz., that of being born into a virtuous + and well-educated family united by the ties of love. I call it the + greatest of blessings, because neither catechism and sermons nor schools + and colleges can take the place,, or compensate for the want, of this + education that does not stop at the outside, but by its subtle, continuous + action penetrates to the very heart's core and pervades the whole being. + The atmosphere in which Frederick lived was not only moral and social, but + also distinctly intellectual. + </p> + <p> + The father, Nicholas Chopin, seems to have been a man of worth and + culture, honest of purpose, charitable in judgment, attentive to duty, and + endowed with a good share of prudence and commonsense. In support of this + characterisation may be advanced that among his friends he counted many + men of distinction in literature, science, and art; that between him and + the parents of his pupils as well as the pupils themselves there existed a + friendly relation; that he was on intimate terms with several of his + colleagues; and that his children not only loved, but also respected him. + No one who reads his son's letters, which indeed give us some striking + glimpses of the man, can fail to notice this last point. On one occasion, + when confessing that he had gone to a certain dinner two hours later than + he had been asked, Frederick foresees his father's anger at the disregard + for what is owing to others, and especially to one's elders; and on + another occasion he makes excuses for his indifference to non-musical + matters, which, he thinks, his father will blame. And mark, these letters + were written after Chopin had attained manhood. What testifies to Nicholas + Chopin's, abilities as a teacher and steadiness as a man, is the unshaken + confidence of the government: he continued in his position at the + Lyceumtill after the revolution in 1831, when this institution, like many + others, was closed; he was then appointed a member of the board for the + examination of candidates for situations as schoolmasters, and somewhat + later he became professor of the French language at the Academy of the + Roman Catholic Clergy. + </p> + <p> + It is more difficult, or rather it is impossible, to form anything like a + clear picture of his wife, Justina Chopin. None of those of her son's + letters that are preserved is addressed to her, and in those addressed to + the members of the family conjointly, or to friends, nothing occurs that + brings her nearer to us, or gives a clue to her character. George Sand + said that she was Chopin's only passion. Karasowski describes her as + "particularly tender-hearted and rich in all the truly womanly + virtues.....For her quietness and homeliness were the greatest happiness." + K. W. Wojcicki, in "Cmentarz Powazkowski" (Powazki Cemetery), expresses, + himself in the same strain. A Scotch lady, who had seen Justina Chopin in + her old age, and conversed with her in French, told me that she was then + "a neat, quiet, intelligent old lady, whose activeness contrasted strongly + with the languor of her son, who had not a shadow of energy in him." With + regard to the latter part of this account, we must not overlook the fact + that my informant knew Chopin only in the last year of his life—i.e., + when he was in a very suffering state of mind and body. This is all the + information I have been able to collect regarding the character of + Chopin's mother. Moreover, Karasowski is not an altogether trustworthy + informant; as a friend of the Chopin family he sees in its members so many + paragons of intellectual and moral perfection. He proceeds on the de + mortuis nil nisi bonum principle, which I venture to suggest is a very bad + principle. Let us apply this loving tenderness to our living neighbours, + and judge the dead according to their merits. Thus the living will be + doubly benefited, and no harm be done to the dead. Still, the evidence + before us—including that exclamation about his "best of mothers" in + one of Chopin's letters, written from Vienna, soon after the outbreak of + the Polish insurrection in 1830: "How glad my mamma will be that I did not + come back!"—justifies us, I think, in inferring that Justina Chopin + was a woman of the most lovable type, one in whom the central principle of + existence was the maternal instinct, that bright ray of light which, + dispersed in its action, displays itself in the most varied and lovely + colours. That this principle, although often all-absorbing, is not + incompatible with the wider and higher social and intellectual interests + is a proposition that does not stand in need of proof. But who could + describe that wondrous blending of loving strength and lovable weakness of + a true woman's character? You feel its beauty and sublimity, and if you + attempt to give words to your feeling you produce a caricature. + </p> + <p> + The three sisters of Frederick all manifested more or less a taste for + literature. The two elder sisters, Louisa (who married Professor + Jedrzejewicz, and died in 1855) and Isabella (who married Anton Barcinski—first + inspector of schools, and subsequently director of steam navigation on the + Vistula—and died in 1881), wrote together for the improvement of the + working classes. The former contributed now and then, also after her + marriage, articles to periodicals on the education of the young. Emilia, + the youngest sister, who died at the early age of fourteen (in 1827), + translated, conjointly with her sister Isabella, the educational tales of + the German author Salzmann, and her poetical efforts held out much promise + for the future. + </p> + <p> + <a name="link2HCH0002" id="link2HCH0002"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER II + </h2> + <p> + FREDERICK'S FIRST MUSICAL INSTRUCTION AND MUSIC-MASTER, ADALBERT ZYWNY.—HIS + DEBUT AND SUCCESS AS A PIANIST.—HIS EARLY INTRODUCTION INTO + ARISTOCRATIC SOCIETY AND CONSTANT INTERCOURSE WITH THE ARISTOCRACY.—HIS + FIRST COMPOSITIONS.—HIS STUDIES AND MASTER IN HARMONY, COUNTERPOINT, + AND COMPOSITION, JOSEPH ELSNER. + </p> + <p> + OUR little friend, who, as we have seen, at first took up a hostile + attitude towards music—for his passionate utterances, albeit + inarticulate, cannot well be interpreted as expressions of satisfaction or + approval—came before long under her mighty sway. The pianoforte + threw a spell over him, and, attracting him more and more, inspired him + with such a fondness as to induce his parents to provide him, + notwithstanding his tender age, with an instructor. To lessen the + awfulness of the proceeding, it was arranged that one of the elder sisters + should join him in his lessons. The first and only pianoforte teacher of + him who in the course of time became one of the greatest and most original + masters of this instrument, deserves some attention from us. Adalbert + Zywny [FOOTNOTE: This is the usual spelling of the name, which, as the + reader will see further on, its possessor wrote Ziwny. Liszt calls him + Zywna.], a native of Bohemia, born in 1756, came to Poland, according to + Albert Sowinski (Les musiciens polonais et slaves), during the reign of + Stanislas Augustus Poniatowski (1764—1795), and after staying for + some time as pianist at the court of Prince Casimir Sapieha, settled in + Warsaw as a teacher of music, and soon got into good practice, "giving his + lessons at three florins (eighteen pence) per hour very regularly, and + making a fortune." And thus teaching and composing (he is said to have + composed much for the pianoforte, but he never published anything), he + lived a long and useful life, dying in 1842 at the age of 86 (Karasowski + says in 1840). The punctual and, no doubt, also somewhat pedantic + music-master who acquired the esteem and goodwill of his patrons, the best + families of Warsaw, and a fortune at the same time, is a pleasant figure + to contemplate. The honest orderliness and dignified calmness of his life, + as I read it, are quite refreshing in this time of rush and gush. Having + seen a letter of his, I can imagine the heaps of original MSS., clearly + and neatly penned with a firm hand, lying carefully packed up in spacious + drawers, or piled up on well-dusted shelves. Of the man Zywny and his + relation to the Chopin family we get some glimpses in Frederick's letters. + In one of the year 1828, addressed to his friend Titus Woyciechowski, he + writes: "With us things are as they used to be; the honest Zywny is the + soul of all our amusements." Sowinski informs us that Zywny taught his + pupil according to the classical German method—whatever that may + mean—at that time in use in Poland. Liszt, who calls him "an + enthusiastic student of Bach," speaks likewise of "les errements d'une + ecole entierement classique." Now imagine my astonishment when on asking + the well-known pianoforte player and composer Edouard Wolff, a native of + Warsaw, [Fooynote: He died at Paris on October 16, 1880.] what kind of + pianist Zywny was, I received the answer that he was a violinist and not a + pianist. That Wolff and Zywny knew each other is proved beyond doubt by + the above-mentioned letter of Zywny's, introducing the former to Chopin, + then resident in Paris. The solution of the riddle is probably this. + Zywny, whether violinist or not, was not a pianoforte virtuoso—at + least, was not heard in public in his old age. The mention of a single + name, that of Wenzel W. Wurfel, certainly shows that he was not the best + pianist in Warsaw. But against any such depreciatory remarks we have to + set Chopin's high opinion of Zywny's teaching capability. Zywny's letter, + already twice alluded to, is worth quoting. It still further illustrates + the relation in which master and pupil stood to each other, and by + bringing us in close contact with the former makes us better acquainted + with his character. A particularly curious fact about the letter—considering + the nationality of the persons concerned—is its being written in + German. Only a fac-simile of the original, with its clear, firm, though + (owing to the writer's old age) cramped penmanship, and its quaint + spelling and capricious use of capital and small initials, could fully + reveal the expressiveness of this document. However, even in the + translation there may be found some of the man's characteristic + old-fashioned formality, grave benevolence, and quiet homeliness. The + outside of the sheet on which the letter is written bears the words, "From + the old music-master Adalbert Ziwny [at least this I take to be the + meaning of the seven letters followed by dots], kindly to be transmitted + to my best friend, Mr. Frederick Chopin, in Paris." The letter itself runs + as follows:— + </p> +<pre xml:space="preserve"> + DEAREST MR. F. CHOPIN,—Wishing you perfect health I have the + honour to write to you through Mr. Eduard Wolf. [FOOTNOTE: + The language of the first sentence is neither logical nor + otherwise precise. I shall keep throughout as close as + possible to the original, and also retain the peculiar + spelling of proper names.] I recommend him to your esteemed + friendship. Your whole family and I had also the pleasure of + hearing at his concert the Adagio and Rondo from your + Concerto, which called up in our minds the most agreeable + remembrance of you. May God give you every prosperity! We are + all well, and wish so much to see you again. Meanwhile I send + you through Mr. Wolf my heartiest kiss, and recommending + myself to your esteemed friendship, I remain your faithful + friend, + + ADALBERT ZIWNY. + + Warsaw, the 12th of June, 1835. + + N.B.—Mr. Kirkow, the merchant, and his son George, who was + at Mr. Reinschmid's at your farewell party, recommend + themselves to you, and wish you good health. Adieu. +</pre> + <p> + Julius Fontana, the friend and companion of Frederick, after stating (in + his preface to Chopin's posthumous works) that Chopin had never another + pianoforte teacher than Zywny, observes that the latter taught his pupil + only the first principles. "The progress of the child was so extraordinary + that his parents and his professor thought they could do no better than + abandon him at the age of 12 to his own instincts, and follow instead of + directing him." The progress of Frederick must indeed have been + considerable, for in Clementina Tanska-Hofmanowa's Pamiatka po dobrej + matce (Memorial of a good Mother) [FOOTNOTE: Published in 1819.] the + writer relates that she was at a soiree at Gr——'s, where she + found a numerous party assembled, and heard in the course of the evening + young Chopin play the piano—"a child not yet eight years old, who, + in the opinion of the connoisseurs of the art, promises to replace + Mozart." Before the boy had completed his ninth year his talents were + already so favourably known that he was invited to take part in a concert + which was got up by several persons of high rank for the benefit of the + poor. The bearer of the invitation was no less a person than Ursin + Niemcewicz, the publicist, poet, dramatist, and statesman, one of the most + remarkable and influential men of the Poland of that day. At this concert, + which took place on February 24, 1818, the young virtuoso played a + concerto by Adalbert Gyrowetz, a composer once celebrated, but now + ignominiously shelved—sic transit gloria mundi—and one of + Riehl's "divine Philistines." An anecdote shows that at that time + Frederick was neither an intellectual prodigy nor a conceited puppy, but a + naive, modest child that played the pianoforte, as birds sing, with + unconscious art. When he came home after the concert, for which of course + he had been arrayed most splendidly and to his own great satisfaction, his + mother said to him: "Well, Fred, what did the public like best?"—"Oh, + mamma," replied the little innocent, "everybody was looking at my collar." + </p> + <p> + The debut was a complete success, and our Frederick—Chopinek + (diminutive of Chopin) they called him—became more than ever the pet + of the aristocracy of Warsaw. He was invited to the houses of the Princes + Czartoryski, Sapieha, Czetwertynski, Lubecki, Radziwill, the Counts + Skarbek, Wolicki, Pruszak, Hussarzewski, Lempicki, and others. By the + Princess Czetwertynska, who, says Liszt, cultivated music with a true + feeling of its beauties, and whose salon was one of the most brilliant and + select of Warsaw, Frederick was introduced to the Princess Lowicka, the + beautiful Polish wife of the Grand Duke Constantine, who, as Countess + Johanna Antonia Grudzinska, had so charmed the latter that, in order to + obtain the Emperor's consent to his marriage with her, he abdicated his + right of succession to the throne. The way in which she exerted her + influence over her brutal, eccentric, if not insane, husband, who at once + loved and maltreated the Poles, gained her the title of "guardian angel of + Poland." In her salon Frederick came of course also in contact with the + dreaded Grand Duke, the Napoleon of Belvedere (thus he was nicknamed by + Niemcewicz, from the palace where he resided in Warsaw), who on one + occasion when the boy was improvising with his eyes turned to the ceiling, + as was his wont, asked him why he looked in that direction, if he saw + notes up there. With the exalted occupants of Belvedere Frederick had a + good deal of intercourse, for little Paul, a boy of his own age, a son or + adopted son of the Grand Duke, enjoyed his company, and sometimes came + with his tutor, Count de Moriolles, to his house to take him for a drive. + On these occasions the neighbours of the Chopin family wondered not a + little what business brought the Grand Duke's carriage, drawn by four + splendid horses, yoked in the Russian fashion—i.e., all abreast—to + their quarter. + </p> + <p> + Chopin's early introduction into aristocratic society and constant + intercourse with the aristocracy is an item of his education which must + not be considered as of subordinate importance. More than almost any other + of his early disciplines, it formed his tastes, or at least strongly + assisted in developing certain inborn traits of his nature, and in doing + this influenced his entire moral and artistic character. In the proem I + mentioned an English traveller's encomiums on the elegance in the houses, + and the exquisite refinement in the entertainments, of the wealthy nobles + in the last quarter of the eighteenth century. We may be sure that in + these respects the present century was not eclipsed by its predecessors, + at least not in the third decade, when the salons of Warsaw shone at their + brightest. The influence of French thought and manners, for the + importation and spreading of which King Stanislas Leszczinski was so + solicitous that he sent at his own expense many young gentlemen to Paris + for their education, was subsequently strengthened by literary taste, + national sympathies, and the political connection during the first Empire. + But although foreign notions and customs caused much of the old barbarous + extravagance and also much of the old homely simplicity to disappear, they + did not annihilate the national distinctiveness of the class that was + affected by them. Suffused with the Slavonic spirit and its tincture of + Orientalism, the importation assumed a character of its own. Liszt, who + did not speak merely from hearsay, emphasises, in giving expression to his + admiration of the elegant and refined manners of the Polish aristocracy, + the absence of formalism and stiff artificiality:— + </p> +<pre xml:space="preserve"> + In these salons [he writes] the rigorously observed + proprieties were not a kind of ingeniously-constructed + corsets that served to hide deformed hearts; they only + necessitated the spiritualisation of all contacts, the + elevation of all rapports, the aristocratisation of all + impressions. +</pre> + <p> + But enough of this for the present. + </p> + <p> + A surer proof of Frederick's ability than the applause and favour of the + aristocracy was the impression he made on the celebrated Catalani, who, in + January, 1820, gave four concerts in the town-hall of Warsaw, the charge + for admission to each of which was, as we may note in passing, no less + than thirty Polish florins (fifteen shillings). Hearing much of the + musically-gifted boy, she expressed the wish to have him presented to her. + On this being done, she was so pleased with him and his playing that she + made him a present of a watch, on which were engraved the words: "Donne + par Madame Catalani a Frederic Chopin, age de dix ans." + </p> + <p> + As yet I have said nothing of the boy's first attempts at composition. + Little Frederick began to compose soon after the commencement of his + pianoforte lessons and before he could handle the pen. His master had to + write down what the pupil played, after which the youthful maestro, often + dissatisfied with his first conception, would set to work with the + critical file, and try to improve it. He composed mazurkas, polonaises, + waltzes, &c. At the age of ten he dedicated a march to the Grand Duke + Constantine, who had it scored for a military band and played on parade + (subsequently it was also published, but without the composer's name), and + these productions gave such evident proof of talent that his father deemed + it desirable to get his friend Elsner to instruct him in harmony and + counterpoint. At this time, however, it was not as yet in contemplation + that Frederick should become a professional musician; on the contrary, he + was made to understand that his musical studies must not interfere with + his other studies, as he was then preparing for his entrance into the + Warsaw Lyceum. As we know that this event took place in 1824, we know also + the approximate time of the commencement of Elsner's lessons. Fontana says + that Chopin began these studies when he was already remarkable as a + pianist. Seeing how very little is known concerning the nature and extent + of Chopin's studies in composition, it may be as well to exhaust the + subject at once. But before I do so I must make the reader acquainted with + the musician who, as Zyvny was Chopin's only pianoforte teacher, was his + only teacher of composition. + </p> + <p> + Joseph Elsner, the son of a cabinet and musical instrument maker at + Grottkau, in Silesia, was born on June 1, 1769. As his father intended him + for the medical profession, he was sent in 1781 to the Latin school at + Breslau, and some years later to the University at Vienna. Having already + been encouraged by the rector in Grottkau to cultivate his beautiful + voice, he became in Breslau a chorister in one of the churches, and after + some time was often employed as violinist and singer at the theatre. Here, + where he got, if not regular instruction, at least some hints regarding + harmony and kindred matters (the authorities are hopelessly at variance on + this and on many other points), he made his first attempts at composition, + writing dances, songs, duets, trios, nay, venturing even on larger works + for chorus and orchestra. The musical studies commenced in Breslau were + continued in Vienna; preferring musical scores to medical books, the + conversations of musicians to the lectures of professors, he first + neglected and at last altogether abandoned the study of the healing art. + A. Boguslawski, who wrote a biography of Elsner, tells the story + differently and more poetically. When, after a long illness during his + sojourn in Breslau, thus runs his version, Elsner went, on the day of the + Holy Trinity in the year 1789, for the first time to church, he was so + deeply moved by the sounds of the organ that he fainted. On recovering he + felt his whole being filled with such ineffable comfort and happiness that + he thought he saw in this occurrence the hand of destiny. He, therefore, + set out for Vienna, in order that he might draw as it were at the + fountain-head the great principles of his art. Be this as it may, in 1791 + we hear of Elsner as violinist in Brunn, in 1792 as musical conductor at a + theatre in Lemberg—where he is busy composing dramatic and other + works—and near the end of the last century as occupant of the same + post at the National Theatre in Warsaw, which town became his home for the + rest of his life. There was the principal field of his labours; there he + died, after a sojourn of sixty-two years in Poland, on April 18, 1854, + leaving behind him one of the most honoured names in the history of his + adopted country. Of the journeys he undertook, the longest and most + important was, no doubt, that to Paris in 1805. On the occasion of this + visit some of his compositions were performed, and when Chopin arrived + there twenty-five years afterwards, Elsner was still remembered by + Lesueur, who said: "Et que fait notre bon Elsner? Racontez-moi de ses + nouvelles." Elsner was a very productive composer: besides symphonies, + quartets, cantatas, masses, an oratorio, &c., he composed twenty-seven + Polish operas. Many of these works were published, some in Warsaw, some in + various German towns, some even in Paris. But his activity as a teacher, + conductor, and organiser was perhaps even more beneficial to the + development of the musical art in Poland than that as a composer. After + founding and conducting several musical societies, he became in 1821 + director of the then opened Conservatorium, at the head of which he + continued to the end of its existence in 1830. To complete the idea of the + man, we must not omit to mention his essay In how far is the Polish + language suitable for music? As few of his compositions have been heard + outside of Poland, and these few long ago, rarely, and in few places, it + is difficult to form a satisfactory opinion with regard to his position as + a composer. Most accounts, however, agree in stating that he wrote in the + style of the modern Italians, that is to say, what were called the modern + Italians in the later part of the last and the earlier part of this + century. Elsner tried his strength and ability in all genres, from + oratorio, opera, and symphony, down to pianoforte variations, rondos, and + dances, and in none of them did he fail to be pleasing and intelligible, + not even where, as especially in his sacred music, he made use—a + sparing use—of contrapuntal devices, imitations, and fugal + treatment. The naturalness, fluency, effectiveness, and practicableness + which distinguish his writing for voices and instruments show that he + possessed a thorough knowledge of their nature and capability. It was, + therefore, not an empty rhetorical phrase to speak of him initiating his + pupils "a la science du contre-point et aux effets d'une savante + instrumentation." + </p> + <p> + [FOOTNOTE: "The productions of Elsner," says Fetis, "are in the style of + Paer and Mayer's music. In his church music there is a little too much of + modern and dramatic forms; one finds in them facility and a natural manner + of making the parts sing, but little originality and variety in his ideas. + Elsner writes with sufficient purity, although he shows in his fugues that + his studies have not been severe."] + </p> + <p> + For the pupils of the Conservatorium he wrote vocal pieces in from one to + ten parts, and he composed also a number of canons in four and five parts, + which fact seems to demonstrate that he had no ill-will against the + scholastic forms. And now I shall quote a passage from an apparently + well-informed writer [FOOTNOTE: The writer of the article Elsner in + Schilling's Universal-Lexikon der Tonkunst] (to whom I am, moreover, + otherwise indebted in this sketch), wherein Elsner is blamed for certain + shortcomings with which Chopin has been often reproached in a less + charitable spirit. The italics, which are mine, will point out the words + in question:— + </p> +<pre xml:space="preserve"> + One forgives him readily [in consideration of the general + excellence of his style] THE OFFENCES AGAINST THE LAW OF + HARMONIC CONNECTION THAT OCCUR HERE AND THERE, AND THE + FACILITY WITH WHICH HE SOMETIMES DISREGARDS THE FIXED RULES + OF STRICT PART-WRITING, especially in the dramatic works, + where he makes effect apparently the ultimate aim of his + indefatigable endeavours. +</pre> + <p> + The wealth of melody and technical mastery displayed in "The Passion of + our Lord Jesus Christ" incline Karasowski to think that it is the + composer's best work. When the people at Breslau praised Elsner's "Echo + Variations" for orchestra, Chopin exclaimed: "You must hear his Coronation + Mass, then only can you judge of him as a composer." To characterise + Elsner in a few words, he was a man of considerable musical aptitude and + capacity, full of nobleness of purpose, learning, industry, perseverance, + in short, possessing all qualities implied by talent, but lacking those + implied by genius. + </p> + <p> + A musician travelling in 1841 in Poland sent at the time to the Neue + Zeitschrift fur Musik a series of "Reiseblatter" (Notes of Travel), which + contain so charming and vivid a description of this interesting + personality that I cannot resist the temptation to translate and insert it + here almost without any abridgment. Two noteworthy opinions of the writer + may be fitly prefixed to this quotation—namely, that Elsner was a + Pole with all his heart and soul, indeed, a better one than thousands that + are natives of the country, and that, like Haydn, he possessed the quality + of writing better the older he grew:— + </p> +<pre xml:space="preserve"> + The first musical person of the town [Warsaw] is still the + old, youthful Joseph Elsner, a veteran master of our art, who + is as amiable as he is truly estimable. In our day one hardly + meets with a notable Polish musician who has not studied + composition under Pan [i.e., Mr.] Elsner; and he loves all + his pupils, and all speak of him with enthusiasm, and, + according to the Polish fashion, kiss the old master's + shoulder, whereupon he never forgets to kiss them heartily on + both cheeks. Even Charles Kurpinski, the pensioned + Capelhneister of the Polish National Theatre, whose hair is + already grey, is, if I am not very much misinformed, also a + pupil of Joseph Elsner's. One is often mistaken with regard + to the outward appearance of a celebrated man; I mean, one + forms often a false idea of him before one has seen him and + knows a portrait of him. I found Elsner almost exactly as I + had imagined him. Wisocki, the pianist, also a pupil of his, + took me to him. Pan Elsner lives in the Dom Pyarow [House of + Piarists]. One has to start early if one wishes to find him + at home; for soon after breakfast he goes out, and rarely + returns to his cell before evening. He inhabits, like a + genuine church composer, two cells of the old Piarist + Monastery in Jesuit Street, and in the dark passages which + lead to his rooms one sees here and there faded laid-aside + pictures of saints lying about, and old church banners + hanging down. The old gentleman was still in bed when we + arrived, and sent his servant to ask us to wait a little in + the anteroom, promising to be with us immediately. All the + walls of this room, or rather cell, were hung to the ceiling + with portraits of musicians, among them some very rare names + and faces. Mr. Elsner has continued this collection down to + the present time; also the portraits of Liszt, Thalberg, + Chopin, and Clara Wieck shine down from the old monastic + walls. I had scarcely looked about me in this large company + for a few minutes, when the door of the adjoining room + opened, and a man of medium height (not to say little), + somewhat stout, with a round, friendly countenance, grey + hair, but very lively eyes, enveloped in a warm fur dressing- + gown, stepped up to us, comfortably but quickly, and bade us + welcome. Wisocki kissed him, according to the Polish fashion, + as a token of respect, on the right shoulder, and introduced + me to him, whereupon the old friendly gentleman shook hands + with me and said some kindly words. + + This, then, was Pan Joseph Elsner, the ancestor of modern + Polish music, the teacher of Chopin, the fine connoisseur and + cautious guide of original talents. For he does not do as is + done only too often by other teachers in the arts, who insist + on screwing all pupils to the same turning-lathe on which + they themselves were formed, who always do their utmost to + ingraft their own I on the pupil, so that he may become as + excellent a man as they imagine themselves to be. Joseph + Elsner did not proceed thus. When all the people of Warsaw + thought Frederick Chopin was entering on a wrong path, that + his was not music at all, that he must keep to Himmel and + Hummel, otherwise he would never do anything decent—the + clever Pan Elsner had already very clearly perceived what a + poetic kernel there was in the pale young dreamer, had long + before felt very clearly that he had before him the founder + of a new epoch of pianoforte-playing, and was far from laying + upon him a cavesson, knowing well that such a noble + thoroughbred may indeed be cautiously led, but must not be + trained and fettered in the usual way if he is to conquer. +</pre> + <p> + Of Chopin's studies under this master we do not know much more than of his + studies under Zywny. Both Fontana and Sowinski say that he went through a + complete course of counterpoint and composition. Elsner, in a letter + written to Chopin in 1834, speaks of himself as "your teacher of harmony + and counterpoint, of little merit, but fortunate." Liszt writes:— + </p> +<pre xml:space="preserve"> + Joseph Elsner taught Chopin those things that are most + difficult to learn and most rarely known: to be exacting + to one's self, and to value the advantages that are only + obtained by dint of patience and labour. +</pre> + <p> + What other accounts of the matter under discussion I have got from books + and conversations are as general and vague as the foregoing. I therefore + shall not weary the reader with them. What Elsner's view of teaching was + may be gathered from one of his letters to his pupil. The gist of his + remarks lies in this sentence:— + </p> +<pre xml:space="preserve"> + That with which the artist (who learns continually from his + surroundings) astonishes his contemporaries, he can only + attain by himself and through himself. +</pre> + <p> + Elsner had insight and self-negation (a rare quality with teachers) enough + to act up to his theory, and give free play to the natural tendencies of + his pupil's powers. That this was really the case is seen from his reply + to one who blamed Frederick's disregard of rules and custom:— + </p> +<pre xml:space="preserve"> + Leave him in peace [he said], his is an uncommon way because + his gifts are uncommon. He does not strictly adhere to the + customary method, but he has one of his own, and he will + reveal in his works an originality which in such a degree has + not been found in anyone. +</pre> + <p> + The letters of master and pupil testify to their unceasing mutual esteem + and love. Those of the master are full of fatherly affection and advice, + those of the pupil full of filial devotion and reverence. Allusions to and + messages for Elsner are very frequent in Chopin's letters. He seems always + anxious that his old master should know how he fared, especially hear of + his success. His sentiments regarding Elsner reveal themselves perhaps + nowhere more strikingly than in an incidental remark which escapes him + when writing to his friend Woyciechowski. Speaking of a new acquaintance + he has made, he says, "He is a great friend of Elsner's, which in my + estimation means much." No doubt Chopin looked up with more respect and + thought himself more indebted to Elsner than to Zywny; but that he had a + good opinion of both his masters is evident from his pithy reply to the + Viennese gentleman who told him that people were astonished at his having + learned all he knew at Warsaw: "From Messrs. Zywny and Elsner even the + greatest ass must learn something." + </p> + <p> + <a name="link2HCH0003" id="link2HCH0003"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER III + </h2> + <p> + FREDERICK ENTERS THE WARSAW LYCEUM.—VARIOUS EDUCATIONAL INFLUENCES.—HIS + FATHER'S FRIENDS.—RISE OF ROMANTICISM IN POLISH LITERATURE.—FREDERICK'S + STAY AT SZAFARNIA DURING HIS FIRST SCHOOL HOLIDAYS.—HIS TALENT FOR + IMPROVISATION.—HIS DEVELOPMENT AS A COMPOSER AND PIANIST.—HIS + PUBLIC PERFORMANCES.—PUBLICATION OF OP. I.—EARLY COMPOSITIONS.—HIS + PIANOFORTE STYLE. + </p> + <p> + FREDERICK, who up to the age of fifteen was taught at home along with his + father's boarders, became in 1824 a pupil of the Warsaw Lyceum, a kind of + high-school, the curriculum of which comprised Latin, Greek, modern + languages, mathematics, history, &c. His education was so far advanced + that he could at once enter the fourth class, and the liveliness of his + parts, combined with application to work, enabled him to distinguish + himself in the following years as a student and to carry off twice a + prize. Polish history and literature are said to have been his favourite + studies. + </p> + <p> + Liszt relates that Chopin was placed at an early age in one of the first + colleges of Warsaw, "thanks to the generous and intelligent protection + which Prince Anton Radziwill always bestowed upon the arts and upon young + men of talent." This statement, however, has met with a direct denial on + the part of the Chopin family, and may, therefore, be considered as + disposed of. But even without such a denial the statement would appear + suspicious to all but those unacquainted with Nicholas Chopin's position. + Surely he must have been able to pay for his son's schooling! Moreover, + one would think that, as a professor at the Lyceum, he might even have got + it gratis. As to Frederick's musical education in Warsaw, it cannot have + cost much. And then, how improbable that the Prince should have paid the + comparatively trifling school-fees and left the young man when he went + abroad dependent upon the support of his parents! The letters from Vienna + (1831) show unmistakably that Chopin applied to his father repeatedly for + money, and regretted being such a burden to him. Further, Chopin's + correspondence, which throws much light on his relation to Prince + Radziwili, contains nothing which would lead one to infer any such + indebtedness as Liszt mentions. But in order that the reader may be in + possession of the whole evidence and able to judge for himself, I shall + place before him Liszt's curiously circumstantial account in its entirety:— + </p> +<pre xml:space="preserve"> + The Prince bestowed upon him the inappreciable gift of a good + education, no part of which remained neglected. His elevated + mind enabling him to understand the exigencies of an artist's + career, he, from the time of his protege's entering the + college to the entire completion of his studies, paid the + pension through the agency of a friend, M. Antoine + Korzuchowski, [FOOTNOTE: Liszt should have called this + gentleman Adam Kozuchowski.] who always maintained cordial + relations and a constant friendship with Chopin. +</pre> + <p> + Liszt's informant was no doubt Chopin's Paris friend Albert Grzymala, + [FOOTNOTE: M. Karasowski calls this Grzymala erroneously Francis. More + information about this gentleman will be given in a subsequent chapter.] + who seems to have had no connection with the Chopin family in Poland. + Karasowski thinks that the only foundation of the story is a letter and + present from Prince Radziwill—acknowledgments of the dedication to + him of the Trio, Op. 8—which Adam Kozuchowski brought to Chopin in + 1833. [FOOTNOTE: M. Karasowski, Fryderyk Chopin, vol. i., p. 65.] + </p> + <p> + Frederick was much liked by his school-fellows, which, as his manners and + disposition were of a nature thoroughly appreciated by boys, is not at all + to be wondered at. One of the most striking features in the character of + young Chopin was his sprightliness, a sparkling effervescence that + manifested itself by all sorts of fun and mischief. He was never weary of + playing pranks on his sisters, his comrades, and even on older people, and + indulged to the utmost his fondness for caricaturing by pictorial and + personal imitations. In the course of a lecture the worthy rector of the + Lyceum discovered the scapegrace making free with the face and figure of + no less a person than his own rectorial self. Nevertheless the irreverent + pupil got off easily, for the master, with as much magnanimity as wisdom, + abstained from punishing the culprit, and, in a subscript which he added + to the caricature, even praised the execution of it. A German Protestant + pastor at Warsaw, who made always sad havoc of the Polish language, in + which he had every Sunday to preach one of his sermons, was the prototype + of one of the imitations with which Frederick frequently amused his + friends. Our hero's talent for changing the expression of his face, of + which George Sand, Liszt, Balzac, Hiller, Moscheles, and other personal + acquaintances, speak with admiration, seems already at this time to have + been extraordinary. Of the theatricals which the young folks were wont to + get up at the paternal house, especially on the name-days of their parents + and friends, Frederick was the soul and mainstay. With a good delivery he + combined a presence of mind that enabled him to be always ready with an + improvisation when another player forgot his part. A clever Polish actor, + Albert Piasecki, who was stage-manager on these occasions, gave it as his + opinion that the lad was born to be a great actor. In after years two + distinguished members of the profession in France, M. Bocage and Mdme. + Dorval, expressed similar opinions. For their father's name-day in 1824, + Frederick and his sister Emilia wrote conjointly a one-act comedy in + verse, entitled THE MISTAKE; OR, THE PRETENDED ROGUE, which was acted by a + juvenile company. According to Karasowski, the play showed that the + authors had a not inconsiderable command of language, but in other + respects could not be called a very brilliant achievement. Seeing that + fine comedies are not often written at the ages of fifteen and eleven, + nobody will be in the least surprised at the result. + </p> + <p> + These domestic amusements naturally lead us to inquire who were the + visitors that frequented the house. Among them there was Dr. Samuel + Bogumil Linde, rector of the Lyceum and first librarian of the National + Library, a distinguished philologist, who, assisted by the best Slavonic + scholars, wrote a valuable and voluminous "Dictionary of the Polish + Language," and published many other works on the Slavonic languages. After + this oldest of Nicholas Chopin's friends I shall mention Waclaw Alexander + Maciejowski, who, like Linde, received his university education in + Germany, taught then for a short time at the Lyceum, and became in 1819 a + professor at the University of Warsaw. His contributions to various + branches of Slavonic history (law, literature, &c.) are very numerous. + However, one of the most widely known of those who were occasionally seen + at Chopin's home was Casimir Brodzinski, the poet, critic, and champion of + romanticism, a prominent figure in Polish literary history, who lived in + Warsaw from about 1815 to 1822, in which year he went as professor of + literature to the University of Cracow. Nicholas Chopin's pupil, Count + Frederick Skarbek, must not be forgotten; he had now become a man of note, + being professor of political economy at the university, and author of + several books that treat of that science. Besides Elsner and Zywny, who + have already been noticed at some length, a third musician has to be + numbered among friends of the Chopin family—namely, Joseph Javurek, + the esteemed composer and professor at the Conservatorium; further, I must + yet make mention of Anton Barcinski, professor at the Polytechnic School, + teacher at Nicholas Chopin's institution, and by-and-by his son-in-law; + Dr. Jarocki, the zoologist; Julius Kolberg, the engineer; and Brodowski, + the painter. These and others, although to us only names, or little more, + are nevertheless not without their significance. We may liken them to the + supernumeraries on the stage, who, dumb as they are, help to set off and + show the position of the principal figure or figures. + </p> + <p> + The love of literature which we have noticed in the young Chopins, more + particularly in the sisters, implanted by an excellent education and + fostered by the taste, habits, and encouragement of their father, cannot + but have been greatly influenced and strengthened by the characters and + conversation of such visitors. And let it not be overlooked that this was + the time of Poland's intellectual renascence—a time when the + influence of man over man is greater than at other times, he being, as it + were, charged with a kind of vivifying electricity. The misfortunes that + had passed over Poland had purified and fortified the nation—breathed + into it a new and healthier life. The change which the country underwent + from the middle of the eighteenth to the earlier part of the nineteenth + century was indeed immense. Then Poland, to use Carlyle's drastic + phraseology, had ripened into a condition of "beautifully phosphorescent + rot-heap"; now, with an improved agriculture, reviving commerce, and + rising industry, it was more prosperous than it had been for centuries. As + regards intellectual matters, the comparison with the past was even more + favourable to the present. The government that took the helm in 1815 + followed the direction taken by its predecessors, and schools and + universities flourished; but a most hopeful sign was this, that whilst the + epoch of Stanislas Augustus was, as Mickiewicz remarked (in Les Slaves), + little Slavonic and not even national, now the national spirit pervaded + the whole intellectual atmosphere, and incited workers in all branches of + science and art to unprecedented efforts. To confine ourselves to one + department, we find that the study of the history and literature of Poland + had received a vigorous impulse, folk-songs were zealously collected, and + a new school of poetry, romanticism, rose victoriously over the fading + splendour of an effete classicism. The literature of the time of Stanislas + was a court and salon literature, and under the influence of France and + ancient Rome. The literature that began to bud about 1815, and whose germs + are to be sought for in the preceding revolutionary time, was more of a + people's literature, and under the influence of Germany, England, and + Russia. The one was a hot-house plant, the other a garden flower, or even + a wild flower. The classics swore by the precepts of Horace and Boileau, + and held that among the works of Shakespeare there was not one veritable + tragedy. The romanticists, on the other hand, showed by their criticisms + and works that their sympathies were with Schiller, Goethe, Burger, Byron, + Shukovski, &c. Wilna was the chief centre from which this movement + issued, and Brodziriski one of the foremost defenders of the new + principles and the precursor of Mickiewicz, the appearance of whose + ballads, romances, "Dziady" and "Grazyna" (1822), decided the war in + favour of romanticism. The names of Anton Malczewski, Bogdan Zaleski, + Severyn Goszczynski, and others, ought to be cited along with that of the + more illustrious Mickiewicz, but I will not weary the reader either with a + long disquisition or with a dry enumeration. I have said above that Polish + poetry had become more of a people's poetry. This, however, must not be + understood in the sense of democratic poetry. + </p> + <p> + The Polish poets [says C. Courriere, to whose "Histoire de la litterature + chez les Slaves" I am much indebted] ransacked with avidity the past of + their country, which appeared to them so much the more brilliant because + it presented a unique spectacle in the history of nations. Instead of + breaking with the historic traditions they respected them, and gave them a + new lustre, a new life, by representing them under a more beautiful, more + animated, and more striking form. In short, if Polish romanticism was an + evolution of poetry in the national sense, it did not depart from the + tendencies of its elder sister, for it saw in the past only the nobility; + it was and remained, except in a few instances, aristocratic. + </p> + <p> + Now let us keep in mind that this contest of classicism and romanticism, + this turning away from a dead formalism to living ideals, was taking place + at that period of Frederick Chopin's life when the human mind is most open + to new impressions, and most disposed to entertain bold and noble ideas. + And, further, let us not undervalue the circumstance that he must have + come in close contact with one of the chief actors in this unbloody + revolution. + </p> + <p> + Frederick spent his first school holidays at Szafarnia, in Mazovia, the + property of the Dziewanowski family. In a letter written on August 19, + 1824, he gives his friend and school-fellow William Kolberg, some account + of his doings there—of his strolls and runs in the garden, his walks + and drives to the forest, and above all of his horsemanship. He tells his + dear Willie that he manages to keep his seat, but would not like to be + asked how. Indeed, he confesses that, his equestrian accomplishments + amount to no more than to letting the horse go slowly where it lists, and + sitting on it, like a monkey, with fear. If he had not yet met with an + accident, it was because the horse had so far not felt any inclination to + throw him off. In connection with his drives—in britzka and in coach—he + does not forget to mention that he is always honoured with a back-seat. + Still, life at Szafarnia was not unmixed happiness, although our hero bore + the ills with admirable stoicism:— + </p> +<pre xml:space="preserve"> + Very often [he writes] the flies sit on my prominent nose— + this, however, is of no consequence, it is the habit of these + little animals. The mosquitoes bite me—this too, however, is + of no consequence, for they don't bite me in the nose. +</pre> + <p> + The reader sees from this specimen of epistolary writing that Frederick is + still a boy, and if I had given the letter in extenso, the boyishness + would have been even more apparent, in the loose and careless style as + well as in the frolicsome matter. + </p> + <p> + His letters to his people at home took on this occasion the form of a + manuscript newspaper, called, in imitation of the "Kuryer Warszawski" + ("Warsaw Courier"), "Kuryer Szafarski" ("Szafarnia Courier"), which the + editor, in imitation of the then obtaining press regulation, did not send + off until it had been seen and approved of by the censor, Miss + Dziewanowska. One of the numbers of the paper contains among other news + the report of a musical gathering of "some persons and demi-persons" at + which, on July 15, 1824, Mr. Pichon (anagram of Chopin) played a Concerto + of Kalkbrenner's and a little song, the latter being received by the + youthful audience with more applause than the former. + </p> + <p> + Two anecdotes that relate to this stay at Szafarnia further exemplify what + has already been said of Frederick's love of fun and mischief. Having on + one of his visits to the village of Oberow met some Jews who had come to + buy grain, he invited them to his room, and there entertained them with + music, playing to them "Majufes." + </p> + <p> + [FOOTNOTE: Karasowski describes "Majufes" as a kind of Jewish wedding + march. Ph. Lobenstein says that it means "the beautiful, the pleasing + one." With this word opened a Hebrew song which dates from the time of the + sojourn of the Jews in Spain, and which the orthodox Polish Jews sing on + Saturdays after dinner, and whose often-heard melody the Poles imitate as + a parody of Jewish singing.] + </p> + <p> + His guests were delighted—they began to dance, told him that he + played like a born Jew, and urged him to come to the next Jewish wedding + and play to them there. The other anecdote would be a very ugly story were + it not for the redeeming conclusion. Again we meet with one of the + numerous, but by no means well-loved, class of Polish citizens. Frederick, + having heard that a certain Jew had bought grain from Mr. Romecki, the + proprietor of Oberow, sent this gentleman a letter purporting to be + written by the grain-dealer in question, in which he informed him that + after reconsidering the matter he would rather not take the grain. The + imitation of the jargon in use among the Polish Jews was so good, and the + spelling and writing so bad, that Mr. Romecki was taken in. Indeed, he + flew at once into such a passion that he sent for the Jew with the + intention of administering to him a sound thrashing. Only Frederick's + timely confession saved the poor fellow from his undeserved punishment. + But enough of Szafarnia, where the young scapegrace paid so long a holiday + visit (from his letter to William Kolberg we learn that he would not see + his friend for four weeks more), and where, judging from what has already + been told, and also from a remark in the same letter, he must have + "enjoyed himself pretty well." And now we will return to Warsaw, to + Nicholas Chopin's boarding-school. + </p> + <p> + To take away any bad impression that may be left by the last anecdote, I + shall tell another of a more pleasing character, which, indeed, has had + the honour of being made the subject of a picture. It was often told, says + Karasowski, by Casimir Wodzinski, a boarder of Nicholas Chopin's. One day + when the latter was out, Barcinski, the assistant master, could not manage + the noisy boys. Seeing this, Frederick, who just then happened to come + into the room, said to them that he would improvise a pretty story if they + would sit down and be quiet. This quickly restored silence. He thereupon + had the lights extinguished, took his seat at the piano, and began as + follows:— + </p> +<pre xml:space="preserve"> + Robbers set out to plunder a house. They come nearer and + nearer. Then they halt, and put up the ladders they have + brought with them. But just when they are about to enter + through the windows, they hear a noise within. This gives + them a fright. They run away to the woods. There, amidst the + stillness and darkness of the night, they lie down and + before long fall fast asleep. +</pre> + <p> + When Frederick had got to this part of the story he began to play softer + and softer, and ever softer, till his auditors, like the robbers, were + fast asleep. Noticing this he stole out of the room, called in the other + inmates of the house, who came carrying lights with them, and then with a + tremendous, crashing chord disturbed the sweet slumbers of the evil-doers. + </p> + <p> + Here we have an instance of "la richesse de son improvisation," by which, + as Fontana tells us, Chopin, from his earliest youth, astonished all who + had the good fortune to hear him. Those who think that there is no + salvation outside the pale of absolute music, will no doubt be + horror-stricken at the heretical tendency manifested on this occasion by + an otherwise so promising musician. Nay, even the less orthodox, those who + do not altogether deny the admissibility of programme-music if it conforms + to certain conditions and keeps within certain limits, will shake their + heads sadly. The duty of an enthusiastic biographer, it would seem, is + unmistakable; he ought to justify, or, at least, excuse his hero—if + nothing else availed, plead his youth and inexperience. My leaving the + poor suspected heretic in the lurch under these circumstances will draw + upon me the reproach of remissness; but, as I have what I consider more + important business on hand, I must not be deterred from proceeding to it + by the fear of censure. + </p> + <p> + The year 1825 was, in many respects, a memorable one in the life of + Chopin. On May 27 and June 10 Joseph Javurek, whom I mentioned a few pages + back among the friends of the Chopin family, gave two concerts for + charitable purposes in the large hall of the Conservatorium. At one of + these Frederick appeared again in public. A Warsaw correspondent of the + "Leipzig Allgemeine musikalische Zeitung" says in the course of one of his + letters:— + </p> +<pre xml:space="preserve"> + The Academist Chopin performed the first Allegro of + Moscheles' Pianoforte Concerto in F [G?] minor, and an + improvisation on the aeolopantaleon. This instrument, + invented by the cabinet-maker Dlugosz, of this town, combines + the aeolomelodicon [FOOTNOTE: An instrument of the organ + species, invented by Professor Hoffmann, and constructed by + the mechanician Brunner, of Warsaw.] with the piano- + forte....Young Chopin distinguished himself in his + improvisation by wealth of musical ideas, and under his hands + this instrument, of which he is a thorough master, made a + great impression. +</pre> + <p> + Unfortunately we learn nothing of Chopin's rendering of the movement from + Moscheles' Concerto. Still, this meagre notice, written by a contemporary—an + ear-witness, who wrote down his impressions soon after the performance—is + very precious, indeed more precious than the most complete and elaborate + criticism written fifty years after the occurrence would be. I cannot help + thinking that Karasowski somewhat exaggerates when he says that Chopin's + pianoforte playing transported the audience into a state of enthusiasm, + and that no concert had a brilliant success unless he took part in it. The + biographer seems either to trust too much to the fancy-coloured + recollections of his informants, or to allow himself to be carried away by + his zeal for the exaltation of his hero. At any rate, the tenor of the + above-quoted notice, laudatory as it is, and the absence of Chopin's name + from other Warsaw letters, do not remove the doubts which such eulogistic + superlatives raise in the mind of an unbiassed inquirer. But that Chopin, + as a pianist and as a musician generally, had attained a proficiency far + beyond his years becomes evident if we examine his compositions of that + time, to which I shall presently advert. And that he had risen into + notoriety and saw his talents appreciated cannot be doubted for a moment + after what has been said. Were further proof needed, we should find it in + the fact that he was selected to display the excellences of the + aeolomelodicon when the Emperor Alexander I, during his sojourn in Warsaw + in 1825, [FOOTNOTE: The Emperor Alexander opened the Diet at Warsaw on May + 13, 1825, and closed it on June 13.] expressed the wish to hear this + instrument. Chopin's performance is said to have pleased the august + auditor, who, at all events, rewarded the young musician with a diamond + ring. + </p> + <p> + A greater event than either the concert or the performance before the + Emperor, in fact, THE event of the year 1825, was the publication of + Chopin's Opus 1. Only he who has experienced the delicious sensation of + seeing himself for the first time in print can realise what our young + author felt on this occasion. Before we examine this work, we will give a + passing glance at some less important early compositions of the maestro + which were published posthumously. + </p> + <p> + There is first of all a Polonaise in G sharp minor, said to be of the year + 1822, [FOOTNOTE: See No. 15 of the Posthumous Works in the Breitkopf and + Hartel edition.] but which, on account of the savoir-faire and invention + exhibited in it, I hold to be of a considerably later time. Chopin's + individuality, it is true, is here still in a rudimentary state, chiefly + manifested in the light-winged figuration; the thoughts and the + expression, however, are natural and even graceful, bearing thus the + divine impress. The echoes of Weber should be noted. Of two mazurkas, in G + and B flat major, of the year 1825, the first is, especially in its last + part, rather commonplace; the second is more interesting, because more + suggestive of better things, which the first is only to an inconsiderable + extent. In No. 2 we meet already with harmonic piquancies which charmed + musicians and lovers of music so much in the later mazurkas. Critics and + students will not overlook the octaves between, treble and bass in the + second bar of part two in No. 1. A. Polonaise in B flat minor, + superscribed "Farewell to William Kolberg," of the year 1826, has not less + naturalness and grace than the Polonaise of 1822, but in addition to these + qualities, it has also at least one thought (part 1) which contains + something of the sweet ring of Chopinian melancholy. The trio of the + Polonaise is headed by the words: "Au revoir! after an aria from 'Gazza + ladra'." Two foot-notes accompany this composition in the Breitkopf and + Hartel edition (No. 16 of the Posthumous Works). The first says that the + Polonaise was composed "at Chopin's departure from [should be 'for'] + Reinerz"; and the second, in connection with the trio, that "some days + before Chopin's departure the two friends had been present at a + performance of Rossini's opera." There is one other early + posthumously-published work of Chopin's, whose status, however, differs + from the above-mentioned ones in this, that the composer seems to have + intended to publish it. The composition in question is the Variations sur + un air national allemand. + </p> + <p> + Szulc says that Oskar Kolberg related that he had still in his possession + these Variations on the theme of Der Schweizerbub, which Chopin composed + between his twelfth and seventeenth years at the house of General + Sowinski's wife in the course of "a few quarter-hours." The Variations sur + un air national allemand were published after the composer's death along + with his Sonata, Op. 4, by Haslinger, of Vienna, in 1851. They are, no + doubt, the identical composition of which Chopin in a letter from Vienna + (December 1, 1830) writes: "Haslinger received me very kindly, but + nevertheless would publish neither the Sonata nor the Second Variations." + The First Variations were those on La ci darem, Op. 2, the first of his + compositions that was published in Germany. Without inquiring too + curiously into the exact time of its production and into the exact meaning + of "a few quarter-hours," also leaving it an open question whether the + composer did or did not revise his first conception of the Variations + before sending them to Vienna, I shall regard this unnumbered work—which, + by the way, in the Breitkopf and Hartel edition is dated 1824—on + account of its greater simplicity and inferior interest, as an earlier + composition than the Premier Rondeau (C minor), Op. 1, dedicated to Mdme. + de Linde (the wife of his father's friend and colleague, the rector Dr. + Linde), a lady with whom Frederick often played duets. What strikes one at + once in both of them is the almost total absence of awkwardness and the + presence of a rarely-disturbed ease. They have a natural air which is + alike free from affected profundity and insipid childishness. And the hand + that wrote them betrays so little inexperience in the treatment of the + instrument that they can hold their ground without difficulty and + honourably among the better class of light drawing-room pieces. Of course, + there are weak points: the introduction to the Variations with those + interminable sequences of dominant and tonic chords accompanying a + stereotyped run, and the want of cohesiveness in the Rondo, the different + subjects of which are too loosely strung together, may be instanced. But, + although these two compositions leave behind them a pleasurable + impression, they can lay only a small claim to originality. Still, there + are slight indications of it in the tempo di valse, the concluding portion + of the Variations, and more distinct ones in the Rondo, in which it is + possible to discover the embryos of forms—chromatic and serpentining + progressions, &c.—which subequently develop most exuberantly. + But if on the one hand we must admit that the composer's individuality is + as yet weak, on the other hand we cannot accuse him of being the imitator + of any one master—such a dominant influence is not perceptible. + </p> + <p> + [FOOTNOTE: Schumann, who in 1831 became acquainted with Chopin's Op. 2, + and conceived an enthusiastic admiration for the composer, must have made + inquiries after his Op. 1, and succeeded in getting it. For on January + 1832, he wrote to Frederick Wieck: "Chopin's first work (I believe firmly + that it is his tenth) is in my hands: a lady would say that it was very + pretty, very piquant, almost Moschelesque. But I believe you will make + Clara [Wieck's daughter, afterwards Mdme. Schumann] study it; for there is + plenty of Geist in it and few difficulties. But I humbly venture to assert + that there are between this composition and Op. 2 two years and twenty + works"] + </p> + <p> + All this, however, is changed in another composition, the Rondeau a la + Mazur, Op. 5, dedicated to the Comtesse Alexandrine de Moriolles (a + daughter of the Comte de Moriolles mentioned in Chapter II), which, like + the Rondo, Op. 1, was first published in Warsaw, and made its appearance + in Germany some years later. I do not know the exact time of its + composition, but I presume it was a year or two after that of the + previously mentioned works. Schumann, who reviewed it in 1836, thought it + had perhaps been written in the eighteenth year of the composer, but he + found in it, some confused passages excepted, no indications of the + author's youth. In this Rondeau a la Mazur the individuality of Chopin and + with it his nationality begin to reveal themselves unmistakably. Who could + fail to recognise him in the peculiar sweet and persuasive flows of sound, + and the serpent-like winding of the melodic outline, the wide-spread + chords, the chromatic progressions, the dissolving of the harmonies and + the linking of their constituent parts! And, as I have said elsewhere in + speaking of this work: "The harmonies are often novel, and the matter is + more homogeneous and better welded into oneness." + </p> + <p> + Chopin's pianoforte lessons, as has already been stated, came to an end + when he was twelve years old, and thenceforth he was left to his own + resources. + </p> +<pre xml:space="preserve"> + The school of that time [remarks Fontana] could no longer + suffice him, he aimed higher, and felt himself impelled + towards an ideal which, at first vague, before long grew into + greater distinctness. It was then that, in trying his + strength, he acquired that touch and style, so different from + those of his predecessors, and that he succeeded in creating + at last that execution which since then has been the + admiration of the artistic world. +</pre> + <p> + The first stages of the development of his peculiar style may be traced in + the compositions we have just now discussed. In the variations and first + Rondo which Chopin wrote at or before the age of fifteen, the treatment of + the instrument not only proves that he was already as much in his element + on the pianoforte as a fish in the water, but also shows that an as yet + vaguely-perceived ideal began to beckon him onward. Karasowski, informed + by witnesses of the boy's studies in pianoforte playing, relates that + Frederick, being struck with the fine effect of a chord in extended + harmony, and unable, on account of the smallness of his hands, to strike + the notes simultaneously, set about thinking how this physical obstacle + could be overcome. The result of his cogitations was the invention of a + contrivance which he put between his fingers and kept there even during + the night, by this means endeavouring to increase the extensibility and + flexibility of his hands. Who, in reading of this incident in Chopin's + life, is not reminded of Schumann and his attempt to strengthen his + fingers, an attempt that ended so fatally for his prospects as a virtuoso! + And the question, an idle one I admit, suggests itself: Had Chopin been + less fortunate than he was, and lost, like Schumann, the command of one of + his hands before he had formed his pianoforte style, would he, as a + composer, have risen to a higher position than we know him to have + attained, or would he have achieved less than he actually did? From the + place and wording of Karasowski's account it would appear that this + experiment of Chopin's took place at or near the age of ten. Of course it + does not matter much whether we know or do not know the year or day of the + adoption of the practice, what is really interesting is the fact itself. I + may, however, remark that Chopin's love of wide-spread chords and skips, + if marked at all, is not strongly marked in the Variations on the German + air and the first Rondo. Let the curious examine with regard to this + matter the Tempo di Valse of the former work, and bars 38-43 of the Piu + lento of the latter. In the Rondeau a la Mazur, the next work in + chronological order, this peculiarity begins to show itself distinctly, + and it continues to grow in the works that follow. It is not my intention + to weary the reader with microscopical criticism, but I thought the first + manifestations of Chopin's individuality ought not to be passed over in + silence. As to his style, it will be more fully discussed in a subsequent + chapter, where also the seeds from which it sprang will be pointed out. + </p> + <p> + <a name="link2HCH0004" id="link2HCH0004"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER IV. + </h2> + <p> + FREDERICK WORKS TOO HARD.—PASSES PART OF HIS HOLIDAYS (1826) IN + REINERZ.—STAYS ALSO AT STRZYZEWO, AND PAYS A VISIT TO PRINCE + RADZIWILL.—HE TERMINATES HIS STUDIES AT THE LYCEUM (1827). ADOPTION + OF MUSIC AS HIS PROFESSION.—EXCURSIONS.—FOLK-MUSIC AND THE + POLISH PEASANTRY.—SOME MORE COMPOSITIONS.—PROJECTED TRAVELS + FOR HIS IMPROVEMENT.—HIS OUTWARD APPEARANCE AND STATE OF HEALTH. + </p> + <p> + THE art which had attracted the child took every day a stronger hold of + the youth. Frederick was not always in that sportive humour in which we + have seen him repeatedly. At times he would wander about silent and + solitary, wrapped in his musical meditations. He would sit up late, busy + with his beloved music, and often, after lying down, rise from his bed in + the middle of the night in order, to strike a few chords or try a short + phrase—to the horror of the servants, whose first thought was of + ghosts, the second that their dear young master was not quite right in his + mind. Indeed, what with his school-work and his musical studies, our young + friend exerted himself more than was good for him. When, therefore, in the + holidays of 1826 his youngest sister, Emilia, was ordered by the + physicians to go to Reinerz, a watering-place in Prussian Silesia, the + parents thought it advisable that the too diligent Frederick should + accompany her, and drink whey for the benefit of his health. The + travelling party consisted of the mother, two sisters, and himself. A + letter which he wrote on August 28, 1826, to his friend William Kolberg, + furnishes some information about his doings there. It contains, as letters + from watering-places usually do, criticisms of the society and accounts of + promenadings, excursions, regular meals, and early hours in going to bed + and in rising. As the greater part of the contents can be of no interest + to us, I shall confine myself to picking up what seems to me worth + preserving. He had been drinking whey and the waters for a fortnight and + found he was getting somewhat stouter and at the same time lazy. People + said he began to look better. He enjoyed the sight of the valleys from the + hills which surround Reinerz, but the climbing fatigued him, and he had + sometimes to drag himself down on all-fours. One mountain, the rocky + Heuscheuer, he and other delicate persons were forbidden to ascend, as the + doctor was afraid that the sharp air at the top would do his patients + harm. Of course, Frederick tried to make fun of everything and everyone—for + instance, of the wretched wind-band, which consisted of about a dozen + "caricatures," among whom a lean bassoon-player with a snuffy hook-nose + was the most notable. To the manners of the country, which in some + respects seem to have displeased him, he got gradually accustomed. + </p> +<pre xml:space="preserve"> + At first I was astonished that in Silesia the women work + generally more than the men, but as I am doing nothing myself + just now I have no difficulty in falling in with this + arrangement. +</pre> + <p> + During his stay at Reinerz he gave also a concert on behalf of two orphans + who had come with their sick mother to this watering-place, and at her + death were left so poor as to be unable even to pay the funeral expenses + and to return home with the servant who took care of them. + </p> + <p> + From Reinerz Frederick went to Strzyzewo, the property of Madame + Wiesiolowska, his godmother, and sister of his godfather, Count Frederick + Skarbek. While he was spending here the rest of his holidays, he took + advantage of an invitation he had received from Prince Radziwill (governor + of the grand duchy of Posen, and, through his wife, a daughter of Prince + Ferdinand, related to the royal family of Prussia) to visit him at his + country-seat Antonin, which was not very far from Strzyzewo. The Prince, + who had many relations in Poland, and paid frequent visits to that + country, must on these occasions have heard of and met with the musical + prodigy that was the pet of the aristocracy. Moreover, it is on record + that he was present at the concert at Warsaw in 1825 at which Frederick + played. We have already considered and disposed of the question whether + the Prince, as has been averred by Liszt, paid for young Chopin's + education. As a dilettante Prince Radziwill occupied a no less exalted + position in art and science than as a citizen and functionary in the body + politic. To confine ourselves to music, he was not only a good singer and + violoncellist, but also a composer; and in composition he did not confine + himself to songs, duets, part-songs, and the like, but undertook the + ambitious and arduous task of writing music to the first part of Goethe's + Faust. By desire of the Court the Berlin Singakademie used to bring this + work to a hearing once every year, and they gave a performance of it even + as late as 1879. An enthusiastic critic once pronounced it to be among + modern works one of those that evince most genius. The vox populi seems to + have repealed this judgment, or rather never to have taken cognisance of + the case, for outside Berlin the work has not often been heard. Dr. + Langhans wrote to me after the Berlin performance in 1879:— + </p> +<pre xml:space="preserve"> + I heard yesterday Radziwill's Faust for the first time, and, + I may add, with much satisfaction; for the old-fashioned + things to be found in it (for instance, the utilisation of + Mozart's C minor Quartet fugue as overture, the strictly + polyphonous treatment of the choruses, &c.) are abundantly + compensated for by numerous traits of genius, and by the + thorough knowledge and the earnest intention with which the + work is conceived and executed. He dares incredible things in + the way of combining speech and song. That this combination + is an inartistic one, on that point we are no doubt at one, + but what he has effected by this means is nevertheless in the + highest degree remarkable.... +</pre> + <p> + By-and-by Chopin will pay the Prince a longer visit, and then we shall + learn what he thought of Faust, and how he enjoyed himself at this + nobleman's house. + </p> + <p> + Chopin's studies at the Lyceum terminated in the year 1827. Through his + final examination, however, he did not pass so brilliantly as through his + previous ones; this time he carried off no prize. The cause of this + falling-off is not far to seek; indeed, has already been hinted at. + Frederick's inclination and his successes as a pianist and composer, and + the persuasions of Elsner and other musical friends, could not but lessen + and at last altogether dispel any doubts and misgivings the parents may at + first have harboured. And whilst in consequence of this change of attitude + they became less exacting with their son in the matter of school-work, the + latter, feeling the slackening of the reins, would more and more follow + his natural bent. The final examination was to him, no doubt, a kind of + manumission which freed him from the last remnant of an oppressive + bondage. Henceforth, then, Chopin could, unhindered by disagreeable tasks + or other obstacles, devote his whole time and strength to the cultivation + of his chosen art. First, however, he spent now, as in the preceding year, + some weeks with his friends in Strzyzewo, and afterwards travelled to + Danzig, where he visited Superintendent von Linde, a brother of the rector + of the Warsaw Lyceum. + </p> + <p> + Chopin was fond of listening to the singing and fiddling of the country + people; and everyone acquainted with the national music of Poland as well + as with the composer's works knows that he is indebted to it for some of + the most piquant rhythmic, melodic, and even harmonic peculiarities of his + style. These longer stays in the country would offer him better + opportunities for the enjoyment and study of this land of music than the + short excursions which he occasionally made with his father into the + neighbourhood of Warsaw. His wonder always was who could have composed the + quaint and beautiful strains of those mazurkas, polonaises, and + krakowiaks, and who had taught these simple men and women to play and sing + so truly in tune. The conditions then existing in Poland were very + favourable to the study of folk-lore of any kind. Art-music had not yet + corrupted folk-music; indeed, it could hardly be said that civilisation + had affected the lower strata of society at all. Notwithstanding the + emancipation of the peasants in 1807, and the confirmation of this law in + 1815—a law which seems to have remained for a long time and in a + great measure a dead letter—the writer of an anonymous book, + published at Boston in 1834, found that the freedom of the wretched serfs + in Russian Poland was much the same as that of their cattle, they being + brought up with as little of human cultivation; nay, that the Polish + peasant, poor in every part of the country, was of all the living + creatures he had met with in this world or seen described in books, the + most wretched. From another publication we learn that the improvements in + public instruction, however much it may have benefited the upper classes, + did not affect the lowest ones: the parish schools were insufficient, and + the village schools not numerous enough. But the peasants, although + steeped in superstition and ignorance, and too much addicted to + brandy-drinking with its consequences—quarrelsomeness and + revengefulness—had not altogether lost the happier features of their + original character—hospitality, patriotism, good-naturedness, and, + above all, cheerfulness and love of song and dance. It has been said that + a simple Slavonic peasant can be enticed by his national songs from one + end of the world to the other. The delight which the Slavonic nations take + in dancing seems to be equally great. No other nation, it has been + asserted, can compare with them in ardent devotion to this amusement. + Moreover, it is noteworthy that song and dance were in Poland—as + they were of course originally everywhere—intimately united. Heine + gives a pretty description of the character of the Polish peasant:— + </p> +<pre xml:space="preserve"> + It cannot be denied [he writes] that the Polish peasant has + often more head and heart than the German peasant in some + districts. Not infrequently did I find in the meanest Pole + that original wit (not Gemuthswitz, humour) which on every + occasion bubbles forth with wonderful iridescence, and that + dreamy sentimental trait, that brilliant flashing of an + Ossianic feeling for nature whose sudden outbreaks on + passionate occasions are as involuntary as the rising of the + blood into the face. +</pre> + <p> + The student of human nature and its reflex in art will not call these + remarks a digression; at least, not one deserving of censure. + </p> + <p> + We may suppose that Chopin, after his return to Warsaw and during the + following winter, and the spring and summer of 1828, continued his studies + with undiminished and, had this been possible, with redoubled ardour. Some + of his compositions that came into existence at this time were published + after his death by his friend Julius Fontana, who was a daily visitor at + his parents' house. We have a Polonaise (D minor) and a Nocturne (E minor) + of 1827, and another Polonaise (B flat) and the Rondo for two pianos of + 1828. The Sonata, Op. 4, and La ci darem la mano, varie for pianoforte, + with orchestral accompaniments, belong also to this time. The Trio (Op. + 8), although not finished till 1829, was begun and considerably advanced + in 1828. Several of the above compositions are referred to in a letter + written by him on September 9, 1828, to one of his most intimate friends, + Titus Woyciechowski. The Rondo in C had originally a different form and + was recast by him for two pianos at Strzyzewo, where he passed the whole + summer of 1828. He tried it with Ernemann, a musician living in Warsaw, at + the warehouse of the pianoforte-manufacturer Buchholtz, and was pretty + well pleased with his work. + </p> +<pre xml:space="preserve"> + We intend to play it some day at the Ressource. As to my new + compositions, I have nothing to show except the as yet + unfinished Trio (G minor), which I began after your + departure. The first Allegro I have already tried with + accompaniment. It appears to me that this trio will have the + same fate as my sonata and the variations. Both works are now + in Vienna; the first I have, as a pupil of Elsner's, + dedicated to him, and on the second I have placed (perhaps + too boldly) your name. I followed in this the impulse of my + heart and you will not take it unkindly. +</pre> + <p> + The opportunities which Warsaw offered being considered insufficient for + the completion of his artistic education, ways and means were discussed as + to how his wants could be best provided for. The upshot of the discussions + was the project of excursions to Berlin and Vienna. As, however, this plan + was not realised till the autumn of 1828, and no noteworthy incidents or + interesting particulars concerning the intervening period of his life have + become known, I shall utilise this break in the narrative by trying my + hand at a slight sketch of that terra incognita, the history of music in + Poland, more particularly the history of the musical life in Warsaw, + shortly before and in Chopin's time. I am induced to undertake this task + by the consideration that a knowledge of the means of culture within the + reach of Chopin during his residence in the Polish capital is + indispensable if we wish to form a clear and complete idea of the artist's + development, and that such a knowledge will at the same time help us to + understand better the contents of some of the subsequent portions of this + work. Before, however, I begin a new chapter and with it the + above-mentioned sketch, I should like to advert to a few other matters. + </p> + <p> + The reader may perhaps already have asked the question—What was + Chopin like in his outward appearance? As I have seen a daguerreotype from + a picture painted when he was seventeen, I can give some sort of answer to + this question. Chopin's face was clearly and finely cut, especially the + nose with its wide nostrils; the forehead was high, the eyebrows delicate, + the lips thin, and the lower one somewhat protruding. For those who know + A. Bovy's medallion I may add that the early portrait is very like it; + only, in the latter, the line formed by the lower jawbone that runs from + the chin towards the ear is more rounded, and the whole has a more + youthful appearance. As to the expression, it is not only meditative but + even melancholy. This last point leads me naturally to another question. + The delicate build of Chopin's body, his early death preceded by many + years of ill-health, and the character of his music, have led people into + the belief that from childhood he was always sickly in body, and for the + most part also melancholy in disposition. But as the poverty and + melancholy, so also disappears on closer investigation the sickliness of + the child and youth. To jump, however, from this to the other extreme, and + assert that he enjoyed vigorous health, would be as great a mistake. + Karasowski, in his eagerness to controvert Liszt, although not going quite + this length, nevertheless overshoots the mark. Besides it is a + misrepresentation of Liszt not to say that the passage excerpted from his + book, and condemned as not being in accordance with the facts of the case, + is a quotation from G. Sand's novel Lucrezia Floriani (of which more will + be said by-and-by), in which the authoress is supposed, although this was + denied by her, to have portrayed Chopin. Liszt is a poet, not a + chronicler; he must be read as such, and not be taken au pied de la + lettre. However, even Karasowski, in whom one notices a perhaps + unconscious anxiety to keep out of sight anything which might throw doubt + on the health and strength of his hero, is obliged to admit that Chopin + was "delicate," although he hastens to add, "but nevertheless healthy and + pretty strong." It seems to me that Karasowski makes too much of the + statement of a friend of Chopin's—namely, that the latter was, up to + manhood, only once ill, and then with nothing worse than a cold. Indeed, + in Karasowski's narrative there are not wanting indications that the + health of Chopin cannot have been very vigorous; nor his strength have + amounted to much; for in one place we read that the youth was no friend of + long excursions on foot, and preferred to lie down and dream under + beautiful trees; in another place, that his parents sent him to Reinerz + and some years afterwards to Vienna, because they thought his studies had + affected his health, and that rest and change of air and scene would + restore his strength. Further, we are told that his mother and sisters + never tired of recommending him to wrap up carefully in cold and wet + weather, and that, like a good son and brother, he followed their advice. + Lastly, he objected to smoking. Some of the items of this evidence are + very trivial, but taken collectively they have considerable force. Of + greater significance are the following additional items. Chopin's sister + Emilia was carried off at the age of fourteen by pulmonary disease, and + his father, as a physician informed me, died of a heart and chest + complaint. Stephen Heller, who saw Chopin in 1830 in Warsaw, told me that + the latter was then in delicate health, thin and with sunken cheeks, and + that the people of Warsaw said that he could not live long, but would, + like so many geniuses, die young. The real state of the matter seems to me + to have been this. Although Chopin in his youth was at no time troubled + with any serious illness, he enjoyed but fragile health, and if his frame + did not alreadv contain the seeds of the disease to which he later fell a + prey, it was a favourable soil for their reception. How easily was an + organisation so delicately framed over-excited and disarranged! Indeed, + being vivacious, active, and hard-working, as he was, he lived on his + capital. The fire of youth overcame much, not, however, without a + dangerous waste of strength, the lamentable results of which we shall see + before we have gone much farther. This statement of the case we find, I + think, confirmed by Chopin's correspondence—the letter written at + Reinerz is in this respect noteworthy. + </p> + <p> + <a name="link2HCH0005" id="link2HCH0005"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER V. + </h2> + <p> + MUSIC AND MUSICIANS IN POLAND BEFORE AND IN CHOPIN'S TIME. + </p> + <p> + THE golden age of Polish music, which coincides with that of Polish + literature, is the sixteenth century, the century of the Sigismonds. The + most remarkable musician of that time, and probably the greatest that + Poland produced previous to the present century, was Nicolas Gomolka, who + studied music in Italy, perhaps under Palestrina, in whose style he wrote. + Born in or about the beginning of the second half of the sixteenth + century, he died on March 5, 1609. During the reigns of the kings of the + house of Saxony (1697-1763) instrumental music is said to have made much + progress. Be this as it may, there was no lack of opportunities to study + good examples. Augustus the Strong (I. of Saxony and II of Poland) + established a special Polish band, called, in contradistinction to the + Grosse Kammermusik (Great Chamber-band) in Dresden, Kleine Kammermusik + (Little Chamber-band), whose business it was to be in attendance when his + majesty went to Poland. These visits took place usually once a year, and + lasted from, August to December, but sometimes were more frequent, and + shorter or longer, just as occasion might call for. Among the members of + the Polish band—which consisted of a leader (Premier), four violins, + one oboe, two French horns, three bassoons, and one double bass—we + meet with such well-known men as Johann Joachim Quanz and Franz Benda. + Their conductor was Alberto Ristori, who at the same time held the post of + composer to the Italian actors, a company that, besides plays, performed + also little operas, serenades, intermezzi, &c. The usual retinue of + the King on his visits to Poland included also a part of the French ballet + and comedy. These travels of the artistic forces must have been rich in + tragic, comic, and tragi-comic incidents, and would furnish splendid + material for the pen of a novelist. But such a journey from the Saxon + capital to Warsaw, which took about eight days, and cost on an average + from 3,000 to 3,500 thalers (450 to 525 pounds), was a mere nothing + compared with the migration of a Parisian operatic company in May, 1700. + The ninety-three members of which it was composed set out in carriages and + drove by Strasburg to Ulm, there they embarked and sailed to Cracow, + whence the journey was continued on rafts. [FOOTNOTE: M. Furstenau, Zur + Geschichte der Music und des Theaters am Hofe zu Dresden.] So much for + artistic tours at the beginning of the eighteenth century. Frederick + Augustus (II of Saxony and III of Poland, 1733-1763) dissolved the Polish + band, and organised a similar body which was destined solely for Poland, + and was to be resident there. It consisted in 1753 of an organist, two + singers, twenty instrumentalists (almost all Germans), and a band-servant, + their salary amounting to 5,383 thalers, 10 groschen (a little more than + 805 pounds). Notwithstanding this new arrangement, the great Dresden band + sometimes accompanied the King to Poland, and when it did not, some of its + members at least had to be in attendance for the performance of the solos + at the chamber concerts and in the operas. Also such singers, male and + female, as were required for the operas proposed for representation had to + take to the road. Hasse and his wife Faustina came several times to + Poland. That the constellation of the Dresden musical establishment, in + its vocal as well as instrumental department, was one of the most + brilliant imaginable is sufficiently proved by a glance at the names which + we meet with in 1719: Lotti, Heinichen, Veracini, Volumier, Senesino, + Tesi, Santa Stella Lotti, Durastanti, &c. Rousseau, writing in 1754, + calls the Dresden orchestra the first in Europe. And Burney says in 1772 + that the instrumental performers had been some time previously of the + first class. No wonder, then, if the visits of such artists improved the + instrumental music of Poland. + </p> + <p> + From Sowinski's Les Musiciens Polonais we learn that on great occasions + the King's band was reinforced by those of Prince Czartoryski and Count + Wielhorski, thus forming a body of 100 executants. This shows that outside + the King's band good musicians were to be found in Poland. Indeed, to keep + in their service private bands of native and foreign singers and players + was an ancient custom among the Polish magnates; it obtained for a long + time, and had not yet died out at the beginning of this century. From this + circumstance, however, we must not too rashly conclude that these wealthy + noblemen were all animated by artistic enthusiasm. Ostentatiousness had, I + am afraid, more to do with it than love of art for art's sake. Music was + simply one of the indispensable departments of their establishments, in + the splendour and vastness of which they tried to outdo each other and vie + with sovereign rulers. The promiscuous enumeration of musicians, cooks, + footmen, &c., in the lady's description of a nobleman's court which I + referred to in the proem, is in this respect very characteristic. Towards + the middle of the last century Prince Sanguszko, who lived at Dubno, in + Volhynia, had in his service no less than two bands, to which was + sometimes joined a third belonging to Prince Lubomirski. But, it will be + asked, what music did they play? An author of Memoirs of the reign of + Augustus III tells us that, according to the Polish fashion, they had + during meal-times to play national airs, polonaises, mazurkas, &c., + arranged for wind-instruments, with or without violins. For special + occasions the Prince got a new kind of music, then much in favour—viz., + a band of mountaineers playing on flutes and drums. And while the guests + were sitting at the banquet, horns, trumpets, and fifes sounded fanfares. + Besides the ordinary and extraordinary bands, this exalted personage had + among his musical retainers a drummer who performed solos on his + instrument. One is glad to learn that when the Prince was alone or had + little company, he took delight in listening to trios for two violins and + bass, it being then the fashion to play such ensemble pieces. Count + Ilinski, the father of the composer John Stanislas Ilinski, engaged for + his private theatre two companies, one from Germany and one from Italy. + The persons employed in the musical department of his household numbered + 124. The principal band, conducted by Dobrzyrnski pere, a good violinist + and conductor, consisted of four violins, one viola, one violoncello, one + double bass, one flute, one oboe, one clarinet, and one bassoon. Villagers + were trained by these players to assist them. Then there was yet another + band, one of wind instruments, under the direction of Karelli, a pupil of + the Russian composer Bartnianski [Footnote: The Russian Palestrina, whose + name is oftener met with in the forms of Bortnianski and Bortniansky]. The + chorus was composed of twenty four voices, picked from the young people on + Count Ilinski's estates. However questionable the taste of many of these + noble art patrons may have been, there were not wanting some who + cultivated music with a purer spirit. Some of the best bands were those of + the Princes D. Radziwill, Adam Czartoryski, F. Sulkowski, Michael + Lubomirski, Counts Ilinski, Oginski, and Wielhorski. Our inquiry into the + cultivation of music at the courts of the Polish magnates has carried us + beyond the point we had reached in our historical survey. Let us now + retrace our steps. + </p> + <p> + The progress of music above spoken of was arrested by the anarchy and the + civil and other wars that began to rage in Poland with such fury in the + middle of the last century. King Stanislas Poniatowski (1764-1795) is + credited with having exercised great influence on the music of Poland; at + any rate, he patronised the arts and sciences right royally. The Italian + opera at Warsaw cannot have been of mean standing, seeing that artists + such as the composers Paisiello and Cimarosa, and the great violinist, + composer, and conductor Pugnani, with his pupil Viotti (the latter playing + second violin in the orchestra), were members of the company. And the + King's band of foreign and native players has been called one of the best + in Europe. Still, all this was but the hothouse bloom of exotics. To bring + about a natural harvest of home produce something else was wanted than + royal patronage, and this something sprang from the series of disasters + that befell the nation in the latter half of the last century, and by + shaking it to its very heart's core stirred up its nobler self. As in + literature, so in music, the national element came now more and more into + action and prominence. + </p> + <p> + Up to 1778 there had been heard in Poland only Italian and French operas; + in this year, for the first time, a Polish opera was put on the stage. It + is true the beginning was very modest. The early attempts contained few + ensemble pieces, no choruses, and no complex finales. But a new art does + not rise from the mind of a nation as Minerva is said to have risen from + the head of Jupiter. Nay, even the fact that the first three composers of + Polish operas (Kamienski, Weynert, and Kajetani) were not Poles, but + foreigners endeavouring to write in the Polish style, does not destroy the + significance of the movement. The following statistics will, no doubt, + take the reader by surprise:—From the foundation of the national + Polish opera in 1778 till April 20, 1859, 5,917 performances of 285 + different operas with Polish words took place in Poland. Of these 92 were + national Polish operas, the remaining 193 by Italian, French, and German + composers; 1,075 representations being given of the former, 4,842 of the + latter. The libretti of 41 of the 92 Polish operas were originals, the + other 51 were translations. And, lastly, the majority of the 16 musicians + who composed the 92 Polish operas were not native Poles, but Czechs, + Hungarians, and Germans [FOOTNOTE: Ladislas von Trocki, Die Entwickelung + der Oper in Polen. (Leipzig, 1867.)] + </p> + <p> + A step hardly less important than the foundation of a national opera was + the formation, in 1805, of a Musical Society, which had for its object the + improvement as well as the amusement of its members. The idea, which + originated in the head of one of the Prussian officials then in Warsaw, + finding approval, and the pecuniary supplies flowing in abundantly, the + Oginski Palace was rented and fitted up, two masters were engaged for the + teaching of solo and choral singing, and a number of successful concerts + were given. The chief promoters seem to have been Count Krasinski and the + two Prussian officials Mosqua and E. Th. A. Hoffmann. In the last named + the reader will recognise the famous author of fantastic tales and of no + less fantastic musical criticisms, the conductor and composer of operas + and other works, &c. According to his biographer, J. E. Hitzig, + Hoffmann did not take much interest in the proceedings of the Musical + Ressource (that was the name of the society) till it bought the Mniszech + Palace, a large building, which, having been damaged by fire, had to + undergo extensive repairs. Then, indeed, he set to work with a will, + planned the arrangement and fitting-up of the rooms, designed and partly + painted the decorations—not without freely indulging his disposition + for caricature—and when all was ready, on August 3, 1806 (the King + of Prussia's birthday), conducted the first concert in the splendid new + hall. The activity of the society was great, and must have been + beneficial; for we read that they had every Sunday performances of + quartets and other kinds of chamber music, that ladies frequently came + forward with pianoforte sonatas, and that when the celebrated violinist + Moser, of Berlin, visited Warsaw, he made them acquainted with the finest + quartets of Mozart and Haydn. Still, I should not have dwelt so long on + the doings of the Musical Ressource were it not that it was the germ of, + or at least gave the impulse to, even more influential associations and + institutions that were subsequently founded with a view to the wider + diffusion and better cultivation of the musical art in Poland. After the + battle of Jena the French were not long in making their appearance in + Warsaw, whereby an end was put to Prussia's rule there, and her officials + were sent about, or rather sent out of, their business. Thus the Musical + Ressource lost many of its members, Hoffmann and Mosqua among others. + Still, it survived, and was reconstructed with more national elements. In + Frederick Augustus of Saxony's reign it is said to have been transformed + into a school of singing. + </p> + <p> + The year 1815 brought into existence two musical institutions that deserve + to be noticed—society for the cultivation of church music, which met + at the College of the Pianists, and had at its head Count Zabiello as + president and Elsner as conductor; and an association, organised by the + last-named musician, and presided over by the Princess Sophia Zamoyska, + which aimed at the advancement of the musical art in Poland, and provided + for the education of music teachers for schools, organists for churches, + and singers for the stage. Although I try to do my best with the + unsatisfactory and often contradictory newspaper reports and dictionary + articles from which I have to draw my data, I cannot vouch for the literal + correctness of my notes. In making use of Sowinski's work I am constantly + reminded of Voltaire's definition of dictionaries: "Immenses archives de + mensonges et d'un peu de verite." Happy he who need not consult them! In + 1816 Elsner was entrusted by the minister Staszyc with the direction of a + school of dramatic singing and recitation; and in 1821, to crown all + previous efforts, a conservatorium was opened, the programme of which + might almost have satisfied a Berlioz. The department of instrumental + music not only comprised sections for the usual keyed, stringed, and wind + instruments, but also one for instruments of percussion. Solo and choral + singing were to be taught with special regard to dramatic expression. + Besides these and the theoretical branches of music, the curriculum + included dancing, Polish literature, French, and Italian. After reading + the programme it is superfluous to be informed that the institution was + chiefly intended for the training of dramatic artists. Elsner, who was + appointed director, selected the teaching staff, with one exception, + however, that of the first singing-master, for which post the Government + engaged the composer Carlo Evasio Soliva, a pupil of Asioli and Frederici. + </p> + <p> + The musical taste and culture prevailing in Poland about 1819 is pretty + accurately described by a German resident at Cracow. So far as music was + concerned Poland had hitherto been ignored by the rest of Europe, and + indeed could lay no claim to universal notice in this respect. But the + improved culture and greater insight which some had acquired in foreign + lands were good seeds that began to bear fruit. As yet, however, the + greater part of the public took little or no interest in the better class + of music, and was easily pleased and satisfied with polonaises, mazurkas, + and other trivial things. In fact, the music in Cracow, notwithstanding + the many professional musicians and amateurs living there, was decidedly + bad, and not comparable to the music in many a small German town. In + Warsaw, where the resources were more plentiful, the state of music was of + course also more prosperous. Still, as late as 1815 we meet with the + complaint that what was chiefly aimed at in concerts was the display of + virtuosity, and that grand, serious works were neglected, and complete + symphonies rarely performed. To remedy this evil, therefore, 150 amateurs + combined and organised in 1818 a concert institution. Their concerts took + place once a week, and at every meeting a new and entire symphony, an + overture, a concerto, an aria, and a finale, were performed. The names of + Beethoven, Haydn, Mozart, Cherubini, Spohr, Mehul, Romberg, &c., were + to be found on their programmes. Strange to say, there were no less than + seven conductors: Lessel, Lentz, Wurfel, Haase, Javurek, Stolpe, and + Peschke, all good musicians. The orchestra consisted in part of amateurs, + who were most numerous among the violins, tenors, and violoncellos. The + solo department seems to have been well stocked. To confine ourselves to + one instrument, they could pride themselves on having four excellent lady + pianists, one of whom distinguished herself particularly by the wonderful + dexterity with which she played the most difficult compositions of + Beethoven, Field, Ries, and Dussek. Another good sign of the improving + taste was a series of twenty-four matinees given on Sundays from twelve to + two during the winter of 1818-1819 by Carl Arnold, and much patronised by + the highest nobility. The concert-giver, a clever pianist and composer, + who enjoyed in his day a good reputation in Germany, Russia, and Poland, + produced at every matinee a new pianoforte concerto by one of the best + composers—sometimes one of his own—and was assisted by the + quartet party of Bielawski, a good violinist, leader in the orchestra, and + professor at the Conservatorium. Although Arnold's stay was not of long + duration, his departure did not leave the town without good pianists. + Indeed, it is a mistake to suppose that Warsaw was badly off with regard + to musicians. This will be evident to the reader as soon as I have named + some of those living there in the time of Chopin. Wenzel W. Wurfel, one of + the professors at the Conservatorium, who stayed in Warsaw from 1815 to + 1824, and afterwards went to Vienna, where he became conductor at the + Karnthnerthor Theater, was an esteemed pianist and composer, and + frequently gave concerts, at one of which he played Field's Concerto in C. + </p> + <p> + [FOOTNOTE: Wenzel Wilhelm Wurfel, in most dictionaries called Wilhelm + Wurfel (exceptions are: E. Bernsdorf's "Neues Universal-Lexikon der + Tonkunst", and Dr. Hugo Riemann's "Opern-Handbuch"). A Warsaw + correspondent of a German musical paper called him Waclaw Wurfel. In + Whistling's "Handbuch der musikalischen Literatur" his Christian names are + only indicated by initials—W. W.] + </p> + <p> + If we scan the list of professors at the Conservatorium we find other + musicians whose reputation was not confined to the narrow limits of Warsaw + or even Poland. There was, for instance, the pianist and composer Franz + Lessel, the favourite pupil of Haydn; and, further, that interesting + character Heinrich Gerhard Lentz, who, born and educated at Cologne, went + in 1784 to Paris, played with success his first concerto at the Concert + Spirituel, published some of his compositions and taught in the best + families, arrived in London in 1791, lived in friendly intercourse with + Clementi and Haydn, and had compositions of his performed at Solomon's + concerts, returned to Germany in 1795, stayed with Prince Louis Ferdinand + of Prussia till Dussek supplanted him, and so, wandering about, reached + Warsaw, where he gave lessons, founded a pianoforte manufactory, became + professor of the organ at the Conservatorium, married twice, and died in + 1839. The only other professor at the Conservatorium about whom I shall + say a few words is C. E. Soliva, whose name and masters I have already + mentioned. Of his works the opera "La testa di bronzo" is the best known. + I should have said "was," for nobody now knows anything of his. That loud, + shallow talker Count Stendhal, or, to give him his real name, Marie Henry + Beyle, heard it at Milan in 1816, when it was first produced. He had at + first some difficulty in deciding whether Soliva showed himself in that + opera a plagiarist of Mozart or a genius. Finally he came to the + conclusion that— + </p> +<pre xml:space="preserve"> + there is in it a warmth, a dramatic life, and a strength in + all its effects, which are decidedly not in the style of + Mozart. But Soliva, who is a young man and full of the + warmest admiration for Mozart, has imbibed certain tints of + his colouring. +The rest is too outrageously ridiculous to be quoted. Whatever Beyle's +purely literary merits and his achievements in fiction may be, I quite +agree with Berlioz, who remarks, a propos of this gentleman's Vie de +Rossini, that he writes "les plus irritantes stupidites sur la musique, +dont il croyait avoir le secret." To which cutting dictum may be added +a no less cutting one of M. Lavoix fils, who, although calling Beyle +an "ecrivain d'esprit," applies to him the appellation of "fanfaron +d'ignorance en musique." I would go a step farther than either of these +writers. Beyle is an ignorant braggart, not only in music, but in art +generally, and such esprit as his art criticisms exhibit would be even +more common than it unfortunately now is, if he were oftener equalled +in conceit and arrogance. The pillorying of a humbug is so laudable an +object that the reader will excuse the digression, which, moreover, may +show what miserable instruments a poor biographer has sometimes to +make use of. Another informant, unknown to fame, but apparently more +trustworthy, furnishes us with an account of Soliva in Warsaw. 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. Kurpinski was +by nature endowed with fine musical qualities, uniting sensibility and +energy with easy productivity. Chopin did homage to his distinguished +countryman in introducing into his Grande Fantaisie sur des airs +polonais, Op. 13, a theme of Kurpinski's. Two younger men, both born in +1800, must yet be mentioned to compete the picture. One of them, Moritz +Ernemann, a pupil of Mendelssohn's pianoforte-master, L. Berger, +played with success in Poland and Germany, and has been described by +contemporaries as a finished and expressive, but not brilliant, pianist. +His pleasing compositions are of an instructive and mildly-entertaining +character. The other of the two was Joseph Christoph Kessler, a musician +of very different mettle. After studying philosophy in Vienna, and +composing at the house of Count Potocki in Lemberg his celebrated +Etudes, Op. 20 (published at Vienna, reprinted at Paris, recommended +by Kalkbrenner in his Methode, quoted by Fetis and Moscheles in their +Methode des Methodes, and played in part by Liszt at his concerts), +he tried in 1829 his luck in Warsaw. Schumann thought (in 1835) that +Kessler had the stuff in him to do something great, and always looked +forward with expectation to what he would yet accomplish. Kessler's +studies might be dry, but he was assuredly a "Mann von Geist und sogar +poetischem Geist." He dedicated his twenty-four Preludes, Op. 31, to +Chopin, and Chopin his twenty-four Preludes, Op. 28, to him—that is to +say, the German edition. +</pre> + <p> + By this time the reader must have found out that Warsaw was not such a + musical desert as he may at first have imagined. Perfect renderings of + great orchestral works, it is true, seem to have been as yet unattainable, + and the performances of operas failed likewise to satisfy a pure and + trained taste. Nay, in 1822 it was even said that the opera was getting + worse. But when the fruits of the Conservatorium had had time to ripen and + could be gathered in, things would assume a more promising aspect. Church + music, which like other things had much deteriorated, received a share of + the attention which in this century was given to the art. The best singing + was in the Piarist and University churches. In the former the bulk of the + performers consisted of amateurs, who, however, were assisted by members + of the opera. They sang Haydn's masses best and oftenest. In the other + church the executants were students and professors, Elsner being the + conductor. Besides these choirs there existed a number of musical + associations in connection with different churches in Warsaw. Indeed, it + cannot be doubted that great progress was made in the first thirty years + of this century, and had it not been for the unfortunate insurrection of + 1830, Poland would have succeeded in producing a national art and taking + up an honourable position among the great musical powers of Europe, + whereas now it can boast only of individual artists of more or less skill + and originality. The musical events to which the death of the Emperor + Alexander I. gave occasion in 1826, show to some extent the musical + capabilities of Warsaw. On one day a Requiem by Kozlowski (a Polish + composer, then living in St. Petersburg; b. 1757, d. 1831), with + interpolations of pieces by other composers, was performed in the + Cathedral by two hundred singers and players under Soliva. On another day + Mozart's Requiem, with additional accompaniments by Kurpinski (piccolos, + flutes, oboes, clarinets, and horns to the Dies irae and Sanctus; harps to + the Hostias and Benedictus; and a military brass-band to the closing + chorus!!!), was given in the same place by two hundred and fifty + executants under the last-mentioned musician. And in the Lutheran church + took place a performance of Elsner's Requiem for male voices, + violoncellos, bassoons, horns, trumpets, trombones, and drums. + </p> + <p> + Having made the reader acquainted with the musical sphere in which Chopin + moved, I shall take up the thread of the narrative where I left it, and + the reader may follow without fear of being again detained by so long an + interruption. + </p> + <p> + <a name="link2HCH0006" id="link2HCH0006"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER VI + </h2> + <p> + Fourteen days in Berlin (From September 14 to 28, 1828).—Return by + Posen (Prince Radziwill) and Zullichau (anecdotes) to Warsaw.—Chopin's + doings there in the following winter and spring.—his home-life, + companions, and preparations for a journey to Vienna. + </p> + <p> + Chopin, leaving his apprenticeship behind him, was now entering on that + period of his life which we may call his Wanderjahre (years of travel). + This change in his position and circumstances demands a simultaneous + change in the manner of the biographical treatment. Hitherto we have been + much occupied with the agencies that made and moulded the man, henceforth + we shall fix our main attention on his experiences, actions, and + utterances. The materials at our disposal become now more abundant and + more trustworthy. Foremost in importance among them, up to Chopin's + arrival in Paris, are the letters he wrote at that time, the publication + of which we owe to Karasowski. As they are, however, valuable only as + chronicles of the writer's doings and feelings, and not, like + Mendelssohn's and Berlioz's, also as literary productions, I shall, whilst + fully availing myself of the information they contain, confine my + quotations from them to the characteristic passages. + </p> + <p> + Chopin's long-projected and much-desired visit to Berlin came about in + this way. In 1828 Frederick William III of Prussia requested the Berlin + University to invite the most eminent natural philosophers to take part in + a congress to be held in that city under the presidency of Alexander von + Humboldt. Nicholas Chopin's friend Dr. Jarocki, the zoologist and + professor at the Warsaw University, who had studied and obtained his + degree at Berlin, was one of those who were honoured with an invitation. + The favourable opportunity which thus presented itself to the young + musician of visiting in good company one of the centres of civilisation—for + the professor intended to comply with the invitation, and was willing to + take his friend's son under his wing—was not allowed to slip by, on + the contrary, was seized eagerly. With what feelings, with what an + infinitude of youthful hopes and expectations, Chopin looked forward to + this journey may be gathered from some expressions in a letter of his + (September 9, 1828) addressed to Titus Woyciechowski, where he describes + himself as being at the time of writing "like a madman," and accounts for + his madness by the announcement: "For I am going to-day to Berlin." To + appear in public as a pianist or composer was not one of the objects he + had in view. His dearest wishes were to make the acquaintance of the + musical celebrities of Berlin, and to hear some really good music. From a + promised performance of Spontini's Ferdinand Cortez he anticipated great + things. + </p> + <p> + Professor Jarocki and Chopin left Warsaw on the 9th of September, 1828, + and after five days' posting arrived in Berlin, where they put up at the + Kronprinz. Among the conveniences of this hotel our friend had the + pleasant surprise of finding a good grand piano. He played on it every + day, and was rewarded for his pains not only by the pleasure it gave him, + but also by the admiration of the landlord. Through his travelling + companion's friend and teacher, M. H. K. Lichtenstein, professor of + zoology and director of the Zoological Museum, who was a member of the + Singakademie and on good terms with Zelter, the conductor of that society, + he hoped to be made acquainted with the most distinguished musicians of + the Prussian capital, and looked to Prince Radziwill for an introduction + to the musical autocrat Spontini, with whom Lichtenstein was not on a + friendly footing. In these hopes, however, Chopin was disappointed, and + had to content himself with looking at the stars from afar. Speaking of a + performance of the Singakademie at which he was present, he says:— + </p> +<pre xml:space="preserve"> + Spontini, Zelter, and Felix Mendelssohn-Bartholdy were also + there; but I spoke to none of these gentlemen, as I did not + think it becoming to introduce myself. +</pre> + <p> + It is not difficult to discover the circumstances that in this respect + caused matters to turn out so little in accordance with the young man's + wishes. Prince Radziwill was not in Berlin when Chopin arrived, and, + although he was expected, perhaps never came, or came too late to be of + any use. As to Lichtenstein, his time was too much taken up by his duties + as secretary to the congress. Had this not been so, the professor could + not only have brought the young artist in contact with many of the musical + celebrities in Berlin, but also have told him much about his intimate + friend Carl Maria von Weber, who had died little more than two years + before. Lichtenstein's connection with Weber was probably the cause of his + disagreement with Spontini, alluded to by Chopin. The latter relates in an + off-hand way that he was introduced to and exchanged a few words with the + editor of the Berliner Musikzeitung, without mentioning that this was + Marx. The great theorist had of course then still to make his reputation. + </p> + <p> + One cannot help wondering at the absence from Chopin's Berlin letters of + the name of Ludwig Berger, who, no doubt, like Bernhard Klein, + Rungenhagen, the brothers Ganz, and many another composer and virtuoso in + Berlin, was included in the collective expression "distinguished + musicians." But one would have thought that the personality of the pupil + of Clementi, the companion of A. Klengel, the friend of Steibelt, Field, + and Crotch, and the teacher of Mendelssohn and Taubert, would have + particularly interested a young pianist. Berger's compositions cannot have + been unknown to Chopin, who, moreover, must have heard of him from his + Warsaw acquaintance Ernemann. However, be this as it may, our friend was + more fortunate as regards hearing good music, which certainly was a more + important business than interviewing celebrities, often, alas, so + refrigerating in its effect on enthusiastic natures. Before his departure + from Warsaw Chopin wrote:—"It is much to hear a really good opera, + were it only once; it enables one to form an idea of what a perfect + performance is like." Although the most famous singers were on leave of + absence, he greatly enjoyed the performances of Spontini's "Ferdinand + Cortez", Cimarosa's "Die heimliche Eke" ("Il Matrimonio segreto"), + Onslow's "Der Hausirer" ("Le colporteur"), and Winter's "Das unterbrochene + Opferfest." Still, they gave rise to some "buts," which he thought would + be wholly silenced only in Paris; nay, one of the two singers he liked + best, Fraulein von Schatzel (Signora Tibaldi was the other), reminded him + by her omissions of chromatic scales even of Warsaw. What, however, + affected him more than anything else was Handel's "Ode on St. Cecilia's + Day," which he heard at the Singakademie; it came nearest, he said, to the + ideal of sublime music which he harboured in his soul. A propos of another + musical event he writes:— + </p> +<pre xml:space="preserve"> + To-morrow the "Freischutz" will be performed; this is the + fulfilment of my most ardent wish. When I hear it I shall be + able to make a comparison between the singers here and our + own. +</pre> + <p> + The "Freischutz" made its first appearance on the Warsaw stage in 1826, + and therefore was known to Chopin; whereas the other operas were either + unknown to him or were not considered decisive tests. + </p> + <p> + Music and things connected with music, such as music-shops and + pianoforte-manufactories, took up Chopin's attention almost exclusively. + He declines with thanks the offer of a ticket for the meetings of the + congress:— + </p> +<pre xml:space="preserve"> + I should gain little or nothing for my mind from these + discussions, because I am too little of a savant; and, + moreover, the professional gentlemen might perhaps look at + me, the layman, and think: "How comes Saul among the + prophets?" +</pre> + <p> + Of the Royal Library, to which he went with Professor Jarocki, he has no + more to say than that "it is very large, but contains few musical works"; + and when he visits the Zoological Museum, he thinks all the time what a + bore it is, and how he would rather be at Schlesinger's, the best + music-shop in the town, and an enterprising publishing house. That he + neglects many things which educated men generally prize, he feels himself, + and expresses the fear that his father will reproach him with + one-sidedness. In his excuse he says:— + </p> +<pre xml:space="preserve"> + I have come to Berlin for my musical education, and the + library of Schlesinger, consisting of the most interesting + works of the composers of all countries and times, must + interest me more than any other collections. +</pre> + <p> + The words, he adds, add nothing to the strength of his argument. + </p> +<pre xml:space="preserve"> + It is a comfort to think that I, too, shall yet come to + Schlesinger's, and that it is always good for a young man to + see much, as from everything something may be learnt. +</pre> + <p> + According to Karasowski, who reports, no doubt faithfully, what he has + heard, Chopin was so well versed in all the branches of science, which he + cultivated at the Lyceum, that all who knew him were astonished at his + attainments, and prognosticated for him a brilliant future. I am afraid + the only authorities for this statement were the parents, the sisters, and + other equally indiscriminately-admiring connections, who often discover + genius where it is hidden from the cold, unfeeling world outside this + sympathetic circle. Not that I would blame an amiable weakness without + which love, friendship, in short, happiness were well-nigh impossible. + Only a biographer who wishes to represent a man as he really was, and not + as he appeared to be to one or more individuals, has to be on his guard + against it. Let us grant at once that Chopin made a good figure at the + Lyceum—indeed, a quick-witted boy who found help and encouragement + at home (the secret of almost all successful education) could hardly do + otherwise. But from this to a master of all the arts, to an admirable + Crichton, is a great step. Where there is genius there is inclination. + Now, however well Chopin acquitted himself of his school-tasks—and + even therein you will remember a falling-off was noticeable when outward + pressure ceased—science and kindred subjects were subsequently + treated by him with indifference. The thorough training which he received + in general knowledge entirely failed to implant in him the dispositions of + a scholar or thinker. His nature was perhaps a soil unfavourable to such + growths, and certainly already preoccupied by a vegetation the luxuriance + of which excluded, dwarfed, or crushed everything else. The truth of these + remarks is proved by Chopin's letters and his friends' accounts of his + tastes and conversation. In connection with this I may quote a passage + from a letter which Chopin wrote immediately before starting on his Berlin + trip. Jedrzejewicz, a gentleman who by-and-by became Chopin's + brother-in-law, and was just then staying in Paris, made there the + acquaintance of the Polish musician Sowinski. The latter hearing thus of + his talented countryman in Warsaw, and being co-editor with Fetis of the + "Revue musicale" (so at least we read in the letter in question, but it is + more likely that Sowinski was simply a contributor to the paper), applied + to him for a description of the state of music in Poland, and biographical + notes on the most celebrated executants and composers. Now let us see what + Chopin says in reference to this request. + </p> +<pre xml:space="preserve"> + All these are things with which I have no intention to + meddle. I shall write to him from Berlin that this affair is + not in my line, and that, moreover, I cannot yet form a + judgment such as would be worthy of a Parisian journal, which + must contain only mature and competent opinions, &c. +</pre> + <p> + How much of this is self-knowledge, modesty, or disinclination, I leave + the reader to decide, who, no doubt, will smile at the young man's + innocence in imagining that Parisian, or, indeed, any journals distinguish + themselves generally by maturity and competence of judgment. + </p> + <p> + At the time of the Berlin visit Chopin was a lively, well-educated, and + well-mannered youth, who walked through life pleased and amused with its + motley garb, but as yet unconscious of the deeper truths, and the + immensities of joy and sadness, of love and hate, that lie beneath. + Although the extreme youthfulness, nay boyishness, of the letters written + by him at that time, and for some time after, makes him appear younger + than he really was, the criticisms and witticisms on what is going on + around which they contain, show incontestably that he had more than the + usual share of clear and quick-sightedness. His power of observation, + however, was directed rather to dress, manners, and the peculiarities and + eccentricities of outward appearance generally, than to the essentials + which are not always indicated and are often hidden by them. As to his + wit, it had a decided tendency towards satire and caricature. He notices + the pleasing orderliness and cleanliness of the otherwise not + well-favoured surroundings of Berlin as he approaches, considers the city + itself too much extended for the number of its inhabitants, of whom it + could hold twice as many, is favourably impressed by the fine large + palace, the spacious well-built streets, the picturesque bridges, and + congratulates himself that he and his fellow-traveller did not take + lodgings in the broad but rather too quiet Franzosische Strasse. Yes, our + friend is fond of life and society. Whether he thought man the proper + study of mankind or not, as Pope held, he certainly found it the most + attractive. The passengers in the stage-coach were to him so many + personages of a comedy. There was an advocate who tried to shine with his + dull jokes, an agriculturist to whom travelling had given a certain + varnish of civilisation, and a German Sappho who poured forth a stream of + pretentious and at the same time ludicrous complaints. The play + unwittingly performed by these unpaid actors was enjoyed by our friend + with all the zest the feeling of superiority can give. What a + tragi-comical arrangement it is that in this world of ours everybody is + laughing at everybody else! The scientists of the congress afforded Chopin + an almost unlimited scope for the exercise of his wit. Among them he found + so many curious and various specimens that he was induced not only to draw + but also to classify them. Having already previously sent home some + sketches, he concludes one of his letters with the words "the number of + caricatures is increasing." Indeed, there seems to have been only one + among these learned gentlemen who impressed him with a feeling of respect + and admiration—namely, Alexander von Humboldt. As Chopin's remarks + on him are the best part of his three Berlin letters, I shall quote them + in full. On seeing Von Humboldt at Lichtenstein's he writes:— + </p> +<pre xml:space="preserve"> + He is not above middle height, and his countenance cannot be + called beautiful; but the somewhat protruding, broad, and + well-moulded forehead, and the deep inquiring eye, announce + the all-embracing mind which animates this humane as well as + much-travelled savant. Humboldt spoke French, and as well as + his mother-tongue. +</pre> + <p> + One of the chief events of Chopin's visit to Berlin was, according to his + own account, his second dinner with the natural philosophers, which took + place the day before the close of the congress, and was very lively and + entertaining:— + </p> + <p> + Many appropriate songs were sung in which every one joined with more or + less energy. Zelter conducted; he had standing before him on a red + pedestal as a sign of his exalted musical dignity a large gilt goblet, + which seemed to give him much pleasure. On this day the food was much + better than usual. People say the natural philosophers had at their + meetings been specially occupied with the amelioration of roasts, sauces, + soups, and the like. + </p> + <p> + "The Berliners are such an impertinent race," says Goethe, "that to keep + one's self above water one must have Haare auf den Zahnen, and at times be + rude." Such a judgment prepares one for much, but not for what Chopin + dares to say:— + </p> +<pre xml:space="preserve"> + Marylski [one of his Warsaw friends] has not the faintest + shadow of taste if he asserts that the ladies of Berlin dress + prettily. They deck themselves out, it is true; but it is a + pity for the fine stuffs which are cut up for such puppets! +</pre> + <p> + What blasphemy! + </p> + <p> + After a fortnight's stay in the Prussian capital Professor Jarocki and + Chopin turned homeward on September 28, 1828. They did not, however, go + straight to Warsaw, but broke their journey at Posen, where they remained + two days "in gratiam of an invitation from Archbishop Wolicki." A great + part of the time he was at Posen he spent at the house of Prince + Radziwill, improvising and playing sonatas of Mozart, Beethoven, and + Hummel, either alone or with Capellmeister Klingohr. On October 6 the + travellers arrived in Warsaw, which Chopin was so impatient to reach that + the professor was prevailed upon to take post-horses from Lowicz. Before I + have done with this trip to Berlin I must relate an incident which + occurred at a stage between Frankfort on the Oder and Posen. + </p> + <p> + On arriving at Zullichau our travellers were informed by the postmaster + that they would have to wait an hour for horses. This announcement opened + up an anything but pleasing prospect. The professor and his companion did + the best that could be done in these distressing circumstances—namely, + took a stroll through the small town, although the latter had no amenities + to boast of, and the fact of a battle having been fought there between the + Russians and Prussians in 1759 would hardly fire their enthusiasm. + Matters, however, became desperate when on their return there was still + neither sign nor sound of horses. Dr. Jarocki comforted himself with meat + and drink, but Chopin began to look uneasily about him for something to + while away the weariness of waiting. His search was not in vain, for in an + adjoining room he discovered an old piano of unpromising appearance, + which, on being opened and tried, not only turned out to be better than it + looked, but even in tune. Of course our artist did not bethink himself + long, but sat down at once, and launched out into an improvisation on a + Polish air. One of his fellow-passengers, a German, and an inveterate + smoker, attracted by the music, stepped in, and was soon so wrapped up in + it that he forgot even his pipe. The other passengers, the postmaster, his + buxom wife, and their pretty daughters, came dropping in, one after the + other. But when this peaceful conventicle had for some time been listening + silently, devoutly, and admiringly, lo, they were startled by a stentorian + voice bawling into the room the words:—"Gentlemen, the horses are + put in." The postmaster, who was indignant at this untimely interruption, + begged the musician to continue. But Chopin said that they had already + waited too long, it was time to depart. Upon this there was a general + commotion; the mistress of the house solicited and cajoled, the young + ladies bashfully entreated with their eyes, and all pressed around the + artist and supported the request, the postmaster even offering extra + horses if Chopin would go on with his playing. Who could resist? Chopin + sat down again, and resumed his fantasia. When he had ended, a servant + brought in wine, the postmaster proposed as a toast "the favourite of + Polyhymnia," and one of the audience, an old musician, gave voice to his + feelings by telling the hero that, "if Mozart had heard you, he would have + shaken hands with you and exclaimed 'Bravo!' An insignificant man like me + dare not do that." After Chopin had played a mazurka as a wind-up, the + tall postmaster took him in his arms, carried him to the coach—the + pockets of which the ladies had already filled with wine and eatables—and, + bidding him farewell, said that as long as he lived he would think with + enthusiasm of Frederick Chopin. + </p> + <p> + We can have no difficulty in believing the statement that in after-life + our artist recalled with pleasure this incident at the post-house of + Zullichau, and that his success among these unsophisticated people was + dearer to him than many a more brilliant one in the great world of art and + fashion. But, it may be asked, did all this happen in exactly the same way + in which it is told here? Gentle reader, let us not inquire too curiously + into this matter. Of course you have heard of myth-making and + legend-making. Well, anecdote-making is a process of a similar nature, a + process of accumulation and development. The only difference between the + process in the first two cases and that in the third is, that the former + is carried on by races, the latter by individuals. A seed-corn of fact + falls on the generous soil of the poetic imagination, and forthwith it + begins to expand, to sprout, and to grow into flower, shrub, or tree. But + there are well and ill-shapen plants, and monstrosities too. The above + anecdote is a specimen of the first kind. As a specimen of the last kind + may be instanced an undated anecdote told by Sikorski and others. It is + likewise illustrative of Chopin's power and love of improvisation. The + seed-corn of fact in the case seems to be that one Sunday, when playing + during divine service in the Wizytek Church, Chopin, taking for his + subjects some motives of the part of the Mass that had just been + performed, got so absorbed in his improvisation that he entirely forgot + all his surroundings, and turned a deaf ear to the priest at the altar, + who had already for the second time chanted 'Per omnia saecula + saeculurum.' This is a characteristic as well as a pretty artist-story, + which, however, is marred, I think, by the additions of a choir that + gathers round the organist and without exception forgets like him time and + place, and of a mother superior who sends the sacristan to remind those + music-enthusiasts in the organ-gallery of the impatiently waiting priest + and acolyte, &c. Men willingly allow themselves to be deceived, but + care has to be taken that their credulity be not overtaxed. For if the + intention is perceived, it fails in its object; as the German poet says:—"So + fuehrt man Absicht und man ist verstimmt." + </p> + <p> + On the 6th of October, as has already been said, Chopin returned to + Warsaw. Judging from a letter written by him at the end of the year + (December 27, 1828) to his friend Titus Woyciechowski, he was busy + composing and going to parties. The "Rondeau a la Krakowiak," Op. 14, was + now finished, and the Trio, Op. 8, was nearly so. A day on which he had + not been musically productive seems to have been regarded by him as a lost + day. The opening phrase of the following quotation reminds one of the + famous exclamation of the Emperor Titus:— + </p> +<pre xml:space="preserve"> + During the last week I have composed nothing worthy either of + God or of man. I run from Ananias to Caiaphas; to-night I + shall be at Madame Wizegerod's, from there I shall drive to a + musical soiree at Miss Kicka's. You know how pleasant it is + to be forced to improvise when one is tired! I have not often + such happy thoughts as come sometimes under my fingers when I + am with you. And then the miserable instruments! +</pre> + <p> + In the same letter he relates that his parents are preparing a small room + for him:— + </p> +<pre xml:space="preserve"> + A staircase leads from the entrance directly into it; there I + shall have an old writing-desk, and this nook will be my + retreat. +</pre> + <p> + This remark calls up a passage in a letter written two years later from + Vienna to his friend John Matuszynski:— + </p> +<pre xml:space="preserve"> + When your former colleagues, for instance, Rostkowski, + Schuch, Freyer, Kyjewski, Hube, &c., are holding merry + converse in my room, then think that I am laughing and + enjoying myself with you. +</pre> + <p> + A charming little genre picture of Chopin's home-life is to be found in + one of his letters from Vienna (December 1, 1830) Having received news + from Warsaw, he writes:— + </p> +<pre xml:space="preserve"> + The joy was general, for Titus also had letters from home. I + thank Celinski lor the enclosed note; it brought vividly back + to me the time when I was still amongst you: it seemed to me + as if I were sitting at the piano and Celinski standing + opposite me looking at Mr. Zywny, who just then treated + Linowski to a pinch of snuff. Only Matuszynski was wanting to + make the group complete. +</pre> + <p> + Several names in the above extract remind me that I ought to say a few + words about the young men with whom Chopin at that time associated. Many + of them were no doubt companions in the noblest sense of the word. Of this + class may have been Celinski, Hube, Eustachius Marylski, and Francis + Maciejowski (a nephew of the previously-mentioned Professor Waclaw + Maciejowski), who are more or less frequently mentioned in Chopin's + correspondence, but concerning whom I have no information to give. I am as + badly informed about Dziewanowski, whom a letter quoted by Karasowski + shows to have been a friend of Chopin's. Of two other friends, Stanislas + Kozmian and William Kolberg, we know at least that the one was a few years + ago still living at Posen and occupied the post of President of the + Society of the Friends of Science, and that the other, to whom the + earliest letters of Chopin that have come down to us are addressed, + became, not to mention lesser offices and titles, a Councillor of State, + and died on June 4,1877. Whatever the influence of the friends I have thus + far named may have been on the man Chopin, one cannot but feel inclined to + think that Stephen Witwicki and Dominic Magnuszewski, especially the + former, must have had a greater influence on the artist. At any rate, + these two poets, who made their mark in Polish literature, brought the + musician in closest contact with the strivings of the literary romanticism + of those days. In later years Chopin set several of Witwicki's songs to + music. Both Magnuszewski and Witwicki lived afterwards, like Chopin, in + Paris, where they continued to associate with him. Of the musical + acquaintances we have to notice first and foremost Julius Fontana, who + himself said that he was a daily visitor at Chopin's house. The latter + writes in the above-mentioned letter (December 27, 1828) to Titus + Woyciechowski:— + </p> +<pre xml:space="preserve"> + The Rondo for two pianos, this orphan child, has found a step- + father in Fontana (you may perhaps have seen him at our + house, he attends the university); he studied it for more + than a month, but then he did learn it, and not long ago we + tried how it would sound at Buchholtz's. +</pre> + <p> + Alexander Rembielinski, described as a brilliant pianist and a composer in + the style of Fesca, who returned from Paris to Warsaw and died young, is + said to have been a friend of Chopin's. Better musicians than Fontana, + although less generally known in the western part of Europe, are Joseph + Nowakowski and Thomas Nidecki. Chopin, by some years their junior, had + intercourse with them during his residence in Poland as well as afterwards + abroad. It does not appear that Chopin had what can rightly be called + intimate friends among the young Polish musicians. If we may believe the + writer of an article in Sowinski's Dictionary, there was one exception. He + tells us that the talented Ignaz Felix Dobrzynski was a fellow-pupil of + Chopin's, taking like him private lessons from Elsner. Dobrzynski came to + Warsaw in 1825, and took altogether thirty lessons. + </p> +<pre xml:space="preserve"> + Working together under the same master, having the same + manner of seeing and feeling, Frederick Chopin and I.F. + Dobrzynski became united in a close friendship. The same + aims, the same artistic tendency to seek the UNKNOWN, + characterised their efforts. They communicated to each other + their ideas and impressions, followed different routes to + arrive at the same goal. +</pre> + <p> + This unison of kindred minds is so beautiful that one cannot but wish it + to have been a fact. Still, I must not hide the circumstance that neither + Liszt nor Karasowski mentions Dobrzynski as one of Chopin's friends, and + the even more significant circumstance that he is only mentioned twice and + en passant in Chopin's letters. All this, however, does not necessarily + nullify the lexicographer's statements, and until contradictory evidence + is forthcoming we may hold fast by so pleasing and ennobling a creed. + </p> + <p> + The most intimate of Chopin's early friends, indeed, of all his friends—perhaps + the only ones that can be called his bosom friends—have still to be + named, Titus Woyciechowski and John Matuszynski. It was to them that + Chopin wrote his most interesting and self-revealing letters. We shall + meet them and hear of them often in the course of this narrative, for + their friendship with the musician was severed only by death. It will + therefore suffice to say here that Titus Woyciechowski, who had been + Chopin's school-fellow, lived, at the period of the latter's life we have + now reached, on his family estates, and that John Matuszynski was then + studying medicine in Warsaw. + </p> + <p> + In his letter of December 27, 1828, Chopin makes some allusions to the + Warsaw theatres. The French company had played Rataplan, and at the + National Theatre they had performed a comedy of Fredro's, Weber's + Preciosa, and Auber's Macon. A musical event whichmust have interested + Chopin much more than the performances of the two last-mentioned works + took place in the first half of the year 1829—namely, Hummel's + appearance in Warsaw. He and Field were, no doubt, those pianists who + through the style of their compositions most influenced Chopin. For + Hummel's works Chopin had indeed a life-long admiration and love. It is + therefore to be regretted that he left in his letters no record of the + impression which Hummel, one of the four most distinguished + representatives of pianoforte-playing of that time, made upon him. It is + hardly necessary to say that the other three representatives—of + different generations and schools let it be understood—were Field, + Kalkbrenner, and Moscheles. The only thing we learn about this visit of + Hummel's to Warsaw is that he and the young Polish pianist made a good + impression upon each other. As far as the latter is concerned this is a + mere surmise, or rather an inference from indirect proofs, for, strange to + say, although Chopin mentions Hummel frequently in his letters, he does + not write a syllable that gives a clue to his sentiments regarding him. + The older master, on the other hand, shows by his inquiries after his + younger brother in art and the visits he pays him that he had a real + regard and affection for him. + </p> + <p> + It is also to be regretted that Chopin says in his letters nothing of + Paganini's appearance in Warsaw. The great Italian violinist, who made so + deep an impression on, and exercised so great an influence over, Liszt, + cannot have passed by without producing some effect on Chopin. That the + latter had a high opinion of Paganini may be gathered from later + utterances, but what one would like is a description of his feelings and + thoughts when he first heard him. Paganini came to Warsaw in 1829, after + his visit to Berlin. In the Polish capital he was worshipped with the same + ardour as elsewhere, and also received the customary tributes of applause, + gold, and gifts. From Oreste Bruni's Niccolo Paganini, celebre violinista + Genovese, we learn that his Warsaw worshippers presented him with a gold + snuff-box, which bore the following inscription:—Al Cav. Niccolo + Paganini. Gli ammiratori del suo talento. Varsovia 19 Luglio 1829. + </p> + <p> + Some months after this break in what he, no doubt, considered the + monotonous routine of Warsaw life, our friend made another excursion, one + of far greater importance in more than one respect than that to Berlin. + Vienna had long attracted him like a powerful magnet, the obstacles to his + going thither were now removed, and he was to see that glorious art-city + in which Gluck, Haydn, Mozart, Beethoven, Schubert, and many lesser but + still illustrious men had lived and worked. + </p> + <p> + <a name="link2HCH0007" id="link2HCH0007"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER VII + </h2> + <p> + CHOPIN JOURNEYS TO VIENNA BY WAY OF CRACOW AND OJCOW.—STAYS THERE + FOR SOME WEEKS, PLAYING TWICE IN PUBLIC.—RETURNS TO WARSAW BY WAY OF + PRAGUE, DRESDEN, AND BRESLAU. + </p> + <p> + IT was about the middle of July, 1829, that Chopin, accompanied by his + friends Celinski, Hube, and Francis Maciejowski, set out on his journey to + Vienna. They made a week's halt at the ancient capital of the Polish + Republic, the many-towered Cracow, which rises picturesquely in a + landscape of great loveliness. There they explored the town and its + neighbourhood, both of which are rich in secular and ecclesiastical + buildings, venerable by age and historical associations, not a few of them + remarkable also as fine specimens of architecture. Although we have no + detailed account of Chopin's proceedings, we may be sure that our + patriotic friend did not neglect to look for and contemplate the vestiges + of his nation's past power and greatness: the noble royal palace, + degraded, alas, into barracks for the Austrian soldiery; the grand, + impressive cathedral, in which the tombs of the kings present an epitome + of Polish history; the town-hall, a building of the 14th century; the + turreted St. Florian's gate; and the monumental hillock, erected on the + mountain Bronislawa in memory of Kosciuszko by the hands of his grateful + countrymen, of which a Frenchman said:—"Void une eloquence touts + nouvelle: un peuple qui ne peut s'exprimer par la parole ou par les + livres, et qui parle par des montagnes." On a Sunday afternoon, probably + on the 24th of July, the friends left Cracow, and in a rustic vehicle + drove briskly to Ojcow. They were going to put up not in the place itself, + but at a house much patronised by tourists, lying some miles distant from + it and the highway. This circumstance led to something like a romantic + incident, for as the driver was unacquainted with the bye-roads, they got + into a small brook, "as clear and silvery bright as brooks in fairytales," + and having walls of rock on the right and left, they were unable to + extricate themselves "from this labyrinth." Fortunately they met towards + nine o'clock in the evening two peasants who conducted them to their + destination, the inn of Mr. Indyk, in which also the Polish authoress + Clementina Tanska, who has described this district in one of her works, + had lodged—a fact duly reported by Chopin to his sister Isabella and + friend Titus. Arriving not only tired but also wet to above the knees, his + first business was to guard against taking a cold. He bought a Cracow + double-woven woollen night-cap, which he cut in two pieces and wrapped + round his feet. Then he sat down by the fire, drank a glass of red wine, + and, after talking for a little while longer, betook himself to bed, and + slept the sleep of the just. Thus ended the adventure of that day, and, to + all appearance, without the dreaded consequences of a cold. The natural + beauties of the part of the country where Chopin now was have gained for + it the name of Polish Switzerland. The principal sights are the Black + Cave, in which during the bloody wars with the Turks and Tartars the women + and children used to hide themselves; the Royal Cave, in which, about the + year 1300, King Wladyslaw Lokietek sought refuge when he was hardly + pressed by the usurper Wenceslas of Bohemia; and the beautifully-situated + ruins of Ojcow Castle, once embowered in thick forests. Having enjoyed to + the full the beauties of Polish Switzerland, Chopin continued his journey + merrily and in favourable weather through the picturesque countries of + Galicia, Upper Silesia, and Moravia, arriving in Vienna on July 31. + </p> + <p> + Chopin's letters tell us very little of his sight-seeing in the Austrian + capital, but a great deal of matters that interest us far more deeply. He + brought, of course, a number of letters of introduction with him. Among + the first which he delivered was one from Elsner to the publisher + Hashnger, to whom Chopin had sent a considerable time before some of his + compositions, which, however, still remained in manuscript. Haslinger + treated Elsner's pupil with an almost embarrassing politeness, and, + without being reminded of the MSS. in question, informed his visitor that + one of them, the variations on La ci darem la mano, would before long + appear in the Odeon series. "A great honour for me, is it not?" writes the + happy composer to his friend Titus. The amiable publisher, however, + thought that Chopin would do well to show the people of Vienna what his + difficult and by no means easily comprehensible composition was like. But + the composer was not readily persuaded. The thought of playing in the city + where Mozart and Beethoven had been heard frightened him, and then he had + not touched a piano for a whole fortnight. Not even when Count Gallenberg + entered and Haslinger presented Chopin to him as a coward who dare not + play in public was the young virtuoso put on his mettle. In fact, he even + declined with thanks the theatre which was placed at his disposal by Count + Gallenberg, who was then lessee of the Karnthnerthor Theatre, and in whom + the reader has no doubt recognised the once celebrated composer of + ballets, or at least the husband of Beethoven's passionately-loved + Countess Giulia Guicciardi. Haslinger and Gallenberg were not the only + persons who urged him to give the Viennese an opportunity to hear him. + Dining at the house of Count Hussarzewski, a worthy old gentleman who + admired his young countryman's playing very much, Chopin was advised by + everybody present—and the guests belonged to the best society of + Vienna—to give a concert. The journalist Blahetka, best known as the + father of his daughter, was not sparing in words of encouragement; and + Capellmeister Wurfel, who had been kind to Chopin in Warsaw, told him + plainly that it would be a disgrace to himself, his parents, 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. + </p> + <p> + 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:— + </p> +<pre xml:space="preserve"> + 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. +</pre> + <p> + In a letter to Titus Woyciechowski, dated September 12, 1829, he says:— + </p> +<pre xml:space="preserve"> + The sight of the Viennese public did not at all excite me, + and I sat down, pale as I was, at a wonderful instrument of + Graff's, at the time perhaps the best in Vienna. Beside me I + had a painted young man, who turned the leaves for me in the + Variations, and who prided himself on having rendered the + same service to Moscheles, Hummel, and Herz. Believe me when + I say that I played in a desperate mood; nevertheless, the + Variations produced so much effect that I was called back + several times. Mdlle. Veltheim sang very beautifully. Of my + improvisation I know only that it was followed by stormy + applause and many recalls. +</pre> + <p> + To the cause of the paleness and the desperate mood I shall advert anon. + Chopin was satisfied, nay, delighted with his success; he had a friendly + greeting of "Bravo!" on entering, and this "pleasant word" the audience + repeated after each Variation so impetuously that he could not hear the + tuttis of the orchestra. At the end of the piece he was called back twice. + The improvisation on a theme from La Dame blanche and the Polish tune + Chmiel, which he substituted for the Krakowiak, although it did not + satisfy himself, pleased, or as Chopin has it, "electrified" the audience. + Count Gallenberg commended his compositions, and Count Dietrichstein, who + was much with the Emperor, came to him on the stage, conversed with him a + long time in French, complimented him on his performance, and asked him to + prolong his stay in Vienna. The only adverse criticism which his friends, + who had posted themselves in different parts of the theatre, heard, was + that of a lady who remarked, "Pity the lad has not a better tournure." + However, the affair did not pass off altogether without unpleasant + incidents:— + </p> +<pre xml:space="preserve"> + The members of the orchestra [Chopin writes to his friend + Titus Woyciechowski] showed me sour faces at the rehearsal; + what vexed them most was that I wished to make my debut with + a new composition. I began with the Variations which are + dedicated to you; they were to be followed by the Rondo + Krakowiak. We got through the Variations well, the Rondo, on + the other hand, went so badly that we had to begin twice from + the beginning; the cause of this was said to be the bad + writing. I ought to have placed the figures above and not + below the rests (that being the way to which the Viennese + musicians are accustomed). Enough, these gentlemen made such + faces that I already felt inclined to send word in the + evening that I was ill. Demar, the manager, noticed the bad + disposition of the members of the orchestra, who also don't + like Wurfel. The latter wished to conduct himself, but the + orchestra refused (I don't know for what reason) to play + under his direction. Mr. Demar advised me to improvise, at + which proposal the orchestra looked surprised. I was so + irritated by what had happened that in my desperation I + agreed to it; and who knows if my bad humour and strange mood + were not the causes of the great success which my playing + obtained. +</pre> + <p> + Although Chopin passes off lightly the grumbling and grimacing of the + members of the orchestra respecting the bad writing of his music, they + seem to have had more serious reasons for complaint than he alleges in the + above quotation. Indeed, he relates himself that after the occurrence his + countryman Nidecki, who was very friendly to him and rejoiced at his + success, looked over the orchestral parts of the Rondo and corrected them. + The correction of MSS. was at no time of his life a strong point of + Chopin's. That the orchestra was not hostile to him appears from another + allusion of his to this affair:— + </p> +<pre xml:space="preserve"> + The orchestra cursed my badly-written music, and was not at + all favourably inclined towards me until I began the + improvisation; but then it joined in the applause of the + public. From this I saw that it had a good opinion of me. + Whether the other artists had so too I did not know as yet; + but why should they be against me? They must see that I do + not play for the sake of material advantages. +</pre> + <p> + After such a success nothing was more natural than that Chopin should + allow himself to be easily persuaded to play again—il n'y a que le + premier pas qui coute—but he said he would not play a third time. + Accordingly, on August 18, he appeared once more on the stage of the + Karnthnerthor Theatre. Also this time he received no payment, but played + to oblige Count Gallenberg, who, indeed, was in anything but flourishing + circumstances. On this occasion Chopin succeeded in producing the + Krakowiak, and repeated, by desire of the ladies, the Variations. Two + other items of the programme were Lindpaintner's Overture to Der Bergkonig + and a polonaise of Mayseder's played by the violinist Joseph Khayl, a very + young pupil of Jansa's. + </p> +<pre xml:space="preserve"> + The rendering of the Rondo especially [Chopin writes] gave me + pleasure, because Gyrowetz, Lachner, and other masters, nay, + even the orchestra, were so charmed—excuse the expression— + that they called me back twice. +</pre> + <p> + In another letter he is more loquacious on the subject:— + </p> +<pre xml:space="preserve"> + If the public received me kindly on my first appearance, it + was yesterday still more hearty. When I appeared on the stage + I was greeted with a twice-repeated, long-sustained "Bravo!" + The public had gathered in greater numbers than at the first + concert. The financier of the theatre, Baron—I do not + remember his name—thanked me for the recette and said that + if the attendance was great, it was not on account of the + ballet, which had already been often performed. With my Rondo + I have won the good opinion of all professional musicians— + from Capellmeister Lachner to the pianoforte-tuner, all + praise my composition. +</pre> + <p> + The press showed itself not less favourable than the public. The fullest + account of our artist's playing and compositions, and the impression they + produced on this occasion, I found on looking over the pages of the Wiener + Theaterzeitung. Chopin refers to it prospectively in a letter to his + parents, written on August 19. He had called on Bauerle, the editor of the + paper, and had been told that a critique of the concert would soon appear. + To satisfy his own curiosity and to show his people that he had said no + more than what was the truth in speaking of his success, he became a + subscriber to the Wiener Theaterzeitung, and had it sent to Warsaw. The + criticism is somewhat long, but as this first step into the great world of + art was an event of superlative importance to Chopin, and is one of more + than ordinary interest to us, I do not hesitate to transcribe it in full + so far as it relates to our artist. Well, what we read in the Wiener + Theaterzeitung of August 20, 1829, is this:— + </p> +<pre xml:space="preserve"> + [Chopin] surprised people, because they discovered in him not + only a fine, but a really very eminent talent; on account of + the originality of his playing and compositions one might + almost attribute to him already some genius, at least, in so + far as unconventional forms and pronounced individuality are + concerned. His playing, like his compositions—of which we + heard on this occasion only variations—has a certain + character of modesty which seems to indicate that to shine is + not the aim of this young man, although his execution + conquered difficulties the overcoming of which even here, in + the home of pianoforte virtuosos, could not fail to cause + astonishment; nay, with almost ironical naivete he takes it + into his head to entertain a large audience with music as + music. And lo, he succeeded in this. The unprejudiced public + rewarded him with lavish applause. His touch, although neat + and sure, has little of that brilliance by which our + virtuosos announce themselves as such in the first bars; he + emphasised but little, like one conversing in a company of + clever people, not with that rhetorical aplomb which is + considered by virtuosos as indispensable. He plays very + quietly, without the daring elan which generally at once + distinguishes the artist from the amateur. Nevertheless, our + fine-feeling and acute-judging public recognised at once in + this youth, who is a stranger and as yet unknown to fame, a + true artist; and this evening afforded the unprejudiced + observer the pleasing spectacle of a public which, considered + as a moral person, showed itself a true connoisseur and a + virtuoso in the comprehension and appreciation of an artistic + performance which, in no wise grandiose, was nevertheless + gratifying. + + There were defects noticeable in the young man's playing, + among which are perhaps especially to be mentioned the non- + observance of the indication by accent of the commencement of + musical phrases. Nevertheless, he was recognised as an artist + of whom the best may be expected as soon as he has heard + more....As in his playing he was like a beautiful young tree + that stands free and full of fragrant blossoms and ripening + fruits, so he manifested as much estimable individuality in + his compositions, where new figures, new passages, new forms + unfolded themselves in the introduction, in the first, + second, and fourth Variations, and in the concluding + metamorphosis of Mozart's theme into a polacca. + + Such is the ingenuousness of the young virtuoso that he + undertook to come forward at the close of the concert with a + free fantasia before a public in whose eyes few improvisers, + with the exception of Beethoven and Hummel, have as yet found + favour. If the young man by a manifold change of his themes + aimed especially at amusement, the calm flow of his thoughts + and their firm connection and chaste development were + nevertheless a sufficient proof of his capability as regards + this rare gift. Mr. Chopin gave to-day so much pleasure to a + small audience that one cannot help wishing he may at another + performance play before a larger one.... +</pre> + <p> + Although the critic of the Wiener Theaterzeitung is more succinct in his + report (September 1, 1829) of the second concert, he is not less + complimentary. Chopin as a composer as well as an executant justified on + this occasion the opinion previously expressed about him. + </p> +<pre xml:space="preserve"> + He is a young man who goes his own way, and knows how to + please in this way, although his style of playing and writing + differs greatly from that of other virtuosos; and, indeed + chiefly in this, that the desire to make good music + predominates noticeably in his case over the desire to + please. Also to-day Mr. Chopin gave general satisfaction. +</pre> + <p> + These expressions of praise are so enthusiastic that a suspicion might + possibly arise as to their trustworthiness. But this is not the only + laudatory account to be found in the Vienna papers. Der Sammler, for + instance, remarked: "In Mr. Chopin we made the acquaintance of one of the + most excellent pianists, full of delicacy and deepest feeling." The Wiener + Zeitschrift fur Kunst, Literatur, Theater und Mode, too, had appreciative + notices of the concerts. + </p> +<pre xml:space="preserve"> + He executes the greatest difficulties with accuracy and + precision, and renders all passages with neatness. The + tribute of applause which the public paid to this clever + artist was very great; the concert-piece with orchestra (the + Variations) especially pleased. +</pre> + <p> + This was written after the first concert, and printed on August 22, 1829. + From the criticism on the second concert, which appeared in the same paper + a week later (August 29), I cull the following sentences:— + </p> +<pre xml:space="preserve"> + Chopin performed a new Rondo for pianoforte and orchestra of + his own composition. This piece is written throughout in the + chromatic style, rarely rises to geniality, but has passages + which are distinguished by depth and thoughtful working-out. + On the whole, however, he seems to be somewhat lacking in + variety. The master showed in it his dexterity as a pianist + to perfection, and conquered the greatest difficulties with + felicity. A longer stay in Vienna might be to the advantage + of his touch as well as of his ensemble playing with the + orchestra. He received much applause, and was repeatedly + called back....At the close Mr. Chopin played to-day the + Variations on a theme of Mozart's, which he had already + performed with so much bravura and felicity at his first + concert. The pleasing and yet substantial variety of this + composition as well as the fine, successful playing obtained + also to-day loud applause for the pianist. Connoisseurs and + amateurs manifested joyously and loudly their recognition of + his clever playing. This young man...shows in his + compositions a serious striving to interweave by interesting + combinations the orchestra with the pianoforte. +</pre> + <p> + In conclusion, let me quote one other journal, this time a purely musical + one—namely, the Allgemeine musikalische Zeitung (No. 46, November + 18, 1829). The notice, probably written by that debauched genius F.A. + Kanne, runs thus:— + </p> +<pre xml:space="preserve"> + Mr. Chopin, a pianist from Warsaw, according to report a + pupil of Wurfel's [which report was of course baseless], came + before us a master of the first rank. The exquisite delicacy + of his touch, his indescribable mechanical dexterity, his + finished shading and portamento, which reflect the deepest + feeling; the lucidity of his interpretation, and his + compositions, which bear the stamp of great genius— + variazioni di bravura, rondo, free fantasia—reveal a + virtuoso most liberally endowed by nature, who, without + previous blasts of trumpets, appears on the horizon like one + of the most brilliant meteors. +</pre> + <p> + Still, the sweets of success were not altogether without some admixture of + bitterness, as we may perceive from the following remarks of Chopin's:— + </p> +<pre xml:space="preserve"> + I know that I have pleased the ladies and the musicians. + Gyrowetz, who sat beside Celinski, made a terrible noise, and + shouted "Bravo." Only the out-and-out Germans seem not to + have been quite satisfied. +</pre> + <p> + And this, after having a few days before attributed the applause to the + Germans, who "could appreciate improvisations." Tantae animis coelestibus + irae? But what was the reason of this indignation? Simply this: a + gentleman, who after the second concert came into the coffee-room of the + hotel where Chopin was staying, on being asked by some of the guests how + he liked the performance, answered laconically, "the ballet was very + pretty"; and, although they put some further questions, he would say no + more, having no doubt noticed a certain person. And hinc illae lacrimae. + Our sensitive friend was indeed so much ruffled at this that he left the + room in a pet and went to bed, so as not to hinder, as he explains, the + outpouring of the gentleman's feelings. The principal stricture passed on + the virtuoso was that he played too softly, or, rather, too delicately. + Chopin himself says that on that point all were unanimous. But the touchy + artist, in true artist fashion— or shall we be quite just and say + "in true human fashion"? adds:— + </p> +<pre xml:space="preserve"> + They are accustomed to the drumming of the native pianoforte + virtuosos. I fear that the newspapers will reproach me with + the same thing, especially as the daughter of an editor is + said to drum frightfully. However, it does not matter; as + this cannot be helped, I would rather that people say I play + too delicately than too roughly. +</pre> + <p> + When Count Moritz Lichnowski, to whom Chopin was introduced by Wurfel, + learned after the first concert that the young virtuoso was going to play + again, he offered to lend him his own piano for the occasion, for he + thought Chopin's feebleness of tone was owing to the instrument he had + used. But Chopin knew perfectly the real state of the matter: "This is my + manner of playing, which pleases the ladies so very much." Chopin was + already then, and remained all his life, nay, even became more and more, + the ladies' pianist par excellence. By which, however, I do not mean that + he did not please the men, but only that no other pianist was equally + successful in touching the most tender and intimate chords of the female + heart. Indeed, a high degree of refinement in thought and feeling combined + with a poetic disposition are indispensable requisites for an adequate + appreciation of Chopin's compositions and style of playing. His remark, + therefore, that he had captivated the learned and the poetic natures, was + no doubt strictly correct with regard to his success in Vienna; but at the + same time it may be accepted as a significant foreshadowing of his whole + artistic career. Enough has now been said of these performances, and, + indeed, too much, were it not that to ascertain the stage of development + reached by an original master, and the effect which his efforts produced + on his artistically-cultivated contemporaries, are objects not undeserving + a few pages of discussion. + </p> + <p> + During the twenty days which Chopin spent in Vienna he displayed great + activity. He was always busy, and had not a moment to spare. His own + public performances did not make him neglect those of others. He heard the + violinist Mayseder twice, and went to representations of Boieldieu's "La + Dame blanche," Rossini's "Cenerentola," Meyerbeer's "Crociato in Egitto," + and other operas. He also visited the picture gallery and the museum of + antiquities, delivered letters of introduction, made acquaintances, dined + and drank tea with counts and countesses, &c. Wherever Chopin goes we + are sure to see him soon in aristocratic and in Polish society. + </p> +<pre xml:space="preserve"> + Everybody says that I have pleased the nobility here + exceedingly The Schwarzenbergs, Wrbnas, &c., were quite + enraptured by the delicacy and elegance of my playing. As a + further proof I may mention the visit which Count + Dietrichstein paid me on the stage. +</pre> + <p> + Chopin called repeatedly on the "worthy old gentleman" Count Hussarzewski + and his "worthy lady," with whom he dined once, and who wished him to stay + for dinner when he made his farewell call. With the Countess Lichnowska + and her daughter he took tea two days after the first concert. They were + inexpressibly delighted to hear that he was going to give a second, asked + him to visit them on his way through Vienna to Paris, and promised him a + letter of introduction to a sister of the Count's. This Count Lichnowski + was Count Moritz Lichnowski, the friend of Beethoven, to whom the great + master dedicated the Variations, Op. 35, and the Sonata, Op. 90, in which + are depicted the woes and joys of the Count's love for the singer Mdlle. + Strammer, who afterwards became his wife, and, in fact, was the Countess + Lichnowska with whom Chopin became acquainted. + </p> + <p> + [Footnote: Count Moritz Lichnowski must not be confounded with his elder + brother Prince Carl Lichnowski, the pupil and friend of Mozart, and the + friend and patron of Beethoven, to whom the latter dedicated his Op. 1, + and who died in 1814.] + </p> + <p> + Among the letters of introduction which Chopin brought with him there was + also one for Schuppanzigh, whose name is in musical history indissolubly + connected with those of Beethoven and Lichnowski. The eminent quartet + leader, although his quartet evenings were over, held out to Chopin hopes + of getting up another during his visitor's stay in Vienna—he would + do so, he said, if possible. To no one, however, either professional or + amateur, was Chopin so much indebted for guidance and furtherance as to + his old obliging friend Wurfel, who introduced him not only to Count + Gallenberg, Count Lichnowski, and Capellmeister Seyfried, but to every one + of his acquaintances who either was a man of influence or took an interest + in musical matters. Musicians whose personal acquaintance Chopin said he + was glad to make were: Gyrowetz, the author of the concerto with which + little Frederick made his debut in Warsaw at the age of nine, an estimable + artist, as already stated, who had the sad misfortune to outlive his + popularity; Capellmeister Seyfried, a prolific but qualitatively poor + composer, best known to our generation as the editor of Albrechtsberger's + theoretical works and Beethoven's studies; Conradin Kreutzer, who had + already distinguished himself as a virtuoso on the clarinet and + pianoforte, and as a conductor and composer, but had not yet produced his + "Nachtlager"; Franz Lachner, the friend of Franz Schubert, then a young + active conductor and rising composer, now one of the most honoured + veterans of his art. With Schuppanzigh's pupil Mayseder, the prince of the + Viennese violinists of that day, and indeed one of the neatest, most + graceful, and elegant, although somewhat cold, players of his instrument, + Chopin had a long conversation. The only critical comments to be found in + Chopin's letters on the musicians he came in contact with in the Austrian + capital refer to Czerny, with whom he got well acquainted and often played + duets for two pianos. Of him the young Polish musician said, "He is a good + man, but nothing more." And after having bidden him farewell, he says, + "Czerny was warmer than all his compositions." However, it must not be + supposed that Chopin's musical acquaintances were confined to the male + sex; among them there was at least one belonging to the better and fairer + half of humanity—a pianist-composer, a maiden still in her teens, + and clever and pretty to boot, who reciprocated the interest he took in + her. According to our friend's rather conceited statement I ought to have + said—but it would have been very ungallant to do so—he + reciprocated the interest she took in him. The reader has no doubt already + guessed that I am speaking of Leopoldine Blahetka. + </p> + <p> + On the whole, Chopin passed his time in Vienna both pleasantly and + profitably, as is well shown by his exclamation on the last day of his + stay: "It goes crescendo with my popularity here, and this gives me much + pleasure." The preceding day Schuppanzigh had said to him that as he left + so soon he ought not to be long in coming back. And when Chopin replied + that he would like to return to perfect himself, the by-standers told him + he need not come for that purpose as he had no longer anything to learn. + Although the young musician remarks that these were compliments, he cannot + help confessing that he likes to hear them; and of course one who likes to + hear them does not wholly disbelieve them, but considers them something + more than a mere flatus vocis. "Nobody here," Chopin writes exultingly, + "will regard me as a pupil." Indeed, such was the reception he met with + that it took him by surprise. "People wonder at me," he remarked soon + after his arrival in Vienna, "and I wonder at them for wondering at me." + It was incomprehensible to him that the artists and amateurs of the famous + musical city should consider it a loss if he departed without giving a + concert. The unexpected compliments and applause that everywhere fell upon + his ear, together with the many events, experiences, and thoughts that + came crowding upon him, would have caused giddiness in any young artist; + Chopin they made drunk with excitement and pleasure. The day after the + second concert he writes home: "I really intended to have written about + something else, but I can't get yesterday out of my head." His head was + indeed brimful, or rather full to overflowing, of whirling memories and + expectations which he poured into the news—budgets destined for his + parents, regardless of logical sequence, just as they came uppermost. The + clear, succinct accounts of his visit which he gives to his friend Titus + after his return to Warsaw contrast curiously with the confused + interminable letters of shreds and patches he writes from Vienna. These + latter, however, have a value of their own; they present one with a + striking picture of the state of his mind at that time. The reader may + consider this part of the biography as an annotated digest of Chopin's + letters, of those addressed to his parents as well as of those to his + friend Woyciechowski. + </p> + <p> + At last came the 19th of August, the day of our travelling-party's + departure. Chopin passed the whole forenoon in making valedictory visits, + and when in the afternoon he had done packing and writing, he called once + more on Haslinger—who promised to publish the Variations in about + five weeks—and then went to the cafe opposite the theatre, where he + was to meet Gyrowetz, Lachner, Kreutzer, and others. The rest shall be + told in Chopin's own words:— + </p> +<pre xml:space="preserve"> + After a touching parting—it was really a touching parting + when Miss Blahetka gave me as a souvenir her compositions + bearing her own signature, and her father sent his + compliments to you [Chopin's father] and dear mother, + congratulating you on having such a son; when young Stein + [one of the well-known family of pianoforte-manufacturers and + musicians] wept, and Schuppanzigh, Gyrowetz, in one word, all + the other artists, were much moved—well then, after this + touching parting and having promised to return soon, I + stepped into the stage-coach. +</pre> + <p> + This was at nine o'clock in the evening, and Chopin and his + fellow-travellers, accompanied for half-an-hour by Nidecki and some other + Poles, leaving behind Vienna and Vienna friends, proceeded on their way to + Bohemia. + </p> + <p> + Prague was reached by our travellers on August 21. The interesting old + town did not display its beauties in vain, for Chopin writes admiringly of + the fine views from the castle hill, of the castle itself, of "the + majestic cathedral with a silver statue of St. John, the beautiful chapel + of St. Wenceslas, inlaid with amethysts and other precious stones," and + promises to give a fuller and more detailed description of what he has + seen by word of mouth. His friend Maciejowski had a letter of introduction + to Waclaw Hanka, the celebrated philologist and librarian of the National + Museum, to whom Chopin introduced himself as the godson of Count Skarbek. + On visiting the museum they were asked, like all on whom the librarian + bestowed his special attention, to write their names in the visitors' + book. Maciejowski wrote also four mazurka strophes eulogising Hanka's + scientific achievements, and Chopin set them to music. The latter brought + with him from Vienna six letters of introduction—one from Blahetka + and five from Wurfel—which were respectively addressed to Pixis, to + the manager of the theatre, and to other musical big-wigs. The + distinguished violin-virtuoso, professor at the Conservatorium, and + conductor at the theatre, Frederick Pixis (1786—1842), received + Chopin very kindly, gave up some lessons that he might keep him longer and + talk with him, and invited him to come again in the afternoon, when he + would meet August Alexander Klengel, of Dresden, whose card Chopin had + noticed on the table. For this esteemed pianist and famous contrapuntist + he had also a letter of introduction, and he was glad to meet him in + Prague, as he otherwise would have missed seeing him, Klengel being on his + way to Vienna and Italy. They made each other's acquaintance on the stairs + leading to Pixis' apartments. + </p> +<pre xml:space="preserve"> + I heard him play his fugues for two hours; I did not play, as + they did not ask me to do so. Klengel's rendering pleased me, + but I must confess I had expected something better (but I beg + of you not to mention this remark of mine to others). +</pre> + <p> + Elsewhere he writes:— + </p> +<pre xml:space="preserve"> + Of all the artists whose acquaintance I have made, Klengel + pleased me most. He played me his fugues (one may say that + they are a continuation of those of Bach. There are forty- + eight of them, and the same number of canons). What a + difference between him and Czerny! +</pre> + <p> + Klengel's opus magnum, the "Canons et Fugues dans tons les tons majeurs et + mineurs pour le piano, en deux parties," did not appear till 1854, two + years after his death, although it had been completed some decades + previously. He carried it about with him on all his travels, unceasingly + improving and perfecting it, and may be said to have worked at it for the + space of half his life. The two artists who met at Pixis' house got on + well together, unlike as they were in their characters and aims. Chopin + called on Klengel before the latter's departure from Prague, and spent two + hours with him in conversation, neither of them being for a moment at a + loss for material to talk about. Klengel gave Chopin a letter of + introduction to Morlacchi, the address of which ran: Al ornatissimo + Signore Cavaliere Morlacchi, primo maestro della capella Reale, and in + which he asked this gentleman to make the bearer acquainted with the + musical life of Dresden. How favourably Klengel had impressed his younger + brother in art may be gathered from the above-quoted and the following + remarks: "He was to me a very agreeable acquaintance, whom I esteem more + highly than Czerny, but of this also don't speak, my beloved ones." + </p> + <p> + [FOOTNOTE: Their disparity of character would have revealed itself + unpleasantly to both parties if the grand seigneur Chopin had, like Moritz + Hauptmann, been the travelling-companion of the meanly parsimonious + Klengel, who to save a few bajocchi left the hotels with uncleaned boots, + and calculated the worth of the few things he cared for by scudi.—See + Moritz Hauptmann's account of his "canonic" travelling-companion's ways + and procedures in the letters to Franz Hauser, vol. i., p. 64, and + passim.] + </p> + <p> + The reader will no doubt notice and admire the caution of our young + friend. Remembering that not even Paganini had escaped being censured in + Prague, Chopin felt no inclination to give a concert, as he was advised to + do. A letter in which he describes his Prague experiences reveals to us + one of his weaknesses—one, however, which he has in common with many + men of genius. A propos of his bursting into a wrong bedroom he says: "I + am absent-minded, you know." + </p> + <p> + After three pleasant days at Prague the quatrefoil of friends betook + themselves again to the road, and wended their way to Teplitz, where they + arrived the same evening, and stopped two nights and one day. Here they + fell in with many Poles, by one of whom, Louis Lempicki, Chopin was + introduced to Prince Clary and his family, in whose castle he spent an + evening in very aristocratic society. Among the guests were an Austrian + prince, an Austrian and a Saxon general, a captain of the English navy, + and several dandies whom Chopin suspected to be Austrian princes or + counts. After tea he was asked by the mother of the Princess Clary, + Countess Chotek, to play something. Chopin at once went to the piano, and + invited those present to give him a theme to improvise upon. + </p> +<pre xml:space="preserve"> + Hereupon [he relates] I heard the ladies, who had taken seats + near a table, whisper to each other: "Un theme, un theme." + Three young princesses consulted together and at last turned + to Mr. Fritsche, the tutor of Prince Clary's only son, who, + with the approbation of all present, said to me: "The + principal theme of Rossini's 'Moses'." I improvised, and, it + appears, very successfully, for General Leiser [this was the + Saxon general] afterwards conversed with me for a long time, + and when he heard that I intended to go to Dresden he wrote + at once to Baron von Friesen as follows: "Monsieur Frederic + Chopin est recommande de la part du General Leiser a Monsieur + le Baron de Friesen, Maitre de Ceremonie de S.M. le Roi de + Saxe, pour lui etre utile pendant son sejour a Dresde et de + lui procurer la connaissance de plusieurs de nos artistes." + And he added, in German: "Herr Chopin is himself one of the + most excellent pianists whom I know." +</pre> + <p> + In short, Chopin was made much of; had to play four times, received an + invitation to dine at the castle the following day, &c., &c. That + our friend, in spite of all these charming prospects, leaving behind him + three lovely princesses, and who knows what other aristocratic amenities, + rolled off the very next morning at five o'clock in a vehicle hired at the + low price of two thalers—i.e., six shillings—must be called + either a feat of superhuman heroism or an instance of barbarous + insensibility—let the reader decide which. Chopin's visit to Teplitz + was not part of his original plan, but the state of his finances was so + good that he could allow himself some extravagances. Everything delighted + him at Teplitz, and, short as his stay was, he did the sight-seeing + thoroughly—we have his own word for it that he saw everything worth + seeing, among the rest Dux, the castle of the Waldsteins, with relics of + their ancestor Albrecht Waldstein, or Wallenstein. + </p> + <p> + Leaving Teplitz on the morning of August 26, he arrived in the evening of + the same day in Dresden in good health and good humour. About this visit + to Dresden little is to be said. Chopin had no intention of playing in + public, and did nothing but look about him, admiring nature in Saxon + Switzerland, and art in the "magnificent" gallery. He went to the theatre + where Goethe's Faust (the first part), adapted by Tieck, was for the first + time produced on the stage, Carl Devrient impersonating the principal + part. "An awful but grand imagination! In the entr'actes portions from + Spohr's opera "Faust" were performed. They celebrated today Goethe's + eightieth birthday." It must be admitted that the master-work is dealt + with rather laconically, but Chopin never indulges in long aesthetical + discussions. On the following Saturday Meyerbeer's "Il Crociato" was to be + performed by the Italian Opera—for at that time there was still an + Italian Opera in Dresden. Chopin, however, did not stay long enough to + hear it, nor did he very much regret missing it, having heard the work + already in Vienna. Although Baron von Friesen received our friend most + politely, he seems to have been of no assistance to him. Chopin fared + better with his letter of introduction to Capellmeister Morlacchi, who + returned the visit paid him and made himself serviceable. And now mark + this touch of boyish vanity: "Tomorrow morning I expect Morlacchi, and I + shall go with him to Miss Pechwell's. That is to say, I do not go to him, + but he comes to me. Yes, yes, yes!" Miss Pechwell was a pupil of + Klengel's, and the latter had asked Morlacchi to introduce Chopin to her. + She seems to have been not only a technically skilful, fine-feeling, and + thoughtful musician, but also in other respects a highly-cultivated + person. Klengel called her the best pianist in Dresden. She died young, at + the age of 35, having some time previously changed her maiden name for + that of Madame Pesadori. We shall meet her again in the course of this + biography. + </p> + <p> + Of the rest of Chopin's journey nothing is known except that it led him to + Breslau, but when he reached and left it, and what he did there, are open + questions, and not worth troubling about. So much, however, is certain, + that on September 12, 1829, he was settled again in his native city, as is + proved by a letter bearing that date. + </p> + <p> + <a name="link2HCH0008" id="link2HCH0008"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER VIII + </h2> + <p> + THE WORKS OF CHOPIN'S FIRST PERIOD. + </p> + <p> + The only works of Chopin we have as yet discussed are—if we leave + out of account the compositions which the master neither published himself + nor wished to be published by anybody else—the "Premier Rondeau," + Op. 1, the "Rondeau a la Mazur," Op. 5, and "Variations sur un air + allemand" (see Chapter III). We must retrace our steps as far back as + 1827, and briefly survey the composer's achievements up to the spring of + 1829, when a new element enters into his life and influences his artistic + work. It will be best to begin with a chronological enumeration of those + of Chopin's compositions of the time indicated that have come down to us. + In 1827 came into existence or were finished: a Mazurka (Op. 68, No. 2), a + Polonaise (Op. 71, No. 1), and a Nocturne (Op. 72); in 1828, "La ci darem + la mano, varie" for piano and orchestra (Op. 2), a Polonaise (Op. 71, No. + 2), a Rondo for two pianos (Op. 73), a Sonata (Op. 4), a Fantasia on + Polish airs for piano and orchestra (Op. 13), a Krakowiak, "Grand Rondeau + de Concert," likewise for piano and orchestra (Op. 14), and a Trio for + piano, violin, and violoncello (Op. 8); in 1829, a Polonaise (Op. 71, No. + 3), a Waltz (Op. 69, No. 2), another Waltz (in E major, without opus + number), and a Funeral March (Op. 726). I will not too confidently assert + that every one of the last four works was composed in the spring or early + summer of 1829; but whether they were or were not, they may be properly + ranged with those previously mentioned of 1827 and 1828. The works that + bear a higher opus number than 65 were published after the composer's + death by Fontana. The Waltz without opus number and the Sonata, Op. 4, are + likewise posthumous publications. + </p> + <p> + The works enumerated above may be divided into three groups, the first of + which comprises the Sonata, the Trio, and the Rondo for two pianos. + </p> + <p> + The Sonata (in C minor) for piano, Op. 4, of which Chopin wrote as early + as September 9, 1828, that it had been for some time in the hands of + Haslinger at Vienna, was kept by this publisher in manuscript till after + the composer's death, being published only in July, 1851. "As a pupil of + his I dedicated it to Elsner," says Chopin. It is indeed a pupil's work—an + exercise, and not a very successful one. The exigencies of the form + overburdened the composer and crushed all individuality out of him. + Nowhere is Chopin so little himself, we may even say so unlike himself. + The distribution of keys and the character of the themes show that the + importance of contrast in the construction of larger works was still + unsuspected by him. The two middle movements, a Menuetto and a Larghetto—although + in the latter the self-imposed fetters of the 5-4 time prevent the + composer from feeling quite at his ease—are more attractive than the + rest. In them are discernible an approach to freedom and something like a + breath of life, whereas in the first and the last movement there is almost + nothing but painful labour and dull monotony. The most curious thing, + however, about this work is the lumbering passage-writing of our graceful, + light-winged Chopin. + </p> + <p> + Infinitely superior to the Sonata is the Trio for piano, violin, and + violoncello, Op. 8, dedicated to Prince Anton Radziwill, which was + published in March, 1833. It was begun early in 1828, was "not yet + finished" on September 9, and "not yet quite finished" on December 27 of + that year. Chopin tried the first movement in the summer of 1828, and we + may assume that, a few details and improvements excepted, the whole was + completed at the beginning of 1829. A considerable time, however, elapsed + before the composer declared it ready for the press. On August 31, 1830, + he writes:— + </p> +<pre xml:space="preserve"> + I tried the Trio last Sunday and was satisfied with it, + perhaps because I had not heard it for a long time. I suppose + you will say, "What a happy man!" Something occurred to me on + hearing it—namely, that it would be better to employ a viola + instead of the violin, for with the violin the E string + dominates most, whilst in my Trio it is hardly ever used. The + viola would stand in a more proper relation to the + violoncello. Then the Trio will be ready for the press. +</pre> + <p> + The composer did not make the intended alteration, and in this he was well + advised. For his remarks betray little insight; what preciousness they + possess they owe for the most part to the scarcity of similar discussions + of craftsmanship in his letters. From the above dates we see that the + composer bestowed much time, care, and thought upon the work. Indeed, + there can be no doubt that as regards conventional handling of the + sonata-form Chopin has in no instance been more successful. Were we to + look upon this work as an exercise, we should have to pronounce it a most + excellent one. But the ideal content, which is always estimable and often + truly beautiful as well as original, raises it high above the status of an + exercise. The fundamental fault of the Trio lies in this, that the + composer tried to fill a given form with ideas, and to some extent failed + to do so—the working-out sections especially testify to the + correctness of this opinion. That the notion of regarding form as a vessel—a + notion oftener acted upon than openly professed—is a mischievous one + will hardly be denied, and if it were denied, we could not here discuss so + wide a question as that of "What is form?" The comparatively ineffective + treatment of the violin and violoncello also lays the composer open to + censure. Notwithstanding its weaknesses the work was received with favour + by the critics, the most pronounced conservatives not excepted. That the + latter gave more praise to it than to Chopin's previously-published + compositions is a significant fact, and may be easily accounted for by the + less vigorous originality and less exclusive individuality of the Trio, + which, although superior in these respects to the Sonata, Op. 4, does not + equal the composer's works written in simpler forms. Even the most hostile + of Chopin's critics, Rellstab, the editor of the Berlin musical journal + Iris, admits—after censuring the composer's excessive striving after + originality, and the unnecessarily difficult pianoforte passages with + their progressions of intervals alike repellent to hand and ear—that + this is "on the whole a praiseworthy work, which, in spite of some + excursions into deviating bye-paths, strikes out in a better direction + than the usual productions of the modern composers" (1833, No. 21). The + editor of the Leipzig "Allgemeine musikalische Zeitung," a journal which + Schumann characterises as "a sleepy place," is as eulogistic as the most + rabid Chopin admirer could wish. Having spoken of the "talented young man" + as being on the one hand under the influence of Field, and on the other + under that of Beethoven, he remarks:— + </p> +<pre xml:space="preserve"> + In the Trio everything is new: the school, which is the neo- + romantic; the art of pianoforte-playing, the individuality, + the originality, or rather the genius—which, in the + expression of a passion, unites, mingles, and alternates so + strangely with that amiable tenderness [Innigkeit] that the + shifting image of the passion hardly leaves the draughtsman + time to seize it firmly and securely, as he would fain do; + even the position of the phrases is unusual. All this, + however, would be ambiguous praise did not the spirit, which + is both old and new, breathe through the new form and give it + a soul. +</pre> + <p> + I place these criticisms before the reader as historical documents, not as + final decisions and examples of judicial wisdom. In fact, I accept neither + the strictures of the one nor the sublimifications of the other, although + the confident self-assertion of the former and the mystic vagueness of the + latter ought, according to use and wont, to carry the weight of authority + with them. Schumann, the Chopin champion par excellence, saw clearer, and, + writing three years later (1836), said that the Trio belonged to Chopin's + earlier period when the composer still allowed the virtuoso some + privileges. Although I cannot go so far as this too admiring and too + indulgent critic, and describe the work as being "as noble as possible, + more full of enthusiasm than the work of any other poet [so schwarmerisch + wie noch kein Dichter gesungen], original in its smallest details, and, as + a whole, every note music and life," I think that it has enough of + nobility, enthusiasm, originality, music, and life, to deserve more + attention than it has hitherto obtained. + </p> + <p> + Few classifications can at one and the same time lay claim to the highest + possible degree of convenience—the raison d'etre of classifications—and + strict accuracy. The third item of my first group, for instance, might + more properly be said to stand somewhere between this and the second + group, partaking somewhat of the nature of both. The Rondo, Op. 73, was + not originally written for two pianos. Chopin wrote on September 9, 1828, + that he had thus rearranged it during a stay at Strzyzewo in the summer of + that year. 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. + </p> + <p> + The second group contains Chopin's concert-pieces, all of which have + orchestral accompaniments. They are: (1) "La ci darem la mano, varie pour + le piano," Op. 2; (2) "Grande Fantaisie sur des airs polonais," Op. 13; + (3) "Krakowiak, Grande Rondeau de Concert," Op. 14. Of these three the + first, which is dedicated to Titus Woyciechowski, has become the most + famous, not, however, on account of its greater intrinsic value, but + partly because the orchestral accompaniments can be most easily dispensed + with, and more especially because Schumann has immortalised it by—what + shall I call it?—a poetic prose rhapsody. As previously stated, the + work had already in September, 1828, been for some time at Vienna in the + hands of Haslinger; it was probably commenced as far back as 1827, but it + did not appear in print till 1830. [FOOTNOTE: It appeared in a serial + publication entitled Odeon, which was described on the title-page as: + Ausgewahlte grosse Concertstucke fur verschiedene Instrumente (Selected + Grand Concert-Pieces for different instruments).] On April 10 of that year + Chopin writes that he expects it impatiently. The appearance of these + Variations, the first work of Chopin published outside his own country, + created a sensation. Of the impression which he produced with it on the + Viennese in 1829 enough has been said in the preceding chapter. The + Allgemeine musikalische Zeitung received no less than three reviews of it, + two of them—that of Schumann and one by "an old musician"—were + accepted and inserted in the same number of the paper (1831, Vol. xxxiii., + No. 49); the third, by Friedrich Wieck, which was rejected, found its way + in the following year into the musical journal Caecilia. Schumann's + enthusiastic effusion was a prophecy rather than a criticism. But although + we may fail to distinguish in Chopin's composition the flirting of the + grandee Don Juan with the peasant-girl Zerlina, the curses of the duped + lover Masetto, and the jeers and laughter of the knavish attendant + Leporello, which Schumann thought he recognised, we all obey most readily + and reverently his injunction, "Hats off, gentlemen: a genius!" In these + words lies, indeed, the merit of Schumann's review as a criticism. Wieck + felt and expressed nearly the same, only he felt it less passionately and + expressed it in the customary critical style. The "old musician," on the + other hand, is pedantically censorious, and the redoubtable Rellstab (in + the Iris) mercilessly condemnatory. Still, these two conservative critics, + blinded as they were by the force of habit to the excellences of the + rising star, saw what their progressive brethren overlooked in the ardour + of their admiration—namely, the super-abundance of ornament and + figuration. There is a grain of truth in the rather strong statement of + Rellstab that the composer "runs down the theme with roulades, and + throttles and hangs it with chains of shakes." What, however, Rellstab and + the "old musician"—for he, too, exclaims, "nothing but bravura and + figuration!"—did not see, but what must be patent to every candid + and unprejudiced observer, are the originality, piquancy, and grace of + these fioriture, roulades, &c., which, indeed, are unlike anything + that was ever heard or seen before Chopin's time. I say "seen," for the + configurations in the notation of this piece are so different from those + of the works of any other composer that even an unmusical person could + distinguish them from all the rest; and there is none of the timid + groping, the awkward stumbling of the tyro. On the contrary, the composer + presents himself with an ease and boldness which cannot but command + admiration. The reader will remember what the Viennese critic said about + Chopin's "aim"; that it was not to dazzle by the superficial means of the + virtuoso, but to impress by the more legitimate ones of the genuine + musician. This is true if we compare the Chopin of that day with his + fellow-virtuosos Kalkbrenner, Herz, &c.; but if we compare him with + his later self, or with Mozart, Beethoven, Mendelssohn, Schumann, &c., + the case is different. Indeed, there can be no doubt but that in this and + the other pieces of this group, Chopin's aim was that of the virtuoso, + only his nature was too rich, too noble, to sink into the inanity of an + insipid, conventional brilliancy. Moreover, whilst maintaining that in the + works specified language outruns in youthful exuberance thought and + emotion, I hasten to add that there are premonitory signs—for + instance, in the Op. 2 under discussion, more especially in the + introduction, the fifth variation, and the Finale—of what as yet + lies latent in the master's undeveloped creative power. + </p> + <p> + The Grande Fantaisie sur des airs polonais (A major) for the pianoforte + and orchestra, Op. 13, dedicated to J. P. Pixis, and published in April, + 1834, and the Krakowiak, Grand Rondeau de Concert (F major) for the + pianoforte and orchestra, Op. 14, dedicated to the Princesse Adam + Czartoryska, and published in June, 1834, are the most overtly Polish + works of Chopin. Of the composition of the former, which, according to + Karasowski, was sketched in 1828, the composer's letters give no + information; but they contain some remarks concerning the latter. We learn + that the score of the Krakowiak was finished by December 27, 1828, and + find the introduction described as having "as funny an appearance as + himself in his pilot-cloth overcoat." In the Fantasia the composer + introduces and variates a Polish popular song (Juz miesiac zaszedl), and + an air by the Polish composer Kurpinski, and concludes with a Kujawiak, a + dance of the mazurka species, in 3-4 time, which derives its name from the + district called Kujawia. In connection with this composition I must not + omit to mention that the first variation on the Polish popular song + contains the germ of the charming Berceuse (Op. 57). The Rondo, Op. 14, + has the character of a Krakowiak, a dance in 2-4 time which originated in + Cracovia. In no other compositions of the master do the national elements + show themselves in the same degree of crudity; indeed, after this he never + incorporates national airs and imitates so closely national dances. Chopin + remains a true Pole to the end of his days, and his love of and attachment + to everything Polish increase with the time of absence from his native + country. But as the composer grows in maturity, he subjects the raw + material to a more and more thorough process of refinement and development + before he considers it fit for artistic purposes; the popular dances are + spiritualised, the national characteristics and their corresponding + musical idioms are subtilised and individualised. I do not agree with + those critics who think it is owing to the strongly-marked, exclusive + Polish national character that these two works have gained so little + sympathy in the musical world; there are artistic reasons that account for + the neglect, which is indeed so great that I do not remember having heard + or read of any virtuoso performing either of these pieces in public till a + few years ago, when Chopin's talented countrywoman Mdlle. Janotha ventured + on a revival of the Fantasia, without, however, receiving, in spite of her + finished rendering, much encouragement. The works, as wholes, are not + altogether satisfactory in the matter of form, and appear somewhat patchy. + This is especially the case in the Fantasia, where the connection of parts + is anything but masterly. Then the arabesk-element predominates again + quite unduly. Rellstab discusses the Fantasia with his usual obtuseness, + but points out correctly that Chopin gives only here and there a few bars + of melody, and never a longer melodic strain. The best parts of the works, + those that contain the greatest amount of music, are certainly the + exceedingly spirited Kujawiak and Krakowiak. The unrestrained merriment + that reigns in the latter justifies, or, if it does not justify, disposes + us to forgive much. Indeed, the Rondo may be said to overflow with + joyousness; now the notes run at random hither and thither, now tumble + about head over heels, now surge in bold arpeggios, now skip from octave + to octave, now trip along in chromatics, now vent their gamesomeness in + the most extravagant capers. + </p> + <p> + The orchestral accompaniments, which in the Variations, Op. 2, are of very + little account, show in every one of the three works of this group an + inaptitude in writing for any other instrument than the piano that is + quite surprising considering the great musical endowments of Chopin in + other respects. I shall not dwell on this subject now, as we shall have to + consider it when we come to the composer's concertos. + </p> + <p> + The fundamental characteristics of Chopin's style—the + loose-textured, wide-meshed chords and arpeggios, the serpentine + movements, the bold leaps—are exaggerated in the works of this + group, and in their exaggeration become grotesque, and not unfrequently + ineffective. These works show us, indeed, the composer's style in a state + of fermentation; it has still to pass through a clearing process, in which + some of its elements will be secreted and others undergo a greater or less + change. We, who judge Chopin by his best works, are apt to condemn too + precipitately the adverse critics of his early compositions. But the + consideration of the luxuriance and extravagance of the passage-work which + distinguish them from the master's maturer creations ought to caution us + and moderate our wrath. Nay more, it may even lead us to acknowledge, + however reluctantly, that amidst the loud braying of Rellstab there + occurred occasionally utterances that were by no means devoid of + articulation and sense. Take, for instance, this—I do not remember + just now a propos of which composition, but it is very appropriate to + those we are now discussing:—"The whole striving of the composer + must be regarded as an aberration, based on decided talent, we admit, but + nevertheless an aberration." You see the most hostile of Chopin's critics + does not deny his talent; indeed, Rellstab sometimes, especially + subsequently, speaks quite patronisingly about him. I shall take this + opportunity to contradict the current notion that Chopin had just cause to + complain of backwardness in the recognition of his genius, and even of + malicious attacks on his rising reputation. The truth of this is already + partly disproved by the foregoing, and it will be fully so by the sequel. + </p> + <p> + The pieces which I have formed into a third group show us the composer + free from the fetters that ambition and other preoccupations impose. + Besides Chopin's peculiar handling we find in them more of his peculiar + sentiment. If the works of the first group were interesting as + illustrating the development of the student, those of the second group + that of the virtuoso, and those of both that of the craftsman, the works + of the third group furnish us most valuable documents for the history of + the man and poet. The foremost in importance of the pieces comprised in + this group are no doubt the three polonaises, composed respectively in the + years 1827, 1828, and 1829. The bravura character is still prominent, but, + instead of ruling supreme, it becomes in every successive work more and + more subordinate to thought and emotion. These polonaises, although + thoroughly Chopinesque, nevertheless differ very much from his later ones, + those published by himself, which are generally more compact and fuller of + poetry. Moreover, I imagine I can see in several passages the influence of + Weber, whose Polonaise in E flat minor, Polacca in E major, Sonata in A + flat major, and Invitation a la Valse (to mention a few apposite + instances), respectively published in 1810, 1819, 1816, and 1821, may be + supposed to have been known to Chopin. These reminiscences, if such they + are, do not detract much from the originality of the compositions; indeed, + that a youth of eighteen should have attained such a strongly-developed + individuality as the D minor Polonaise exhibits, is truly wonderful. + </p> + <p> + The Nocturne of the year 1827 (Op. 72, No. 1, E minor) is probably the + poorest of the early compositions, but excites one's curiosity as the + first specimen of the kind by the incomparable composer of nocturnes. Do + not misunderstand me, however, and imagine that I wish to exalt Chopin at + the expense of another great musician. Field has the glory not only of + having originated the genre, but also of having produced examples that + have as yet lost nothing, or very little, of their vitality. His nocturnes + are, indeed, a rich treasure, which, undeservedly neglected by the present + generation, cannot be superseded by those of his illustrious, and now + favoured successor. On the other hand, although Field's priority and + influence on Chopin must be admitted, the unprejudiced cannot but perceive + that the latter is no imitator. Even where, as for instance in Op. 9, Nos. + 1 and 2, the mejody or the form of the accompaniment shows a distinct + reminiscence of Field, such is the case only for a few notes, and the next + moment Chopin is what nobody else could be. To watch a great man's growth, + to trace a master's noble achievements from their humble beginnings, has a + charm for most minds. I, therefore, need not fear the reader's displeasure + if I direct his attention to some points, notable on this account—in + this case to the wide-meshed chords and light-winged flights of notes, and + the foreshadowing of the Coda of Op. 9. + </p> + <p> + Of 1827 we have also a Mazurka in A minor, Op. 68, No. 2. It is simple and + rustic, and at the same time graceful. The trio (poco piu mosso), the more + original portion of the Mazurka, reappears in a slightly altered form in + later mazurkas. It is these foreshadowings of future beauties, that make + these early works so interesting. The above-mentioned three polonaises are + full of phrases, harmonic, progressions, &c., which are subsequently + reutilised in a. purer, more emphatic, more developed, more epigrammatic, + or otherwise more perfect form. We notice the same in the waltzes which + remain yet to be discussed here. + </p> + <p> + Whether these Waltzes (in B minor, Op. 69, No. 2; and in E major, without + opus number) were really written in the early part of 1829, or later on in + the year, need not be too curiously inquired into. As I have already + remarked, they may certainly be classed along with the above-discussed + works. The first is the more interesting of them. In both we meet with + passages that point to more perfect specimens of the kind—for + instance, certain rhythmical motives, melodic inflections, and harmonic + progressions, to the familiar Waltzes in E flat major (Op. 18) and in A + flat major (Op. 34, No. 1); and the D major portion of the Waltz in B + minor, to the C major part of the Waltz in A minor (Op. 34, No. 2). This + concludes our survey of the compositions of Chopin's first period. + </p> + <p> + In the legacy of a less rich man, the Funeral March in C minor, Op. 72b, + composed (according to Fontana) in 1829, [FOOTNOTE: In Breitkopf and + Hartel's Gesammtausgabe of Chopin's works will be found 1826 instead of + 1829. This, however, is a misprint, not a correction.]would be a notable + item; in that of Chopin it counts for little. Whatever the shortcomings of + this composition are, the quiet simplicity and sweet melancholy which + pervade it must touch the hearer. But the master stands in his own. light; + the famous Funeral March in B flat minor, from the Sonata in B flat minor, + Op. 35, composed about ten years later, eclipses the more modest one in C + minor. Beside the former, with its sublime force and fervency of passion + and imposing mastery of the resources of the art, the latter sinks into + weak insignificance, indeed, appears a mere puerility. Let us note in the + earlier work the anticipation, (bar 12) of a motive of the chef-d'ceuvre + (bar 7), and reminiscences of the Funeral March from Beethoven's. Sonata + in A flat major, Op. 26. + </p> + <p> + <a name="link2HCH0009" id="link2HCH0009"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER IX. + </h2> + <p> + CHOPIN'S FIRST LOVE.—FRIENDSHIP WITH TITUS WOYCIECHOWSKI.—LIFE + IN WARSAW AFTER RETURNING FROM VIENNA.—VISIT TO PRINCE RADZIWILL AT + ANTONIN (OCTOBER, 1829).—NEW COMPOSITIONS.—GIVES TWO CONCERTS. + </p> + <p> + IN the preceding chapter I alluded to a new element that entered into the + life of Chopin and influenced his artistic work. The following words, + addressed by the young composer on October 3, 1829, to his friend Titus + Woyciechowski, will explain what kind of element it was and when it began + to make itself felt:— + </p> +<pre xml:space="preserve"> + Do not imagine that [when I speak of the advantages and + desirability of a stay in Vienua] I am thinking of Miss + Blahetka, of whom I have written to you; I have—perhaps to + my misfortune—already found my ideal, which I worship + faithfully and sincerely. Six months have elapsed, and I have + not yet exchanged a syllable with her of whom I dream every + night. Whilst my thoughts were with her I composed the Adagio + of my Concerto, and early this morning she inspired the Waltz + which I send along with this letter. +</pre> + <p> + The influence of the tender passion on the development of heart and mind + cannot be rated too highly; it is in nine out of ten, if not in + ninety-nine out of a hundred cases that which transforms the rhymer into a + poet, the artificer into an artist. Chopin confesses his indebtedness to + Constantia, Schumann his to Clara. But who could recount all the happy and + hapless loves that have made poets? Countless is the number of those + recorded in histories, biographies, and anecdotes; greater still the + number of those buried in literature and art, the graves whence they rise + again as flowers, matchless in beauty, unfading, and of sweetest perfume. + Love is indeed the sun that by its warmth unfolds the multitudinous + possibilities that lie hidden, often unsuspected, in the depths of the + human soul. It was, then, according to Chopin, about April, 1829, that the + mighty power began to stir within him; and the correspondence of the + following two years shows us most strikingly how it takes hold of him with + an ever-increasing firmness of grasp, and shakes the whole fabric of his + delicate organisation with fearful violence. The object of Chopin's + passion, the being whom he worshipped and in whom he saw the realisation + of his ideal of womanhood, was Constantia Gladkowska, a pupil at the + Warsaw Conservatorium, of whom the reader will learn more in the course of + this and the next chapter. + </p> + <p> + What reveals perhaps more distinctly than anything else Chopin's + idiosyncrasy is his friendship for Titus Woyciechowski. At any rate, it is + no exaggeration to say that a knowledge of the nature of Chopin's two + passions, his love and his friendship—for this, too, was a passion + with him—gives into our hands a key that unlocks all the secrets of + his character, of his life, and of their outcome—his artistic work. + Nay more, with a full comprehension of, and insight into, these passions + we can foresee the sufferings and disappointments which he is fated to + endure. Chopin's friendship was not a common one; it was truly and in the + highest degree romantic. To the sturdy Briton and gay Frenchman it must be + incomprehensible, and the German of four or five generations ago would + have understood it better than his descendant of to-day is likely to do. + If we look for examples of such friendship in literature, we find the type + nowhere so perfect as in the works of Jean Paul Richter. Indeed, there are + many passages in the letters of the Polish composer that read like + extracts from the German author: they remind us of the sentimental and + other transcendentalisms of Siebenkas, Leibgeber, Walt, Vult, and others. + There was somethine in Chopin's warm, tender, effusive friendship that may + be best characterised by the word "feminine." Moreover, it was so + exacting, or rather so covetous and jealous, that he had often occasion to + chide, gently of course, the less caressing and enthusiastic Titus. Let me + give some instances. + </p> +<pre xml:space="preserve"> + December 27th, 1828.—If I scribble to-day again so much + nonsense, I do so only in order to remind you that you are as + much locked in my heart as ever, and that I am the same Fred + I was. You do not like to be kissed; but to-day you must + permit me to do so. +</pre> + <p> + The question of kissing is frequently brought up. + </p> +<pre xml:space="preserve"> + September 12th, 1829.—I embrace you heartily, and kiss you + on your lips if you will permit me. + + October 20th, 1829.—I embrace you heartily—many a one + writes this at the end ol his letter, but most people do so + with little thought of what they are writing. But you may + believe me, my dearest friend, that I do so sincerely, as + truly as my name is Fred. + + September 4th, 1830.—Time passes, I must wash myself...do + not kiss me now...but you would not kiss me in any case—even + if I anointed myself with Byzantine oils—unless I forced you + to do so by magnetic means. +</pre> + <p> + Did we not know the writer and the person addressed, one might imagine + that the two next extracts were written by a lover to his mistress or vice + versa. + </p> +<pre xml:space="preserve"> + November 14th, 1829.—You, my dearest one, do not require my + portrait. Believe me I am always with you, and shall not + forget you till the end of my life. + + May 15th, 1830.—You have no idea how much I love you! If I + only could prove it to you! What would I not give if I could + once again right heartily embrace you! +</pre> + <p> + One day he expresses the wish that he and his friend should travel + together. But this was too commonplace a sentiment not to be refined upon. + Accordingly we read in a subsequent letter as follows:— + </p> +<pre xml:space="preserve"> + September 18th, 1830.—I should not like to travel with you, + for I look forward with the greatest delight to the moment + when we shall meet abroad and embrace each other; it will be + worth more than a thousand monotonous days passed with you on + the journey. +From another passage in one of these letters we get a good idea of the +influence Titus Woyciechowski exercised on his friend. + + April 10, 1830.—Your advice is good. I have already refused + some invitations for the evening, as if I had had a + presentiment of it—for I think of you in almost everything I + undertake. I do not know whether it comes from my having + learned from you how to feel and perceive; but when I compose + anything I should much like to know whether it pleases you; + and I believe that my second Concerto (E minor) will have no + value for me until you have heard it and approved of it. +</pre> + <p> + I quoted the above passage to show how Chopin felt that this friendship + had been a kind of education to him, and how he valued his friend's + opinion of his compositions—he is always anxious to make Titus + acquainted with anything new he may have composed. But in this passage + there is another very characteristic touch, and it may easily be + overlooked, or at least may not receive the attention which it deserves—I + allude to what Chopin says of having had "a presentiment." In + superstitiousness he is a true child of his country, and all the + enlightenment of France did not succeed in weaning him from his belief in + dreams, presentiments, good and evil days, lucky and unlucky numbers, + &c. This is another romantic feature in the character of the composer; + a dangerous one in the pursuit of science, but advantageous rather than + otherwise in the pursuit of art. Later on I shall have to return to this + subject and relate some anecdotes, here I shall confine myself to quoting + a short passage from one of his early letters. + </p> +<pre xml:space="preserve"> + April 17, 1830.—If you are in Warsaw during the sitting of + the Diet, you will come to my concert—I have something like + a presentiment, and when I also dream it, I shall firmly + believe it. +</pre> + <p> + And now, after these introductory explanations, we will begin the chapter + in right earnest by taking up the thread of the story where we left it. On + his return to Warsaw Chopin was kept in a state of mental excitement by + the criticisms on his Vienna performances that appeared in German papers. + He does not weary of telling his friend about them, transcribing portions + of them, and complaining of Polish papers which had misrepresented the + drift and mistranslated the words of them. I do not wonder at the + incorrectness of the Polish reports, for some of these criticisms are + written in as uncouth, confused, and vague German as I ever had the + misfortune to turn into English. One cannot help thinking, in reading what + Chopin says with regard to these matters, that he showed far too much + concern about the utterances of the press, and far too much sensitiveness + under the infliction of even the slightest strictures. That, however, the + young composer was soon engaged on new works may be gathered from the + passage (Oct. 3, 1829), quoted at the commencement of this chapter, in + which he speaks of the Adagio of a concerto, and a waltz, written whilst + his thoughts were with his ideal. These compositions were the second + movement of the F minor Concerto and the Waltz, Op. 70, No. 3. But more of + this when we come to discuss the works which Chopin produced in the years + 1829 and 1830. + </p> + <p> + One of the most important of the items which made up our friend's musical + life at this time was the weekly musical meetings at the house of Kessler, + the pianist-composer characterised in Chapter X. There all the best + artists of Warsaw assembled, and the executants had to play prima vista + whatever was placed before them. Of works performed at two of these Friday + evening meetings, we find mentioned Spohr's Octet, described by Chopin as + "a wonderful work"; Ries's Concerto in C sharp minor (played with quartet + accompaniment), Hummel's Trio in E major, Prince Louis Ferdinand of + Prussia's Quartet, and Beethoven's last Trio, which, Chopin says, he could + not but admire for its magnificence and grandeur. To Brzezina's music-shop + he paid a visit every day, without finding there, however, anything new, + except a Concerto by Pixis, which made no great impression upon him. That + Chopin was little satisfied with his situation may be gathered from the + following remarks of his:— + </p> +<pre xml:space="preserve"> + You cannot imagine how sad Warsaw is to me; if I did not feel + happy in my home circle I should not like to live here. Oh, + how bitter it is to have no one with whom one can share joy + and sorrow; oh, how dreadful to feel one's heart oppressed + and to be unable to express one's complaints to any human + soul! You know full well what I mean. How often do I tell my + piano all that I should like to impart to you! +</pre> + <p> + Of course the reader, who is in the secret, knows as well as Titus knew, + to whom the letter was addressed, that Chopin alludes to his love. Let us + mark the words in the concluding sentence about the conversations with his + piano. Chopin was continually occupied with plans for going abroad. In + October, 1829, he writes that, wherever fate may lead him, he is + determined not to spend the winter in Warsaw. Nevertheless, more than a + year passed away before he said farewell to his native city. He himself + wished to go to Vienna, his father seems to have been in favour of Berlin. + Prince Radziwill and his wife had kindly invited him to come to the + Prussian capital, and offered him apartments in their palais. But Chopin + was unable to see what advantages he could derive from a stay in Berlin. + Moreover, unlike his father, he believed that this invitation was no more + than "de belles paroles." By the way, these remarks of Chopin's furnish a + strong proof that the Prince was not his patron and benefactor, as Liszt + and others have maintained. While speaking of his fixed intention to go + somewhere, and of the Prince's invitation, Chopin suddenly exclaims with + truly Chopinesque indecision and capriciousness:— + </p> +<pre xml:space="preserve"> + But what is the good of it all? Seeing that I have begun so + many new works, perhaps the wisest thing I can do is to stay + here. +</pre> + <p> + Leaving this question undecided, he undertook in October, 1829, a journey + to Posen, starting on the 20th of that month. An invitation from Prince + Radziwill was the inducement that led him to quit the paternal roof so + soon after his return to it. His intention was to remain only a fortnight + from home, and to visit his friends, the Wiesiolowskis, on the way to + Antonin. Chopin enjoyed himself greatly at the latter place. The wife of + the Prince, a courteous and kindly lady, who did not gauge a man's merits + by his descent, found the way to the heart of the composer by wishing to + hear every day and to possess as soon as possible his Polonaise in F minor + (Op. 71, No. 3). The young Princesses, her daughters, had charms besides + those of their beauty. One of them played the piano with genuine musical + feeling. + </p> +<pre xml:space="preserve"> + I have written [reports Chopin to his friend Titus on + November 14, 1829] during my visit at Prince Radziwill's an + Alla Polacca with violoncello. It is nothing more than a + brilliant salon piece, such as pleases ladies. I would like + Princess Wanda to practise it, so that it might be said that + I had taught her. She is only seventeen years old and + beautiful; it would be delightful to have the privilege of + placing her pretty fingers on the keys. But, joking apart, + her soul is endowed with true musical feeling, and one does + not need to tell her whether she is to play crescendo, piano, + or pianissimo. +</pre> + <p> + According to Liszt, Chopin fondly remembered his visits to Antonin, and + told many an anecdote in connection with them. + </p> +<pre xml:space="preserve"> + The Princess Elisa, one of the daughters of Prince Radziwill, + who died in the first bloom of her life, left him [Chopin] + the sweet image of an angel exiled for a short period here + below. +</pre> + <p> + A passage in the letter of Chopin from which I last quoted throws also a + little light on his relation to her. + </p> +<pre xml:space="preserve"> + You wished one of my portraits; if I could only have pilfered + one of Princess Elisa's, I should certainly have sent it; for + she has two portraits of me in her album, and I am told that + these drawings are very good likenesses. +</pre> + <p> + The musical Prince would naturally be attracted by, and take an interest + in, the rising genius. What the latter's opinion of his noble friend as a + composer was, he tells Titus Woyciechowski at some length. I may here say, + once for all, that all the letters from which extracts are given in this + chapter are addressed to this latter. + </p> +<pre xml:space="preserve"> + You know how the Prince loves music; he showed me his "Faust" + and I found in it some things that are really beautiful, + indeed, in part even grandly conceived. In confidence, I + should not at all have credited the Namiestnik [governor, + lord-lieutenant] with such music! Among other things I was + struck by a scene in which Mephistopheles allures Margaret to + the window by his singing and guitar-playing, while at the + same time a chorale is heard from the neighbouring church. + This is sure to produce a great effect at a performance. I + mention this only that you may form an idea of his musical + conceptions. He is a great admirer of Gluck. Theatrical music + has, in his opinion, significance only in so far as it + illustrates the situation and emotion; the overture, + therefore, has no close, and leads at once into the + introduction. The orchestra is placed behind the stage and is + always invisible, in order that the attention of the audience + may not be diverted by external, such as the movements of the + conductor and executants. +</pre> + <p> + Chopin enjoyed himself so much at Antonin that if he had consulted only + his pleasure he would have stayed till turned out by his host. But, + although he was asked to prolong his visit, he left this "Paradise" and + the "two Eves" after a sojourn of eight days. It was his occupations, more + especially the F minor Concerto, "impatiently waiting for its Finale," + that induced him to practise this self-denial. When Chopin had again taken + possession of his study, he no doubt made it his first business, or at + least one of the first, to compose the wanting movement, the Rondo, of his + Concerto; as, however, there is an interval of more than four months in + his extant letters, we hear no more about it till he plays it in public. + Before his visit to Antonin (October 20, 1829) he writes to his friend + that he has composed "a study in his own manner," and after the visit he + mentions having composed "some studies." + </p> + <p> + Chopin seems to have occasionally played at the Ressource. The reader will + remember the composer's intention of playing there with Fontana his Rondo + for two pianos. On November 14, 1829, Chopin informs his friend Titus that + on the preceding Saturday Kessler performed Hummel's E major Concerto at + the Ressource, and that on the following Saturday he himself would perhaps + play there, and in the case of his doing so choose for his piece his + Variations, Op. 2. Thus composing, playing, and all the time suffering + from a certain loneliness—"You cannot imagine how everywhere in + Warsaw I now find something wanting! I have nobody with whom I can speak, + were it only two words, nobody whom I can really trust"—the day came + when he gave his first concert in his native city. This great event took + place on March 17, 1830, and the programme contained the following pieces:— + </p> + <p> + PART I + </p> +<pre xml:space="preserve"> + 1. Overture to the Opera "Leszek Bialy," by Elsner. + + 2. Allegro from the Concerto in F minor, composed and played + by F. Chopin. + + 3. Divertissement for the French horn, composed and played by + Gorner. + + 4. Adagio and Rondo from the Concerto in F minor, composed + and played by Chopin. +</pre> + <p> + PART II + </p> +<pre xml:space="preserve"> + 1. Overture to the Opera "Cecylja Piaseczynska," by + Kurpinski. + + 2. Variations by Paer, sung by Madame Meier. + + 3. Pot-pourri on national airs, composed and played by + Chopin. +</pre> + <p> + Three days before the concert, which took place in the theatre, neither + box nor reserved seat was to be had. But Chopin complains that on the + whole it did not make the impression he expected. Only the Adagio and + Rondo of his Concerto had a decided success. But let us see the + concert-giver's own account of the proceedings. + </p> +<pre xml:space="preserve"> + The first Allegro of the F minor Concerto (not intelligible + to all) received indeed the reward of a "Bravo," but I + believe this was given because the public wished to show that + it understands and knows how to appreciate serious music. + There are people enough in all countries who like to assume + the air of connoisseurs! The Adagio and Rondo produced a very + great effect. After these the applause and the "Bravos" came + really from the heart; but the Pot-pourri on Polish airs + missed its object entirely. There was indeed some applause, + but evidently only to show the player that the audience had + not been bored. +</pre> + <p> + We now hear again the old complaint that Chopin's playing was too + delicate. The opinion of the pit was that he had not played loud enough, + whilst those who sat in the gallery or stood in the orchestra seem to have + been better satisfied. In one paper, where he got high praise, he was + advised to put forth more energy and power in the future; but Chopin + thought he knew where this power was to be found, and for the next concert + got a Vienna instrument instead of his own Warsaw one. Elsner, too, + attributed the indistinctness of the bass passages and the weakness of + tone generally to the instrument. The approval of some of the musicians + compensated Chopin to some extent for the want of appreciation and + intelligence shown by the public at large "Kurpinski thought he discovered + that evening new beauties in my Concerto, and Ernemann was fully satisfied + with it." Edouard Wolff told me that they had no idea in Warsaw of the + real greatness of Chopin. Indeed, how could they? He was too original to + be at once fully understood. There are people who imagine that the + difficulties of Chopin's music arise from its Polish national + characteristics, and that to the Poles themselves it is as easy as their + mother-tongue; this, however, is a mistake. In fact, other countries had + to teach Poland what is due to Chopin. That the aristocracy of Paris, + Polish and native, did not comprehend the whole Chopin, although it may + have appreciated and admired his sweetness, elegance, and exquisiteness, + has been remarked by Liszt, an eye and ear-witness and an excellent judge. + But his testimony is not needed to convince one of the fact. A subtle + poet, be he ever so national, has thoughts and corresponding language + beyond the ken of the vulgar, who are to be found in all ranks, high and + low. Chopin, imbued as he was with the national spirit, did nevertheless + not manifest it in a popularly intelligible form, for in passing through + his mind it underwent a process of idealisation and individualisation. It + has been repeatedly said that the national predominates over the universal + in Chopin's music; it is a still less disputable truth that the individual + predominates therein over the national. There are artist-natures whose + tendency is to expand and to absorb; others again whose tendency is to + contract and to exclude. Chopin is one of the most typical instances of + the latter; hence, no wonder that he was not at once fully understood by + his countrymen. The great success which Chopin's subsequent concerts in + Warsaw obtained does not invalidate E. Wolff's statement, which indeed is + confirmed by the composer's own remarks on the taste of the public and its + reception of his compositions. Moreover, we shall see that those pieces + pleased most in which, as in the Fantasia and Krakowiak, the national raw + material was merely more or less artistically dressed up, but not yet + digested and assimilated; if the Fantasia left the audience cold at the + first concert, this was no doubt owing to the inadequacy of the + performance. + </p> + <p> + No sooner was the first concert over than, with his head still full of it, + Chopin set about making preparations for a second, which took place within + a week after the first. The programme was as follows:— + </p> + <p> + PART I + </p> + <p> + 1. Symphony by Nowakowski. + </p> + <p> + 2. Allegro from the Concerto in F minor, composed and played by Chopin. + </p> + <p> + 3. Air Varie by De Beriot, played by Bielawski. + </p> + <p> + 4. Adagio and Rondo from the Concerto in F minor, composed and played by + Chopin. + </p> + <p> + PART II + </p> + <p> + 1. Rondo Krakowiak, composed and played by Chopin. + </p> + <p> + 2. Aria from "Elena e Malvina" by Soliva, sung by Madame Meier. + </p> + <p> + 3. Improvisation on national airs. + </p> + <p> + This time the audience, which Chopin describes as having been more + numerous than at any other concert, was satisfied. There was no end to the + applause, and when he came forward to bow his acknowledgments there were + calls of "Give another concert!" The Krakowiak produced an immense effect, + and was followed by four volleys of applause. His improvisation on the + Polish national air "W miescie dziwne obyczaje" pleased only the people in + the dress-circle, although he did not improvise in the way he had intended + to do, which would not have been suitable for the audience that was + present. From this and another remark, that few of the haute volee had as + yet heard him, it appears that the aristocracy, for the most part living + on their estates, was not largely represented at the concert. Thinking as + he did of the public, he was surprised that the Adagio had found such + general favour, and that he heard everywhere the most flattering remarks. + He was also told that "every note sounded like a bell," and that he had + "played much better on the second than on the first instrument." But + although Elsner held that Chopin could only be judged after the second + concert, and Kurpinski and others expressed their regret that he did not + play on the Viennese instrument at the first one, he confesses that he + would have preferred playing on his own piano. The success of the concerts + may be measured by the following facts: A travelling virtuoso and former + pupil of the Paris Conservatoire, Dunst by name, offered in his enthusiasm + to treat Chopin with champagne; the day after the second concert a bouquet + with a poem was sent to him; his fellow-student Orlowski wrote mazurkas + and waltzes on the principal theme of the Concerto, and published them in + spite of the horrified composer's request that he should not do so; + Brzezina, the musicseller, asked him for his portrait, but, frightened at + the prospect of seeing his counterfeit used as a wrapper for butter and + cheese, Chopin declined to give it to him; the editor of the "Courier" + inserted in his paper a sonnet addressed to Chopin. Pecuniarily the + concerts were likewise a success, although the concert-giver was of a + different opinion. But then he seems to have had quite prima donna notions + about receipts, for he writes very coolly: "From the two concerts I had, + after deduction of all expenses, not as much as 5,000 florins (about 125 + pounds)." Indeed, he treats this part of the business very cavalierly, and + declares that money was no object with him. On the utterances of the + papers, which, of course, had their say, Chopin makes some sensible and + modest comments. + </p> +<pre xml:space="preserve"> + After my concerts there appeared many criticisms; if in them + (especially in the "Kuryer Polski") abundant praise was + awarded to me, it was nevertheless not too extravagant. The + "Official Journal" has also devoted some columns to my + praise; one of its numbers contained, among other things, + such stupidities—well meant, no doubt—that I was quite + desperate till I had read the answer in the "Gazeta Polska," + which justly takes away what the other papers had in their + exaggeration attributed to me. In this article it is said + that the Poles will one day be as proud of me as the Germans + are of Mozart, which is palpable nonsense. But that is not + all, the critic says further: "That if I had fallen into the + hands of a pedant or a Rossinist (what a stupid expression!) + I could not have become what I am." Now, although I am as yet + nothing, he is right in so far that my performance would be + still less than it actually is if I had not studied under + Elsner. +</pre> + <p> + Gratifying as the praise of the press no doubt was to Chopin, it became a + matter of small account when he thought of his friend's approving + sympathy. "One look from you after the concert would have been worth more + to me than all the laudations of the critics here." The concerts, however, + brought with them annoyances as well as pleasures. While one paper pointed + out Chopin's strongly-marked originality, another advised him to hear + Rossini, but not to imitate him. Dobrzynski, who expected that his + Symphony would be placed on one of the programmes, was angry with Chopin + for not doing so; a lady acquaintance took it amiss that a box had not + been reserved for her, and so on. What troubled our friend most of all, + and put him quite out of spirits, was the publication of the sonnet and of + the mazurkas; he was afraid that his enemies would not let this + opportunity pass, and attack and ridicule him. "I will no longer read what + people may now write about me," he bursts out in a fit of lachrymose + querulousness. Although pressed from many sides to give a third concert, + Chopin decided to postpone it till shortly before his departure, which, + however, was farther off than he imagined. Nevertheless, he had already + made up his mind what to play—namely, the new Concerto (some parts + of which had yet to be composed) and, by desire, the Fantasia and the + Variations. + </p> + <p> + <a name="link2HCH0010" id="link2HCH0010"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER X. + </h2> + <p> + 1829-1830. + </p> + <p> + MUSIC IN THE WARSAW SALONS.—MORE ABOUT CHOPIN'S CAUTION.—MUSICAL + VISITORS TO THE POLISH CAPITAL: WORLITZER, MDLLE. DE BELLEVILLE, MDLLE. + SONTAG, &c.—SOME OF CHOPIN'S ARTISTIC AND OTHER DOINGS; VISIT TO + POTURZYN.—HIS LOVE FOR CONSTANTIA GLADKOWSKA.—INTENDED AND + FREQUENTLY-POSTPONED DEPARTURE FOR ABROAD; IRRESOLUTION.—THE E MINOR + CONCERTO AND HIS THIRD CONCERT IN WARSAW.—DEPARTS AT LAST. + </p> + <p> + After the turmoil and agitation of the concerts, Chopin resumed the even + tenor of his Warsaw life, that is to say, played, composed, and went to + parties. Of the latter we get some glimpses in his letters, and they raise + in us the suspicion that the salons of Warsaw were not overzealous in the + cultivation of the classics. First we have a grand musical soiree at the + house of General Filipeus, [F-ootnote: Or Philippeus] the intendant of the + Court of the Grand Duke Constantine. There the Swan of Pesaro was + evidently in the ascendant, at any rate, a duet from "Semiramide" and a + buffo duet from "Il Turco in Italia" (in this Soliva took a part and + Chopin accompanied) were the only items of the musical menu thought worth + mentioning by the reporter. A soiree at Lewicki's offers matter of more + interest. Chopin, who had drawn up the programme, played Hummel's "La + Sentinelle" and his Op. 3, the Polonaise for piano and violoncello + composed at Antonin with a subsequently-added introduction; and Prince + Galitzin was one of the executants of a quartet of Rode's. Occasionally, + however, better works were performed. Some months later, for instance, at + the celebration of a gentleman's name-day, Spohr's Quintet for piano, + flute, clarinet, horn, and bassoon was played. Chopin's criticism on this + work is as usual short:— + </p> +<pre xml:space="preserve"> + Wonderfully beautiful, but not quite suitable for the piano. + Everything Spohr has written for the piano is very difficult, + indeed, sometimes it is impossible to find any fingering for + his passages. +</pre> + <p> + On Easter-day, the great feasting day of the Poles, Chopin was invited to + breakfast by the poet Minasowicz. On this occasion he expected to meet + Kurpinski; and as in the articles which had appeared in the papers a + propos of his concerts the latter and Elsner had been pitted against each + other, he wondered what would be the demeanour of his elder + fellow-countryman and fellow-composer towards him. Remembering Chopin's + repeated injunctions to his parents not to mention to others his remarks + on musicians, we may be sure that in this as in every other case Chopin + proceeded warily. Here is another striking example of this characteristic + and highly-developed cautiousness. After hearing the young pianist + Leskiewicz play at a concert he writes:— + </p> +<pre xml:space="preserve"> + It seems to me that he will become a better player than + Krogulski; but I have not yet dared to express this opinion, + although I have been often asked to do so. +</pre> + <p> + In the first half of April, 1830, Chopin was so intent on finishing the + compositions he had begun that, greatly as he wished to pay his friend + Titus Woyciechowski a visit at his country-seat Poturzyn, he determined to + stick to his work. The Diet, which had not been convoked for five years, + was to meet on the 28th of May. That there would be a great concourse of + lords and lordlings and their families and retinues followed as a matter + of course. Here, then, was an excellent opportunity for giving a concert. + Chopin, who remembered that the haute voice had not yet heard him, did not + overlook it. But be it that the Concerto was not finished in time, or that + the circumstances proved less favourable than he had expected, he did not + carry out his plan. Perhaps the virtuosos poured in too plentifully. In + those days the age of artistic vagrancy had not yet come to an end, and + virtuosity concerts were still flourishing most vigorously. Blahetka of + Vienna, too, had a notion of coming with his daughter to Warsaw and giving + some concerts there during the sitting of the Diet. He wrote to Chopin to + this effect, and asked his advice. The latter told him that many musicians + and amateurs had indeed often expressed a desire to hear Miss Blahetka, + but that the expenses of a concert and the many distinguished artists who + had arrived or were about to arrive made the enterprise rather hazardous. + </p> +<pre xml:space="preserve"> + Now [says Chopin, the cautious, to his friend] he [Blahetka] + cannot say that I have not sufficiently informed him of the + state of things here! It is not unlikely that he will come. I + should be glad to see them, and would do what I could to + procure a full house for his daughter. I should most + willingly play with her on two pianos, for you cannot imagine + how kindly an interest this German [Mr. Blahetka] took in me + at Vienna. +</pre> + <p> + Among the artists who came to Warsaw were: the youthful Worlitzer, who, + although only sixteen years of age, was already pianist to the King of + Prussia; the clever pianist Mdlle. de Belleville, who afterwards became + Madame Oury; the great violinist Lipinski, the Polish Paganini; and the + celebrated Henrietta Sontag, one of the brightest stars of the time. + Chopin's intercourse with these artists and his remarks on them are worth + noting: they throw light on his character as a musician and man as well as + on theirs. He relates that Worlitzer, a youth of Jewish extraction, and + consequently by nature very talented, had called on him and played to him + several things famously, especially Moscheles' "Marche d'Alexandre + variée." Notwithstanding the admitted excellence of Worlitzer's playing, + Chopin adds—not, however, without a "this remains between us two"—that + he as yet lacks much to deserve the title of Kammer-Virtuos. Chopin + thought more highly of Mdlle. de Belleville, who, he says, "plays the + piano beautifully; very airily, very elegantly, and ten times better than + Worlitzer." What, we may be sure, in no wise diminished his good opinion + of the lady was that she had performed his Variations in Vienna, and could + play one of them by heart. To picture the object of Chopin's artistic + admiration a little more clearly, let me recall to the reader's memory + Schumann's characterisation of Mdlle. de Belleville and Clara Wieck. + </p> +<pre xml:space="preserve"> + They should not be compared. They are different mistresses of + different schools. The playing of the Belleville is + technically the finer of the two; Clara's is more + impassioned. The tone of the Belleville caresses, but does + not penetrate beyond the ear; that of Clara reaches the + heart. The one is a poetess; the other is poetry itself. +</pre> + <p> + Chopin's warmest admiration and longest comments were, however, reserved + for Mdlle. Sontag. Having a little more than a year before her visit to + Warsaw secretly married Count Rossi, she made at the time we are speaking + of her last artistic tour before retiring, at the zenith of her fame and + power, into private life. At least, she thought then it was her last tour; + but pecuniary losses and tempting offers induced her in 1849 to reappear + in public. In Warsaw she gave a first series of five or six concerts in + the course of a week, went then by invitation of the King of Prussia to + Fischbach, and from there returned to Warsaw. Her concerts were remarkable + for their brevity. She usually sang at them four times, and between her + performances the orchestra played some pieces. She dispensed altogether + with the assistance of other virtuosos. But Chopin remarks that so great + was the impression she made as a vocalist and the interest she inspired as + an artist that one required some rest after her singing. Here is what the + composer writes to his friend about her (June 5, 1830):— + </p> +<pre xml:space="preserve"> + ...It is impossible for me to describe to you how great a pleasure the + acquaintance with this "God-sent one" (as some + enthusiasts justly call her) has given me. Prince Radziwitt + introduced me to her, for which I feel greatly obliged to + him. Unfortunately, I profited little by her eight days' stay + with us, and I saw how she was bored by dull visits from + senators, woyewods, castellans, ministers, generals, and + adjutants, who only sat and stared at her while they were + talking about quite indifferent things. She receives them all + very kindly, for she is so very good-natured that she cannot + be unamiable to anyone. Yesterday, when she was going to put + on her bonnet previously to going to the rehearsal, she was + obliged to lock the door of her room, because the servant in + the ante-room could not keep back the large number of + callers. I should not have one to her if she had not sent for + me, Radziwill having asked me to write out a song which he + has arranged for her. This is an Ukraine popular song + ("Dumka") with variations. The theme and finale are + beautiful, but the middle section does not please me (and it + pleases Mdlle. Sontag even less than me). I have indeed made + some alterations, but it is still good for nothing. I am glad + she leaves after to-day's concert, because I shall pet rid of + this business, and when Radziwill comes at the close of the + Diet he may perhaps relinquish his variations. + + Mdlle. Sontag is not beautiful, but in the highest degree + captivating; she enchants all with her voice, which indeed is + not very powerful, but magnificently cultivated. Her + diminuendo is the non plus ultra that can be heard; her + portamento wonderfully fine; her chromatic scales, especially + toward the upper part of her voice, unrivalled. She sang us + an aria by Mercadante, very, very beautifully; the variations + by Rode, especially the last roulades, more than excellently. + The variations on the Swiss theme pleased so much that, after + having several times bowed her acknowledgments for the + applause, she had to sing them da capo. The same thing + happened to her yesterday with the last of Rode's variations. + She has, moreover, performed the cavatina from "Il Barbiere", + as well as several arias from "La Gazza ladra" and from "Der + Freischutz". Well, you will hear for yourself what a + difference there is between her erformances and those we have + hitherto heard here. On one occasion was with her when Soliva + came with the Misses Gladkowska [the idea!] and Wolkaw, who + had to sing to her his duet which concludes with the words + "barbara sorte"—you may perhaps remember it. Miss Sontag + remarked to me, in confidence, that both voices were really + beautiful, but already somewhat worn, and that these ladies + must change their method of singing entirely if they did not + wish to run the risk of losing their voices within two years. + She said, in my presence, to Miss Wolkow that she possessed + much facility and taste, but had une voix trop aigue. She + invited both ladies in the most friendly manner to visit her + more frequently, promising to do all in her power to show and + teach them her own manner of singing. Is this not a quite + unusual politeness? Nay, I even believe it is coquetry so + great that it made upon me the impression of naturalness and + a certain naivete; for it is hardly to be believed that a + human being can be so natural unless it knows all the + resources of coquetry. In her neglige Miss Sontag is a + hundred times more beautiful and pleasing than in full + evening-dress. Nevertheless, those who have not seen her in + the morning are charmed with her appearance at the concert. + On her return she will give concerts up to the 22nd of the + month; then, as she herself told me, she intends to go to St. + Petersburg. Therefore, be quick, dear friend, and come at + once, so that you may not miss more than the five concerts + she has already given. +</pre> + <p> + From the concluding sentence it would appear that Chopin had talked + himself out on the subject; this, however, is not the case, for after + imparting some other news he resumes thus:— + </p> +<pre xml:space="preserve"> + But I have not yet told you all about Miss Sontag. She has in + her rendering some entirely new broderies, with which she + produces great effect, but not in the same way as Paganini. + Perhaps the cause lies in this, that hers is a smaller genre. + She seems to exhale the perfume of a fresh bouquet of flowers + over the parterre, and, now caresses, now plays with her + voice; but she rarely moves to tears. Radziwill, on the other + hand, thinks that she sings and acts the last scene of + Desdemona in Othello in such a manner that nobody can refrain + from weeping. To-day I asked her if she would sing us + sometime this scene in costume (she is said to be an + excellent actress); she answered me that it was true that she + had often seen tears in the eyes of the audience, but that + acting excited her too much, and she had resolved to appear + as rarely as possible on the stage. You have but to come here + if you wish to rest from your rustic cares. Miss Sontag will + sing you something, and you will awake to life again and will + gather new strength for your labours. +</pre> + <p> + Mdlle. Sontag was indeed a unique artist. In power and fulness of voice, + in impassioned expression, in dazzling virtuosity, and in grandeur of + style, she might be inferior to Malibran, Catalani, and Pasta; but in + clearness and sweetness of voice, in purity of intonation, in airiness, + neatness, and elegance of execution, and in exquisiteness of taste, she + was unsurpassed. Now, these were qualities particularly congenial to + Chopin; he admired them enthusiastically in the eminent vocalist, and + appreciated similar qualities in the pleasing pianist Mdlle. de + Belleville. Indeed, we shall see in the sequel that unless an artist + possessed these qualities Chopin had but little sympathy to bestow upon + him. He was, however, not slow to discover in these distinguished lady + artists a shortcoming in a direction where he himself was exceedingly + strong—namely, in subtlety and intensity of feeling. Chopin's + opinion of Mdlle. Sontag coincides on the whole with those of other + contemporaries; nevertheless, his account contributes some details which + add a page to her biography, and a few touches to her portraiture. It is + to be regretted that the arrival of Titus Woyciechowski in Warsaw put for + a time an end to Chopin's correspondence with him, otherwise we should, no + doubt, have got some more information about Mdlle. Sontag and other + artists. + </p> + <p> + While so many stars were shining, Chopin's light seems to have been under + an eclipse. Not only did he not give a concert, but he was even passed + over on the occasion of a soiree musicale at court to which all the most + distinguished artists then assembled at Warsaw were invited—Mdlle. + Sontag, Mdlle. de Belleville, Worlitzer, Kurpinski, &c. "Many were + astonished," writes Chopin, "that I was not invited to play, but <i>I</i> + was not astonished." When the sittings of the Diet and the entertainments + that accompanied them came to a close Chopin paid a visit to his friend + Titus at Poturzyn, and on his return thence proceeded with his parents to + Zelazowa Wola to stay for some time at the Count of Skarbek's. After + leaving Poturzyn the picture of his friend's quiet rural life continually + rose up in Chopin's mind. A passage in one of his letters which refers to + his sojourn there seems to me characteristic of the writer, suggestive of + moods consonant with his nocturnes and many cantilene in his other works:— + </p> +<pre xml:space="preserve"> + I must confess that I look back to it with great pleasure; I + feel always a certain longing for your beautiful country- + seat. The weeping-willow is always present to my mind; that + arbaleta! oh, I remember it so fondly! Well, you have teased + me so much about it that I am punished thereby for all my + sins. +</pre> + <p> + And has he forgotten his ideal? Oh, no! On the contrary, his passion grows + stronger every day. This is proved by his frequent allusions to her whom + he never names, and by those words of restless yearning and heart-rending + despair that cannot be read without exciting a pitiful sympathy. As before + long we shall get better acquainted with the lady and hear more of her—she + being on the point of leaving the comparative privacy of the + Conservatorium for the boards that represent the world—it may be as + well to study the symptoms of our friend's interesting malady. + </p> + <p> + The first mention of the ideal we find in the letter dated October 3, + 1829, wherein he says that he has been dreaming of her every night for the + past six months, and nevertheless has not yet spoken to her. In these + circumstances he stood in need of one to whom he might confide his joys + and sorrows, and as no friend of flesh and blood was at hand, he often + addressed himself to the piano. And now let us proceed with our + investigation. + </p> +<pre xml:space="preserve"> + March 27, 1830.—At no time have I missed you so much as now. + I have nobody to whom I can open my heart. + + April 17, 1830.—In my unbearable longing I feel better as + soon as I receive a letter from you. To-day this comfort was + more necessary than ever. I should like to chase away the + thoughts that poison my joyousness; but, in spite of all, it + is pleasant to play with them. I don't know myself what I + want; perhaps I shall be calmer after writing this letter. +</pre> + <p> + Farther on in the same letter he says:— + </p> +<pre xml:space="preserve"> + How often do I take the night for the day, and the day for + the night! How often do I live in a dream and sleep during + the day, worse than if I slept, for I feel always the same; + and instead of finding refreshment in this stupor, as in + sleep, I vex and torment myself so that I cannot gain + strength. +</pre> + <p> + It may be easily imagined with what interest one so far gone in love + watched the debut of Miss Gladkowska as Agnese in Paer's opera of the same + name. Of course he sends a full account of the event to his friend. She + looked better on the stage than in the salon; left nothing to be desired + in her tragic acting; managed her voice excellently up to the high j sharp + and g; shaded in a wonderful manner, and charmed her slave when she sang + an aria with harp accompaniment. The success of the lady, however, was not + merely in her lover's imagination, it was real; for at the close of the + opera the audience overwhelmed her with never-ending applause. Another + pupil of the Conservatorium, Miss Wolkow, made her debut about the same + time, discussions of the comparative merits of the two ladies, on the + choice of the parts in which they were going to appear next, on the + intrigues which had been set on foot for or against them, &c., were + the order of the day. Chopin discusses all these matters with great + earnestness and at considerable length; and, while not at all stingy in + his praise of Miss Wolkow, he takes good care that Miss Gladkowska does + not come off a loser:— + </p> +<pre xml:space="preserve"> + Ernemann is of our opinion [writes Chopin] that no singer can + easily be compared to Miss Gladkowska, especially as regards + just intonation and genuine warmth of feeling, which + manifests itself fully only on the stage, and carries away + the audience. Miss Wolkow made several times slight mistakes, + whereas Miss Gladkowska, although she has only been heard + twice in Agnese, did not allow the least doubtful note to + pass her lips. +</pre> + <p> + The warmer applause given to Miss Wolkow did not disturb so staunch a + partisan; he put it to the account of Rossini's music which she sang. + </p> + <p> + When Chopin comes to the end of his account of Miss Gladkowska's first + appearance on the stage, he abruptly asks the question: "And what shall I + do now?" and answers forthwith: "I will leave next month; first, however, + I must rehearse my Concerto, for the Rondo is now finished." But this + resolve is a mere flash of energy, and before we have proceeded far we + shall come on words which contrast strangely with what we have read just + now. Chopin has been talking about his going abroad ever so long, more + especially since his return from Vienna, and will go on talking about it + for a long time yet. First he intends to leave Warsaw in the winter of + 1829-1830; next he makes up his mind to start in the summer of 1830, the + question being only whether he shall go to Berlin or Vienna; then in May, + 1830, Berlin is already given up, but the time of his departure remains + still to be fixed. After this he is induced by the consideration that the + Italian Opera season at Vienna does not begin till September to stay at + home during the hot summer months. How he continues to put off the evil + day of parting from home and friends we shall see as we go on. I called + Chopin's vigorously-expressed resolve a flash of energy. Here is what he + wrote not much more than a week after (on August 31, 1830):— + </p> +<pre xml:space="preserve"> + I am still here; indeed, I do not feel inclined to go abroad. + Next month, however, I shall certainly go. Of course, only to + follow my vocation and reason, which latter would be in a + sorry plight if it were not strong enough to master every + other thing in my head. +</pre> + <p> + But that his reason was in a sorry plight may be gathered from a letter + dated September 4, 1830, which, moreover, is noteworthy, as in the + confessions which it contains are discoverable the key-notes of the + principal parts that make up the symphony of his character. + </p> +<pre xml:space="preserve"> + I tell you my ideas become madder and madder every day. I am + still sitting here, and cannot make up my mind to fix + definitively the day of my departure. I have always a + presentiment that I shall leave Warsaw never to return to it; + I am convinced that I shall say farewell to my home for ever. + Oh, how sad it must be to die in any other place but where + one was born! What a great trial it would be to me to see + beside my death-bed an unconcerned physician and paid servant + instead of the dear faces of my relatives! Believe me, Titus, + I many a time should like to go to you and seek rest for my + oppressed heart; but as this is not possible, I often hurry, + without knowing why, into the street. But there also nothing + allays or diverts my longing. I return home to... long again + indescribably... I have not yet rehearsed my Concerto; in any + case I shall leave all my treasures behind me by Michaelmas. + In Vienna I shall be condemned to sigh and groan! This is the + consequence of having no longer a free heart! You who know + this indescribable power so well, explain to me the strange + feeling which makes men always expect from the following day + something better than the preceding day has bestowed upon + them? "Do not be so foolish!" That is all the answer I can + give myself; if you know a better, tell me, pray, pray.... +</pre> + <p> + After saying that his plan for the winter is to stay two months in Vienna + and pass the rest of the season in Milan, "if it cannot be helped," he + makes some remarks of no particular interest, and then comes back to the + old and ever new subject, the cud that humanity has been chewing from the + time of Adam and Eve, and will have to chew till the extinction of the + race, whether pessimism or optimism be the favoured philosophy. + </p> +<pre xml:space="preserve"> + Since my return I have not yet visited her, and must tell you + openly that I often attribute the cause of my distress to + her; it seems to me as if people shared this view, and that + affords me a certain satisfaction. My father smiles at it; + but if he knew all, he would perhaps weep. Indeed, I am + seemingly quite contented, whilst my heart.... +</pre> + <p> + This is one of the occasions, which occur so frequently in Chopin's + letters, where he breaks suddenly off in the course of his emotional + outpourings, and subsides into effective silence. On such occasions one + would like to see him go to the piano and hear him finish the sentence + there. "All I can write to you now is indeed stupid stuff; only the + thought of leaving Warsaw..." Another musical opportunity! Where words + fail, there music begins. + </p> +<pre xml:space="preserve"> + Only wait, the day will come when you will not fare any + better. Man is not always happy; sometimes only a few moments + of happiness are granted to him in this life; therefore why + should we shun this rapture which cannot last long? +</pre> + <p> + After this the darkness of sadness shades gradually into brighter hues:— + </p> +<pre xml:space="preserve"> + As on the one hand I consider intercourse with the outer + world a sacred duty, so, on the other hand, I regard it as a + devilish invention, and it would be better if men... but I + have said enough!... +</pre> + <p> + The reader knows already the rest of the letter; it is the passage in + which Chopin's love of fun gets the better of his melancholy, his joyous + spirits of his sad heart, and where he warns his friend, as it were with a + bright twinkle in his tearful eyes and a smile on his face, not to kiss + him at that moment, as he must wash himself. This joking about his + friend's dislike to osculation is not without an undercurrent of + seriousness; indeed, it is virtually a reproach, but a reproach cast in + the most delicate form and attired in feminine coquetry. + </p> + <p> + On September 18, 1830, Chopin is still in Warsaw. Why he is still there he + does not know; but he feels unspeakably happy where he is, and his parents + make no objections to this procrastination. + </p> +<pre xml:space="preserve"> + To-morrow I shall hold a rehearsal [of the E minor Concerto] + with quartet, and then drive to—whither? Indeed, I do not + feel inclined to go anywhere; but I shall on no account stay + in Warsaw. If you have, perhaps, a suspicion that something + dear to me retains me here, you are mistaken, like many + others. I assure you I should be ready to make any sacrifice + if only my own self were concerned, and I—although I am in + love—had yet to keep my unfortunate feelings concealed in my + bosom for some years to come. +</pre> + <p> + Is it possible to imagine anything more inconsistent and self-delusive + than these ravings of our friend? Farther on in this very lengthy epistle + we come first of all once more to the pending question. + </p> +<pre xml:space="preserve"> + I was to start with the Cracow post for Vienna as early as + this day week, but finally I have given up that idea—you + will understand why. You may be quite sure that I am no + egoist, but, as I love you, am also willing to sacrifice + anything for the sake of others. For the sake of others, I + say, but not for the sake of outward appearance. For public + opinion, which is in high esteem among us, but which, you may + be sure, does not influence me, goes even so far as to call + it a misfortune if one wears a torn coat, a shabby hat, and + the like. If I should fail in my career, and have some day + nothing to eat, you must appoint me as clerk at Poturzyn. + There, in a room above the stables, I shall be as happy as I + was last summer in your castle. As long as I am in vigour and + health I shall willingly continue to work all my life. I have + often considered the question, whether I am really lazy or + whether I could work more without overexerting my strength. + Joking apart, I have convinced myself that I am not the worst + idler, and that I am able to work twice as much if necessity + demands it. + + It often happens that he who wishes to better the opinion + which others have formed of him makes it worse; but, I think, + as regards you, I can make it neither better nor worse, even + if I occasionally praise myself. The sympathy which I have + for you forces your heart to have the same sympathetic + feelings for me. You are not master of your thoughts, but I + command mine; when I have once taken one into my head I do + not let it be taken from me, just as the trees do not let + themselves be robbed of their green garment which gives them + the charm of youth. With me it will be green in winter also, + that is, only in the head, but—God help me—in the heart the + greatest ardour, therefore, no one need wonder that the + vegetation is so luxuriant. Enough...yours for ever...Only + now I notice that I have talked too much nonsense. You see + yesterday's impression [he refers to the name-day festivity + already mentioned] has not yet quite passed away, I am still + sleepy and tired, because I danced too many mazurkas. + + Around your letters I twine a little ribbon which my ideal + once gave me. I am glad the two lifeless things, the letters + and the ribbon, agree so well together, probably because, + although they do not know each other, they yet feel that they + both come from a hand dear to me. +</pre> + <p> + Even the most courteous of mortals, unless he be wholly destitute of + veracity, will hesitate to deny the truth of Chopin's confession that he + has been talking nonsense. But apart from the vagueness and illogicalness + of several of the statements, the foregoing effusion is curious as a + whole: the thoughts turn up one does not know where, how, or why—their + course is quite unaccountable; and if they passed through his mind in an + unbroken connection, he fails to give the slightest indication of it. + Still, although Chopin's philosophy of life, poetical rhapsodies, and + meditations on love and friendship, may not afford us much light, + edification, or pleasure, they help us substantially to realise their + author's character, and particularly his temporary mood. + </p> + <p> + Great as was the magnetic power of the ideal over Chopin, great as was the + irresolution of the latter, the long delay of his departure must not be + attributed solely to these causes. The disturbed state of Europe after the + outbreak of the July revolution in Paris had also something to do with + this interminable procrastination. Passports could only be had for Prussia + and Austria, and even for these countries not by everyone. In France the + excitement had not yet subsided, in Italy it was nearing the boiling + point. Nor were Vienna, whither Chopin intended to go first, and the + Tyrol, through which he would have to pass on his way to Milan, altogether + quiet. Chopin's father himself, therefore, wished the journey to be + postponed for a short time. Nevertheless, our friend writes on September + 22 that he will start in a few weeks: his first goal is Vienna, where, he + says, they still remember him, and where he will forge the iron as long as + it is hot. But now to the climax of Chopin's amorous fever. + </p> +<pre xml:space="preserve"> + I regret very much [he writes on September 22, 1830] that I + must write to you when, as to-day, I am unable to collect my + thoughts. When I reflect on myself I get into a sad mood, and + am in danger of losing my reason. When I am lost in my + thoughts—which is often the case with me—horses could + trample upon me, and yesterday this nearly happened in the + street without my noticing it. Struck in the church by a + glance of my ideal, I ran in a moment of pleasant stupor into + the street, and it was not till about a quarter of an hour + afterwards that I regained my full consciousness; I am + sometimes so mad that I am frightened at myself. +</pre> + <p> + The melancholy cast of the letters cited in this chapter must not lead us + to think that despondence was the invariable state of Chopin's mind. It is + more probable that when his heart was saddest he was most disposed to + write to his friend his confessions and complaints, as by this means he + was enabled to relieve himself to some extent of the burden that oppressed + him. At any rate, the agitations of love did not prevent him from + cultivating his art, for even at the time when he felt the tyranny of the + passion most potently, he mentions having composed "some insignificant + pieces," as he modestly expresses himself, meaning, no doubt, "short + pieces." Meanwhile Chopin had also finished a composition which by no + means belongs to the category of "insignificant pieces"—namely, the + Concerto in E minor, the completion of which he announces on August 21, + 1830. A critical examination of this and other works will be found in a + special chapter, at present I shall speak only of its performance and the + circumstances connected with it. + </p> + <p> + On September 18, 1830, Chopin writes that a few days previously he + rehearsed the Concerto with quartet accompaniment, but that it does not + quite satisfy him:— + </p> +<pre xml:space="preserve"> + Those who were present at the rehearsal say that the Finale + is the most successful movement (probably because it is + easily intelligible). How it will sound with the orchestra I + cannot tell you till next Wednesday, when I shall play the + Concerto for the first time in this guise. To-morrow I shall + have another rehearsal with quartet. +</pre> + <p> + To a rehearsal with full orchestra, except trumpets and drums (on + September 22, 1830), he invited Kurpinski, Soliva, and the select musical + world of Warsaw, in whose judgment, however, he professes to have little + confidence. Still, he is curious to know how— + </p> +<pre xml:space="preserve"> + the Capellmeister [Kurpinski] will look at the Italian + [Soliva], Czapek at Kessler, Filipeus at Dobrzynski, Molsdorf + at Kaczynski, Ledoux at Count Sohyk, and Mr. P. at us all. It + has never before occurred that all these gentlemen have been + assembled in one place; I alone shall succeed in this, and I + do it only out of curiosity! +</pre> + <p> + The musicians in this company, among whom are Poles, Czechs, Germans, + Italians, &c., give us a good idea of the mixed character of the + musical world of Warsaw, which was not unlike what the musical world of + London is still in our day. From the above remark we see that Chopin had + neither much respect nor affection for his fellow-musicians; indeed, there + is not the slightest sign in his letters that an intimacy existed between + him and any one of them. The rehearsals of the Concerto keep Chopin pretty + busy, and his head is full of the composition. In the same letter from + which I quoted last we find the following passage:— + </p> +<pre xml:space="preserve"> + I heartily beg your pardon for my hasty letter of to-day; I + have still to run quickly to Elsner in order to make sure + that he will come to the rehearsal. Then I have also to + provide the desks and mutes, which I had yesterday totally + forgotten; without the latter the Adagio would be wholly + insignificant, and its success doubtful. The Rondo is + effective, the first Allegro vigorous. Cursed self-love! And + if it is anyone's fault that I am conceited it is yours, + egoist; he who associates with such a person becomes like + him. But in one point I am as yet unlike you. I can never + make up my mind quickly. But I have the firm will and the + secret intention actually to depart on Saturday week, without + pardon, and in spite of lamentations, tears, and complaints. + My music in the trunk, a certain ribbon on my heart, my soul + full of anxiety: thus into the post-chaise. To be sure, + everywhere in the town tears will flow in streams: from + Copernicus to the fountain, from the bank to the column of + King Sigismund; but I shall be cold and unfeeling as a stone, + and laugh at all those who wish to take such a heart-rending + farewell of me! +</pre> + <p> + After the rehearsal of the Concerto with orchestra, which evidently made a + good impression upon the much-despised musical world of Warsaw, Chopin + resolved to give, or rather his friends resolved for him that he should + give, a concert in the theatre on October 11, 1830. Although he is anxious + to know what effect his Concerto will produce on the public, he seems + little disposed to play at any concert, which may be easily understood if + we remember the state of mind he is in. + </p> +<pre xml:space="preserve"> + You can hardly imagine [he writes] how everything here makes + me impatient, and bores me, in consequence of the commotion + within me against which I cannot struggle. +</pre> + <p> + The third and last of his Warsaw concerts was to be of a more perfect type + than the two preceding ones; it was to be one "without those unlucky + clarinet and bassoon solos," at that time still so much in vogue. To make + up for this quantitative loss Chopin requested the Misses Gladkowska and + Wolkow to sing some arias, and obtained, not without much trouble, the + requisite permission for them from their master, Soliva, and the Minister + of Public Instruction, Mostowski. It was necessary to ask the latter's + permission, because the two young ladies were educated as singers at the + expense of the State. + </p> + <p> + The programme of the concert was as follows:— + </p> + <p> + PART I + </p> +<pre xml:space="preserve"> + 1. Symphony by Gorner. + + 2. First Allegro from the Concerto in E minor, composed and + played by Chopin. + + 3. Aria with Chorus by Soliva, sung by Miss Wolkow. + + 4. Adagio and Rondo from the Concerto in E minor, composed + and played by Chopin. +</pre> + <p> + PART II + </p> +<pre xml:space="preserve"> + 1. Overture to "Guillaume Tell" by Rossini. + + 2. Cavatina from "La Donna del lago" by Rossini, sung by Miss + Gladkowska. + + 3. Fantasia on Polish airs, composed and played by Chopin. +</pre> + <p> + The success of the concert made Chopin forget his sorrows. There is not + one complaint in the letter in which he gives an account of it; in fact, + he seems to have been enjoying real halcyon days. He had a full house, but + played with as little nervousness as if he had been playing at home. The + first Allegro of the Concerto went very smoothly, and the audience + rewarded him with thundering applause. Of the reception of the Adagio and + Rondo we learn nothing except that in the pause between the first and + second parts the connoisseurs and amateurs came on the stage, and + complimented him in the most flattering terms on his playing. The great + success, however, of the evening was his performance of the Fantasia on + Polish airs. "This time I understood myself, the orchestra understood me, + and the audience understood us." This is quite in the bulletin style of + conquerors; it has a ring of "veni, vidi, vici" about it. Especially the + mazurka at the end of the piece produced a great effect, and Chopin was + called back so enthusiastically that he was obliged to bow his + acknowledgments four times. Respecting the bowing he says: "I believe I + did it yesterday with a certain grace, for Brandt had taught me how to do + it properly." In short, the concert-giver was in the best of spirits, one + is every moment expecting him to exclaim: "Seid umschlungen Millionen, + diesen Kuss der ganzen Welt." He is pleased with himself and Streicher's + piano on which he had played; pleased with Soliva, who kept both soloist + and orchestra splendidly in order; pleased with the impression the + execution of the overture made; pleased with the blue-robed, fay-like Miss + Wolkow; pleased most of all with Miss Gladkowska, who "wore a white dress + and roses in her hair, and was charmingly beautiful." He tells his friend + that: + </p> +<pre xml:space="preserve"> + she never sang so well as on that evening (except the aria in + "Agnese"). You know "O! quante lagrime per te versai." The + tutto detesto down to the lower b came out so magnificently + that Zielinski declared this b alone was worth a thousand + ducats. +</pre> + <p> + In Vienna the score and parts of the Krakowiak had been found to be full + of mistakes, it was the same with the Concerto in Warsaw. Chopin himself + says that if Soliva had not taken the score with him in order to correct + it, he (Chopin) did not know what might have become of the Concerto on the + evening of the concert. Carl Mikuli, who, as well as his fellow-pupil + Tellefsen, copied many of Chopin's MSS., says that they were full of slips + of the pen, such as wrong notes and signatures, omissions of accidentals, + dots, and intervals of chords, and incorrect markings of slurs and 8va's. + </p> + <p> + Although Chopin wrote on October 5, 1830, that eight days after the + concert he would certainly be no longer in Warsaw, that his trunk was + bought, his whole outfit ready, the scores corrected, the + pocket-handkerchiefs hemmed, the new trousers and the new dress-coat tried + on, &c., that, in fact, nothing remained to be done but the worst of + all, the leave-taking, yet it was not till the 1st of November, 1830, that + he actually did take his departure. Elsner and a number of friends + accompanied him to Wola, the first village beyond Warsaw. There the pupils + of the Conservatorium awaited them, and sang a cantata composed by Elsner + for the occasion. After this the friends once more sat down together to a + banquet which had been prepared for them. In the course of the repast a + silver goblet filled with Polish earth was presented to Chopin in the name + of all. + </p> +<pre xml:space="preserve"> + May you never forget your country [said the speaker, + according to Karasowski], wherever you may wander or sojourn, + may you never cease to love it with a warm, faithful heart! + Remember Poland, remember your friends, who call you with + pride their fellow-countryman, who expect great things of + you, whose wishes and prayers accompany you! +</pre> + <p> + How fully Chopin realised their wishes and expectations the sequel will + show: how much such loving words must have affected him the reader of this + chapter can have no difficulty in understanding. But now came pitilessly + the dread hour of parting. A last farewell is taken, the carriage rolls + away, and the traveller has left behind him all that is dearest to him—parents, + sisters, sweetheart, and friends. "I have always a presentiment that I am + leaving Warsaw never to return to it; I am convinced that I shall say an + eternal farewell to my native country." Thus, indeed, destiny willed it. + Chopin was never to tread again the beloved soil of Poland, never to set + eyes again on Warsaw and its Conservatorium, the column of King Sigismund + opposite, the neighbouring church of the Bernardines (Constantia's place + of worship), and all those things and places associated in his mind with + the sweet memories of his youth and early manhood. + </p> + <p> + <a name="link2HCH0011" id="link2HCH0011"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER XI. + </h2> + <p> + CHOPIN IS JOINED AT KALISZ BY TITUS WOYCIECHOWSKI.—FOUR DAYS AT + BRESLAU: HIS VISITS TO THE THEATRE; CAPELLMEISTER SCHNABEL; PLAYS AT A + CONCERT; ADOLF HESSE.—SECOND VISIT TO DRESDEN: MUSIC AT THEATRE AND + CHURCH; GERMAN AND POLISH SOCIETY; MORLACCHI, SIGNORA PALAZZESI, + RASTRELLI, ROLLA, DOTZAUER, KUMMER, KLENGEL, AND OTHER MUSICIANS; A + CONCERT TALKED ABOUT BUT NOT GIVEN; SIGHT-SEEING.—AFTER A WEEK, BY + PRAGUE TO VIENNA.—ARRIVES AT VIENNA TOWARDS THE END OF NOVEMBER, + 1830. + </p> + <p> + Thanks to Chopin's extant letters to his family and friends it is not + difficult to give, with the help of some knowledge of the contemporary + artists and of the state of music in the towns he visited, a pretty clear + account of his experiences and mode of life during the nine or ten months + which intervene between his departure from Warsaw and his arrival in + Paris. Without the letters this would have been impossible, and for two + reasons: one of them is that, although already a notable man, Chopin was + not yet a noted man; and the other, that those with whom he then + associated have, like himself, passed away from among us. + </p> + <p> + Chopin, who, as the reader will remember, left Warsaw on November 1, 1830, + was joined at Kalisz by Titus Woyciechowski. Thence the two friends + travelled together to Vienna. They made their first halt at Breslau, which + they reached on November 6. No sooner had Chopin put up at the hotel Zur + goldenen Gans, changed his dress, and taken some refreshments, than he + rushed off to the theatre. During his stay in Breslau he was present at + three performances—at Raimund's fantastical comedy "Der Alpenkonig + und der Menschenfeind", Auber's "Maurer und Schlosser (Le Macon)," and + Winter's "Das unterbrochene Opferfest", a now superannuated but then still + popular opera. The players succeeded better than the singers in gaining + the approval of their fastidious auditor, which indeed might have been + expected. As both Chopin and Woyciechowski were provided with letters of + introduction, and the gentlemen to whom they were addressed did all in + their power to make their visitors' sojourn as pleasant as possible, the + friends spent in Breslau four happy days. It is characteristic of the + German musical life in those days that in the Ressource, a society of that + town, they had three weekly concerts at which the greater number of the + performers were amateurs. Capellmeister Schnabel, an old acquaintance of + Chopin's, had invited the latter to come to a morning rehearsal. When + Chopin entered, an amateur, a young barrister, was going to rehearse + Moscheles' E flat major Concerto. Schnabel, on seeing the newcomer, asked + him to try the piano. Chopin sat down and played some variations which + astonished and delighted the Capellmeister, who had not heard him for four + years, so much that he overwhelmed him with expressions of admiration. As + the poor amateur began to feel nervous, Chopin was pressed on all sides to + take that gentleman's place in the evening. Although he had not practised + for some weeks he consented, drove to the hotel, fetched the requisite + music, rehearsed, and in the evening performed the Romanza and Rondo of + his E minor Concerto and an improvisation on a theme from Auber's "La + Muette" ("Masaniello"). At the rehearsal the "Germans" admired his + playing; some of them he heard whispering "What a light touch he has!" but + not a word was said about the composition. The amateurs did not know + whether it was good or bad. Titus Woyciechowski heard one of them say "No + doubt he can play, but he can't compose." There was, however, one + gentleman who praised the novelty of the form, and the composer naively + declares that this was the person who understood him best. Speaking of the + professional musicians, Chopin remarks that, with the exception of + Schnabel, "the Germans" were at a loss what to think of him. The Polish + peasants use the word "German" as an invective, believe that the devil + speaks German and dresses in the German fashion, and refuse to take + medicine because they hold it to be an invention of the Germans and, + consequently, unfit for Christians. Although Chopin does not go so far, he + is by no means free from this national antipathy. Let his susceptibility + be ruffled by Germans, and you may be sure he will remember their + nationality. Besides old Schnabel there was among the persons whose + acquaintance Chopin made at Breslau only one other who interests us, and + interests us more than that respectable composer of church music; and this + one was the organist and composer Adolph Frederick Hesse, then a young man + of Chopin's age. Before long the latter became better acquainted with him. + In his account of his stay and playing in the Silesian capital, he says of + him only that "the second local connoisseur, Hesse, who has travelled + through the whole of Germany, paid me also compliments." + </p> + <p> + Chopin continued his journey on November 10, and on November 12 had + already plunged into Dresden life. Two features of this, in some respects + quite unique, life cannot but have been particularly attractive to our + traveller—namely, its Polish colony and the Italian opera. The + former owed its origin to the connection of the house of Saxony with the + crown of Poland; and the latter, which had been patronised by the Electors + and Kings for hundreds of years, was not disbanded till 1832. In 1817, it + is true, Weber, who had received a call for that purpose, founded a German + opera at Dresden, but the Italian opera retained the favour of the Court + and of a great part of the public, in fact, was the spoiled child that + looked down upon her younger sister, poor Cinderella. Even a Weber had to + fight hard to keep his own, indeed, sometimes failed to do so, in the + rivalry with the ornatissimo Signore Cavaliere Morlacchi, primo maestro + della capella Reale. + </p> + <p> + Chopin's first visit was to Miss Pechwell, through whom he got admission + to a soiree at the house of Dr. Kreyssig, where she was going to play and + the prima donna of the Italian opera to sing. Having carefully dressed, + Chopin made his way to Dr. Kreyssig's in a sedan-chair. Being unaccustomed + to this kind of conveyance he had a desire to kick out the bottom of the + "curious but comfortable box," a temptation which he, however—to his + honour be it recorded—resisted. On entering the salon he found there + a great number of ladies sitting round eight large tables:— + </p> +<pre xml:space="preserve"> + No sparkling of diamonds met my eye, but the more modest + glitter of a host of steel knitting-needles, which moved + ceaselessly in the busy hands of these ladies. The number of + ladies and knitting-needles was so large that if the ladies + had planned an attack upon the gentlemen that were present, + the latter would have been in a sorry plight. Nothing would + have been left to them but to make use of their spectacles as + weapons, for there was as little lack of eye-glasses as of + bald heads. +</pre> + <p> + The clicking of knitting-needles and the rattling of teacups were suddenly + interrupted by the overture to the opera "Fra Diavolo," which was being + played in an adjoining room. After the overture Signora Palazzesi sang + "with a bell-like, magnificent voice, and great bravura." Chopin asked to + be introduced to her. He made likewise the acquaintance of the old + composer and conductor Vincent Rastrelli, who introduced him to a brother + of the celebrated tenor Rubini. + </p> + <p> + At the Roman Catholic church, the Court Church, Chopin met Morlacchi, and + heard a mass by that excellent artist. The Neapolitan sopranists Sassaroli + and Tarquinio sang, and the "incomparable Rolla" played the solo violin. + On another occasion he heard a clever but dry mass by Baron von Miltitz, + which was performed under the direction of Morlacchi, and in which the + celebrated violoncello virtuosos Dotzauer and Kummer played their solos + beautifully, and the voices of Sassaroli, Muschetti, Babnigg, and Zezi + were heard to advantage. The theatre was, as usual, assiduously frequented + by Chopin. After the above-mentioned soiree he hastened to hear at least + the last act of "Die Stumme von Portici" ("Masaniello"). Of the + performance of Rossini's "Tancredi," which he witnessed on another + evening, he praised only the wonderful violin playing of Rolla and the + singing of Mdlle. Hahnel, a lady from the Vienna Court Theatre. Rossini's + "La Donna del lago," in Italian, is mentioned among the operas about to be + performed. What a strange anomaly, that in the year 1830 a state of + matters such as is indicated by these names and facts could still obtain + in Dresden, one of the capitals of musical Germany! It is emphatically a + curiosity of history. + </p> + <p> + Chopin, who came to Rolla with a letter of introduction from Soliva, was + received by the Italian violinist with great friendliness. Indeed, + kindness was showered upon him from all sides. Rubini promised him a + letter of introduction to his brother in Milan, Rolla one to the director + of the opera there, and Princess Augusta, the daughter of the late king, + and Princess Maximiliana, the sister-in-law of the reigning king, provided + him with letters for the Queen of Naples, the Duchess of Lucca, the + Vice-Queen of Milan, and Princess Ulasino in Rome. He had met the + princesses and played to them at the house of the Countess Dobrzycka, + Oberhofmeisterin of the Princess Augusta, daughter of the late king, + Frederick Augustus. + </p> + <p> + The name of the Oberhofmeisterin brings us to the Polish society of + Dresden, into which Chopin seems to have found his way at once. Already + two days after his arrival he writes of a party of Poles with whom he had + dined. At the house of Mdme. Pruszak he made the acquaintance of no less a + person than General Kniaziewicz, who took part in the defence of Warsaw, + commanded the left wing in the battle of Maciejowice (1794), and joined + Napoleon's Polish legion in 1796. Chopin wrote home: "I have pleased him + very much; he said that no pianist had made so agreeable an impression on + him." + </p> + <p> + To judge from the tone of Chopin's letters, none of all the people he came + in contact with gained his affection in so high a degree as did Klengel, + whom he calls "my dear Klengel," and of whom he says that he esteems him + very highly, and loves him as if he had known him from his earliest youth. + "I like to converse with him, for from him something is to be learned." + The great contrapuntist seems to have reciprocated this affection, at any + rate he took a great interest in his young friend, wished to see the + scores of his concertos, went without Chopin's knowledge to Morlacchi and + to the intendant of the theatre to try if a concert could not be arranged + within four days, told him that his playing reminded him of Field's, that + his touch was of a peculiar kind, and that he had not expected to find him + such a virtuoso. Although Chopin replied, when Klengel advised him to give + a concert, that his stay in Dresden was too short to admit of his doing + so, and thought himself that he could earn there neither much fame nor + much money, he nevertheless was not a little pleased that this excellent + artist had taken some trouble in attempting to smooth the way for a + concert, and to hear from him that this had been done not for Chopin's but + for Dresden's sake; our friend, be it noted, was by no means callous to + flattery. Klengel took him also to a soiree at the house of Madame + Niesiolawska, a Polish lady, and at supper proposed his health, which was + drunk in champagne. + </p> + <p> + There is a passage in one of Chopin's letters which I must quote; it tells + us something of his artistic taste outside his own art:— + </p> +<pre xml:space="preserve"> + The Green Vault I saw last time I was here, and once is + enough for me; but I revisited with great interest the + picture gallery. If I lived here I would go to it every week, + for there are pictures in it at the sight of which I imagine + I hear music. +</pre> + <p> + Thus our friend spent a week right pleasantly and not altogether + unprofitably in the Saxon Athens, and spent it so busily that what with + visits, dinners, soirees, operas, and other amusements, he leaving his + hotel early in the morning and returning late at night, it passed away he + did not know how. + </p> + <p> + Chopin, who made also a short stay in Prague—of which visit, + however, we have no account—arrived in Vienna in the latter part of + November, 1830. His intention was to give some concerts, and to proceed in + a month or two to Italy. How the execution of this plan was prevented by + various circumstances we shall see presently. Chopin flattered himself + with the belief that managers, publishers, artists, and the public in + general were impatiently awaiting his coming, and ready to receive him + with open arms. This, however, was an illusion. He overrated his success. + His playing at the two "Academies" in the dead season must have remained + unnoticed by many, and was probably forgotten by not a few who did notice + it. To talk, therefore, about forging the iron while it was hot proved a + misconception of the actual state of matters. It is true his playing and + compositions had made a certain impression, especially upon some of the + musicians who had heard him. But artists, even when free from hostile + jealousy, are far too much occupied with their own interests to be helpful + in pushing on their younger brethren. As to publishers and managers, they + care only for marketable articles, and until an article has got a + reputation its marketable value is very small. Nine hundred and + ninety-nine out of a thousand judge by names and not by intrinsic worth. + Suppose a hitherto unknown statue of Phidias, a painting of Raphael, a + symphony of Beethoven, were discovered and introduced to the public as the + works of unknown living artists, do you think they would receive the same + universal admiration as the known works of the immortal masters? Not at + all! By a very large majority of the connoisseurs and pretended + connoisseurs they would be criticised, depreciated, or ignored. Let, + however, the real names of the authors become known, and the whole world + will forthwith be thrown into ecstasy, and see in them even more beauties + than they really possess. Well, the first business of an artist, then, is + to make himself a reputation, and a reputation is not made by one or two + successes. A first success, be it ever so great, and achieved under ever + so favourable circumstances, is at best but the thin end of the wedge + which has been got in, but which has to be driven home with much vigour + and perseverance before the work is done. "Art is a fight, not a + pleasure-trip," said the French painter Millet, one who had learnt the + lesson in the severe school of experience. Unfortunately for Chopin, he + had neither the stuff nor the stomach for fighting. He shrank back at the + slightest touch like a sensitive plant. He could only thrive in the + sunshine of prosperity and protected against all those inimical influences + and obstacles that cause hardier natures to put forth their strength, and + indeed are necessary for the full unfolding of all their capabilities. + Chopin and Titus Woyciechowski put up at the hotel Stadt London, but, + finding the charges too high, they decamped and stayed at the hotel + Goldenes Lamm till the lodgings which they had taken were evacuated by the + English admiral then in possession of them. From Chopin's first letter + after his arrival in the Austrian capital his parents had the satisfaction + of learning that their son was in excellent spirits, and that his appetite + left nothing to be desired, especially when sharpened by good news from + home. In his perambulations he took particular note of the charming + Viennese girls, and at the Wilde Mann, where he was in the habit of + dining, he enjoyed immensely a dish of Strudeln. The only drawback to the + blissfulness of his then existence was a swollen nose, caused by the + change of air, a circumstance which interfered somewhat with his visiting + operations. He was generally well received by those on whom he called with + letters of introduction. In one of the two exceptional cases he let it be + understood that, having a letter of introduction from the Grand Duke + Constantine to the Russian Ambassador, he was not so insignificant a + person as to require the patronage of a banker; and in the other case he + comforted himself with the thought that a time would come when things + would be changed. + </p> + <p> + In the letter above alluded to (December 1, 1830) Chopin speaks of one of + the projected concerts as if it were to take place shortly; that is to + say, he is confident that, such being his pleasure, this will be the + natural course of events. His Warsaw acquaintance Orlowski, the + perpetrator of mazurkas on his concerto themes, was accompanying the + violinist Lafont on a concert-tour. Chopin does not envy him the honour:— + </p> +<pre xml:space="preserve"> + Will the time come [he writes] when Lafont will accompany me? + Does this question sound arrogant? But, God willing, this may + come to pass some day. +</pre> + <p> + Wurfel has conversations with him about the arrangements for a concert, + and Graff, the pianoforte-maker, advises him to give it in the + Landstandische Saal, the finest and most convenient hall in Vienna. Chopin + even asks his people which of his Concertos he should play, the one in F + or the one in E minor. But disappointments were not long in coming. One of + his first visits was to Haslinger, the publisher of the Variations on "La + ci darem la mano," to whom he had sent also a sonata and another set of + variations. Haslinger received him very kindly, but would print neither + the one nor the other work. No wonder the composer thought the cunning + publisher wished to induce him in a polite and artful way to let him have + his compositions gratis. For had not Wurfel told him that his Concerto in + F minor was better than Hummel's in A flat, which Haslinger had just + published, and had not Klengel at Dresden been surprised to hear that he + had received no payment for the Variations? But Chopin will make Haslinger + repent of it. "Perhaps he thinks that if he treats my compositions + somewhat en bagatelle, I shall be glad if only he prints them; but + henceforth nothing will be got from me gratis; my motto will be 'Pay, + animal!'" But evidently the animal wouldn't pay, and in fact did not print + the compositions till after Chopin's death. So, unless the firm of + Haslinger mentioned that he will call on him as soon as he has a room + wherein he can receive a visit in return, the name of Lachner does not + reappear in the correspondence. + </p> + <p> + In the management of the Karnthnerthor Theatre, Louis Duport had + succeeded, on September 1, 1830, Count Gallenberg, whom severe losses + obliged to relinquish a ten years' contract after the lapse of less than + two years. Chopin was introduced to the new manager by Hummel. + </p> +<pre xml:space="preserve"> + He (Duport) [writes Chopin on December 21 to his parents] was + formerly a celebrated dancer, and is said to be very + niggardly; however, he received me in an extremely polite + manner, for perhaps he thinks I shall play for him gratis. He + is mistaken there! We entered into a kind of negotiation, but + nothing definite was settled. If Mr. Duport offers me too + little, I shall give my concert in the large Redoutensaal. +</pre> + <p> + But the niggardly manager offered him nothing at all, and Chopin did not + give a concert either in the Redoutensaal or elsewhere, at least not for a + long time. Chopin's last-quoted remark is difficult to reconcile with what + he tells his friend Matuszyriski four days later: "I have no longer any + thought of giving a concert." In a letter to Elsner, dated January 26, + 1831, he writes:— + </p> +<pre xml:space="preserve"> + I meet now with obstacles on all sides. Not only does a + series of the most miserable pianoforte concerts totally ruin + all true music and make the public suspicious, but the + occurrences in Poland have also acted unfavourably upon my + position. Nevertheless, I intend to have during the carnival + a performance of my first Concerto, which has met with + Wurfel's full approval. +</pre> + <p> + It would, however, be a great mistake to ascribe the failure of Chopin's + projects solely to the adverse circumstances pointed out by him. The chief + causes lay in himself. They were his want of energy and of decision, + constitutional defects which were of course intensified by the + disappointment of finding indifference and obstruction where he expected + enthusiasm and furtherance, and by the outbreak of the revolution in + Poland (November 30, 1830), which made him tremble for the safety of his + beloved ones and the future of his country. In the letter from which I + have last quoted Chopin, after remarking that he had postponed writing + till he should be able to report some definite arrangement, proceeds to + say:— + </p> +<pre xml:space="preserve"> + But from the day that I heard of the dreadful occurrences in + our fatherland, my thoughts have been occupied only with + anxiety and longing for it and my dear ones. Malfatti gives + himself useless trouble in trying to convince me that the + artist is, or ought to be, a cosmopolitan. And, supposing + this were really the case, as an artist I am still in the + cradle, but as a Pole already a man. I hope, therefore, that + you will not be offended with me for not yet having seriously + thought of making arrangements for a concert. +</pre> + <p> + What affected Chopin most and made him feel lonely was the departure of + his friend Woyciechowski, who on the first news of the insurrection + returned to Poland and joined the insurgents. Chopin wished to do the + same, but his parents advised him to stay where he was, telling him that + he was not strong enough to bear the fatigues and hardships of a soldier's + life. Nevertheless, when Woyciechowski was gone an irresistible + home-sickness seized him, and, taking post-horses, he tried to overtake + his friend and go with him. But after following him for some stages + without making up to him, his resolution broke down, and he returned to + Vienna. Chopin's characteristic irresolution shows itself again at this + time very strikingly, indeed, his letters are full of expressions + indicating and even confessing it. On December 21, 1830, he writes to his + parents:— + </p> +<pre xml:space="preserve"> + I do not know whether I ought to go soon to Italy or wait a + little longer? Please, dearest papa, let me know your and the + best mother's will in this matter. +</pre> + <p> + And four days afterwards he writes to Matuszynski:— + </p> +<pre xml:space="preserve"> + You know, of course, that 1 have letters from the Royal Court + of Saxony to the Vice-Queen in Milan, but what shall I do? My + parents leave me to choose; I wish they would give me + instructions. Shall I go to Paris? My acquaintances here + advise me to wait a little longer. Shall I return home? Shall + I stay here? Shall I kill myself? Shall I not write to you + any more? +</pre> + <p> + Chopin's dearest wish was to be at home again. "How I should like to be in + Warsaw!" he writes. But the fulfilment of this wish was out of the + question, being against the desire of his parents, of whom especially the + mother seems to have been glad that he did not execute his project of + coming home. + </p> +<pre xml:space="preserve"> + I would not like to be a burden to my father; were it not for + this fear I should return home at once. I am often in such a + mood that I curse the moment of my departure from my sweet + home! You will understand my situation, and that since the + departure of Titus too much has fallen upon me all at once. +</pre> + <p> + The question whether he should go to Italy or to France was soon decided + for him, for the suppressed but constantly-increasing commotion which had + agitated the former country ever since the July revolution at last vented + itself in a series of insurrections. Modena began on February 3,1831, + Bologna, Ancona, Parma, and Rome followed. While the "where to go" was + thus settled, the "when to go" remained an open question for many months + to come. Meanwhile let us try to look a little deeper into the inner and + outer life which Chopin lived at Vienna. + </p> + <p> + The biographical details of this period of Chopin's life have to be drawn + almost wholly from his letters. These, however, must be judiciously used. + Those addressed to his parents, important as they are, are only valuable + with regard to the composer's outward life, and even as vehicles of such + facts they are not altogether trustworthy, for it is always his endeavour + to make his parents believe that he is well and cheery. Thus he writes, + for instance, to his friend Matuszyriski, after pouring forth complaint + after complaint:—"Tell my parents that I am very happy, that I am in + want of nothing, that I amuse myself famously, and never feel lonely." + Indeed, the Spectator's opinion that nothing discovers the true temper of + a person so much as his letters, requires a good deal of limitation and + qualification. Johnson's ideas on the same subject may be recommended as a + corrective. He held that there was no transaction which offered stronger + temptations to fallacy and sophistication than epistolary intercourse:— + </p> +<pre xml:space="preserve"> + In the eagerness of conversation the first emotions of the + mind burst out before they are considered. In the tumult of + business, interest and passion have their genuine effect; but + a friendly letter is a calm and deliberate performance in the + cool of leisure, in the stillness of solitude, and surely no + man sits down by design to depreciate his own character. + Friendship has no tendency to secure veracity; for by whom + can a man so much wish to be thought better than he is, as by + him whose kindness he desires to gain or keep? +</pre> + <p> + These one-sided statements are open to much criticism, and would make an + excellent theme for an essay. Here, however, we must content ourselves + with simply pointing out that letters are not always calm and deliberate + performances, but exhibit often the eagerness of conversation and the + impulsiveness of passion. In Chopin's correspondence we find this not + unfrequently exemplified. But to see it we must not turn to the letters + addressed to his parents, to his master, and to his acquaintances—there + we find little of the real man and his deeper feelings—but to those + addressed to his bosom-friends, and among them there are none in which he + shows himself more openly than in the two which he wrote on December 25, + 1830, and January 1, 1831, to John Matuszynski. These letters are, indeed, + such wonderful revelations of their writer's character that I should fail + in my duty as his biographer were I to neglect to place before the reader + copious extracts from them, in short, all those passages which throw light + on the inner working of this interesting personality. + </p> +<pre xml:space="preserve"> + Dec. 25, 1830.—I longed indescribably for your letter; you + know why. How happy news of my angel of peace always makes + me! How I should like to touch all the strings which not only + call up stormy feelings, but also awaken again the songs + whose half-dying echo is still flitting on the banks of the + Danube-songs which the warriors of King John Sobieski sang! + + You advised me to choose a poet. But you know I am an + undecided being, and succeeded only once in my life in making + a good choice. + + The many dinners, soirees, concerts, and balls which I have + to go to only bore me. I am sad, and feel so lonely and + forsaken here. But I cannot live as I would! I must dress, + appear with a cheerful countenance in the salons; but when I + am again in my room I give vent to my feelings on the piano, + to which, as my best friend in Vienna, I disclose all my + sufferings. I have not a soul to whom I can fully unbosom + myself, and yet I must meet everyone like a friend. There + are, indeed, people here who seem to love me, take my + portrait, seek my society; but they do not make up for the + want of you [his friends and relations]. I lack inward peace, + I am at rest only when I read your [his friends' and + relations'] letters, and picture to myself the statue of King + Sigismund, or gaze at the ring [Constantia's], that dear + jewel. Forgive me, dear Johnnie, for complaining so much to + you; but my heart grows lighter when I speak to you thus. To + you I have indeed always told all that affected me. Did you + receive my little note the day before yesterday? Perhaps you + don't care much for my scribbling, for you are at home; but I + read and read your letters again and again. + + Dr. Freyer has called on me several times; he had learned + from Schuch that I was in Vienna. He told me a great deal of + interesting news, and enjoyed your letter, which I read to + him up to a certain passage. This passage has made me very + sad. Is she really so much changed in appearance? Perhaps she + was ill? One could easily fancy her being so, as she has a + very sensitive disposition. Perhaps she only appeared so to + you, or was she afraid of anything? God forbid that she + should suffer in any way on my account. Set her mind at rest, + and tell her that as long as my heart beats I shall not cease + to adore her. Tell her that even after my death my ashes + shall be strewn under her feet. Still, all this is yet too + little, and you might tell her a great deal more. + + I shall write to her myself; indeed, I would have done so + long ago to free myself from my torments; but if my letter + should fall into strange hands, might this not hurt her + reputation? Therefore, dear friend, be you the interpreter + of my feelings; speak for me, "et j'en conviendrai." These + French words of yours flashed through me like lightning. A + Viennese gentleman who walked beside me in the street when I + was reading your letter, seized me by the arm, and was hardly + able to hold me. He did not know what had happened to me. I + should have liked to embrace and kiss all the passers-by, and + I felt happier than I had done for a long time, for I had + received the first letter from you. Perhaps I weary you, + Johnnie, with my passionateness; but it is difficult for me + to conceal from you anything that moves my heart. + + The day before yesterday I dined at Madame Beyer's, her name + is likewise Constantia. I like her society, her having that + indescribably dear Christian name is sufficient to account + for my partiality; it gives me even pleasure when one of her + pocket-handkerchiefs or napkins marked "Constantia" comes + into my hands. + + I walked alone, and slowly, into St. Stephen's. The church + was as yet empty. To view the noble, magnificent edifice in a + truly devout spirit I leant against a pillar in the darkest + corner of this house of God. The grandeur of the arched roof + cannot be described, one must see St. Stephen's with one's + own eyes. Around me reigned the profoundest silence, which + was interrupted only by the echoing footsteps of the + sacristan who came to light the candles. Behind me was a + grave, before me a grave, only above me I saw none. At that + moment I felt my loneliness and isolation. When the lights + were burning and the Cathedral began to fill with people, I + wrapped myself up more closely in my cloak (you know the way + in which I used to walk through the suburb of Cracow), and + hastened to be present at the Mass in the Imperial Court + Chapel. Now, however, I walked no longer alone, but passed + through the beautiful streets of Vienna in merry company to + the Hofburg, where I heard three movements of a mass + performed by sleepy musicians. At one o'clock in the morning + I reached my lodgings. I dreamt of you, of her, and of my + dear children [his sisters]. + + The first thing I did to-day was to indulge myself in + melancholy fantasias on my piano. + + Advise me what to do. Please ask the person who has always + exercised so powerful an influence over me in Warsaw, and let + me know her opinion; according to that I shall act. + + Let me hear once more from you before you take the field. + Vienna, poste restante. Go and see my parents and Constantia. + Visit my sisters often, as long as you are still in Warsaw, + so that they may think that you are coming to me, and that I + am in the other room. Sit down beside them that they may + imagine I am there too; in one word, be my substitute in the + house of my parents. + + I shall conclude, dear Johnnie, for now it is really time. + Embrace all my dear colleagues for me, and believe that I + shall not cease to love you until I cease to love those that + are dearest to me, my parents and her. + + My dearest friend, do write me soon a few lines. You may even + show her this letter, if you think fit to do so. + + My parents don't know that I write to you. You may tell them + of it, but must by no means show them the letter. I cannot + yet take leave of my Johnnie; but I shall be off presently, + you naughty one! If W...loves you as heartily as I love you, + then would Con...No, I cannot complete the name, my hand is + too unworthy. Ah! I could tear out my hair when I think that + I could be forgotten by her! + + My portrait, of which only you and I are to know, is a very + good likeness; if you think it would give her pleasure, I + would send it to her through Schuch. + + January 1, 1831.—There you have what you wanted! Have you + received the letter? Have you delivered any of the messages + it contained? To-day I still regret what I have done. I was + full of sweet hopes, and now am tormented by anxiety and + doubts. Perhaps she mocks at me—laughs at me? Perhaps—ah! + does she love me? This is what my passionate heart asks. You + wicked AEsculapius, you were at the theatre, you eyed her + incessantly with your opera-glass; if this is the case a + thunderbolt shall...Do not forfeit my confidence; oh, you! if + I write to you I do so only for my own sake, for you do not + deserve it. + + Just now when I am writing I am in a strange state; I feel as + if I were with you [with his dear ones], and were only + dreaming what I see and hear here. The voices which I hear + around me, and to which my ear is not accustomed, make upon + me for the most part only an impression like the rattling of + carriages or any other indifferent noise. Only your voice or + that of Titus could to-day wake me out of my torpor. Life and + death are perfectly alike to me. Tell, however, my parents + that I am very happy, that I am in want of nothing, that I + amuse myself famously, and never feel lonely. + + If she mocks at me, tell her the same; but if she inquires + kindly for me, shows some concern about me, whisper to her + that she may make her mind easy; but add also that away from + her I feel everywhere lonely and unhappy. I am unwell, but + this I do not write to my parents. Everybody asks what is the + matter with me. I should like to answer that I have lost my + good spirits. However, you know best what troubles me! + Although there is no lack of entertainment and diversion + here, I rarely feel inclined for amusement. + + To-day is the first of January. Oh, how sadly this year + begins for me! I love you [his friends] above all things. + Write as soon as possible. Is she at Radom? Have you thrown + up redoubts? My poor parents! How are my friends faring? + + I could die for you, for you all! Why am I doomed to be here + so lonely and forsaken? You can at least open your hearts to + each other and comfort each other. Your flute will have + enough to lament! How much more will my piano have to weep! + + You write that you and your regiment are going to take the + field; how will you forward the note? Be sure you do not send + it by a messenger; be cautious! The parents might perhaps— + they might perhaps view the matter in a false light. + + I embrace you once more. You are going to the war; return as + a colonel. May all pass off well! Why may I not at least be + your drummer? + + Forgive the disorder in my letter, I write as if I were + intoxicated. +</pre> + <p> + The disorder of the letters is indeed very striking; it is great in the + foregoing extracts, and of course ten times greater with the interspersed + descriptions, bits of news, and criticisms on music and musicians. I + preferred separating the fundamental and always-recurring thoughts, the + all-absorbing and predominating feelings, from the more superficial and + passing fancies and affections, and all those matters which were to him, + if not of total indifference, at least of comparatively little moment; + because such a separation enables us to gain a clearer and fuller view of + the inner man and to judge henceforth his actions and works with some + degree of certainty, even where his own accounts and comments and those of + trustworthy witnesses fail us. The psychological student need not be told + to take note of the disorder in these two letters and of their length + (written to the same person within less than a week, they fill nearly + twelve printed pages in Karasowski's book), he will not be found + neglecting such important indications of the temporary mood and the + character of which it is a manifestation. And now let us take a glance at + Chopin's outward life in Vienna. + </p> + <p> + I have already stated that Chopin and Woyciechowski lived together. Their + lodgings, for which they had to pay their landlady, a baroness, fifty + florins, were on the third story of a house in the Kohlmarkt, and + consisted of three elegant rooms. When his friend left, Chopin thought the + rent too high for his purse, and as an English family was willing to pay + as much as eighty florins, he sublet the rooms and removed to the fourth + story, where he found in the Baroness von Lachmanowicz an agreeable young + landlady, and had equally roomy apartments which cost him only twenty + florins and pleased him quite well. The house was favourably situated, + Mechetti being on the right, Artaria on the left, and the opera behind; + and as people were not deterred by the high stairs from visiting him, not + even old Count Hussarzewski, and a good profit would accrue to him from + those eighty florins, he could afford to laugh at theprobable dismay of + his friends picturing him as "a poor devil living in a garret," and could + do so the more heartily as there was in reality another story between him + and the roof. He gives his people a very pretty description of his + lodgings and mode of life:— + </p> +<pre xml:space="preserve"> + I live on the fourth story, in a fine street, but I have to + strain my eyes in looking out of the window when I wish to + see what is going on beneath. You will find my room in my new + album when I am at home again. Young Hummel [a son of the + composer] is so kind as to draw it for me. It is large and + has five windows; the bed is opposite to them. My wonderful + piano stands on the right, the sofa on the left; between the + windows there is a mirror, in the middle of the room a fine, + large, round mahogany table; the floor is polished. Hush! + "The gentleman does not receive visitors in the afternoon"— + hence I can be amongst you in my thoughts. Early in the + morning the unbearably-stupid servant wakes me; I rise, get + my coffee, and often drink it cold because I forget my + breakfast over my playing. Punctually at nine o'clock appears + my German master; then I generally write; and after that, + Hummel comes to work at my portrait, while Nidecki studies my + concerto. And all this time I remain in my comfortable + dressing-gown, which I do not take off till twelve o'clock. + At that hour a very worthy German makes his appearance, Herr + Leibenfrost, who works in the law-courts here. If the weather + is fine I take a walk with him on the Glacis, then we dine + together at a restaurant, Zur bohmischen Kochin, which is + frequented by all the university students; and finally we go + (as is the custom here) to one of the best coffee-houses. + After this I make calls, return home in the twilight, throw + myself into evening-dress, and must be off to some soiree: to- + day here, to-morrow there. About eleven or twelve (but never + later) I return home, play, laugh, read, lie down, put out + the light, sleep, and dream of you, my dear ones. +</pre> + <p> + If is evident that there was no occasion to fear that Chopin would kill + himself with too hard work. Indeed, the number of friends, or, not to + misuse this sacred name, let us rather say acquaintances, he had, did not + allow him much time for study and composition. In his letters from Vienna + are mentioned more than forty names of families and single individuals + with whom he had personal intercourse. I need hardly add that among them + there was a considerable sprinkling of Poles. Indeed, the majority of the + houses where he was oftenest seen, and where he felt most happy, were + those of his countrymen, or those in which there was at least some Polish + member, or which had some Polish connection. Already on December 1, 1830, + he writes home that he had been several times at Count Hussarzewski's, and + purposes to pay a visit at Countess Rosalia Rzewuska's, where he expects + to meet Madame Cibbini, the daughter of Leopold Kozeluch and a pupil of + Clementi, known as a pianist and composer, to whom Moscheles dedicated a + sonata for four hands, and who at that time was first lady-in-waiting to + the Empress of Austria. Chopin had likewise called twice at Madame + Weyberheim's. This lady, who was a sister of Madame Wolf and the wife of a + rich banker, invited him to a soiree "en petit cercle des amateurs," and + some weeks later to a soiree dansante, on which occasion he saw "many + young people, beautiful, but not antique [that is to say not of the Old + Testament kind], "refused to play, although the lady of the house and her + beautiful daughters had invited many musical personages, was forced to + dance a cotillon, made some rounds, and then went home. In the house of + the family Beyer (where the husband was a Pole of Odessa, and the wife, + likewise Polish, bore the fascinating Christian name Constantia—the + reader will remember her) Chopin felt soon at his ease. There he liked to + dine, sup, lounge, chat, play, dance mazurkas, &c. He often met there + the violinist Slavik, and the day before Christmas played with him all the + morning and evening, another day staying with him there till two o'clock + in the morning. We hear also of dinners at the house of his countrywoman + Madame Elkan, and at Madame Schaschek's, where (he writes in July, 1831) + he usually met several Polish ladies, who by their hearty hopeful words + always cheered him, and where he once made his appearance at four instead + of the appointed dinner hour, two o'clock. But one of his best friends was + the medical celebrity Dr. Malfatti, physician-in-ordinary to the Emperor + of Austria, better remembered by the musical reader as the friend of + Beethoven, whom he attended in his last illness, forgetting what causes + for complaint he might have against the too irritable master. Well, this + Dr. Malfatti received Chopin, of whom he had already heard from Wladyslaw + Ostrowski, "as heartily as if I had been a relation of his" (Chopin uses + here a very bold simile), running up to him and embracing him as soon as + he had got sight of his visiting-card. Chopin became a frequent guest at + the doctor's house; in his letters we come often on the announcement that + he has dined or is going to dine on such or such a day at Dr. Malfatti's. + </p> +<pre xml:space="preserve"> + December 1, 1830.—On the whole things are going well with + me, and I hope with God's help, who sent Malfatti to my + assistance—oh, excellent Malfatti!—that they will go better + still. + + December 25, 1830.—I went to dine at Malfatti's. This + excellent man thinks of everything; he is even so kind as to + set before us dishes prepared in the Polish fashion. + + May 14, 1831.—I am very brisk, and feel that good health is + the best comfort in misfortune. Perhaps Malfatti's soups have + strengthened me so much that I feel better than I ever did. + If this is really the case, I must doubly regret that + Malfatti has gone with his family into the country. You have + no idea how beautiful the villa is in which he lives; this + day week I was there with Hummel. After this amiable + physician had taken us over his house he showed us also his + garden. When we stood at the top of the hill, from which we + had a splendid view, we did not wish to go down again. The + Court honours Malfatti every year with a visit. He has the + Duchess of Anhalt-Cothen as a neighbour; I should not wonder + if she envied him his garden. On one side one sees Vienna + lying at one's feet, and in such a way that one might believe + it was joined to Schoenbrunn; on the other side one sees high + mountains picturesquely dotted with convents and villages. + Gazing on this romantic panorama one entirely forgets the + noisy bustle and proximity of the capital. +</pre> +<pre xml:space="preserve"> +This is one of the few descriptive passages to be found in Chopin's +letters—men and their ways interested him more than natural scenery. +But to return from the villa to its owner, Chopin characterises +his relation to the doctor unequivocally in the following +statement:—"Malfatti really loves me, and I am not a little proud of +it." Indeed, the doctor seems to have been a true friend, ready with act +and counsel. He aided him with his influence in various ways; thus, +for instance, we read that he promised to introduce him to Madame +Tatyszczew, the wife of the Russian Ambassador, and to Baron Dunoi, +the president of the musical society, whom Chopin thought a very useful +personage to know. At Malfatti's he made also the acquaintance of some +artists whom he would, perhaps, have had no opportunity of meeting +elsewhere. One of these was the celebrated tenor Wild. He came to +Malfatti's in the afternoon of Christmas-day, and Chopin, who had been +dining there, says: "I accompanied by heart the aria from Othello, which +he sang in a masterly style. Wild and Miss Heinefetter are the ornaments +of the Court Opera." Of a celebration of Malfatti's name-day Chopin +gives the following graphic account in a letter to his parents, dated +June 25, 1831:— Mechetti, who wished to surprise him [Malfatti], +persuaded the Misses Emmering and Lutzer, and the Messrs. Wild, + Cicimara, and your Frederick to perform some music at the + honoured man's house; almost from beginning to end the + performance was deserving of the predicate "parfait." I never + heard the quartet from Moses better sung; but Miss Gladkowska + sang "O quante lagrime" at my farewell concert at Warsaw with + much more expression. Wild was in excellent voice, and I + acted in a way as Capellmeister. +</pre> + <p> + To this he adds the note:— + </p> +<pre xml:space="preserve"> + Cicimara said there was nobody in Vienna who accompanied so + well as I. And I thought, "Of that I have been long + convinced." A considerable number of people stood on the + terrace of the house and listened to our concert. The moon + shone with wondrous beauty, the fountains rose like columns + of pearls, the air was filled with the fragrance of the + orangery; in short, it was an enchanting night, and the + surroundings were magnificent! And now I will describe to you + the drawing-room in which we were. High windows, open from + top to bottom, look out upon the terrace, from which one has + a splendid view of the whole of Vienna. The walls are hung + with large mirrors; the lights were faint: but so much the + greater was the effect of the moonlight which streamed + through the windows. The cabinet to the left of the drawing- + room and adjoining it gives, on account of its large + dimensions, an imposing aspect to the whole apartment. The + ingenuousness and courtesy of the host, the elegant and + genial society, the generally-prevailing joviality, and the + excellent supper, kept us long together. +</pre> + <p> + Here Chopin is seen at his best as a letter writer; it would be difficult + to find other passages of equal excellence. For, although we meet + frequently enough with isolated pretty bits, there is not one single + letter which, from beginning to end, as a whole as well as in its parts, + has the perfection and charm of Mendelssohn's letters. + </p> + <p> + <a name="link2HCH0012" id="link2HCH0012"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER XII + </h2> + <p> + VIENNA MUSICAL LIFE.—KARNTHNERTHOR THEATRE.—SABINE + HEINEFETTER.—CONCERTS: HESSE, THALBERG, DOHLER, HUMMEL, ALOYS + SCHMITT, CHARLES CZERNY, SLAVIK, MERK, BOCKLET, ABBE STABLER, KIESEWETTER, + KANDLER.—THE PUBLISHERS HASLINGER, DIABELLI, MECHETTI, AND JOSEPH + CZERNY.—LANNER AND STRAUSS.—CHOPIN PLAYS AT A CONCERT OF + MADAME GARZIA-VESTRIS AND GIVES ONE HIMSELF.—HIS STUDIES AND + COMPOSITIONS OF THAT TIME.—HIS STATE OF BODY AND MIND.—PREPARATIONS + FOR AND POSTPONEMENT OF HIS DEPARTURE.—SHORTNESS OF MONEY.—HIS + MELANCHOLY.—TWO EXCURSIONS.—LEAVES FOR MUNICH.—HIS + CONCERT AT MUNICH.—HIS STAY AT STUTTGART.—PROCEEDS TO PARIS. + </p> + <p> + The allusions to music and musicians lead us naturally to inquire further + after Chopin's musical experiences in Vienna. + </p> +<pre xml:space="preserve"> + January 26, 1831.—If I had not made [he writes] the + exceedingly interesting acquaintance of the most talented + artists of this place, such as Slavik, Merk, Bocklet, and so + forth [this "so forth" is tantalising], I should be very + little satisfied with my stay here. The Opera indeed is good: + Wild and Miss Heinefetter fascinate the Viennese; only it is + a pity that Duport brings forward so few new operas, and + thinks more of his pocket than of art. +</pre> + <p> + What Chopin says here and elsewhere about Duport's stinginess tallies with + the contemporary newspaper accounts. No sooner had the new manager taken + possession of his post than he began to economise in such a manner that he + drove away men like Conradin Kreutzer, Weigl, and Mayseder. During the + earlier part of his sojourn in Vienna Chopin remarked that excepting + Heinefetter and Wild, the singers were not so excellent as he had expected + to find them at the Imperial Opera. Afterwards he seems to have somewhat + extended his sympathies, for he writes in July, 1831:— + </p> +<pre xml:space="preserve"> + Rossini's "Siege of Corinth" was lately very well performed + here, and I am glad that I had the opportunity of hearing + this opera. Miss Heinefetter and Messrs. Wild, Binder, and + Forti, in short, all the good singers in Vienna, appeared in + this opera and did their best. +</pre> + <p> + Chopin's most considerable criticism of this time is one on Miss + Heinefetter in a letter written on December 25, 1830; it may serve as a + pendant to his criticism on Miss Sontag which I quoted in a preceding + chapter. + </p> +<pre xml:space="preserve"> + Miss Heinefetter has a voice such as one seldom hears; she + sings always in tune; her coloratura is like so many pearls; + in short, everything is faultless. She looks particularly + well when dressed as a man. But she is cold: I got my nose + almost frozen in the stalls. In "Othello" she delighted me + more than in the "Barber of Seville," where she represents a + finished coquette instead of a lively, witty girl. As Sextus + in "Titus" she looks really quite splendid. In a few days she + is to appear in the "Thieving Magpie" ["La Gazza ladra"]. I + am anxious to hear it. Miss Woikow pleased me better as + Rosina in the "Barber"; but, to be sure, she has not such a + delicious voice as the Heinefetter. I wish I had heard Pasta! +</pre> + <p> + The opera at the Karnthnerthor Theatre with all its shortcomings was + nevertheless the most important and most satisfactory musical institution + of the city. What else, indeed, had Vienna to offer to the earnest + musician? Lanner and Strauss were the heroes of the day, and the majority + of other concerts than those given by them were exhibitions of virtuosos. + Imagine what a pass the musical world of Vienna must have come to when + Stadler, Kiesewetter, Mosel, and Seyfried could be called, as Chopin did + call them, its elite! Abbe Stadler might well say to the stranger from + Poland that Vienna was no longer what it used to be. Haydn, Mozart, + Beethoven, and Schubert had shuffled off their mortal coil, and compared + with these suns their surviving contemporaries and successors—Gyrowetz, + Weigl, Stadler, Conradin Kreutzer, Lachner, &c.—were but dim and + uncertain lights. + </p> + <p> + With regard to choral and orchestral performances apart from the stage, + Vienna had till more recent times very little to boast of. In 1830-1831 + the Spirituel-Concerte (Concerts Spirituels) were still in existence under + the conductorship of Lannoy; but since 1824 their number had dwindled down + from eighteen to four yearly concerts. The programmes were made up of a + symphony and some sacred choruses. Beethoven, Mozart, and Haydn + predominated among the symphonists; in the choral department preference + was given to the Austrian school of church music; but Cherubim also was a + great favourite, and choruses from Handel's oratorios, with Mosel's + additional accompaniments, were often performed. The name of Beethoven was + hardly ever absent from any of the programmes. That the orchestra + consisted chiefly of amateurs, and that the performances took place + without rehearsals (only difficult new works got a rehearsal, and one + only), are facts which speak for themselves. Franz Lachner told Hanslick + that the performances of new and in any way difficult compositions were so + bad that Schubert once left the hall in the middle of one of his works, + and he himself (Lachner) had felt several times inclined to do the same. + These are the concerts of which Beethoven spoke as Winkelmusik, and the + tickets of which he denominated Abtrittskarten, a word which, as the + expression of a man of genius, I do not hesitate to quote, but which I + could not venture to translate. Since this damning criticism was uttered, + matters had not improved, on the contrary, had gone from bad to worse. + Another society of note was the still existing and flourishing + Gesellschaft der Musikfreunde. It, too, gave four, or perhaps five yearly + concerts, in each of which a symphony, an overture, an aria or duet, an + instrumental solo, and a chorus were performed. This society was afflicted + with the same evil as the first-named institution. It was a + </p> +<pre xml:space="preserve"> + gladdening sight [we are told] to see counts and tradesmen, + superiors and subalterns, professors and students, noble + ladies and simple burghers' daughters side by side + harmoniously exerting themselves for the love of art. +</pre> + <p> + As far as choral singing is concerned the example deserves to be followed, + but the matter stands differently with regard to instrumental music, a + branch of the art which demands not only longer and more careful, but also + constant, training. Although the early custom of drawing lots, in order to + determine who were to sing the solos, what places the players were to + occupy in the orchestra, and which of the four conductors was to wield the + baton, had already disappeared before 1831, yet in 1841 the performances + of the symphonies were still so little "in the spirit of the composers" (a + delicate way of stating an ugly fact) that a critic advised the society to + imitate the foreign conservatoriums, and reinforce the band with the best + musicians of the capital, who, constantly exercising their art, and + conversant with the works of the great masters, were better able to do + justice to them than amateurs who met only four times a year. What a boon + it would be to humanity, what an increase of happiness, if amateurs would + allow themselves to be taught by George Eliot, who never spoke truer and + wiser words than when she said:—"A little private imitation of what + is good is a sort of private devotion to it, and most of us ought to + practise art only in the light of private study—preparation to + understand and enjoy what the few can do for us." In addition to the above + I shall yet mention a third society, the Tonkunstler-Societat, which, as + the name implies, was an association of musicians. Its object was the + getting-up and keeping-up of a pension fund, and its artistic activity + displayed itself in four yearly concerts. Haydn's "Creation" and "Seasons" + were the stock pieces of the society's repertoire, but in 1830 and 1831 + Handel's "Messiah" and "Solomon" and Lachner's "Die vier Menschenalter" + were also performed. + </p> + <p> + These historical notes will give us an idea of what Chopin may have heard + in the way of choral and orchestral music. I say "may have heard," because + not a word is to be found in his extant letters about the concerts of + these societies. Without exposing ourselves to the reproach of rashness, + we may, however, assume that he was present at the concert of the + Gesellschaft der Musikfreunde on March 20, 1831, when among the items of + the programme were Beethoven's Pastoral Symphony, and the first movement + of a concerto composed and played by Thalberg. On seeing the name of one + of the most famous pianists contemporary with Chopin, the reader has, no + doubt, at once guessed the reason why I assumed the latter's presence at + the concert. These two remarkable, but in their characters and aims so + dissimilar, men had some friendly intercourse in Vienna. Chopin mentions + Thalberg twice in his letters, first on December 25, 1830, and again on + May 28, 1831. On the latter occasion he relates that he went with him to + an organ recital given by Hesse, the previously-mentioned Adolf Hesse of + Breslau, of whom Chopin now remarked that he had talent and knew how to + treat his instrument. Hesse and Chopin must have had some personal + intercourse, for we learn that the former left with the latter an album + leaf. A propos of this circumstance, Chopin confesses in a letter to his + people that he is at a loss what to write, that he lacks the requisite + wit. But let us return to the brilliant pianist, who, of course, was a + more interesting acquaintance in Chopin's, eyes than the great organist. + Born in 1812, and consequently three years younger than Chopin, Sigismund + Thalberg had already in his fifteenth year played with success in public, + and at the age of sixteen published Op. 1, 2, and 3. However, when Chopin + made his acquaintance, he had not yet begun to play only his own + compositions (about that time he played, for instance, Beethoven's C minor + Concerto at one of the Spirituel-Concerte, where since 1830 instrumental + solos were occasionally heard), nor had he attained that in its way unique + perfection of beauty of tone and elegance of execution which distinguished + him afterwards. Indeed, the palmy days of his career cannot be dated + farther back than the year 1835, when he and Chopin met again in Paris; + but then his success was so enormous that his fame in a short time became + universal, and as a virtuoso only one rival was left him—Liszt, the + unconquered. That Chopin and Thalberg entertained very high opinions of + each other cannot be asserted. Let the reader judge for himself after + reading what Chopin says in his letter of December 25, 1830:— + </p> +<pre xml:space="preserve"> + Thalberg plays famously, but he is not my man. He is younger + than I, pleases the ladies very much, makes pot-pourris on + "La Muette" ["Masaniello"], plays the forte and piano with + the pedal, but not with the hand, takes tenths as easily as I + do octaves, and wears studs with diamonds. Moscheles does not + at all astonish him; therefore it is no wonder that only the + tuttis of my concerto have pleased him. He, too, writes + concertos. +</pre> + <p> + Chopin was endowed with a considerable power of sarcasm, and was fond of + cultivating and exercising it. This portraiture of his brother-artist is + not a bad specimen of its kind, although we shall meet with better ones. + </p> + <p> + Another, but as yet unfledged, celebrity was at that time living in + Vienna, prosecuting his studies under Czerny—namely, Theodor Dohler. + Chopin, who went to hear him play some compositions of his master's at the + theatre, does not allude to him again after the concert; but if he foresaw + what a position as a pianist and composer he himself was destined to + occupy, he could not suspect that this lad of seventeen would some day be + held up to the Parisian public by a hostile clique as a rival equalling + and even surpassing his peculiar excellences. By the way, the notion of + anyone playing compositions of Czerny's at a concert cannot but strangely + tickle the fancy of a musician who has the privilege of living in the + latter part of the nineteenth century. + </p> + <p> + Besides the young pianists with a great future before them Chopin came + also in contact with aging pianists with a great past behind them. Hummel, + accompanied by his son, called on him in the latter part of December, + 1830, and was extraordinarily polite. In April, 1831, the two pianists, + the setting and the rising star, were together at the villa of Dr. + Malfatti. Chopin informed his master, Elsner, for whose masses he was in + quest of a publisher, that Haslinger was publishing the last mass of + Hummel, and added:— For he now lives only by and for Hummel. + </p> +<pre xml:space="preserve"> + It is rumoured that + the last compositions of Hummel do not sell well, and yet he + is said to have paid a high price for them. Therefore he now + lays all MSS. aside, and prints only Strauss's waltzes. +</pre> + <p> + Unfortunately there is not a word which betrays Chopin's opinion of + Hummel's playing and compositions. We are more fortunate in the case of + another celebrity, one, however, of a much lower order. In one of the + prosaic intervals, of the sentimental rhapsody, indited on December 25, + 1830, there occur the following remarks:— + </p> +<pre xml:space="preserve"> + The pianist Aloys Schmitt of Frankfort-on-the-Main, famous + for his excellent studies, is at present here; he is a man + above forty. I have made his acquaintance; he promised to + visit me. He intends to give a concert here, and one must + admit that he is a clever musician. I think we shall + understand each other with regard to music. +</pre> + <p> + Having looked at this picture, let the reader look also at this other, + dashed off a month later in a letter to Elsner:— + </p> +<pre xml:space="preserve"> + The pianist Aloys Schmitt has been flipped on the nose by the + critics, although he is already over forty years old, and + composes eighty-years-old music. +</pre> + <p> + From the contemporary journals we learn that, at the concert mentioned by + Chopin, Schmitt afforded the public of Vienna an opportunity of hearing a + number of his own compositions—which were by no means short + drawing-room pieces, but a symphony, overture, concerto, concertino, &c.—and + that he concluded his concert with an improvisation. One critic, at least, + described his style of playing as sound and brilliant. The misfortune of + Schmitt was to have come too late into the world—respectable + mediocrities like him always do that—he never had any youth. The + pianist on whom Chopin called first on arriving in Vienna was Charles + Czerny, and he + </p> +<pre xml:space="preserve"> + was, as he is always (and to everybody), very polite, and + asked, "Hat fleissig studirt?" [Have you studied diligently?] + He has again arranged an overture for eight pianos and + sixteen performers, and seems to be very happy over it. +</pre> + <p> + Only in the sense of belonging rather to the outgoing than to the incoming + generation can Czerny be reckoned among the aged pianists, for in 1831 he + was not above forty years of age and had still an enormous capacity for + work in him—hundreds and hundreds of original and transcribed + compositions, thousands and thousands of lessons. His name appears in a + passage of one of Chopin's letters which deserves to be quoted for various + reasons: it shows the writer's dislike to the Jews, his love of Polish + music, and his contempt for a kind of composition much cultivated by + Czerny. Speaking of the violinist Herz, "an Israelite," who was almost + hissed when he made his debut in Warsaw, and whom Chopin was going to hear + again in Vienna, he says:— + </p> +<pre xml:space="preserve"> + At the close of the concert Herz will play his own Variations + on Polish airs. Poor Polish airs! You do not in the least + suspect how you will be interlarded with "majufes" [see page + 49, foot-note], and that the title of "Polish music" is only + given you to entice the public. If one is so outspoken as to + discuss the respective merits of genuine Polish music and + this imitation of it, and to place the former above the + latter, people declare one to be mad, and do this so much the + more readily because Czerny, the oracle of Vienna, has + hitherto in the fabrication of his musical dainties never + produced Variations on a Polish air. +</pre> + <p> + Chopin had not much sympathy with Czerny the musician, but seems to have + had some liking for the man, who indeed was gentle, kind, and courteous in + his disposition and deportment. + </p> + <p> + A much more congenial and intimate connection existed between Chopin, + Slavik, and Merk. [FOOTNOTE: Thus the name is spelt in Mendel's + Musikalisches Conversations-Lexikon and by E. A. Melis, the Bohemian + writer on music. Chopin spells it Slawik. The more usual spelling, + however, is Slawjk; and in C.F. Whistling's Handbuch der musikalischen + Literatur (Leipzig, 1828) it is Slavjk.] Joseph Slavik had come to Vienna + in 1825 and had at once excited a great sensation. He was then a young man + of nineteen, but technically already superior to all the violinists that + had been heard in the Austrian capital. The celebrated Mayseder called him + a second Lipinski. Pixis, his master at the Conservatorium in Prague, on + seeing some of this extraordinary pupil's compositions—a concerto, + variations, &c.—had wondered how anyone could write down such + mad, unplayable stuff. But Slavik before leaving Prague proved at a + farewell concert that there was at least one who could play the mad stuff. + All this, however, was merely the prelude to what was yet to come. The + appearance of Paganini in 1828 revealed to him the, till then, + dimly-perceived ideal of his dreams, and the great Italian violinist, who + took an interest in this ardent admirer and gave him some hints, became + henceforth his model. Having saved a little money, he went for his further + improvement to Paris, studying especially under Baillot, but soon returned + to accept an engagement in the Imperial Band. When after two years of hard + practising he reappeared before the public of Vienna, his style was + altogether changed; he mastered the same difficulties as Paganini, or even + greater ones, not, however, with the same unfailing certainty, nor with an + always irreproachable intonation. Still, there can be no doubt that had + not a premature death (in 1833, at the age of twenty-seven) cut short his + career, he would have spread his fame all over the world. Chopin, who met + him first at Wurfel's, at once felt a liking for him, and when on the + following day he heard him play after dinner at Beyer's, he was more + pleased with his performance than with that of any other violinist except + Paganini. As Chopin's playing was equally sympathetic to Slavik, they + formed the project of writing a duet for violin and piano. In a letter to + his friend Matuszynski (December 25, 1830) Chopin writes:— + </p> +<pre xml:space="preserve"> + I have just come from the excellent violinist Slavik. With + the exception of Paganini, I never heard a violin-player like + him. Ninety-six staccato notes in one bow! It is almost + incredible! When I heard him I felt inclined to return to my + lodgings and sketch variations on an Adagio [which they had + previously agreed to take for their theme] of Beethoven's. +</pre> + <p> + The sight of the post-office and a letter from his Polish friends put the + variations out of his mind, and they seem never to have been written, at + least nothing has been heard of them. Some remarks on Slavik in a letter + addressed to his parents (May 28, 1831) show Chopin's admiration of and + affection for his friend still more distinctly:— + </p> +<pre xml:space="preserve"> + He is one of the Viennese artists with whom I keep up a + really friendly and intimate intercourse. He plays like a + second Paganini, but a rejuvenated one, who will perhaps in + time surpass the first. I should not believe it myself if I + had not heard him so often....Slavik fascinates the listener + and brings tears into his eyes. +</pre> + <p> + Shortly after falling in with Slavik, Chopin met Merk, probably at the + house of the publisher Mechetti, and on January 1, 1831, he announces to + his friend in Warsaw with unmistakable pride that "Merk, the first + violoncellist in Vienna," has promised him a visit. Chopin desired very + much to become acquainted with him because he thought that Merk, Slavik, + and himself would form a capital trio. The violoncellist was considerably + older than either pianist or violinist, being born in 1795. Merk began his + musical career as a violinist, but being badly bitten in the arm by a big + dog, and disabled thereby to hold the violin in its proper position (this + is what Fetis relates), he devoted himself to the violoncello, and with + such success as to become the first solo player in Vienna. At the time we + are speaking of he was a member of the Imperial Orchestra and a professor + at the Conservatorium. He often gave concerts with Mayseder, and was + called the Mayseder of the violoncello. Chopin, on hearing him at a soiree + of the well-known autograph collector Fuchs, writes home:— + </p> +<pre xml:space="preserve"> + Limmer, one of the better artists here in Vienna, produced + some of his compositions for four violoncelli. Merk, by his + expressive playing, made them, as usual, more beautiful than + they really are. People stayed again till midnight, for Merk + took a fancy to play with me his variations. He told me that + he liked to play with me, and it is always a great treat to + me to play with him. I think we look well together. He is the + first violoncellist whom I really admire. +</pre> + <p> + Of Chopin's intercourse with the third of the "exceedingly interesting + acquaintances" whom he mentions by name, we get no particulars in his + letters. Still, Carl Maria von Bocklet, for whom Beethoven wrote three + letters of recommendation, who was an intimate friend of Schubert's, and + whose interpretations of classical works and power of improvisation gave + him one of the foremost places among the pianists of the day, cannot have + been without influence on Chopin. Bocklet, better than any other pianist + then living in Vienna, could bring the young Pole into closer + communication with the German masters of the preceding generation; he + could, as it were, transmit to him some of the spirit that animated + Beethoven, Schubert, and Weber. The absence of allusions to Bocklet in + Chopin's letters does not, however, prove that he never made any, for the + extant letters are only a small portion of those he actually wrote, many + of them having in the perturbed state of Poland never reached their + destination, others having been burnt by his parents for fear of the + Russian police, and some, no doubt, having been lost through carelessness + or indifference. + </p> + <p> + The list of Chopin's acquaintances is as yet far from being exhausted. He + had conversations with old Abbe Stadler, the friend of Haydn and Mozart, + whose Psalms, which he saw in MS., he admired. He also speaks of one of + the performances of old, sacred, and secular music which took place at + Kiesewetter's house as if he were going to it. But a musician of Chopin's + nature would not take a very lively interest in the historical aspect of + the art; nor would the learned investigator of the music of the + Netherlanders, of the music of the Arabs, of the life and works of Guido + d'Arezzo, &c., readily perceive the preciousness of the modern + composer's originality. At any rate, Chopin had more intercourse with the + musico-literary Franz Kandler, who wrote favourable criticisms on his + performances as a composer and player, and with whom he went on one + occasion to the Imperial Library, where the discovery of a certain MS. + surprised him even more than the magnitude and order of the collection, + which he could not imagine to be inferior to that of Bologna—the + manuscript in question being no other than his Op. 2, which Haslinger had + presented to the library. Chopin found another MS. of his, that of the + Rondo for two pianos, in Aloys Fuchs's famous collection of autographs, + which then comprised 400 numbers, but about the year 1840 had increased to + 650 numbers, most of them complete works. He must have understood how to + ingratiate himself with the collector, otherwise he would hardly have had + the good fortune to be presented with an autograph of Beethoven. + </p> + <p> + Chopin became also acquainted with almost all the principal publishers in + Vienna. Of Haslinger enough has already been said. By Czerny Chopin was + introduced to Diabelli, who invited him to an evening party of musicians. + With Mechetti he seems to have been on a friendly footing. He dined at his + house, met him at Dr. Malfatti's, handed over to him for publication his + Polonaise for piano and violoncello (Op. 3), and described him as + enterprising and probably persuadable to publish Elsner's masses. Joseph + Czerny, no relation of Charles's, was a mere business acquaintance of + Chopin's. Being reminded of his promise to publish a quartet of Elsner's, + he said he could not undertake to do so just then (about January 26, + 1831), as he was publishing the works of Schubert, of which many were + still in the press. + </p> +<pre xml:space="preserve"> + Therefore [writes Chopin to his master] I fear your MS. will + have to wait. Czerny, I have found out now, is not one of the + richest publishers here, and consequently cannot easily risk + the publication of a work which is not performed at the Sped + or at the Romische Kaiser. Waltzes are here called works; and + Lanner and Strauss, who lead the performances, Capellmeister. + In saying this, however, I do not mean that all people here + are of this opinion; on the contrary, there are many who + laugh at it. Still, it is almost only waltzes that are + published. +</pre> + <p> + It is hardly possible for us to conceive the enthusiasm and ecstasy into + which the waltzes of the two dance composers transported Vienna, which was + divided into two camps:— + </p> +<pre xml:space="preserve"> + The Sperl and Volksgarten [says Hanslick] were on the Strauss + and Lanner days the favourite and most frequented "concert + localities." In the year 1839 Strauss and Lanner had already + each of them published more than too works. The journals were + thrown into ecstasy by every new set of waltzes; innumerable + articles appeared on Strauss, and Lanner, enthusiastic, + humorous, pathetic, and certainly longer than those that were + devoted to Beethoven and Mozart. +</pre> + <p> + These glimpses of the notabilities and manners of a by-gone generation, + caught, as it were, through the chinks of the wall which time is building + up between the past and the present, are instructive as well as amusing. + It would be a great mistake to regard these details, apparently very + loosely connected with the life of Chopin, as superfluous appendages to + his biography. A man's sympathies and antipathies are revelations of his + nature, and an artist's surroundings make evident his position and merit, + the degree of his originality being undeterminable without a knowledge of + the time in which he lived. Moreover, let the impatient reader remember + that, Chopin's life being somewhat poor in incidents, the narrative cannot + be an even-paced march, but must be a series of leaps and pauses, with + here and there an intervening amble, and one or two brisk canters. + </p> + <p> + Having described the social and artistic sphere, or rather spheres, in + which Chopin moved, pointed out the persons with whom he most associated, + and noted his opinions regarding men and things, almost all that is worth + telling of his life in the imperial city is told—almost all, but not + all. Indeed, of the latter half of his sojourn there some events have yet + to be recorded which in importance, if not in interest, surpass anything + that is to be found in the preceding and the foregoing part of the present + chapter. I have already indicated that the disappointment of Chopin's + hopes and the failure of his plans cannot altogether be laid to the charge + of unfavourable circumstances. His parents must have thought so too, and + taken him to task about his remissness in the matter of giving a concert, + for on May 14, 1831, Chopin writes to them:—"My most fervent wish is + to be able to fulfil your wishes; till now, however, I found it impossible + to give a concert." But although he had not himself given a concert he had + had an opportunity of presenting himself in the best company to the public + of Vienna. In the "Theaterzeitung" of April 2, 1831, Madame Garzia-Vestris + announced a concert to be held in the Redoutensaal during the morning + hours of April 4, in which she was to be assisted by the Misses Sabine and + Clara Heinefetter, Messrs. Wild, Chopin, Bohm (violinist), Hellmesberger + (violinist, pupil of the former), Merk, and the brothers Lewy (two + horn-players). Chopin was distinguished from all the rest, as a homo + ignotus et novus, by the parenthetical "pianoforte-player" after his name, + no such information being thought necessary in the case of the other + artists. The times are changed, now most readers require parenthetical + elucidation after each name except that of Chopin. "He has put down the + mighty from their seat and has exalted them of low degree!" The + above-mentioned exhortation of his parents seems to have had the desired + effect, and induced Chopin to make an effort, although now the + circumstances were less favourable to his giving a concert than at the + time of his arrival. The musical season was over, and many people had left + the capital for their summer haunts; the struggle in Poland continued with + increasing fierceness, which was not likely to lessen the backwardness of + Austrians in patronising a Pole; and in addition to this, cholera had + visited the country and put to flight all who were not obliged to stay. I + have not been able to ascertain the date and other particulars of this + concert. Through Karasowski we learn that it was thinly attended, and that + the receipts did not cover the expenses. The "Theaterzeitung," which had + given such full criticisms of Chopin's performances in 1829, says not a + word either of the matinee or of the concert, not even the advertisement + of the latter has come under my notice. No doubt Chopin alludes to + criticisms on this concert when he writes in the month of July:— + </p> +<pre xml:space="preserve"> + Louisa [his sister] informs me that Mr. Elsner was very much + pleased with the criticism; I wonder what he will say of the + others, he who was my teacher of composition? +</pre> + <p> + Kandler, the Vienna correspondent of the "Allgemeine musikalische + Zeitung," after discussing in that paper (September 21, 1831) the + performances of several artists, among others that of the clever Polish + violin-virtuoso Serwaczynski, turns to "Chopin, also from the Sarmatian + capital, who already during his visit last year proved himself a pianist + of the first rank," and remarks:— + </p> +<pre xml:space="preserve"> + The execution of his newest Concerto in E minor, a serious + composition, gave no cause to revoke our former judgment. One + who is so upright in his dealings with genuine art is + deserving our genuine esteem. +</pre> + <p> + All things considered, I do not hesitate to accept Liszt's statement that + the young artist did not produce such a sensation as he had a right to + expect. In fact, notwithstanding the many pleasant social connections he + had, Chopin must have afterwards looked back with regret, probably with + bitterness, on his eight months' sojourn in Vienna. Not only did he add + nothing to his fame as a pianist and composer by successful concerts and + new publications, but he seems even to have been sluggish in his studies + and in the production of new works. How he leisurely whiled away the + mornings at his lodgings, and passed the rest of the day abroad and in + society, he himself has explicitly described. That this was his usual mode + of life at Vienna, receives further support from the self-satisfaction + with which he on one occasion mentions that he had practised from early + morning till two o'clock in the afternoon. In his letters we read only + twice of his having finished some new compositions. On December 21, 1830, + he writes:— + </p> +<pre xml:space="preserve"> + I wished to enclose my latest waltz, but the post is about to + depart, and I have no longer time to copy it, therefore I + shall send it another time. The mazurkas, too, I have first + to get copied, but they are not intended for dancing. +</pre> + <p> + And in the month of July, 1831, "I have written a polonaise, which I must + leave here for Wurfel." There are two more remarks about compositions, but + of compositions which were never finished, perhaps never begun. One of + these remarks refers to the variations on a theme of Beethoven's, which he + intended to compose conjointly with Slavik, and has already been quoted; + the other refers to a grander project. Speaking of Nidecki, who came every + morning to his lodgings and practised his (Chopin's) concerto, he says + (December 21, 1830):— + </p> +<pre xml:space="preserve"> + If I succeed in writing a concerto for two pianos so as to + satisfy myself, we intend to appear at once with it in + public; first, however, I wish to play once alone. +</pre> + <p> + What an interesting, but at the same time what a gigantic, subject to + write on the history of the unrealised plans of men of genius would be! + The above-mentioned waltz, polonaise, and mazurkas do not, of course, + represent the whole of Chopin's output as a composer during the time of + his stay in Vienna; but we may surmise with some degree of certainty that + few works of importance have to be added to it. Indeed, the multiplicity + of his social connections and engagements left him little time for + himself, and the condition of his fatherland kept him in a constant state + of restlessness. Poland and her struggle for independence were always in + his mind; now he laments in his letters the death of a friend, now + rejoices at a victory, now asks eagerly if such or such a piece of good + news that has reached him is true, now expresses the hope that God will be + propitious to their cause, now relates that he has vented his patriotism + by putting on the studs with the Polish eagles and using the + pocket-handkerchief with the Kosynier (scythe-man) depicted on it. + </p> +<pre xml:space="preserve"> + What is going on at home? [he writes, on May 28, 1831.] I am + always dreaming of you. Is there still no end to the + bloodshed? I know your answer: "Patience!" I, too, always + comfort myself with that. +</pre> + <p> + But good health, he finds, is the best comfort in misfortune, and if his + bulletins to his parents could be trusted he was in full enjoyment of it. + </p> +<pre xml:space="preserve"> + Zacharkiewicz of Warsaw called on me; and when his wife saw + me at Szaszek's, she did not know how to sufficiently express + her astonishment at my having become such a sturdy fellow. I + have let my whiskers grow only on the right side, and they + are growing very well; on the left side they are not needed + at all, for one sits always with the right side turned to the + public. +</pre> + <p> + Although his "ideal" is not there to retain him, yet he cannot make up his + mind to leave Vienna. On May 28, he writes:— + </p> +<pre xml:space="preserve"> + How quickly this dear time passes! It is already the end of + May, and I am still in Vienna. June will come, and I shall + probably be still here, for Kumelski fell ill and was obliged + to take to bed again. +</pre> + <p> + It was not only June but past the middle of July before Chopin left, and I + am afraid he would not always have so good an excuse for prolonging his + stay as the sickness of his travelling-companion. On June 25, however, we + hear of active preparations being made for departure. + </p> +<pre xml:space="preserve"> + I am in good health, that is the only thing that cheers me, + for it seems as if my departure would never take place. You + all know how irresolute I am, and in addition to this I meet + with obstacles at every step. Day after day I am promised my + passport, and I run from Herod to Pontius Pilate, only to get + back what I deposited at the police office. To-day I heard + even more agreeable news—namely, that my passport has been + mislaid, and that they cannot find it; I have even to send in + an application for a new one. It is curious how now every + imaginable misfortune befalls us poor Poles. Although I am + ready to depart, I am unable to set out. +</pre> + <p> + Chopin had been advised by Mr. Beyer to have London instead of Paris put + as a visa in his passport. The police complied with his request that this + should be done, but the Russian Ambassador, after keeping the document for + two days, gave him only permission to travel as far as Munich. But Chopin + did not care so long as he got the signature of the French Ambassador. + Although his passport contained the words "passant par Paris a Londres," + and he in after years in Paris sometimes remarked, in allusion to these + words, "I am here only in passing," he had no intention of going to + London. The fine sentiment, therefore, of which a propos of this + circumstance some writers have delivered themselves was altogether + misplaced. When the difficulty about the passport was overcome, another + arose: to enter Bavaria from cholera-stricken Austria a passport of health + was required. Thus Chopin had to begin another series of applications, in + fact, had to run about for half a day before he obtained this additional + document. + </p> + <p> + Chopin appears to have been rather short of money in the latter part of + his stay in Vienna—a state of matters with which the financial + failure of the concert may have had something to do. The preparations for + his departure brought the pecuniary question still more prominently + forward. On June 25, 1831, he writes to his parents:— + </p> +<pre xml:space="preserve"> + I live as economically as possible, and take as much care of + every kreuzer as of that ring in Warsaw [the one given him by + the Emperor Alexander]. You may sell it, I have already cost + you so much. +</pre> + <p> + He must have talked about his shortness of money to some of his friends in + Vienna, for he mentions that the pianist-composer Czapek, who calls on him + every day and shows him much kindness, has offered him money for the + journey should he stand in need of it. One would hardly have credited + Chopin with proficiency in an art in which he nevertheless greatly + excelled—namely, in the art of writing begging letters. How well he + understood how to touch the springs of the parental feelings the following + application for funds will prove. + </p> +<pre xml:space="preserve"> + July, 1831.—But I must not forget to mention that I shall + probably be obliged to draw more money from the banker Peter + than my dear father has allowed me. I am very economical; + but, God knows, I cannot help it, for otherwise I should have + to leave with an almost empty purse. God preserve me from + sickness; were, however, anything to happen to me, you might + perhaps reproach me for not having taken more. Pardon me, but + consider that I have already lived on this money during May, + June, and July, and that I have now to pay more for my dinner + than I did in winter. I do not do this only because I myself + feel I ought to do so, but also in consequence of the good + advice of others. I am very sorry that I have to ask you for + it; my papa has already spent more than three groschen for + me; I know also very well how difficult it is to earn money. + Believe me, my dearest ones, it is harder for me to ask than + for you to give. God will not fail to assist us also in the + future, punctum! +</pre> + <p> + Chopin was at this time very subject to melancholy, and did not altogether + hide the fact even from his parents. He was perhaps thinking of the + "lengthening chain" which he would have to drag at this new remove. He + often runs into the street to seek Titus Woyciechowski or John + Matuszynski. One day he imagines he sees the former walking before him, + but on coming up to the supposed friend is disgusted to find "a d—— + Prussian." + </p> +<pre xml:space="preserve"> + I lack nothing [he writes in July, 1831] except more life, + more spirit! I often feel unstrung, but sometimes as merry as + I used to be at home. When I am sad I go to Madame Szaszek's; + there I generally meet several amiable Polish ladies who with + their hearty, hopeful words always cheer me up, so that I + begin at once to imitate the generals here. This is a fresh + joke of mine; but those who saw it almost died with laughing. + But alas, there are days when not two words can be got out of + me, nor can anyone find out what is the matter with me; then, + to divert myself, I generally take a thirty-kreuzer drive to + Hietzing, or somewhere else in the neighbourhood of Vienna. +</pre> + <p> + This is a valuable bit of autobiography; it sets forth clearly Chopin's + proneness to melancholy, which, however, easily gave way to his + sportiveness. That low spirits and scantiness of money did not prevent + Chopin from thoroughly enjoying himself may be gathered from many + indications in his letters; of these I shall select his descriptions of + two excursions in the neighbourhood of Vienna, which not only make us + better acquainted with the writer, but also are interesting in themselves. + </p> +<pre xml:space="preserve"> + June 25, 1831.—The day before yesterday we were with + Kumelski and Czapek...on the Kahlenberg and Leopoldsberg. It + was a magnificent day; I have never had a finer walk. From + the Leopoldsberg one sees all Vienna, Wagram, Aspern, + Pressburg, even Kloster-Neuburg, the castle in which Richard + the Lion-hearted lived for a long time as a prisoner. Also + the whole of the upper part of the Danube lay before our + eyes. After breakfast we ascended the Kahlenberg, where King + John Sobieski pitched his camp and caused the rockets to be + fired which announced to Count Starhemberg, the commandant of + Vienna, the approach of the Polish army. There is the + Camaldolese Monastery in which the King knighted his son + James before the attack on the Turks and himself served as + acolyte at the Mass. I enclose for Isabella a little leaf + from that spot, which is now covered with plants. From there + we went in the evening to the Krapfenwald, a beautiful + valley, where we saw a comical boys' trick. The little + fellows had enveloped themselves from head to foot in leaves + and looked like walking bushes. In this costume they crept + from one visitor to another. Such a boy covered with leaves + and his head adorned with twigs is called a "Pfingstkonig" + [Whitsuntide-King]. This drollery is customary here at + Whitsuntide. +</pre> + <p> + The second excursion is thus described:— + </p> +<pre xml:space="preserve"> + July, 1831.—The day before yesterday honest Wurfel called on + me; Czapek, Kumelski, and many others also came, and we drove + together to St. Veil—a beautiful place; I could not say the + same of Tivoli, where they have constructed a kind ol + caroitsscl, or rather a track with a sledge, which is called + Rutsch. It is a childish amusement, but a great number of + grown-up people have themselves rolled down the hill in this + carriage just for pastime. At first I did not feel inclined + to try it, but as there were eight of us, all good friends, + we began to vie with each other in sliding down. It was + folly, and yet we all laughed heartily. I myself joined in + the sport with much satisfaction until it struck me that + healthy and strong men could do something better—now, when + humanity calls to them for protection and defence. May the + devil take this frivolity! +</pre> + <p> + In the same letter Chopin expresses the hope that his use of various, not + quite unobjectionable, words beginning with a "d" may not give his parents + a bad opinion of the culture he has acquired in Vienna, and removes any + possible disquietude on their part by assuring them that he has adopted + nothing that is Viennese in its nature, that, in fact, he has not even + learnt to play a Tanzwalzer (a dancing waltz). This, then, is the sad + result of his sojourn in Vienna. + </p> + <p> + On July 20, 1831, Chopin, accompanied by his friend Kumelski, left Vienna + and travelled by Linz and Salzburg to Munich, where he had to wait some + weeks for supplies from home. His stay in the capital of Bavaria, however, + was not lost time, for he made there the acquaintance of several clever + musicians, and they, charmed by his playing and compositions, induced him + to give a concert. Karasowski tells us that Chopin played his E minor + Concerto at one of the Philharmonic Society's concerts—which is not + quite correct, as we shall see presently—and adds that + </p> +<pre xml:space="preserve"> + the audience, carried away by the beauty of the composition + and his excellent, poetic rendering, overwhelmed the young + virtuoso with loud applause and sincere admiration. +</pre> + <p> + In writing this the biographer had probably in his mind the following + passage from Chopin's letter to Titus Woyciechowski, dated Paris, December + 16, 1831:—"I played [to Kalkbrenner, in Paris] the E minor Concerto, + which charmed the people of the Bavarian capital so much." The two + statements are not synonymous. What the biographer says may be true, and + if it is not, ought to be so; but I am afraid the existing documents do + not bear it out in its entirety. Among the many local and other journals + which I have consulted, I have found only one notice of Chopin's + appearance at Munich, and when I expectantly scanned a resume of Munich + musical life, from the spring to the end of the year 1831, in the + "Allgemeine musikalische Zeitung," I found mention made of Mendelssohn and + Lafont, but not of Chopin. Thus, unless we assume that Karasowski—true + to his mission as a eulogising biographer, and most vigorous when + unfettered by definite data—indulged in exaggeration, we must seek + for a reconciliation of the enthusiasm of the audience with the silence of + the reporter in certain characteristics of the Munich public. Mendelssohn + says of it:— + </p> +<pre xml:space="preserve"> + The people here [in Munich] have an extraordinary receptivity + for music, which is much cultivated. But it appears to me + that everything makes an impression and that the impressions + do not last. +</pre> + <p> + Speaking of Mendelssohn, it is curious to note how he and Chopin were + again and again on the point of meeting, and again and again failed to + meet. In Berlin Chopin was too bashful and modest to address his already + famous young brother-artist, who in 1830 left Vienna shortly before Chopin + arrived, and in 1831 arrived in Munich shortly after Chopin had left. The + only notice of Chopin's public appearance in Munich I have been able to + discover, I found in No. 87 (August 30, 1831) of the periodical "Flora", + which contains, under the heading "news," a pretty full account of the + "concert of Mr. Chopin of Warsaw." From this account we learn that Chopin + was assisted by the singers Madame Pellegrini and Messrs. Bayer, Lenz, and + Harm, the clarinet-player Barmann, jun., and Capellmeister Stunz. The + singers performed a four-part song, and Barmann took part in a cavatina + (sung by Bayer, the first tenor at the opera) with clarinet and pianoforte + accompaniment by Schubert (?). What the writer of the account says about + Chopin shall be quoted in full:— + </p> +<pre xml:space="preserve"> + On the 28th August, Mr. F. Chopin, of Warsaw, gave a morning + concert [Mittags Concert] in the hall of the Philharmonic + Society, which was attended by a very select audience. Mr. + Chopin performed on the pianoforte a Concerto in E minor of + his own composition, and showed an excellent virtuosity in + the treatment of his instrument; besides a developed + technique, one noticed especially a charming delicacy of + execution, and a beautiful and characteristic rendering of + the motives. The composition was, on the whole, brilliantly + and well written, without surprising, however, by + extraordinary novelty or a particular profundity, with the + exception of the Rondo, whose principal thought as well as + the florid middle sections, through an original combination + of a melancholy trait with a capriccio, evolved a peculiar + charm, on which account it particularly pleased. The concert- + giver performed in conclusion a fantasia on Polish national + songs. There is a something in the Slavonic songs which + almost never fails in its effect, the cause of which, + however, is difficult to trace and explain; for it is not + only the rhythm and the quick change from minor to major + which produce this charm. No one has probably understood + better how to combine the national character of such folk- + songs with a brilliant concert style than Bernhard Romberg + [Footnote: The famous violoncellist], who by his compositions + of this kind, put in a favourable light by his masterly + playing, knew how to exercise a peculiar fascination. Quite + of this style was the fantasia of Mr. Chopin, who gained + unanimous applause. +</pre> + <p> + From Munich Chopin proceeded to Stuttgart, and during his stay there + learnt the sad news of the taking of Warsaw by the Russians (September 8, + 1831). It is said that this event inspired him to compose the C minor + study (No. 12 of Op. 10), with its passionate surging and impetuous + ejaculations. Writing from Paris on December 16, 1831, Chopin remarks, in + allusion to the traeic denouement of the Polish revolution: "All this has + caused me much pain. Who could have foreseen it!" + </p> + <p> + With his visits to Stuttgart Chopin's artist-life in Germany came to a + close, for, although he afterwards repeatedly visited the country, he + never played in public or made a lengthened stay there. Now that Chopin is + nearing Paris, where, occasional sojourns elsewhere (most of them of short + duration) excepted, he will pass the rest of his life, it may interest the + reader to learn that this change of country brought with it also a change + of name, at least as far as popular pronunciation and spelling went. We + may be sure that the Germans did not always give to the final syllable the + appropriate nasal sound. And what the Polish pronunciation was is + sufficiently indicated by the spelling "Szopen," frequently to be met + with. I found it in the Polish illustrated journal "Kiosy," and it is also + to be seen in Joseph Sikorski's "Wspomnienie Szopena" ("Reminiscences of + Chopin"). Szulc and Karasowski call their books and hero "Fryderyk + Chopin." + </p> + <p> + <a name="link2HCH0013" id="link2HCH0013"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER XIII + </h2> + <p> + CHOPIN'S PRODUCTIONS FROM THE SPRING OF 1829 TO THEEND OF 1831.—THE + CHIEF INFLUENCES THAT HELPED TO FORM HIS STYLE OF COMPOSITION. + </p> + <p> + Let us pause for a little in our biographical inquiries and critically + examine what Chopin had achieved as a composer since the spring of 1829. + At the very first glance it becomes evident that the works of the last two + years (1829-1831) are decidedly superior to those he wrote before that + time. And this advance was not due merely to the increased power derived + from practice; it was real growth, which a Greek philosopher describes as + penetration of nourishment into empty places, the nourishment being in + Chopin's case experience of life's joys and sorrows. In most of the works + of what I call his first period, the composer luxuriates, as it were, in + language. He does not regard it solely or chiefly as the interpreter of + thoughts and feelings, he loves it for its own sake, just as children, + small and tall, prattle for no other reason than the pleasure of + prattling. I closed the first period when a new element entered Chopin's + life and influenced his artistic work. This element was his first love, + his passion for Constantia Gtadkowska. Thenceforth Chopin's compositions + had in them more of humanity and poetry, and the improved subject-matter + naturally, indeed necessarily, chastened, ennobled, and enriched the means + and ways of expression. Of course no hard line can be drawn between the + two periods—the distinctive quality of the one period appears + sometimes in the work of the other: a work of the earlier period + foreshadows the character of the later; one of the later re-echoes that of + the earlier. + </p> + <p> + The compositions which we know to have been written by Chopin between 1829 + and 1831 are few in number. This may be partly because Chopin was rather + idle from the autumn of 1830 to the end of 1831, partly because no account + of the production of other works has come down to us. In fact, I have no + doubt that other short pieces besides those mentioned by Chopin in his + letters were composed during those years, and subsequently published by + him. The compositions oftenest and most explicitly mentioned in the + letters are also the most important ones—namely, the concertos. As I + wish to discuss them at some length, we will keep them to the last, and + see first what allusions to other compositions we can find, and what + observations these latter give rise to. + </p> + <p> + On October 3, 1829, Chopin sends his friend Titus Woyciechowski a waltz + which, he says, was, like the Adagio of the F minor Concerto, inspired by + his ideal, Constantia Gladkowska:— + </p> +<pre xml:space="preserve"> + Pay attention to the passage marked with a +; nobody, except + you, knows of this. How happy would I be if I could play my + newest compositions to you! In the fifth bar of the trio the + bass melody up to E flat dominates, which, however, I need + not tell you, as you are sure to feel it without being told. +</pre> + <p> + The remark about the bass melody up to E flat in the trio gives us a clue + to which of Chopin's waltzes this is. It can be no other than the one in D + flat which Fontana published among his friend's posthumous works as Op. + 70, No. 3. Although by no means equal to any of the waltzes published by + Chopin himself, one may admit that it is pretty; but its chief claim to + our attention lies in the fact that it contains germs which reappear as + fully-developed flowers in other examples of this class of the master's + works—the first half of the first part reappears in the opening + (from the ninth bar onward) of Op. 42 (Waltz in A flat major); and the + third part, in the third part (without counting the introductory bars) of + Op. 34, No. 1 (Waltz in A flat major). + </p> + <p> + On October 20, 1829, Chopin writes:—"During my visit at Prince + Radziwill's [at Antonin] I wrote an Alla Polacca. It is nothing more than + a brilliant salon piece, such as pleases ladies"; and on April 10, 1830:— + </p> +<pre xml:space="preserve"> + I shall play [at a soiree at the house of Lewicki] Hummel's + "La Sentinelle," and at the close my Polonaise with + violoncello, for which I have composed an Adagio as an + introduction. I have already rehearsed it, and it does not + sound badly. +</pre> + <p> + Prince Radziwill, the reader will remember, played the violoncello. It + was, however, not to him but to Merk that Chopin dedicated this + composition, which, before departing from Vienna to Paris, he left with + Mechetti, who eventually published it under the title of "Introduction et + Polonaise brillante pour piano et violoncelle," dediees a Mr. Joseph Merk. + On the whole we may accept Chopin's criticism of his Op. 3 as correct. The + Polonaise is nothing but a brilliant salon piece. Indeed, there is very + little in this composition—one or two pianoforte passages, and a + finesse here and there excepted—that distinguishes it as Chopin's. + The opening theme verges even dangerously to the commonplace. More of the + Chopinesque than in the Polonaise may be discovered in the Introduction, + which was less of a piece d'occasion. What subdued the composer's + individuality was no doubt the violoncello, which, however, is well + provided with grateful cantilene. + </p> + <p> + On two occasions Chopin writes of studies. On October 20, 1829: "I have + composed a study in my own manner"; and on November 14, 1829: "I have + written some studies; in your presence I would play them well." These + studies are probably among the twelve published in the summer of 1833, + they may, however, also be among those published in the autumn of 1837. + The twelfth of the first sheaf of studies (Op. 10) Chopin composed, as + already stated, at Stuttgart, when he was under the excitement caused by + the news of the taking of Warsaw by the Russians on September 8, 1831. + </p> + <p> + The words "I intend to write a Polonaise with orchestra," contained in a + letter dated September 18, 1830, give rise to the interesting question: + "Did Chopin realise his intention, and has the work come down to us?" I + think both questions can be answered in the affirmative. At any rate, I + hold that internal evidence seems to indicate that Op. 22, the "Grande + Polonaise brillante precedee d'un Andante spianato avec orchestre," which + was published in the summer of 1836, is the work in question. Whether the + "Andante" was composed at the same time, and what, if any, alterations + were subsequently made in the Polonaise, I do not venture to decide. But + the Polonaise has so much of Chopin's early showy virtuosic style and so + little of his later noble emotional power that my conjecture seems + reasonable. Moreover, the fact that the orchestra is employed speaks in + favour of my theory, for after the works already discussed in the tenth + chapter, and the concertos with which we shall concern ourselves + presently, Chopin did not in any other composition (i.e., after 1830) + write for the orchestra. His experiences in Warsaw, Vienna, and Paris + convinced him, no doubt, that he was not made to contend with masses, + either as an executant or as a composer. Query: Is the Polonaise, of which + Chopin says in July, 1831, that he has to leave it to Wurfel, Op. 22 or + another work? + </p> + <p> + Two other projects of Chopin, however, seem to have remained unrealised—a + Concerto for two pianos which he intended to play in public at Vienna with + his countryman Nidecki (letter of December 21, 1830), and Variations for + piano and violin on a theme of Beethoven's, to be written conjointly by + himself and Slavik (letters of December 21 and 25, 1830). Fragments of the + former of these projected works may, however, have been used in the + "Allegro de Concert," Op. 46, published in 1842. + </p> + <p> + In the letter of December 21, 1830, there is also an allusion to a waltz + and mazurkas just finished, but whether they are to be found among the + master's printed compositions is more than I can tell. + </p> + <p> + The three "Ecossaises" of the year 1830, which Fontana published as Op. + 72, No. 3, are the least individual of Chopin's compositions, and almost + the only dances of his which may be described as dance music pure and + simple—rhythm and melody without poetry, matter with a minimum of + soul. + </p> + <p> + The posthumous Mazurka (D major) of 1829-30 is unimportant. It contains + nothing notable, except perhaps the descending chromatic successions of + chords of the sixth. In fact, we can rejoice in its preservation only + because a comparison with a remodelling of 1832 allows us to trace a step + in Chopin's development. + </p> + <p> + And now we come to the concertos, the history of which, as far as it is + traceable in the composer's letters, I will here place before the reader. + If I repeat in this chapter passages already quoted in previous chapters, + it is for the sake of completeness and convenience. + </p> +<pre xml:space="preserve"> + October 3, 1829.—I have—perhaps to my misfortune—already + found my ideal, whom I worship faithfully and sincerely. Six + months have elapsed and I have not yet exchanged a syllable + with her of whom I dream every night. Whilst my thoughts were + with her I composed the Adagio of my Concerto. +</pre> + <p> + The Adagio here mentioned is that of the F minor Concerto, Op. 21, which + he composed before but published after the F. minor Concerto, Op. 11—the + former appearing in print in April, 1836, the latter in September, 1833. + [Footnote: The slow movements of Chopin's concertos are marked Larglietto, + the composer uses here the word Adagio generically—i.e., in the + sense of slow movement generally.] Karasowski says mistakingly that the + movement referred to is the Adagio of the E minor Concerto. He was perhaps + misled by a mistranslation of his own. In the German version of his Chopin + biography he gives the concluding words of the above quotation as "of my + new Concerto," but there is no new in the Polish text (na ktorego pamiatke + skomponowalem Adagio do mojego Koncertu). + </p> +<pre xml:space="preserve"> + October 20, 1829.—Elsner has praised the Adagio of the + Concerto. He says that there is something new in it. As to + the Rondo I do not wish yet to hear a judgment, for I am not + yet satisfied with it myself. I am curious whether I shall + finish this work when I return [from a visit to Prince + Radziwill]. + + November 14, 1829.—I received your last letter at Antonin at + Radziwill's. I was there a week; you cannot imagine how + quickly and pleasantly the time passed to me. I left by the + last coach, and had much trouble in getting away. As for me I + should have stayed till they had turned me out; but my + occupations and, above all things, my Concerto, which is + impatiently waiting for its Finale, have compelled me to take + leave of this Paradise. +</pre> + <p> + On March 17, 1830, Chopin played the F minor Concerto at the first concert + he gave in Warsaw. How it was received by the public and the critics on + this occasion and on that of a second concert has been related in the + ninth chapter (p.131). + </p> +<pre xml:space="preserve"> + March 27, 1830.—I hope yet to finish before the holidays the + first Allegro of my second Concerto [i.e., the one in E + minor], and therefore I should in any case wait till after + the holidays [to give a third concert], although I am + convinced that I should have this time a still larger + audience than formerly; for the haute volee has not yet heard + me. +</pre> + <p> + On April 10, 1830, Chopin writes that his Concerto is not yet finished; + and on May 15, 1830:— + </p> +<pre xml:space="preserve"> + The Rondo for my Concerto is not yet finished, because the + right inspired mood has always beep wanting. If I have only + the Allegro and the Adagio completely finished I shall be + without anxiety about the Finale. The Adagio is in E major, + and of a romantic, calm, and partly melancholy character. It + is intended to convey the impression which one receives when + the eye rests on a beloved landscape that calls up in one's + soul beautiful memories—for instance, on a fine, moonlit + spring night. I have written violins with mutes as an + accompaniment to it. I wonder if that will have a good + effect? Well, time will show. + + August 21, 1830.—Next month I leave here; first, however, I + must rehearse my Concerto, for the Rondo is now finished. +</pre> + <p> + For an account of the rehearsals of the Concerto and its first public + performance at Chopin's third Warsaw concert on October u, 1830, the + reader is referred to the tenth chapter (p. 150). [FOOTNOTE: In the + following remarks on the concertos I shall draw freely from the critical + commentary on the Pianoforte Works of Chopin, which I contributed some + years ago (1879) to the Monthly Musical Record.] + </p> + <p> + Chopin, says Liszt, wrote beautiful concertos and fine sonatas, but it is + not difficult to perceive in these productions "plus de volonte que + d'inspiration." As for his inspiration it was naturally "imperieuse, + fantasque, irreflechie; ses allures ne pouvaient etre que libres." Indeed, + Liszt believes that Chopin— + </p> +<pre xml:space="preserve"> + did violence to his genius every time he sought to fetter it + by rules, classifications, and an arrangement that was not + his own, and could not accord with the exigencies of his + spirit, which was one of those whose grace displays itself + when they seem to drift along [alter a la derive]....The + classical attempts of Chopin nevertheless shine by a rare + refinement of style. They contain passages of great interest, + parts of surprising grandeur. +</pre> + <p> + With Chopin writing a concerto or a sonata was an effort, and the effort + was always inadequate for the attainment of the object—a perfect + work of its kind. He lacked the peculiar qualities, natural and acquired, + requisite for a successful cultivation of the larger forms. He could not + grasp and hold the threads of thought which he found flitting in his mind, + and weave them into a strong, complex web; he snatched them up one by one, + tied them together, and either knit them into light fabrics or merely + wound them into skeins. In short, Chopin was not a thinker, not a logician—his + propositions are generally good, but his arguments are poor and the + conclusions often wanting. Liszt speaks sometimes of Chopin's science. In + doing this, however, he misapplies the word. There was nothing scientific + in Chopin's mode of production, and there is nothing scientific in his + works. Substitute "ingenious" (in the sense of quick-witted and possessed + of genius, in the sense of the German geistreich) for "scientific," and + you come near to what Liszt really meant. If the word is applicable at all + to art, it can be applicable only to works which manifest a sustained and + dominating intellectual power, such, for instance, as a fugue of Bach's, a + symphony of Beethoven's, that is, to works radically different from those + of Chopin. Strictly speaking, the word, however, is not applicable to art, + for art and science are not coextensive; nay, to some extent, are even + inimical to each other. Indeed, to call a work of art purely and simply + "scientific," is tantamount to saying that it is dry and uninspired by the + muse. In dwelling so long on this point my object was not so much to + elucidate Liszt's meaning as Chopin's character as a composer. + </p> + <p> + Notwithstanding their many shortcomings, the concertos may be said to be + the most satisfactory of Chopin's works in the larger forms, or at least + those that afford the greatest amount of enjoyment. In some respects the + concerto-form was more favourable than the sonata-form for the exercise of + Chopin's peculiar talent, in other respects it was less so. The + concerto-form admits of a far greater and freer display of the virtuosic + capabilities of the pianoforte than the sonata-form, and does not + necessitate the same strictness of logical structure, the same thorough + working-out of the subject-matter. But, on the other hand, it demands + aptitude in writing for the orchestra and appropriately solid material. + Now, Chopin lacked such aptitude entirely, and the nature of his material + accorded little with the size of the structure and the orchestral frame. + And, then, are not these confessions of intimate experiences, these + moonlight sentimentalities, these listless dreams, &c., out of place + in the gaslight glare of concert-rooms, crowded with audiences brought + together to a great extent rather by ennui, vanity, and idle curiosity + than by love of art? + </p> + <p> + The concerto is the least perfect species of the sonata genus; practical, + not ideal, reasons have determined its form, which owes its distinctive + features to the calculations of the virtuoso, not to the inspiration of + the creative artist. Romanticism does not take kindly to it. Since + Beethoven the form has been often modified, more especially the long + introductory tutti omitted or cut short. Chopin, however, adhered to the + orthodox form, taking unmistakably Hummel for his model. Indeed, Hummel's + concertos were Chopin's model not only as regards structure, but also to a + certain extent as regards the character of the several movements. In the + tutti's of the first movement, and in the general complexion of the second + (the slow) and the third (Rondo) movement, this discipleship is most + apparent. But while noting the resemblance, let us not overlook the + difference. If the bones are Hummel's (which no doubt is an exaggeration + of the fact), the flesh, blood, and soul are Chopin's. In his case + adherence to the orthodox concerto-form was so much the more regrettable + as writing for the orchestra was one of his weakest points. Indeed, + Chopin's originality is gone as soon as he writes for another instrument + than the pianoforte. The commencement of the first solo is like the + opening of a beautiful vista after a long walk through dreary scenery, and + every new entry of the orchestra precipitates you from the delectable + regions of imagination to the joyless deserts of the actual. Chopin's + inaptitude in writing for the orchestra is, however, most conspicuous + where he employs it conjointly with the pianoforte. Carl Klindworth and + Carl Tausig have rescored the concertos: the former the one in F minor, + the latter the one in E minor. Klindworth wrote his arrangement of the F + minor Concerto in 1867-1868 in London, and published it ten years later at + Moscow (P. Jurgenson).[FOOTNOTE: The title runs: "Second Concerto de + Chopin, Op. 21, avec un nouvel accompagnement d'orchestre d'apres la + partition originale par Karl Klindworth. Dedie a Franz Lizt." It is now + the property of the Berlin publishers Bote and Bock.] A short quotation + from the preface will charactise his work:— + </p> +<pre xml:space="preserve"> + The principal pianoforte part has, notwithstanding the entire + remodelling of the score, been retained almost unchanged. + Only in some passages, which the orchestra, in consequence of + a richer instrumentation, accompanies with greater fulness, + the pianoforte part had, on that account, to be made more + effective by an increase of brilliance. By these divergences + from the original, from the so perfect and beautifully + effectuating [effectuirenden] pianoforte style of Chopin, + either the unnecessary doubling of the melody already + pregnantly represented by the orchestra was avoided, or—in + keeping with the now fuller harmonic support of the + accompaniment—some figurations of the solo instrument + received a more brilliant form. +</pre> + <p> + Of Tausig's labour [FOOTNOTE: "Grosses Concert in E moll. Op. 11." + Bearberet von Carl Tausig. Score, pianoforte, and orchestral parts. + Berlin: Ries and Erler.] I shall only say that his cutting-down and + patching-up of the introductory tutti, to mention only one thing, are not + well enough done to excuse the liberty taken with a great composer's work. + Moreover, your emendations cannot reach the vital fault, which lies in the + conceptions. A musician may have mastered the mechanical trick of + instrumentation, and yet his works may not be at heart orchestral. + Instrumentation ought to be more than something that at will can be added + or withheld; it ought to be the appropriate expression of something that + appertains to the thought. The fact is, Chopin could not think for the + orchestra, his thoughts took always the form of the pianoforte language; + his thinking became paralysed when he made use of another medium of + expression. Still, there have been critics who thought differently. The + Polish composer Sowinski declared without circumlocution that Chopin + "wrote admirably for the orchestra." Other countrymen of his dwelt at + greater length, and with no less enthusiasm, on what is generally + considered a weak point in the master's equipment. A Paris correspondent + of the Neue Zeitschrift fur Musik (1834) remarked a propos of the F minor + Concerto that there was much delicacy in the instrumentation. But what do + the opinions of those critics, if they deserve the name, amount to when + weighed against that of the rest of the world, nay, even against that of + Berlioz alone, who held that "in the compositions of Chopin all the + interest is concentrated in the piano part, the orchestra of his concertos + is nothing but a cold and almost useless accompaniment"? + </p> + <p> + All this and much more may be said against Chopin's concertos, yet such is + the charm, loveliness, delicacy, elegance, and brilliancy of the details, + that one again and again forgives and forgets their shortcomings as + wholes. But now let us look at these works a little more closely. + </p> + <p> + The first-composed and last-published Concerto, the one in F minor, Op. 21 + (dedicated to Madame la Comtesse Delphine Potocka), opens with a tutti of + about seventy bars. When, after this, the pianoforte interrupts the + orchestra impatiently, and then takes up the first subject, it is as if we + were transported into another world and breathed a purer atmosphere. + First, there are some questions and expostulations, then the composer + unfolds a tale full of sweet melancholy in a strain of lovely, + tenderly-intertwined melody. With what inimitable grace he winds those + delicate garlands around the members of his melodic structure! How light + and airy the harmonic base on which it rests! But the contemplation of his + grief disturbs his equanimity more and more, and he begins to fret and + fume. In the second subject he seems to protest the truthfulness and + devotion of his heart, and concludes with a passage half upbraiding, half + beseeching, which is quite captivating, nay more, even bewitching in its + eloquent persuasiveness. Thus far, from the entrance of the pianoforte, + all was irreproachable. How charming if Chopin had allowed himself to + drift on the current of his fancy, and had left rules, classifications, + &c., to others! But no, he had resolved to write a concerto, and must + now put his hand to the rudder, and have done with idle dreaming, at least + for the present—unaware, alas, that the idle dreamings of some + people are worth more than their serious efforts. Well, what is + unpoetically called the working-out section—to call it free fantasia + in this instance would be mockery—reminds me of Goethe's + "Zauberlehrling," who said to himself in the absence of his master, "I + noted his words, works, and procedure, and, with strength of mind, I also + shall do wonders." How the apprentice conjured up the spirits, and made + them do his bidding; how, afterwards, he found he had forgotten the + formula with which to stop and banish them, and what were the consequent + sad results, the reader will, no doubt, remember. The customary repetition + of the first section of the movement calls for no remark. Liszt cites the + second movement (Larghetto, A flat major) of this work as a specimen of + the morceaux d'une surprenante grandeur to be found in Chopin's concertos + and sonatas, and mentions that the composer had a marked predilection for + it, delighting in frequently playing it. And Schumann exclaims: "What are + ten editorial crowns compared to one such Adagio as that in the second + concerto!" The beautiful deep-toned, love-laden cantilena, which is + profusely and exquisitely ornamented in Chopin's characteristic style, is + interrupted by a very impressive recitative of some length, after which + the cantilena is heard again. But criticism had better be silent, and + listen here attentively. And how shall I describe the last movement + (Allegro vivace F minor, 3-4)—its feminine softness and rounded + contours, its graceful, gyrating, dance-like motions, its sprightliness + and frolicsomeness? Unless I quote every part and particle, I feel I + cannot do justice to it. The exquisite ease and grace, the subtle spirit + that breathes through this movement, defy description, and, more, defy the + attempts of most performers to reproduce the original. He who ventures to + interpret Chopin ought to have a soul strung with chords which the + gentlest breath of feeling sets in vibration, and a body of such a + delicate and supple organisation as to echo with equal readiness the music + of the soul. As to the listener, he is carried away in this movement from + one lovely picture to another, and no time is left him to reflect and make + objections with reference to the whole. + </p> + <p> + The Concerto in E minor, Op. 11, dedicated to Mr. Fred Kalkbrenner, shows + more of volonte and less of inspiration than the one in F minor. One can + almost read in it the words of the composer, "If I have only the Allegro + and the Adagio completely finished, I shall be in no anxiety about the + Finale." The elongated form of the first movement—the introductory + tutti alone extends to 138 bars—compares disadvantageously with the + greater compactness of the corresponding movement in the F minor Concerto, + and makes still more sensible the monotony resulting from the key-relation + of the constituent parts, the tonic being the same in both subjects. The + scheme is this:—First subject in E minor, second subject in E major, + working-out section in C major, leading through various keys to the return + of the first subject in E minor and of the second subject in G major, + followed by a close in E minor. The tonic is not relieved till the + commencement of the working-out section. The re-entrance of the second + subject brings, at last, something of a contrast. How little Chopin + understood the importance or the handling of those powerful levers, + key-relation and contrast, may also be observed in the Sonata, Op. 4, + where the last movement brings the first subject in C minor and the second + in G minor. Here the composer preserves the same mode (minor), there the + same tonic, the result being nearly the same in both instances. But, it + may be asked, was not this languid monotony which results from the + employment of these means just what Chopin intended? The only reply that + can be made to this otherwise unanswerable objection is, so much the worse + for the artist's art if he had such intentions. Chopin's description of + the Adagio quoted above—remember the beloved landscape, the + beautiful memories, the moonlit spring night, and the muted violins—hits + off its character admirably. Although Chopin himself designates the first + Allegro as "vigorous"—which in some passages, at least from the + composer's standpoint, we may admit it to be—the fundamental mood of + this movement is one closely allied to that which he says he intended to + express in the Adagio. Look at the first movement, and judge whether there + are not in it more pale moonlight reveries than fresh morning thoughts. + Indeed, the latter, if not wholly absent, are confined to the introductory + bars of the first subject and some passage-work. Still, the movement is + certainly not without beauty, although the themes appear somewhat + bloodless, and the passages are less brilliant and piquant than those in + the F minor Concerto. Exquisite softness and tenderness distinguish the + melodious parts, and Chopin's peculiar coaxing tone is heard in the + semiquaver passage marked tranquillo of the first subject. The least + palatable portion of the movement is the working-out section. The + pianoforte part therein reminds one too much of a study, without having + the beauty of Chopin's compositions thus entitled; and the orchestra + amuses itself meanwhile with reminiscences of the principal motives. + Chopin's procedure in this and similar cases is pretty much the same (F + minor Concerto, Krakowiak, &c.), and recalls to my mind—may the + manes of the composer forgive me—a malicious remark of Rellstab's. + Speaking of the introduction to the Variations, Op. 2, he says: "The + composer pretends to be going to work out the theme." It is curious, and + sad at the same time, to behold with what distinction Chopin treats the + bassoon, and how he is repaid with mocking ingratitude. But enough of the + orchestral rabble. The Adagio is very fine in its way, but such is its + cloying sweetness that one longs for something bracing and active. This + desire the composer satisfies only partially in the last movement (Rondo + vivace, 2-4, E major). Nevertheless, he succeeds in putting us in good + humour by his gaiety, pretty ways, and tricksy surprises (for instance, + the modulations from E major to E flat major, and back again to E major). + We seem, however, rather to look on the play of fantoccini than the doings + of men; in short, we feel here what we have felt more or less strongly + throughout the whole work—there is less intensity of life and + consequently less of human interest in this than in the F minor Concerto. + </p> + <p> + Almost all my remarks on the concertos run counter to those made by W. von + Lenz. The F minor Concerto he holds to be an uninteresting work, immature + and fragmentary in plan, and, excepting some delicate ornamentation, + without originality. Nay, he goes even so far as to say that the + passage-work is of the usual kind met with in the compositions of Hummel + and his successors, and that the cantilena in the larghetto is in the + jejune style of Hummel; the last movement also receives but scanty and + qualified praise. On the other hand, he raves about the E minor Concerto, + confining himself, however, to the first movement. The second movement he + calls a "tiresome nocturne," the Rondo "a Hummel." A tincture of classical + soberness and self-possession in the first movement explains Lenz's + admiration of this composition, but I fail to understand the rest of his + predilections and critical utterances. + </p> + <p> + In considering these concertos one cannot help exclaiming—What a + pity that Chopin should have set so many beautiful thoughts and fancies in + such a frame and thereby marred them! They contain passages which are not + surpassed in any of his most perfect compositions, yet among them these + concertos cannot be reckoned. It is difficult to determine their rank in + concerto literature. The loveliness, brilliancy, and piquancy of the + details bribe us to overlook, and by dazzling us even prevent us from + seeing, the formal shortcomings of the whole. But be their shortcomings + ever so great and many, who would dispense with these works? Therefore, + let us be thankful, and enjoy them without much grumbling. + </p> + <p> + Schumann in writing of the concertos said that Chopin introduced Beethoven + spirit [Beethovenischen Geist] into the concert-room, dressing the + master's thoughts, as Hummel had done Mozart's, in brilliant, flowing + drapery; and also, that Chopin had instruction from the best, from + Beethoven, Schubert, and Field—that the first might be supposed to + have educated his mind to boldness, the second his heart to tenderness, + the third his fingers to dexterity. Although as a rule a wonderfully acute + observer, Schumann was not on this occasion very happy in the few critical + utterances which he vouchsafed in the course of the general remarks of + which his notice mainly consists. Without congeniality there cannot be + much influence, at least not in the case of so exclusive and fastidious a + nature as Chopin's. Now, what congeniality could there be between the + rugged German and the delicate Pole? All accounts agree in that Chopin was + far from being a thorough-going worshipper of Beethoven—he objected + to much in his matter and manner, and, moreover, could not by any means + boast an exhaustive acquaintance with his works. That Chopin assimilated + something of Beethoven is of course more likely than not; but, if a fact, + it is a latent one. As to Schubert, I think Chopin knew too little of his + music to be appreciably influenced by him. At any rate, I fail to perceive + how and where the influence reveals itself. Of Field, on the other hand, + traces are discoverable, and even more distinct ones of Hummel. The + idyllic serenity of the former and the Mozartian sweetness of the latter + were truly congenial to him; but no less, if not more, so was Spohr's + elegiac morbidezza. Chopin's affection for Spohr is proved by several + remarks in his letters: thus on one occasion (October 3, 1829) he calls + the master's Octet a wonderful work; and on another occasion (September + 18, 1830) he says that the Quintet for pianoforte, flute, clarinet, + bassoon, and horn (Op. 52) is a wonderfully beautiful work, but not + suitable for the pianoforte. How the gliding cantilena in sixths and + thirds of the minuet and the serpentining chromatic passages in the last + movement of the last-mentioned work must have flattered his inmost soul! + There can be no doubt that Spohr was a composer who made a considerable + impression upon Chopin. In his music there is nothing to hurt the most + fastidious sensibility, and much to feed on for one who, like Jaques in + "As you like it", could "suck melancholy out of a song, as a weasel eggs." + </p> + <p> + Many other composers, notably the supremely-loved and + enthusiastically-admired Mozart and Bach, must have had a share in + Chopin's development; but it cannot be said that they left a striking mark + on his music, with regard to which, however, it has to be remembered that + the degree of external resemblance does not always accurately indicate the + degree of internal indebtedness. Bach's influence on Mendelssohn, + Schumann, Chopin, and others of their contemporaries, and its various + effects on their styles, is one of the curiosities of nineteenth century + musical history; a curiosity, however, which is fully disclosed only by + subtle analysis. Field and especially Hummel are those musicians who—more, + however, as pianists than as composers (i.e., more by their pianoforte + language than by their musical thoughts)—set the most distinct + impress on Chopin's early virtuosic style, of which we see almost the last + in the concertos, where it appears in a chastened and spiritualised form + very different from the materialism of the Fantasia (Op. 13) and the + Krakowiak (Op. 14). Indeed, we may say of this style that the germ, and + much more than the germ, of almost every one of its peculiarities is to be + found in the pianoforte works of Hummel and Field; and this statement the + concertos of these masters, more especially those of the former, and their + shorter pieces, more especially the nocturnes of the latter, bear out in + its entirety. The wide-spread broken chords, great skips, wreaths of + rhythmically unmeasured ornamental notes, simultaneous combinations of + unequal numbers of notes (five or seven against four, for instance), &c., + are all to be found in the compositions of the two above-named + pianist-composers. Chopin's style, then, was not original? Most decidedly + it was. But it is not so much new elements as the development and the + different commixture, in degree and kind, of known elements which make an + individual style—the absolutely new being, generally speaking, + insignificant compared with the acquired and evolved. The opinion that + individuality is a spontaneous generation is an error of the same kind as + that imagination has nothing to do with memory. Ex nihilo nihil fit. + Individuality should rather be regarded as a feminine organisation which + conceives and brings forth; or, better still, as a growing thing which + feeds on what is germane to it, a thing with self-acting suctorial organs + that operate whenever they come in contact with suitable food. A nucleus + is of course necessary for the development of an individuality, and this + nucleus is the physical and intellectual constitution of the individual. + Let us note in passing that the development of the individuality of an + artistic style presupposes the development of the individuality of the + man's character. But not only natural dispositions, also acquired + dexterities affect the development of the individuality of an artistic + style. Beethoven is orchestral even in his pianoforte works. Weber rarely + ceases to be operatic. Spohr cannot help betraying the violinist, nor + Schubert the song-composer. The more Schumann got under his command the + orchestral forces, the more he impressed on them the style which he had + formed previously by many years of playing and writing for the pianoforte. + Bach would have been another Bach if he had not been an organist. Clementi + was and remained all his life a pianist. Like Clementi, so was also Chopin + under the dominion of his instrument. How the character of the man + expressed itself in the style of the artist will become evident when we + examine Chopin's masterpieces. Then will also be discussed the influence + on his style of the Polish national music. + </p> + <p> + <a name="link2HCH0014" id="link2HCH0014"> + <!-- H2 a --> + <!-- nchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER XIV. + </h2> + <p> + PARIS IN 1831.—LIFE IN THE STREETS.—ROMANTICISM AND + LIBERALISM.—ROMANTICISM IN LITERATURE.—CHIEF LITERARY + PUBLICATIONS OF THE TIME.—THE PICTORIAL ARTS.—MUSIC AND + MUSICIANS.—CHOPIN'S OPINION OF THE GALAXY OF SINGERS THEN PERFORMING + AT THE VARIOUS OPERA-HOUSES. + </p> + <p> + Chopin's sensations on plunging, after his long stay in the stagnant pool + of Vienna, into the boiling sea of Paris might have been easily imagined, + even if he had not left us a record of them. What newcomer from a place + less populous and inhabited by a less vivacious race could help wondering + at and being entertained by the vastness, variety, and bustle that + surrounded him there? + </p> +<pre xml:space="preserve"> + Paris offers anything you may wish [writes Chopin]. You can + amuse yourself, mope, laugh, weep, in short, do whatever you + like; no one notices it, because thousands do the same. + Everybody goes his own way....The Parisians are a peculiar + people. When evening sets in one hears nothing but the crying + of titles of little new books, which consist of from three to + four sheets of nonsense. The boys know so well how to + recommend their wares that in the end—willing or not—one + buys one for a sou. They bear titles such as these:—"L'art + de faire, des amours, et de les conserver ensuite"; "Les + amours des pretres"; "L'Archeveque de Paris avec Madame la + duchesse de Berry"; and a thousand similar absurdities which, + however, are often very wittily written. One cannot but be + astonished at the means people here make use of to earn a few + pence. +</pre> + <p> + All this and much more may be seen in Paris every day, but in 1831 Paris + life was not an everyday life. It was then and there, if at any time and + anywhere, that the "roaring loom of Time" might be heard: a new garment + was being woven for an age that longed to throw off the wornout, tattered, + and ill-fitting one inherited from its predecessors; and discontent and + hopefulness were the impulses that set the shuttle so busily flying hither + and thither. This movement, a reaction against the conventional formalism + and barren, superficial scepticism of the preceding age, had ever since + the beginning of the century been growing in strength and breadth. It + pervaded all the departments of human knowledge and activity—politics, + philosophy, religion, literature, and the arts. The doctrinaire school in + politics and the eclectic school in philosophy were as characteristic + products of the movement as the romantic school in poetry and art. We + recognise the movement in Lamennais' attack on religious indifference, and + in the gospel of a "New Christianity" revealed by Saint Simon and preached + and developed by Bazard and Enfantin, as well as in the teaching of + Cousin, Villemain, and Guizot, and in the works of V. Hugo, Delacroix, and + others. Indeed, unless we keep in view as far as possible all the branches + into which the broad stream divides itself, we shall not be able to + understand the movement aright either as a whole or in its parts. V. Hugo + defines the militant—i.e., negative side of romanticism as + liberalism in literature. The positive side of the liberalism of the time + might, on the other hand, not inaptly be described as romanticism in + speculation and practice. This, however, is matter rather for a history of + civilisation than for a biography of an artist. Therefore, without further + enlarging on it, I shall let Chopin depict the political aspect of Paris + in 1831 as he saw it, and then attempt myself a slight outline sketch of + the literary and artistic aspect of the French capital, which signifies + France. + </p> + <p> + Louis Philippe had been more than a year on the throne, but the agitation + of the country was as yet far from being allayed:— + </p> +<pre xml:space="preserve"> + There is now in Paris great want and little money in + circulation. One meets many shabby individuals with wild + physiognomies, and sometimes one hears an excited, menacing + discussion on Louis Philippe, who, as well as his ministers, + hangs only by a single hair. The populace is disgusted with + the Government, and would like to overthrow it, in order to + make an end of the misery; but the Government is too well on + its guard, and the least concourse of people is at once + dispersed by the mounted police. +</pre> + <p> + Riots and attentats were still the order of the day, and no opportunity + for a demonstration was let slip by the parties hostile to the Government. + The return of General Ramorino from Poland, where he had taken part in the + insurrection, offered such an opportunity. This adventurer, a natural son + of Marshal Lannes, who began his military career in the army of Napoleon, + and, after fighting wherever fighting was going on, ended it on the Piazza + d'Armi at Turin, being condemned by a Piedmontese court-martial to be shot + for disobedience to orders, was hardly a worthy recipient of the honours + bestowed upon him during his journey through Germany and France. But the + personal merit of such popular heroes of a day is a consideration of + little moment; they are mere counters, counters representative of ideas + and transient whims. + </p> +<pre xml:space="preserve"> + The enthusiasm of the populace for our general is of course + known to you [writes Chopin to his friend Woyciechowski]. + Paris would not be behind in this respect. [Footnote: The + Poles and everything Polish were at that time the rage in + Paris; thus, for instance, at one of the theatres where + dramas were generally played, they represented now the whole + history of the last Polish insurrection, and the house was + every night crammed with people who wished to see the combats + and national costumes.] The Ecole de Medecine and the jeune + France, who wear their beards and cravats according to a + certain pattern, intend to honour him with a great + demonstration. Every political party—I speak of course only + of the ultras—has its peculiar badge: the Carlists have + green waistcoats, the Republicans and Napoleonists (and these + form the jeune France) [red], [Footnote: Chopin has omitted + this word, which seems to be necessary to complete the + sentence; at least, it is neither in the Polish nor German + edition of Karasowski's book.] the Saint-Simonians who + profess a new religion, wear blue, and so forth. Nearly a + thousand of these young people marched with a tricolour + through the town in order to give Ramorino an ovation. + Although he was at home, and notwithstanding the shouting of + "Vive les Polonais!" he did not show himself, not wishing to + expose himself to any unpleasantness on the part of the + Government. His adjutant came out and said that the general + was sorry he could not receive them and begged them to return + some other day. But the next day he took other lodgings. When + some days afterwards an immense mass of people—not only young + men, but also rabble that had congregated near the + Pantheon—proceeded to the other side of the Seine to + Ramorino's house, the crowd increased like an avalanche till + it was dispersed by several charges of the mounted police who + had stationed themselves at the Pont Neuf. Although many were + wounded, new masses of people gathered on the Boulevards + under my windows in order to join those who were expected + from the other side of the Seine. The police was now + helpless, the crowd increased more and more, till at last a + body of infantry and a squadron of hussars advanced; the + commandant ordered the municipal guard and the troops to + clear the footpaths and street of the curious and riotous mob + and to arrest the ringleaders. (This is the free nation!) The + panic spread with the swiftness of lightning: the shops were + closed, the populace flocked together at all the corners of + the streets, and the orderlies who galloped through the + streets were hissed. All windows were crowded by spectators, + as on festive occasions with us at home, and the excitement + lasted from eleven o'clock in the morning till eleven o'clock + at night. I thought that the affair would have a bad end; but + towards midnight they sang "Allons enfants de la patrie!" and + went home. I am unable to describe to you the impression + which the horrid voices of this riotous, discontented mob + made upon me! Everyone was afraid that the riot would be + continued next morning, but that was not the case. Only + Grenoble has followed the example of Lyons; however, one + cannot tell what may yet come to pass in the world! +</pre> + <p> + The length and nature of Chopin's account show what a lively interest he + took in the occurrences of which he was in part an eye and ear-witness, + for he lived on the fourth story of a house (No. 27) on the Boulevard + Poissonniere, opposite the Cite Bergere, where General Ramorino lodged. + But some of his remarks show also that the interest he felt was by no + means a pleasurable one, and probably from this day dates his fear and + horror of the mob. And now we will turn from politics, a theme so + distasteful to Chopin that he did not like to hear it discussed and could + not easily be induced to take part in its discussion, to a theme more + congenial, I doubt not, to all of us. + </p> + <p> + Literary romanticism, of which Chateaubriand and Madame de Stael were the + harbingers, owed its existence to a longing for a greater fulness of + thought, a greater intenseness of feeling, a greater appropriateness and + adequateness of expression, and, above all, a greater truth to life and + nature. It was felt that the degenerated classicists were "barren of + imagination and invention," offered in their insipid artificialities + nothing but "rhetoric, bombast, fleurs de college, and Latin-verse + poetry," clothed "borrowed ideas in trumpery imagery," and presented + themselves with a "conventional elegance and noblesse than which there was + nothing more common." On the other hand, the works of the master-minds of + England, Germany, Spain, and Italy, which were more and more translated + and read, opened new, undreamt-of vistas. The Bible, Homer, and + Shakespeare began now to be considered of all books the most worthy to be + studied. And thus it came to pass that in a short time a most complete + revolution was accomplished in literature, from abject slavery to + unlimited freedom. + </p> +<pre xml:space="preserve"> + There are neither rules nor models [says V. Hugo, the leader + of the school, in the preface to his Cromwell (1827)], or + rather there are no other rules than the general laws of + nature which encompass the whole art, and the special laws + which for every composition result from the conditions of + existence peculiar to each subject. The former are eternal, + internal, and remain; the latter variable, external, and + serve only once. +</pre> + <p> + Hence theories, poetics, and systems were to be broken up, and the old + plastering which covered the fagade of art was to be pulled down. From + rules and theories the romanticists appealed to nature and truth, without + forgetting, however, that nature and art are two different things, and + that the truth of art can never be absolute reality. The drama, for + instance, must be "a concentrating mirror which, so far from enfeebling, + collects and condenses the colouring rays and transforms a glimmer into a + light, a light into a flame." To pass from form to matter, the attention + given by the romanticists to history is particularly to be noted. Pierre + Dubois, the director of the philosophical and literary journal "Le Globe," + the organ of romanticism (1824-1832), contrasts the poverty of invention + in the works of the classicists with the inexhaustible wealth of reality, + "the scenes of disorder, of passion, of fanaticism, of hypocrisy, and of + intrigue," recorded in history. What the dramatist has to do is to perform + the miracle "of reanimating the personages who appear dead on the pages of + a chronicle, of discovering by analysis all the shades of the passions + which caused these hearts to beat, of recreating their language and + costume." It is a significant fact that Sainte-Beuve opened the campaign + of romanticism in "Le Globe" with a "Tableau de la poesie francaise au + seizieme siecle," the century of the "Pleiade," and of Rabelais and + Montaigne. It is a still more significant fact that the members of the + "Cenacle," the circle of kindred minds that gathered around Victor Hugo—Alfred + de Vigny, Emile Deschamps, Sainte-Beuve, David d'Angers, and others—"studied + and felt the real Middle Ages in their architecture, in their chronicles, + and in their picturesque vivacity." Nor should we overlook in connection + with romanticism Cousin's aesthetic teaching, according to which, God + being the source of all beauty as well as of all truth, religion, and + morality, "the highest aim of art is to awaken in its own way the feeling + of the infinite." Like all reformers the romanticists were stronger in + destruction than in construction. Their fundamental doctrines will hardly + be questioned by anyone in our day, but the works of art which they reared + on them only too often give just cause for objection and even rejection. + However, it is not surprising that, with the physical and spiritual world, + with time and eternity at their arbitrary disposal, they made themselves + sometimes guilty of misrule. To "extract the invariable laws from the + general order of things, and the special from the subject under + treatment," is no easy matter. V. Hugo tells us that it is only for a man + of genius to undertake such a task, but he himself is an example that even + a man so gifted is fallible. In a letter written in the French capital on + January 14, 1832, Mendelssohn says of the "so-called romantic school" that + it has infected all the Parisians, and that on the stage they think of + nothing but the plague, the gallows, the devil, childbeds, and the like. + Nor were the romances less extravagant than the dramas. The lyrical + poetry, too, had its defects and blemishes. But if it had laid itself open + to the blame of being "very unequal and very mixed," it also called for + the praise of being "rich, richer than any lyrical poetry France had known + up to that time." And if the romanticists, as one of them, Sainte-Beuve, + remarked, "abandoned themselves without control and without restraint to + all the instincts of their nature, and also to all the pretensions of + their pride, or even to the silly tricks of their vanity," they had, + nevertheless, the supreme merit of having resuscitated what was extinct, + and even of having created what never existed in their language. Although + a discussion of romanticism without a characterisation of its specific and + individual differences is incomplete, I must bring this part of my remarks + to a close with a few names and dates illustrative of the literary aspect + of Paris in 1831. I may, however, inform the reader that the subject of + romanticism will give rise to further discussion in subsequent chapters. + </p> + <p> + The most notable literary events of the year 1831 were the publication of + Victor Hugo's "Notre Dame de Paris," "Feuilles d'automne," and "Marion + Delorme"; Dumas' "Charles VII"; Balzac's "La peau de chagrin"; Eugene + Sue's "Ata Gull"; and George Sand's first novel, "Rose et Blanche," + written conjointly with Sandeau. Alfred de Musset and Theophile Gautier + made their literary debuts in 1830, the one with "Contes d'Espagne et + d'ltalie," the other with "Poesies." In the course of the third decade of + the century Lamartine had given to the world "Meditations poetiques," + "Nouvelles Meditations poetiques," and "Harmonies poetiques et + religieuses"; Victor Hugo, "Odes et Ballades," "Les Orientales," three + novels, and the dramas "Cromwell" and "Hernani"; Dumas, "Henri III et sa + Cour," and "Stockholm, Fontainebleau et Rome"; Alfred de Vigny, "Poemes + antiques et modernes" and "Cinq-Mars"; Balzac, "Scenes de la vie privee" + and "Physiologie du Mariage." Besides the authors just named there were at + this time in full activity in one or the other department of literature, + Nodier, Beranger, Merimee, Delavigne, Scribe, Sainte-Beuve, Villemain, + Cousin, Michelet, Guizot, Thiers, and many other men and women of + distinction. + </p> + <p> + A glance at the Salon of 1831 will suffice to give us an idea of the then + state of the pictorial art in France. The pictures which attracted the + visitors most were: Delacroix's "Goddess of Liberty on the barricades"; + Delaroche's "Richelieu conveying Cinq-Mars and De Thou to Lyons," "Mazarin + on his death-bed," "The sons of Edward in the Tower," and "Cromwell beside + the coffin of diaries I."; Ary Scheffer's "Faust and Margaret," "Leonore," + "Talleyrand," "Henri IV.," and "Louis Philippe"; Robert's "Pifferari," + "Burial," and "Mowers"; Horace Vernet's "Judith," "Capture of the Princes + Conde," "Conti, and Longueville," "Camille Desmoulins," and "Pius VIII" To + enumerate only a few more of the most important exhibitors I shall yet + mention Decamps, Lessore, Schnetz, Judin, and Isabey. The dry list will no + doubt conjure up in the minds of many of my readers vivid reproductions of + the masterpieces mentioned or suggested by the names of the artists. + </p> + <p> + Romanticism had not invaded music to the same extent as the literary and + pictorial arts. Berlioz is the only French composer who can be called in + the fullest sense of the word a romanticist, and whose genius entitles him + to a position in his art similar to those occupied by V. Hugo and + Delacroix in literature and painting. But in 1831 his works were as yet + few in number and little known. Having in the preceding year obtained the + prix de Rome, he was absent from Paris till the latter part of 1832, when + he began to draw upon himself the attention, if not the admiration, of the + public by the concerts in which he produced his startlingly original + works. Among the foreign musicians residing in the French capital there + were many who had adopted the principles of romanticism, but none of them + was so thoroughly imbued with its spirit as Liszt—witness his + subsequent publications. But although there were few French composers who, + strictly speaking, could be designated romanticists, it would be difficult + to find among the younger men one who had not more or less been affected + by the intellectual atmosphere. + </p> + <p> + An opera, "La Marquise de Brinvilliers," produced in 1831 at the + Opera-Comique, introduces to us no less than nine dramatic composers, the + libretto of Scribe and Castil-Blaze being set to music by Cherubini, + Auber, Batton, Berton, Boieldieu, Blangini, Carafa, Herold, and Paer. + [Footnote: Chopin makes a mistake, leaving out of account Boieldieu, when + he says in speaking of "La Marquise de Brinvilliers" that the opera was + composed by eight composers.] Cherubini, who towers above all of them, was + indeed the high-priest of the art, the grand-master of the craft. Although + the Nestor of composers, none equalled him in manly vigour and perennial + youth. When seventy-six years of age (in 1836) he composed his fine + Requiem in D minor for three-part male chorus, and in the following year a + string quartet and quintet. Of his younger colleagues so favourable an + account cannot be given. The youngest of them, Batton, a grand prix, who + wrote unsuccessful operas, then took to the manufacturing of artificial + flowers, and died as inspector at the Conservatoire, need not detain us. + Berton, Paer, Blangini, Carafa (respectively born in 1767, 1771, 1781, and + 1785), once composers who enjoyed the public's favour, had lost or were + losing their popularity at the time we are speaking of; Rossini, Auber, + and others having now come into fashion. They present a saddening + spectacle, these faded reputations, these dethroned monarchs! What do we + know of Blangini, the "Musical Anacreon," and his twenty operas, one + hundred and seventy two-part "Notturni," thirty-four "Romances," &c.? + Where are Paer's oratorios, operas, and cantatas performed now? Attempts + were made in later years to revive some of Carafa's earlier works, but the + result was on each occasion a failure. And poor Berton? He could not bear + the public's neglect patiently, and vented his rage in two pamphlets, one + of them entitled "De la musique mecanique et de la musique philosophique," + which neither converted nor harmed anyone. Boieldieu, too, had to deplore + the failure of his last opera, "Les deux nuits" (1829), but then his "La + Dame blanche," which had appeared in 1825, and his earlier "Jean de Paris" + were still as fresh as ever. Herold had only in this year (1831) scored + his greatest success with "Zampa." As to Auber, he was at the zenith of + his fame. Among the many operas he had already composed, there were three + of his best—"Le Macon," "La Muette," and "Fra Diavolo"—and + this inimitable master of the genre sautillant had still a long series of + charming works in petto. To exhaust the list of prominent men in the + dramatic department we have to add only a few names. Of the younger + masters I shall mention Halevy, whose most successful work, "La Juive," + did not come out till 1835, and Adam, whose best opera, "Le postilion de + Longjumeau," saw the foot-lights in 1836. Of the older masters we must not + overlook Lesueur, the composer of "Les Bardes," an opera which came out in + 1812, and was admired by Napoleon. Lesueur, distinguished as a composer of + dramatic and sacred music, and a writer on musical matters, had, however, + given up all professional work with the exception of teaching composition + at the Conservatoire. In fact, almost all the above-named old gentlemen, + although out of fashion as composers, occupied important positions in the + musical commonwealth as professors at that institution. Speaking of + professors I must not forget to mention old Reicha (born in 1770), the + well-known theorist, voluminous composer of instrumental music, and + esteemed teacher of counterpoint and composition. + </p> + <p> + But the young generation did not always look up to these venerable men + with the reverence due to their age and merit. Chopin, for instance, + writes:— + </p> +<pre xml:space="preserve"> + Reicha I know only by sight. You can imagine how curious I am + to make his personal acquaintance. I have already seen some + of his pupils, but from them I have not obtained a favourable + opinion of their teacher. He does not love music, never + frequents the concerts of the Conservatoire, will not speak + with anyone about music, and, when he gives lessons, looks + only at his watch. Cherubini behaves in a similar manner; he + is always speaking of cholera and the revolution. These + gentlemen are mummies; one must content one's self with + respectfully lookingat them from afar, and studying their + works for instruction. +</pre> + <p> + In these remarks of Chopin the concerts of the Conservatoire are made + mention of; they were founded in 1828 by Habeneck and others and intended + for the cultivation of the symphonic works of the great masters, more + especially of Beethoven. Berlioz tells us in his Memoires, with his usual + vivacity and causticity, what impressions the works of Beethoven made upon + the old gentlemen above-named. Lesueur considered instrumental music an + inferior genre, and although the C minor Symphony quite overwhelmed him, + he gave it as his opinion that "one ought not to write such music." + Cherubini was profoundly irritated at the success of a master who + undermined his dearest theories, but he dared not discharge the bile that + was gathering within him. That, however, he had the courage of his opinion + may be gathered from what, according to Mendelssohn, he said of + Beethoven's later works: "Ca me fait eternuer." Berton looked down with + pity on the whole modern German school. Boieldieu, who hardly knew what to + think of the matter, manifested "a childish surprise at the simplest + harmonic combinations which departed somewhat from the three chords which + he had been using all his life." Paer, a cunning Italian, was fond of + letting people know that he had known Beethoven, and of telling stories + more or less unfavourable to the great man, and flattering to the + narrator. The critical young men of the new generation were, however, not + altogether fair in their judgments; Cherubini, at least, and Boieldieu + too, deserved better treatment at their hands. + </p> + <p> + In 1830 Auber and Rossini (who, after his last opera "Guillaume Tell," was + resting on his laurels) were the idols of the Parisians, and reigned + supreme on the operatic stage. But in 1831 Meyerbeer established himself + as a third power beside them, for it was in that year that "Robert le + Diable" was produced at the Academic Royale de Musique. Let us hear what + Chopin says of this event. Speaking of the difficulties with which + composers of operas have often to contend he remarks:— + </p> +<pre xml:space="preserve"> + Even Meyerbeer, who for ten years had been favourably known + in the musical world, waited, worked, and paid in Paris for + three years in vain before he succeeded in bringing about the + performance of his opera "Robert le Diable," which now causes + such a furore. Auber had got the start of Meyerbeer with his + works, which are very pleasing to the taste of the people, + and he did not readily make room for the foreigner at the + Grand Opera. +</pre> + <p> + And again:— + </p> +<pre xml:space="preserve"> + If there was ever a brilliant mise en scene at the Opera- + Italien, I cannot believe that it equalled that of Robert le + Diable, the new five-act opera of Meyerbeer, who has also + written "Il Crociato." "Robert" is a masterpiece of the new + school, where the devils sing through speaking-trumpets and + the dead rise from their graves, but not as in "Szarlatan" + [an opera of Kurpinski's], only from fifty to sixty persons + all at once! The stage represents the interior of a convent + ruin illuminated by the clear light of the full moon whose + rays fall on the graves of the nuns. In the last act appear + in brilliant candle-light monks with ancense, and from behind + the scene are heard the solemn tones of the organ. Meyerbeer + has made himself immortal by this work; but he had to wait + more than three years before he could get it performed. + People say that he has spent more than 20,000 francs for the + organ and other things made use of in the opera. + + [Footnote: This was the current belief at the time, which + Meyerbeer, however, declares to be false in a letter + addressed to Veron, the director of the Opera:—"L'orgue a + ete paye par vous, fourni par vous, comme toutes les choses + que reclamait la mise en scene de Robert, et je dois declarer + que loin de vous tenir au strict neccessaire, vous avez + depasse de bcaucoup les obligations ordinaires d'un directeur + envers les auteurs et le public."] +</pre> + <p> + The creative musicians having received sufficient attention, let us now + turn for a moment to the executive ones. Of the pianists we shall hear + enough in the next chapter, and therefore will pass them by for the + present. Chopin thought that there were in no town more pianists than in + Paris, nor anywhere more asses and virtuosos. Of the many excellent + virtuosos on stringed and wind-instruments only a few of the most + distinguished shall be mentioned. Baillot, the veteran violinist; + Franchomme, the young violoncellist; Brod, the oboe-player; and Tulou, the + flutist. Beriot and Lafont, although not constant residents like these, + may yet be numbered among the Parisian artists. The French capital could + boast of at least three first-rate orchestras—that of the + Conservatoire, that of the Academic Royale, and that of the Opera-Italien. + Chopin, who probably had on December 14 not yet heard the first of these, + takes no notice of it, but calls the orchestra of the theatre Feydeau + (Opera-Comique) excellent. Cherubini seems to have thought differently, + for on being asked why he did not allow his operas to be performed at that + institution, he answered:—"Je ne fais pas donner des operas sans + choeur, sans orchestre, sans chanteurs, et sans decorations." The + Opera-Comique had indeed been suffering from bankruptcy; still, whatever + its shortcomings were, it was not altogether without good singers, in + proof of which assertion may be named the tenor Chollet, Madame Casimir, + and Mdlle. Prevost. But it was at the Italian Opera that a constellation + of vocal talent was to be found such as has perhaps at no time been + equalled: Malibran-Garcia, Pasta, Schroder-Devrient, Rubini, Lablache, and + Santini. Nor had the Academic, with Nourrit, Levasseur, Derivis, Madame + Damoreau-Cinti, and Madame Dorus, to shrink from a comparison. Imagine the + treat it must have been to be present at the concert which took place at + the Italian Opera on December 25, 1831, and the performers at which + comprised artists such as Malibran, Rubini, Lablache, Santini, Madame + Raimbaux, Madame Schroder-Devrient, Madame Casadory, Herz, and De Beriot! + </p> + <p> + Chopin was so full of admiration for what he had heard at the three + operatic establishments that he wrote to his master Elsner:— + </p> +<pre xml:space="preserve"> + It is only here that one can learn what singing is. I believe + that not Pasta, but Malibran-Garcia is now the greatest + singer in Europe. Prince Valentin Radziwill is quite + enraptured by her, and we often wish you were here, for you + would be charmed with her singing. +</pre> + <p> + The following extracts from a letter to his friend Woyciechowski contain + some more of Chopin's criticism:— + </p> +<pre xml:space="preserve"> + As regards the opera, I must tell you that I never heard so + fine a performance as I did last week, when the "Barber of + Seville" was given at the Italian Opera, with Lablache, + Rubini, and Malibran-Garcia in the principal parts. Of + "Othello" there is likewise an excellent rendering in + prospect, further also of "L'Italiana in Algeri." Paris has + in this respect never offered so much as now. You can have no + idea of Lablache. People say that Pasta's voice has somewhat + failed, but I never heard in all my life such heavenly + singing as hers. Malibran embraces with her wonderful voice a + compass of three octaves; her singing is quite unique in its + way, enchanting! Rubini, an excellent tenor, makes endless + roulades, often too many colorature, vibrates and trills + continually, for which he is rewarded with the greatest + applause. His mezza voce is incomparable. A Schroder-Devrient + is now making her appearance, but she does not produce such a + furore here as in Germany. Signora Malibran personated + Othello, Schroder-Devrient Desdemona. Malibran is little, the + German lady taller. One thought sometimes that Desdemona was + going to strangle Othello. It was a very expensive + performance; I paid twenty-four francs for my seat, and did + so because I wished to see Malibran play the part of the + Moor, which she did not do particularly well. The orchestra + was excellent, but the mise en scene in the Italian Opera is + nothing compared with that of the French Academie + Royale...Madame Damoreau-Cinti sings also very beautifully; I + prefer her singing to that of Malibran. The latter astonishes + one, but Cinti charms. She sings the chromatic scales and + colorature almost more perfectly than the famous flute-player + Tulou plays them. It is hardly possible to find a more + finished execution. In Nourrit, the first tenor of the Grand + Opera, [Footnote: It may perhaps not be superfluous to point + out that Academie Royale (Imperial, or Nationale, as the case + may be) de Musique, or simply Academie de Musique, and Grand + Opera, or simply Opera, are different names for one and the + same thing—namely, the principal opera-house in France, the + institution whose specialties are grand opera and ballet.] + one admires the warmth of feeling which speaks out of his + singing. Chollet, the first tenor of the Opera-Comique, the + best performer of Fra Diavolo, and excellent in the operas + "Zampa" and "Fiancee," has a manner of his own in conceiving + the parts. He captivates all with his beautiful voice, and is + the favourite of the public. +</pre> + <p> + <a name="link2HCH0015" id="link2HCH0015"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER XV. + </h2> + <p> + 1831-1832. + </p> + <p> + ACQUAINTANCES AND FRIENDS: CHERUBINI, BAILLOT, FRANCHOMME, LISZT, MILLER, + OSBORNE, MENDELSSOHN.—CHOPIN AND KALKBRENNER.—CHOPIN'S AIMS AS + AN ARTIST.—KALKBRENNER'S CHARACTER AS A MAN AND ARTIST.—CHOPIN'S + FIRST PARIS CONCERT.—FETIS.—CHOPIN PLAYS AT A CONCERT GIVEN BY + THE PRINCE DE LA MOSKOWA.—HIS STATE OF MIND.—LOSS OF HIS + POLISH LETTERS.—TEMPORARILY STRAITENED CIRCUMSTANCES AND BRIGHTENING + PROSPECTS.—PATRONS AND WELL-WISHERS.—THE "IDEAL."—A + LETTER TO HILLER. + </p> + <p> + Chopin brought only a few letters of introduction with him to Paris: one + from Dr. Malfatti to Paer, and some from others to music-publishers. + Through Paer he was made acquainted with Cherubini, Rossini, Baillot, and + Kalkbrenner. Although Chopin in one of his early Paris letters calls + Cherubini a mummy, he seems to have subsequently been more favourably + impressed by him. At any rate, Ferdinand Hiller—who may have + accompanied the new-comer, if he did not, as he thinks he did, introduce + him, which is not reconcilable with his friend's statement that Paer made + him acquainted with Cherubini—told me that Chopin conceived a liking + for the burbero maestro, of whom Mendelssohn remarked that he composed + everything with his head without the help of his heart. + </p> +<pre xml:space="preserve"> + The house of Cherubini [writes Veron in his "Memoires d'un + Bourgeois de Paris"] was open to artists, amateurs, and + people of good society; and every Monday a numerous assembly + thronged his salons. All foreign artists wished to be + presented to Cherubini. During these last years one met often + at his house Hummel, Liszt, Chopin, Moscheles, Madame + Grassini, and Mademoiselle Falcon, then young and brilliant + in talent and beauty; Auber and Halevy, the favourite pupils + of the master; and Meyerbeer and Rossini. +</pre> + <p> + As evidence of the younger master's respect for the older one may be + adduced a copy made by Chopin of one of Cherubini's fugues. This + manuscript, which I saw in the possession of M. Franchomme, is a miracle + of penmanship, and surpasses in neatness and minuteness everything I have + seen of Chopin's writing, which is always microscopic. + </p> + <p> + From Dr. Hiller I learnt also that Chopin went frequently to Baillot's + house. It is very probable that he was present at the soirees which + Mendelssohn describes with his usual charming ease in his Paris letters. + Baillot, though a man of sixty, still knew how to win the admiration of + the best musicians by his fine, expressive violin-playing. Chopin writes + in a letter to Elsner that Baillot was very amiable towards him, and had + promised to take part with him in a quintet of Beethoven's at his concert; + and in another letter Chopin calls Baillot "the rival of Paganini." + </p> + <p> + As far as I can learn there was not much intercourse between Chopin and + Rossini. Of Kalkbrenner I shall have presently to speak at some length; + first, however, I shall say a few words about some of the most interesting + young artists whose acquaintance Chopin made. + </p> + <p> + One of these young artists was the famous violoncellist Franchomme, who + told me that it was Hiller who first spoke to him of the young Pole and + his unique compositions and playing. Soon after this conversation, and not + long after the new-comer's arrival in Paris, Chopin, Liszt, Hiller, and + Franchomme dined together. When the party broke up, Chopin asked + Franchomme what he was going to do. Franchomme replied he had no + particular engagement. "Then," said Chopin, "come with me and spend an + hour or two at my lodgings." "Well," was the answer of Franchomme, "but if + I do you will have to play to me." Chopin had no objection, and the two + walked off together. Franchomme thought that Chopin was at that time + staying at an hotel in the Rue Bergere. Be this as it may, the young Pole + played as he had promised, and the young Frenchman understood him at once. + This first meeting was the beginning of a life-long friendship, a + friendship such as is rarely to be met with among the fashionable + musicians of populous cities. + </p> + <p> + Mendelssohn, who came to Paris early in December, 1831, and stayed there + till about the middle of April, 1832, associated a good deal with this set + of striving artists. The diminutive "Chopinetto," which he makes use of in + his letters to Hiller, indicates not only Chopin's delicate constitution + of body and mind and social amiability, but also Mendelssohn's kindly + feeling for him. [Footnote: Chopin is not mentioned in any of + Mendelssohn's Paris letters. But the following words may refer to him; for + although Mendelssohn did not play at Chopin's concert, there may have been + some talk of his doing so. January 14, 1832: "Next week a Pole gives a + concert; in it I have to play a piece for six performers with Kalkbrenner, + Hiller and Co." Osborne related in his "Reminiscences of Frederick + Chopin," a paper read before a meeting of the Musical Association (April + 5, 1880), that he, Chopin, Hiller, and Mendelssohn, during the latter's + stay in Paris, frequently dined together at a restaurant. They ordered and + paid the dinner in turn. One evening at dessert they had a very animated + conversation about authors and their manuscripts. When they were ready to + leave Osborne called the waiter, but instead of asking for la note a + payer, he said "Garcon, apportez-moi votre manuscrit." This sally of the + mercurial Irishman was received with hearty laughter, Chopin especially + being much tickled by the profanation of the word so sacred to authors. + From the same source we learn also that Chopin took delight in repeating + the criticisms on his performances which he at one time or other had + chanced to overhear. + </p> + <p> + Not the least interesting and significant incident in Chopin's life was + his first meeting and early connection with Kalkbrenner, who at that time—when + Liszt and Thalberg had not yet taken possession of the commanding + positions they afterwards occupied—enjoyed the most brilliant + reputation of all the pianists then living. On December 16, 1831, Chopin + writes to his friend Woyciechowski:— + </p> +<pre xml:space="preserve"> + You may easily imagine how curious I was to hear Herz and + Hiller play; they are ciphers compared with Kalkbrenner. + Honestly speaking, I play as well as Herz, but I wish I could + play as well as Kalkbrenner. If Paganini is perfect, so also + is he, but in quite another way. His repose, his enchanting + touch, the smoothness of his playing, I cannot describe to + you, one recognises the master in every note—he is a giant + who throws all other artists into the shade. When I visited + him, he begged me to play him something. What was I to do? As + I had heard Herz, I took courage, seated myself at the + instrument, and played my E minor Concerto, which charmed the + people of the Bavarian capital so much. Kalkbrenner was + astonished, and asked me if I were a pupil of Field's. He + remarked that I had the style of Cramer, but the touch of + Field. It amused me that Kalkbrenner, when he played to me, + made a mistake and did not know how to go on; but it was + wonderful to hear how he found his way again. Since this + meeting we see each other daily, either he calls on me or I + on him. He proposed to teach me for three years and make a + great artist of me. I told him that I knew very well what I + still lacked; but I will not imitate him, and three years are + too much for me. He has convinced me that I play well only + when I am in the right mood for it, but less well when this + is not the case. This cannot be said of Kalkbrenner, his + playing is always the same. When he had watched me for a long + time, he came to the conclusion that I had no method; that I + was indeed on a very good path, but might easily go astray; + and that when he ceased to play, there would no longer be a + representative of the grand pianoforte school left. I cannot + create a new school, however much I may wish to do so, + because I do not even know the old one; but I know that my + tone-poems have some individuality in them, and that I always + strive to advance. + + If you were here, you would say "Learn, young man, as long as + you have an opportunity to do so!" But many dissuade me from + taking lessons, are of opinion that I play as well as + Kalkbrenner, and that it is only vanity that makes him wish + to have me for his pupil. That is nonsense. Whoever knows + anything of music must think highly of Kalkbrenner's talent, + although he is disliked as a man because he will not + associate with everybody. But I assure you there is in him + something higher than in all the virtuosos whom I have as yet + heard. I have said this in a letter to my parents, who quite + understand it. Elsner, however, does not comprehend it, and + regards it as jealousy on Kalkbrenner's part that he not only + praises me, but also wishes that my playing were in some + respects different from what it is. In spite of all this I + may tell you confidentially that I have already a + distinguished name among the artists here. +</pre> + <p> + Elsner expressed his astonishment that Kalkbrenner should require three + years to reveal to Chopin the secrets of his art, and advised his former + pupil not to confine the exercise of his musical talent to + pianoforte-playing and the composition of pianoforte music. Chopin replies + to this in a letter written on December 14, 1831, as follows:— + </p> +<pre xml:space="preserve"> + In the beginning of last year, although I knew what I yet + lacked, and how very far I still was from equalling the model + I have in you, I nevertheless ventured to think, "I will + approach him, and if I cannot produce, a Lokietek ["the + short," surname of a king of Poland; Elsner had composed an + opera of that name], I may perhaps give to the world a + Laskonogi ["the thin-legged," surname of another king of + Poland]." To-day all such hopes are annihilated; I am forced + to think of making my way in the world as a pianist. For some + time I must keep in the background the higher artistic aim of + which you wrote to me. In order to be a great composer one + must possess, in addition to creative power, experience and + the faculty of self-criticism, which, as you have taught me, + one obtains not only by listening to the works of others, but + still more by means of a careful critical examination of + one's own. +</pre> + <p> + After describing the difficulties which lie in the way of the opera + composer, he proceeds:— + </p> +<pre xml:space="preserve"> + It is my conviction that he is the happier man who is able to + execute his compositions himself. I am known here and there + in Germany as a pianist; several musical journals have spoken + highly of my concerts, and expressed the hope of seeing me + soon take a prominent position among the first pianoforte- + virtuosos. I had to-day anopportunity or fulfilling the + promise I had made to myself. Why should I not embrace it?... + I should not like to learn pianoforte-playing in Germany, for + there no one could tell me precisely what it was that I + lacked. I, too, have not seen the beam in my eye. Three + years' study is far too much. Kalkbrenner, when he had heard + me repeatedly, came to see that himself. From this you may + see that a true meritorious virtuoso does not know the + feeling of envy. I would certainly make up my mind to study + for three years longer if I were certain that I should then + reach the aim which I have kept in view. So much is clear to + me, I shall never become a copy of Kalkbrenner; he will not + be able to break my perhaps bold but noble resolve—TO CREATE + A NEW ART-ERA. If I now continue my studies, I do so only in + order to stand at some future time on my own feet. It was not + difficult for Ries, who was then already recognised as a + celebrated pianist, to win laurels at Berlin, Frankfort-on- + the-Main, Dresden, &c., by his opera Die Rauberbraut. And how + long was Spohr known as an excellent violinist before he had + written Faust, Jessonda, and other works? I hope you will not + deny me your blessing when you see on what grounds and with + what intentions I struggle onwards. +</pre> + <p> + This is one of the most important letters we have of Chopin; it brings + before us, not the sighing lover, the sentimental friend, but the + courageous artist. On no other occasion did he write so freely and fully + of his views and aims. What heroic self-confidence, noble resolves, vast + projects, flattering dreams! And how sad to think that most of them were + doomed to end in failure and disappointment! But few are the lives of true + artists that can really be called happy! Even the most successful have, in + view of the ideally conceived, to deplore the quantitative and qualitative + shortcomings of the actually accomplished. But to return to Kalkbrenner. + Of him Chopin said truly that he was not a popular man; at any rate, he + was not a popular man with the romanticists. Hiller tells us in his + "Recollections and Letters of Mendelssohn" how little grateful he and his + friends, Mendelssohn included, were for Kalkbrenner's civilities, and what + a wicked pleasure they took in worrying him. Sitting one day in front of a + cafe on the Boulevard des Italiens, Hiller, Liszt, and Chopin saw the prim + master advancing, and knowing how disagreeable it would be to him to meet + such a noisy company, they surrounded him in the friendliest manner, and + assailed him with such a volley of talk that he was nearly driven to + despair, which, adds Hiller, "of course delighted us." It must be + confessed that the great Kalkbrenner, as M. Marmontel in his "Pianistes + celebres" remarks, had "certaines etroitesses de caractere," and these + "narrownesses" were of a kind that particularly provokes the ridicule of + unconventional and irreverent minds. Heine is never more biting than when + he speaks of Kalkbrenner. He calls him a mummy, and describes him as being + dead long ago and having lately also married. This, however, was some + years after the time we are speaking of. On another occasion Heine writes + that Kalkbrenner is envied + </p> +<pre xml:space="preserve"> + for his elegant manners, for his polish and sweetishness, and + for his whole marchpane-like appearance, in which, however, + ihe calm observer discovers a shabby admixture of involuntary + Berlinisms of the lowest class, so that Koreff could say of + the man as wittily as correctly: "He looks like a bon-bon + that has been in the mud." +</pre> + <p> + A thorough belief in and an unlimited admiration of himself form the + centre of gravity upon which the other qualities of Kalkbrenner's + character balance themselves. He prided himself on being the pattern of a + fine gentleman, and took upon him to teach even his oldest friends how to + conduct themselves in society and at table. In his gait he was dignified, + in his manners ceremonious, and in his speech excessively polite. He was + addicted to boasting of honours offered him by the King, and of his + intimacy with the highest aristocracy. That he did not despise popularity + with the lower strata of society is evidenced by the anecdote (which the + virtuoso is credited with having told himself to his guests) of the + fish-wife who, on reading his card, timidly asks him to accept as a homage + to the great Kalkbrenner a splendid fish which he had selected for his + table. The artist was the counterpart of the man. He considered every + success as by right his due, and recognised merit only in those who were + formed on his method or at least acknowledged its superiority. His + artistic style was a chastened reflex of his social demeanour. + </p> + <p> + It is difficult to understand how the Kalkbrenner-Chopin affair could be + so often misrepresented, especially since we are in possession of Chopin's + clear statements of the facts. [FOOTNOTE: Statements which are by no means + invalidated by the following statement of Lenz:—"On my asking Chopin + 'whether Kalkbrenner had understood much about it' [i.e. the art of + pianoforte-playing], followed the answer: 'It was at the beginning of my + stay in Paris.'"]. There are no grounds whatever to justify the assumption + that Kalkbrenner was actuated by jealousy, artfulness, or the like, when + he proposed that the wonderfully-gifted and developed Chopin should become + his pupil for three years. His conceit of himself and his method account + fully for the strangeness of the proposal. Moreover, three years was the + regulation time of Kalkbrenner's course, and it was much that he was + willing to shorten it in the case of Chopin. Karasowski, speaking as if he + had the gift of reading the inmost thoughts of men, remarks: "Chopin did + not suspect what was passing in Kalkbrenner's mind when he was playing to + him." After all, I should like to ask, is there anything surprising in the + fact that the admired virtuoso and author of a "Methode pour apprendre le + Piano a l'aide du Guide-mains; contenant les principes de musique; un + systems complet de doigter; des regles sur l'expression," &c., found + fault with Chopin's strange fingering and unconventional style? + Kalkbrenner could not imagine anything superior to his own method, + anything finer than his own style. And this inability to admit the + meritoriousness or even the legitimacy of anything that differed from what + he was accustomed to, was not at all peculiar to this great pianist; we + see it every day in men greatly his inferiors. Kalkbrenner's lament that + when he ceased to play there would be no representative left of the grand + pianoforte school ought to call forth our sympathy. Surely we cannot blame + him for wishing to perpetuate what he held to be unsurpassable! According + to Hiller, Chopin went a few times to the class of advanced pupils which + Kalkbrenner had advised him to attend, as he wished to see what the thing + was like. Mendelssohn, who had a great opinion of Chopin and the reverse + of Kalkbrenner, was furious when he heard of this. But were Chopin's + friends correct in saying that he played better than Kalkbrenner, and + could learn nothing from him? That Chopin played better than Kalkbrenner + was no doubt true, if we consider the emotional and intellectual qualities + of their playing. But I think it was not correct to say that Chopin could + learn nothing from the older master. Chopin was not only a better judge of + Kalkbrenner than his friends, who had only sharp eyes for his + short-comings, and overlooked or undervalued his good qualities, but he + was also a better judge of himself and his own requirements. He had an + ideal in his mind, and he thought that Kalkbrenner's teaching would help + him to realise it. Then there is also this to be considered: unconnected + with any school, at no time guided by a great master of the instrument, + and left to his own devices at a very early age, Chopin found himself, as + it were, floating free in the air without a base to stand on, without a + pillar to lean against. The consequent feeling of isolation inspires at + times even the strongest and most independent self-taught man—and + Chopin, as a pianist, may almost be called one—with distrust in the + adequacy of his self-acquired attainments, and an exaggerated idea of the + advantages of a school education. "I cannot create a new school, because I + do not even know the old one." This may or may not be bad reasoning, but + it shows the attitude of Chopin's mind. It is also possible that he may + have felt the inadequacy and inappropriateness of his technique and style + for other than his own compositions. And many facts in the history of his + career as an executant would seem to confirm the correctness of such a + feeling. At any rate, after what we have read we cannot attribute his + intention of studying under Kalkbrenner to undue self-depreciation. For + did he not consider his own playing as good as that of Herz, and feel that + he had in him the stuff to found a new era in music? But what was it then + that attracted him to Kalkbrenner, and made him exalt this pianist above + all the pianists he had heard? If the reader will recall to mind what I + said in speaking of Mdlles. Sontag and Belleville of Chopin's love of + beauty of tone, elegance, and neatness, he cannot be surprised at the + young pianist's estimate of the virtuoso of whom Riehl says: "The essence + of his nature was what the philologists call elegantia—he spoke the + purest Ciceronian Latin on the piano." As a knowledge of Kalkbrenner's + artistic personality will help to further our acquaintance with Chopin, + and as our knowledge of it is for the most part derived from the libels + and caricatures of well-intentioned critics, who in their zeal for a + nobler and more glorious art overshoot the mark of truth, it will be worth + our while to make inquiries regarding it. + </p> + <p> + Kalkbrenner may not inaptly be called the Delille of pianist-composers, + for his nature and fate remind us somewhat of the poet. As to his works, + although none of them possessed stamina enough to be long-lived, they + would have insured him a fairer reputation if he had not published so many + that were written merely for the market. Even Schumann confessed to having + in his younger days heard and played Kalkbrenner's music often and with + pleasure, and at a maturer age continued to acknowledge not only the + master's natural virtuoso amiability and clever manner of writing + effectively for fingers and hands, but also the genuinely musical + qualities of his better works, of which he held the Concerto in D minor to + be the "bloom," and remarks that it shows the "bright sides" of + Kalkbrenner's "pleasing talent." We are, however, here more concerned with + the pianist than with the composer. One of the best sketches of + Kalkbrenner as a pianist is to be found in a passage which I shall + presently quote from M. Marmontel's collection of "Silhouettes et + Medaillons" of "Les Pianistes celebres." The sketch is valuable on account + of its being written by one who is himself a master, one who does not + speak from mere hearsay, and who, whilst regarding Kalkbrenner as an + exceptional virtuoso, the continuator of Clementi, the founder ("one of + the founders" would be more correct) of modern pianoforte-playing, and + approving of the leading principle of his method, which aims at the + perfect independence of the fingers and their preponderant action, does + not hesitate to blame the exclusion of the action of the wrist, forearm, + and arm, of which the executant should not deprive himself "dans les + accents de legerete, d'expression et de force." But here is what M. + Marmontel says:— + </p> +<pre xml:space="preserve"> + The pianoforte assumed under his fingers a marvellous and + never harsh sonorousness, for he did not seek forced effects. + His playing, smooth, sustained, harmonious, and of a perfect + evenness, charmed even more than it astonished; moreover, a + faultless neatness in the most difficult passages, and a left + hand of unparalleled bravura, made Kalkbrenner an + extraordinary virtuoso. Let us add that the perfect + independence of the fingers, the absence of the in our day so + frequent movements of the arms, the tranquillity of the hands + and body, a perfect bearing—all these qualities combined, + and many others which we forget, left the auditor free to + enjoy the pleasure of listening without having his attention + diverted by fatiguing gymnastics. Kalkbrenner's manner of + phrasing was somewhat lacking in expression and communicative + warmth, but the style was always noble, true, and of the + grand school. +</pre> + <p> + We now know what Chopin meant when he described Kalkbrenner as "perfect + and possessed of something that raised him above all other virtuosos"; we + now know also that Chopin's admiration was characteristic and not + misplaced. Nevertheless, nobody will think for a moment of disagreeing + with those who advised Chopin not to become a pupil of this master, who + always exacted absolute submission to his precepts; for it was to be + feared that he would pay too dear for the gain of inferior accomplishments + with the loss of his invaluable originality. But, as we have seen, the + affair came to nothing, Chopin ceasing to attend the classes after a few + visits. What no doubt influenced his final decision more than the advice + of his friends was the success which his playing and compositions met with + at the concert of which I have now to tell the history. Chopin's desertion + as a pupil did not terminate the friendly relation that existed between + the two artists. When Chopin published his E minor Concerto he dedicated + it to Kalkbrenner, and the latter soon after composed "Variations + brillantes (Op. 120) pour le piano sur une Mazourka de Chopin," and often + improvised on his young brother-artist's mazurkas. Chopin's friendship + with Camille Pleyel helped no doubt to keep up his intercourse with + Kalkbrenner, who was a partner of the firm of Pleyel & Co. + </p> + <p> + The arrangements for his concert gave Chopin much trouble, and had they + not been taken in hand by Paer, Kalkbrenner, and especially Norblin, he + would not have been able to do anything in Paris, where one required at + least two months to get up a concert. This is what Chopin tells Elsner in + the letter dated December 14, 1831. Notwithstanding such powerful + assistance he did not succeed in giving his concert on the 25th of + December, as he at first intended. The difficulty was to find a lady + vocalist. Rossini, the director of the Italian Opera, was willing to help + him, but Robert, the second director, refused to give permission to any of + the singers in his company to perform at the concert, fearing that, if he + did so once, there would be no end of applications. As Veron, the director + of the Academie Royale likewise refused Chopin's request, the concert had + to be put off till the 15th of January, 1832, when, however, on account of + Kalkbrenner's illness or for some other reason, it had again to be + postponed. At last it came off on February 26, 1832. Chopin writes on + December 16, 1831, about the arrangements for the concert:— + </p> +<pre xml:space="preserve"> + Baillot, the rival of Paganini, and Brod, the celebrated oboe- + player, will assist me with their talent. I intend to play my + F minor Concerto and the Variations in B flat...I shall play + not only the concerto and the variations, but also with + Kalkbrenner his duet "Marche suivie d'une Polonaise" for two + pianos, with the accompaniment of four others. Is this not an + altogether mad idea? One of the grand pianos is very large, + and is for Kalkbrenner; the other is small (a so-called mono- + chord), and is for me. On the other large ones, which are as + loud as an orchestra, Hiller, Osborne, Stamati, and Sowinski + are to play. Besides these performers, Norblin, Vidal, and + the celebrated viola-player Urban will take part in the + concert. +</pre> + <p> + The singers of the evening were Mdlles. Isambert and Tomeoni, and M. + Boulanger. I have not been able to discover the programme of the concert. + Hiller says that Chopin played his E minor Concerto and some of his + mazurkas and nocturnes. Fetis, in the Revue musicale (March 3, 1832), + mentions only in a general way that there were performed a concerto by + Chopin, a composition for six pianos by Kalkbrenner, some vocal pieces, an + oboe solo, and "a quintet for violin [sic], executed with that energy of + feeling and that variety of inspiration which distinguish the talent of M. + Baillot." The concert, which took place in Pleyel's rooms, was financially + a failure; the receipts did not cover the expenses. The audience consisted + chiefly of Poles, and most of the French present had free tickets. Hiller + says that all the musical celebrities of Paris were there, and that + Chopin's performances took everybody by storm. "After this," he adds, + "nothing more was heard of want of technique, and Mendelssohn applauded + triumphantly." Fetis describes this soiree musicale as one of the most + pleasant that had been given that year. His criticism contains such + interesting and, on the whole, such excellent remarks that I cannot resist + the temptation to quote the more remarkable passages:— + </p> +<pre xml:space="preserve"> + Here is a young man who, abandoning himself to his natural + impressions and without taking a model, has found, if not a + complete renewal of pianoforte music, at least a part of what + has been sought in vain for a long time—namely, an abundance + of original ideas of which the type is to be found nowhere. + We do not mean by this that M. Chopin is endowed with a + powerful organisation like that of Beethoven, nor that there + are in his music such powerful conceptions as one remarks in + that of this great man. Beethoven has composed pianoforte + music, but I speak here of pianists' music, and it is by + comparison with the latter that I find in M. Chopin's + inspirations the indication of a renewal of forms which may + exercise in time much influence over this department of the + art. +</pre> + <p> + Of Chopin's concerto Fetis remarks that it:— + </p> +<pre xml:space="preserve"> + equally astonished and surprised his audience, as much by the + novelty of the melodic ideas as by the figures, modulations, + and general disposition of the movements. There is soul in + these melodies, fancy in these figures, and originality in + everything. Too much luxuriance in the modulations, disorder + in the linking of the phrases, so that one seems sometimes to + hear an improvisation rather than written music, these are + the defects which are mixed with the qualities I have just + now pointed out. But these defects belong to the age of the + artist; they will disappear when experience comes. If the + subsequent works of M. Chopin correspond to his debut, there + can be no doubt but that he will acquire a brilliant and + merited reputation. + + As an executant also the young artist deserves praise. His + playing is elegant, easy, graceful, and possesses brilliance + and neatness. He brings little tone out of the instrument, + and resembles in this respect the majority of German + pianists. But the study which he is making of this part of + his art, under the direction of M. Kalkbrenner, cannot fail + to give him an important quality on which the nerf of + execution depends, and without which the accents of the + instrument cannot be modified. +</pre> + <p> + Of course dissentient voices made themselves heard who objected to this + and that; but an overwhelming majority, to which belonged the young + artists, pronounced in favour of Chopin. Liszt says that he remembers his + friend's debut:— + </p> +<pre xml:space="preserve"> + The most vigorous applause seemed not to suffice to our + enthusiasm in the presence of this talented musician, who + revealed a new phase of poetic sentiment combined with such + happy innovations in the form of his art. +</pre> + <p> + The concluding remark of the above-quoted criticism furnishes an + additional proof that Chopin went for some time to Kalkbrenner's class. As + Fetis and Chopin were acquainted with each other, we may suppose that the + former was well informed on this point. In passing, we may take note of + Chopin's account of the famous historian and theorist's early struggles:— + </p> +<pre xml:space="preserve"> + Fetis [Chopin writes on December 14, 1831], whom I know, and + from whom one can learn much, lives outside the town, and + comes to Paris only to give his lessons. They say he is + obliged to do this because his debts are greater than the + profits from his "Revue musicale." He is sometimes in danger + of making intimate acquaintance with the debtors' prison. You + must know that according to the law of the country a debtor + can only be arrested in his dwelling. Fetis has, therefore, + left the town and lives in the neighbourhood of Paris, nobody + knows where. +</pre> + <p> + On May 20, 1832, less than three months after his first concert, Chopin + made his second public appearance in Paris, at a concert given by the + Prince de la Moskowa for the benefit of the poor. Among the works + performed was a mass composed by the Prince. Chopin played the first + movement of:— + </p> +<pre xml:space="preserve"> + the concerto, which had already been heard at Pleyel's rooms, + and had there obtained a brilliant success. On this occasion + it was not so well received, a fact which, no doubt, must be + attributed to the instrumentation, which is lacking in + lightness, and to the small volume of tone which M. Chopin + draws from the piano. However, it appears to us that the + music of this artist will gain in the public opinion when it + becomes better known. [FOOTNOTE: From the "Revue musicale."] +</pre> + <p> + The great attraction of the evening was not Chopin, but Brod, who + "enraptured" the audience. Indeed, there were few virtuosos who were as + great favourites as this oboe-player; his name was absent from the + programme of hardly any concert of note. + </p> + <p> + In passing we will note some other musical events of interest which + occurred about the same time that Chopin made his debut. On March 18 + Mendelssohn played Beethoven's G major Concerto with great success at one + of the Conservatoire concerts, [FOOTNOTE: It was the first performance of + this work in Paris.] the younger master's overture to the "Midsummer + Night's Dream" had been heard and well received at the same institution in + the preceding month, and somewhat later his "Reformation Symphony" was + rehearsed, but laid aside. In the middle of March Paganini, who had lately + arrived, gave the first of a series of concerts, with what success it is + unnecessary to say. Of Chopin's intercourse with Zimmermann, the + distinguished pianoforte-professor at the Conservatoire, and his family we + learn from M. Marmontel, who was introduced to Chopin and Liszt, and heard + them play in 1832 at one of his master's brilliant musical fetes, and + gives a charming description of the more social and intimate parties at + which Chopin seems to have been occasionally present. + </p> +<pre xml:space="preserve"> + Madame Zimmermann and her daughters did the honours to a + great number of artists. Charades were acted; the forfeits + that were given, and the rebuses that were not guessed, had + to be redeemed by penances varying according to the nature of + the guilty ones. Gautier, Dumas, and Musset were condemned to + recite their last poem. Liszt or Chopin had to improvise on a + given theme, Mesdames Viardot, Falcon, and Euggnie Garcia had + also to discharge their melodic debts, and I myself remember + having paid many a forfeit. +</pre> + <p> + The preceding chapter and the foregoing part of this chapter set forth the + most important facts of Chopin's social and artistic life in his early + Paris days. The following extract from a letter of his to Titus + Woyciechowski, dated December 25, 1831, reveals to us something of his + inward life, the gloom of which contrasts violently with the outward + brightness:— + </p> +<pre xml:space="preserve"> + Ah, how I should like to have you beside me!... You cannot + imagine how sad it is to have nobody to whom I can open my + troubled heart. You know how easily I make acquaintances, how + I love human society—such acquaintances I make in great + numbers—but with no one, no one can I sigh. My heart beats + as it were always "in syncopes," therefore I torment myself + and seek for a rest—for solitude, so that the whole day + nobody may look at me and speak to me. It is too annoying to + me when there is a pull at the bell, and a tedious visit is + announced while I am writing to you. At the moment when I was + going to describe to you the ball, at which a divine being + with a rose in her black hair enchanted me, arrives your + letter. All the romances of my brain disappear? my thoughts + carry me to you, I take your hand and weep...When shall we + see each other again?...Perhaps never, because, seriously, my + health is very bad. I appear indeed merry, especially when I + am among my fellow-countrymen; but inwardly something + torments me—a gloomy presentiment, unrest, bad dreams, + sleeplessness, yearning, indifference to everything, to the + desire to live and the desire to die. It seems to me often as + if my mind were benumbed, I feel a heavenly repose in my + heart, in my thoughts I see images from which I cannot tear + myself away, and this tortures me beyond all measure. In + short, it is a combination of feelings that are difficult to + describe...Pardon me, dear Titus, for telling you of all + this; but now I have said enough...I will dress now and go, + or rather drive, to the dinner which our countrymen give to- + day to Ramorino and Langermann...Your letter contained much + that was news to me; you have written me four pages and + thirty-seven lines—in all my life you have never been so + liberal to me, and I stood in need of something of the kind, + I stood indeed very much in need of it. + + What you write about my artistic career is very true, and I + myself am convinced of it. + + I drive in my own equipage, only the coachman is hired. + + I shall close, because otherwise I should be too late for the + post, for I am everything in one person, master and servant. + Take pity on me and write as often as possible!—Yours unto + death, + + FREDERICK. +</pre> + <p> + In the postscript of this letter Chopin's light fancy gets the better of + his heavy heart; in it all is fun and gaiety. First he tells his friend of + a pretty neighbour whose husband is out all day and who often invites him + to visit and comfort her. But the blandishments of the fair one were of no + avail; he had no taste for adventures, and, moreover, was afraid to be + caught and beaten by the said husband. A second love-story is told at + greater length. The dramatis personae are Chopin, John Peter Pixis, and + Francilla Pixis, a beautiful girl of sixteen, a German orphan whom the + pianist-composer, then a man of about forty-three, had adopted, and who + afterwards became known as a much-admired singer. Chopin made their + acquaintance in Stuttgart, and remarks that Pixis said that he intended to + marry her. On his return to Paris Pixis invited Chopin to visit him; the + latter, who had by this time forgotten pretty Francilla, was in no hurry + to call. What follows must be given in Chopin's own words:— + </p> +<pre xml:space="preserve"> + Eight days after the second invitation I went to his house, + and accidentally met his pet on the stairs. She invited me to + come in, assuring me it did not matter that Mr. Pixis was not + at home; meanwhile I was to sit down, he would return soon, + and so on. A strange embarrassment seized both of us. I made + my excuses—for I knew the old man was very jealous—and said + I would rather return another time. While we were talking + familiarly and innocently on the staircase, Pixis came up, + looking over his spectacles in order to see who was speaking + above to his bella. He may not have recognised us at once, + quickened his steps, stopped before us, and said to her + harshly: "Qu'est-ce que vous faites ici?" and gave her a + severe lecture for receiving young men in his absence, and so + on. I addressed Pixis smilingly, and said to her that it was + somewhat imprudent to leave the room in so thin a silk dress. + At last the old man became calm—he took me by the arm and + led me into the drawing-room. He was in such a state of + excitement that he did not know what seat to offer me; for he + was afraid that, if he had offended me, I would make better + use of his absence another time. When I left he accompanied + me down stairs, and seeing me smile (for I could not help + doing so when I found I was thought capable of such a thing), + he went to the concierge and asked how long it was since I + had come. The concierge must have calmed his fears, for since + that time Pixis does not know how to praise my talent + sufficiently to all his acquaintances. What do you think of + this? I, a dangerous seducteur! +</pre> + <p> + The letters which Chopin wrote to his parents from Paris passed, after his + mother's death, into the hands of his sister, who preserved them till + September 19, 1863. On that day the house in which she lived in Warsaw—a + shot having been fired and some bombs thrown from an upper story of it + when General Berg and his escort were passing—was sacked by Russian + soldiers, who burned or otherwise destroyed all they could lay hands on, + among the rest Chopin's letters, his portrait by Ary Scheffer, the + Buchholtz piano on which he had made his first studies, and other relics. + We have now also exhausted, at least very nearly exhausted, Chopin's + extant correspondence with his most intimate Polish friends, Matuszynski + and Woyciechowski, only two unimportant letters written in 1849 and + addressed to the latter remaining yet to be mentioned. That the + confidential correspondence begins to fail us at this period (the last + letter is of December 25, 1831) is particularly inopportune; a series of + letters like those he wrote from Vienna would have furnished us with the + materials for a thoroughly trustworthy history of his settlement in Paris, + over which now hangs a mythical haze. Karasowski, who saw the lost + letters, says they were tinged with melancholy. + </p> + <p> + Besides the thought of his unhappy country, a thought constantly kept + alive by the Polish refugees with whom Paris was swarming, Chopin had + another more prosaic but not less potent cause of disquietude and sadness. + His pecuniary circumstances were by no means brilliant. Economy cannot + fill a slender purse, still less can a badly-attended concert do so, and + Chopin was loath to be a burden on his parents who, although in easy + circumstances, were not wealthy, and whose income must have been + considerably lessened by some of the consequences of the insurrection, + such as the closing of schools, general scarcity of money, and so forth. + Nor was Paris in 1831, when people were so busy with politics, El Dorado + for musicians. Of the latter, Mendelssohn wrote at the time that they did + not, like other people, wrangle about politics, but lamented over them. + "One has lost his place, another his title, and a third his money, and + they say this all proceeds from the 'juste milieu.'" As Chopin saw no + prospect of success in Paris he began to think, like others of his + countrymen, of going to America. His parents, however, were against this + project, and advised him either to stay where he was and wait for better + things, or to return to Warsaw. Although he might fear annoyances from the + Russian government on account of his not renewing his passport before the + expiration of the time for which it was granted, he chose the latter + alternative. Destiny, however, had decided the matter otherwise.[FOOTNOTE: + Karasowski says that Liszt, Hiller, and Sowinski dissuaded him from + leaving Paris. Liszt and Hiller both told me, and so did also Franchomme, + that they knew nothing of Chopin having had any such intention; and + Sowinski does not mention the circumstance in his Musiciens polonais.] One + day, or, as some will have it, on the very day when he was preparing for + his departure, Chopin met in the street Prince Valentine Radziwill, and, + in the course of the conversation which the latter opened, informed him of + his intention of leaving Paris. The Prince, thinking, no doubt, of the + responsibility he would incur by doing so, did not attempt to dissuade + him, but engaged the artist to go with him in the evening to Rothschild's. + Chopin, who of course was asked by the hostess to play something, charmed + by his wonderful performance, and no doubt also by his refined manners, + the brilliant company assembled there to such a degree that he carried off + not only a plentiful harvest of praise and compliments, but also some + offers of pupils. Supposing the story to be true, we could easily believe + that this soiree was the turning-point in Chopin's career, but + nevertheless might hesitate to assert that it changed his position "as if + by enchantment." I said "supposing the story to be true," because, + although it has been reported that Chopin was fond of alluding to this + incident, his best friends seem to know nothing of it: Liszt does not + mention it, Hiller and Franchomme told me they never heard of it, and + notwithstanding Karasowski's contrary statement there is nothing to be + found about it in Sowinski's Musiciens polonais. Still, the story may have + a substratum of truth, to arrive at which it has only to be shorn of its + poetical accessories and exaggerations, of which, however, there is little + in my version. + </p> + <p> + But to whatever extent, or whether to any extent at all, this or any + similar soiree may have served Chopin as a favourable introduction to a + wider circle of admirers and patrons, and as a stepping-stone to success, + his indebtedness to his countrymen, who from the very first befriended and + encouraged him, ought not to be forgotten or passed over in silence for + the sake of giving point to a pretty anecdote. The great majority of the + Polish refugees then living in Paris would of course rather require than + be able to afford help and furtherance, but there was also a not + inconsiderable minority of persons of noble birth and great wealth whose + patronage and influence could not but be of immense advantage to a + struggling artist. According to Liszt, Chopin was on intimate terms with + the inmates of the Hotel Lambert, where old Prince Adam Czartoryski and + his wife and daughter gathered around them "les debris de la Pologne que + la derniere guerre avait jetes au loin." Of the family of Count Plater and + other compatriots with whom the composer had friendly intercourse we shall + speak farther on. Chopin's friends were not remiss in exerting themselves + to procure him pupils and good fees at the same time. They told all + inquirers that he gave no lesson for less than twenty francs, although he + had expressed his willingness to be at first satisfied with more modest + terms. Chopin had neither to wait in vain nor to wait long, for in about a + year's time he could boast of a goodly number of pupils. + </p> + <p> + The reader must have noticed with surprise the absence of any mention of + the "Ideal" from Chopin's letters to his friend Titus Woyciechowski, to + whom the love-sick artist was wont to write so voluminously on this theme. + How is this strange silence to be accounted for? Surely this passionate + lover could not have forgotten her beneath whose feet he wished his ashes + to be spread after his death? But perhaps in the end of 1831 he had + already learnt what was going to happen in the following year. The sad + fact has to be told: inconstant Constantia Gladkowska married a merchant + of the name of Joseph Grabowski, at Warsaw, in 1832; this at least is the + information given in Sowinski's biographical dictionary Les musiciens + polonais et slaves.[FOOTNOTE: According to Count Wodzinski she married a + country gentleman, and subsequently became blind.] As the circumstances of + the case and the motives of the parties are unknown to me, and as a + biographer ought not to take the same liberties as a novelist, I shall + neither expatiate on the fickleness and mercenariness of woman, nor + attempt to describe the feelings of our unfortunate hero robbed of his + ideal, but leave the reader to make his own reflections and draw his own + moral. + </p> + <p> + On August 2, 1832, Chopin wrote a letter to Hiller, who had gone in the + spring of the year to Germany. What the young Pole thought of this German + brother-artist may be gathered from some remarks of his in the letter to + Titus Woyciechowski dated December 16, 1831:— + </p> +<pre xml:space="preserve"> + The concert of the good Hiller, who is a pupil of Hummel and + a youth of great talent, came off very successfully the day + before yesterday. A symphony of his was received with much + applause. He has taken Beethoven for his model, and his work + is full of poesy and inspiration. +</pre> + <p> + Since then the two had become more intimate, seeing each other almost + every day, Chopin, as Osborne relates, being always in good spirits when + Hiller was with him. The bearer of the said letter was Mr. Johns, to whom + the five Mazurkas, Op. 7, are dedicated, and whom Chopin introduced to + Hiller as "a distinguished amateur of New Orleans." After warmly + recommending this gentleman, he excuses himself for not having + acknowledged the receipt of his friend's letter, which procured him the + pleasure of Paul Mendelssohn's acquaintance, and then proceeds:— + </p> +<pre xml:space="preserve"> + Your trios, my dear friend, have been finished for a long + time, and, true to my character of a glutton, I have gulped + down your manuscripts into my repertoire. Your concerto will + be performed this month by Adam's pupils at the examination + of the Conservatoire. Mdlle. Lyon plays it very well. La + Tentation, an opera-ballet by Halevy and Gide, has not + tempted any one of good taste, because it has just as little + interest as your German Diet harmony with the spirit of the + age. Maurice, who has returned from London, whither he had + gone for the mise en scene of Robert (which has not had a + very great success), has assured us that Moscheles and Field + will come to Paris for the winter. This is all the news I + have to give you. Osborne has been in London for the last two + months. Pixis is at Boulogne. Kalkbrenner is at Meudon, + Rossini at Bordeaux. All who know you await you with open + arms. Liszt will add a few words below. Farewell, dear + friend. + + Yours most truly, + + F. CHOPIN. + + Paris, 2/8/32 +</pre> + <p> + <a name="link2HCH0016" id="link2HCH0016"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER XVI. + </h2> + <p> + 1832-1834. + </p> + <p> + CHOPIN'S SUCCESS IN SOCIETY AND AS A TEACHER.—VARIOUS CONCERTS AT + WHICH HE PLAYED.—A LETTER FROM CHOPIN AND LISZT TO HILLER.—SOME + OF HIS FRIENDS.—STRANGE BEHAVIOUR.—A LETTER TO FRANCHOMME.—CHOPIN'S + RESERVE.—SOME TRAITS OF THE POLISH CHARACTER.—FIELD.—BERLIOZ.—NEO-ROMANTICISM + AND CHOPIN'S RELATION TO IT.—WHAT INFLUENCE HAD LISZT ON CHOPIN'S + DEVELOPMENT—PUBLICATION OF WORKS.—THE CRITICS.—INCREASING + POPULARITY.—JOURNEY IN THE COMPANY OF HILLER TO AIX-LA-CHAPELLE.—A + DAY AT DUSSELDORF WITH MENDELSSOHN. + </p> + <p> + IN the season 1832-1833 Chopin took his place as one of the acknowledged + pianistic luminaries of the French capital, and began his activity as a + professor par excellence of the aristocracy. "His distinguished manners, + his exquisite politeness, his studied and somewhat affected refinement in + all things, made Chopin the model professor of the fashionable nobility." + Thus Chopin is described by a contemporary. Now he shall describe himself. + An undated letter addressed to his friend Dominic Dziewanowski, which, + judging from an allusion to the death of the Princess Vaudemont, + [FOOTNOTE: In a necrology contained in the Moniteur of January 6, 1833, + she is praised for the justesse de son esprit, and described as naive et + vraie comme une femme du peuple, genereuse comme une grande dame. There we + find it also recorded that she saved M. de Vitrolles pendant les + Cent-jours, et M. de Lavalette sous la Restoration.] must have been + written about the second week of January, 1833, gives much interesting + information concerning the writer's tastes and manners, the degree of + success he had obtained, and the kind of life he was leading. After some + jocular remarks on his long silence—remarks in which he alludes to + recollections of Szafarnia and the sincerity of their friendship, and + which he concludes with the statement that he is so much in demand on all + sides as to betorn to pieces—Chopin proceeds thus:— + </p> +<pre xml:space="preserve"> + I move in the highest society—among ambassadors, princes, + and ministers; and I don't know how I got there, for I did + not thrust myself forward at all. But for me this is at + present an absolute necessity, for thence comes, as it were, + good taste. You are at once credited with more talent if you + are heard at a soiree of the English or Austrian + Ambassador's. Your playing is finer if the Princess Vaudemont + patronises you. "Patronises" I cannot properly say, for the + good old woman died a week ago. She was a lady who reminded + me of the late Kasztelanowa Polaniecka, received at her house + the whole Court, was very charitable, and gave refuge to many + aristocrats in the days of terror of the first revolution. + She was the first who presented herself after the days of + July at the Court of Louis Philippe, although she belonged to + the Montmorency family (the elder branch), whose last + descendant she was. She had always a number of black and + white pet dogs, canaries, and parrots about her; and + possessed also a very droll little monkey, which was + permitted even to... bite countesses and princesses. + + Among the Paris artists I enjoy general esteem and + friendship, although I have been here only a year. A proof of + this is that men of great reputation dedicate their + compositions to me, and do so even before I have paid them + the same compliment—for instance, Pixis his last Variations + for orchestra. He is now even composing variations on a theme + of mine. Kalkbrenner improvises frequently on my mazurkas. + Pupils of the Conservatoire, nay, even private pupils of + Moscheles, Herz, and Kalkbrenner (consequently clever + artists), still take lessons from me, and regard me as the + equal of Field. Really, if I were somewhat more silly than I + am, I might imagine myself already a finished artist; + nevertheless, I feel daily how much I have still to learn, + and become the more conscious of it through my intercourse + with the first artists here, and my perception of what every + one, even of them, is lacking in. But I am quite ashamed of + myself for what I have written just now, having praised + myself like a child. I would erase it, but I have no time to + write another letter. Moreover, you will remember my + character as it formerly was; indeed, I have remained quite + the same, only with this one difference, that I have now + whiskers on one side—unfortunately they won't grow at all on + the other side. To-day I have to give five lessons; you will + imagine that I must soon have made a fortune, but the + cabriolet and the white gloves eat the earnings almost up, + and without these things people would deny my bon ton. I love + the Carlists, hate the Philippists, and am myself a + revolutionist; therefore I don't care for money, but only for + friendship, for the preservation of which I earnestly entreat + you. +</pre> + <p> + This letter, and still more the letters which I shall presently + transcribe, afford irrefragable evidence of the baselessness of the + often-heard statement that Chopin's intercourse was in the first years of + his settlement in Paris confined to the Polish salons. The simple + unexaggerated truth is that Chopin had always a predilection for, and felt + more at home among, his compatriots. + </p> + <p> + In the winter 1832-1833 Chopin was heard frequently in public. At a + concert of Killer's (December 15, 1832) he performed with Liszt and the + concert-giver a movement of Bach's Concerto for three pianos, the three + artists rendering the piece "avec une intelligence de son caractere et une + delicatesse parfaite." Soon after Chopin and Liszt played between the acts + of a dramatic performance got up for the benefit of Miss Smithson, the + English actress and bankrupt manager, Berlioz's flame, heroine of his + "Episode de la vie d'un artiste," and before long his wife. On April 3, + 1833, Chopin assisted at a concert given by the brothers Herz, taking part + along with them and Liszt in a quartet for eight hands on two pianos. M. + Marmontel, in his silhouette of the pianist and critic Amedee de Mereaux, + mentions that in 1832 this artist twice played with Chopin a duo of his + own on "Le Pre aux Clercs," but leaves us in uncertainty as to whether + they performed it at public concerts or private parties. M. Franchomme + told me that he remembered something about a concert given by Chopin in + 1833 at the house of one of his aristocratic friends, perhaps at Madame la + Marechale de Lannes's! In summing up, as it were, Chopin's activity as a + virtuoso, I may make use of the words of the Paris correspondent of the + "Allgemeine musikalische Zeitung," who reports in April, 1833, that + "Chopin and Osborne, as well as the other celebrated masters, delight the + public frequently." In short, Chopin was becoming more and more of a + favourite, not, however, of the democracy of large concert-halls, but of + the aristocracy of select salons. + </p> + <p> + The following letter addressed to Hiller, written by Chopin and Liszt, and + signed by them and Franchomme, brings together Chopin's most intimate + artist friends, and spreads out before us a vivid picture of their good + fellowship and the society in which they moved. I have put the portions + written by Liszt within brackets [within parentheses in this e-text]. Thus + the reader will see what belongs to each of the two writers, and how they + took the pen out of each other's hand in the middle of a phrase and even + of a word. With regard to this letter I have further to remark that + Hiller, who was again in Germany, had lately lost his father:— + </p> +<pre xml:space="preserve"> + {This is at least the twentieth time that we have made + arrangements to meet, sometimes at my house, sometimes here, + [Footnote: At Chopin's lodgings mentioned farther on.] with + the intention of writing to you, and some visit, or other + unexpected hindrance, has always prevented us from doing + so!...I don't know whether Chopin will be able to make any + excuses to you; as regards myself it seems to me that we have + been so excessively rude and impertinent that excuses are no + longer either admissible or possible. + + We have sympathised deeply with you in your sorrow, and + longed to be with you in order to alleviate as much as + possible the pangs of your heart.} + + He has expressed himself so well that I have nothing to add + in excuse of my negligence or idleness, influenza or + distraction, or, or, or—you know I explain myself better in + person; and when I escort you home to your mother's house + this autumn, late at night along the boulevards, I shall try + to obtain your pardon. I write to you without knowing what my + pen is scribbling, because Liszt is at this moment playing my + studies and transports me out of my proper senses. I should + like to rob him of his way of rendering my own studies. As to + your friends who are in Paris, I have seen the Leo family and + their set [Footnote: Chopin's words are et qui s'en suit.' He + refers, no doubt, to the Valentin family, relations of the + Leos, who lived in the same house with them.] frequently this + winter and spring. There have been some soirees at the houses + of certain ambassadresses, and there was not one in which + mention was not made of some one who is at Frankfort. Madame + Eichthal sends you a thousand compliments. The whole Plater + family were much grieved at your departure, and asked me to + express to you their sympathy. (Madame d'Appony has quite a + grudge against me for not having taken you to her house + before your departure; she hopes that when you return you + will remember the promise you made me. I may say as much from + a certain lady who is not an ambassadress. [Footnote: This + certain lady was the Countess d'Agoult.] + + Do you know Chopin's wonderful studies?) They are admirable— + and yet they will only last till the moment yours appear (a + little bit of authorial modesty!!!). A little bit of rudeness + on the part of the tutor—for, to explain the matter better + to you, he corrects my orthographical mistakes (after the + fashion of M. Marlet. + + You will come back to us in the month of September, will you + not? Try to let us know the day as we have resolved to give + you a serenade (or charivari). The most distinguished artists + of the capital—M. Franchomme (present), Madame Petzold, and + the Abbe Bardin, the coryphees of the Rue d'Amboise (and my + neighbours), Maurice Schlesinger, uncles, aunts, nephews, + nieces, brothers-in-law, sisters-in-law, &c., &c.) en plan du + troisieme, &c. [Footnote: I give the last words in the + original French, because I am not sure of their meaning. + Hiller, to whom I applied for an explanation, was unable to + help me. Perhaps Chopin uses here the word plan in the + pictorial sense (premier plan, foreground; second plan, + middle distance).] + + The responsible editors, + + (F. LISZT.) F. CHOPIN. (Aug. FRANCHOMME.) + + A Propos, I met Heine yesterday, who asked me to grussen you + herzlich und herzlich. [Footnote: To greet you heartily and + heartily.] A propos again, pardon me for all the "you's"—I + beg you to forgive me them. If you have a moment to spare let + us have news of you, which is very precious to us. + + Paris: Rue de la Chaussee d'Antin, No. 5. + + At present I occupy Franck's lodgings—he has set out for + London and Berlin; I feel quite at home in the rooms which + were so often our place of meeting. Berlioz embraces you. As + to pere Baillot, he is in Switzerland, at Geneva, and so you + will understand why I cannot send you Bach's Concerto. + + June 20, 1833. +</pre> + <p> + Some of the names that appear in this letter will give occasion for + comment. Chopin, as Hiller informed me, went frequently to the ambassadors + Appony and Von Kilmannsegge, and still more frequently to his compatriots, + the Platers. At the house of the latter much good music was performed, for + the countess, the Pani Kasztelanowa (the wife of the castellan), to whom + Liszt devotes an eloquent encomium, "knew how to welcome so as to + encourage all the talents that then promised to take their upward flight + and form une lumineuse pleiade," being + </p> +<pre xml:space="preserve"> + in turn fairy, nurse, godmother, guardian angel, delicate + benefactress, knowing all that threatens, divining all that + saves, she was to each of us an amiable protectress, equally + beloved and respected, who enlightened, warmed, and elevated + his [Chopin's] inspiration, and left a blank in his life when + she was no more. +</pre> + <p> + It was she who said one day to Chopin: "Si j'etais jeune et jolie, mon + petit Chopin, je te prendrais pour mari, Hiller pour ami, et Liszt pour + amant." And it was at her house that the interesting contention of Chopin + with Liszt and Hiller took place. The Hungarian and the German having + denied the assertion of the Pole that only he who was born and bred in + Poland, only he who had breathed the perfume of her fields and woods, + could fully comprehend with heart and mind Polish national music, the + three agreed to play in turn, by way of experiment, the mazurka "Poland is + not lost yet." Liszt began, Hiller followed, and Chopin came last and + carried off the palm, his rivals admitting that they had not seized the + true spirit of the music as he had done. Another anecdote, told me by + Hiller, shows how intimate the Polish artist was with this family of + compatriots, the Platers, and what strange whims he sometimes gave way to. + One day Chopin came into the salon acting the part of Pierrot, and, after + jumping and dancing about for an hour, left without having spoken a single + word. + </p> + <p> + Abbe Bardin was a great musical amateur, at whose weekly afternoon + gatherings the best artists might be seen and heard, Mendelssohn among the + rest when he was in Paris in 1832-1833. In one of the many obituary + notices of Chopin which appeared in French and other papers, and which are + in no wise distinguished by their trustworthiness, I found the remark that + the Abbe Bardin and M.M. Tilmant freres were the first to recognise + Chopin's genius. The notice in question is to be found in the Chronique + Musicale of November 3, 1849. + </p> + <p> + In Franck, whose lodgings Chopin had taken, the reader will recognise the + "clever [geistreiche], musical Dr. Hermann Franck," the friend of many + musical and other celebrities, the same with whom Mendelssohn used to play + at chess during his stay in Paris. From Hiller I learned that Franck was + very musical, and that his attainments in the natural sciences were + considerable; but that being well-to-do he was without a profession. In + the fifth decade of this century he edited for a year Brockhaus's Deutsche + allgemeine Zeitung. + </p> + <p> + In the following letter which Chopin wrote to Franchomme—the latter + thinks in the autumn of 1833—we meet with some new names. Dr. + Hoffmann was a good friend of the composer's, and was frequently found at + his rooms smoking. I take him to have been the well-known litterateur + Charles Alexander Hoffmann, [Footnote: This is the usual German, French, + and English spelling. The correct Polish spelling is Hofman. The forms + Hoffman and Hofmann occur likewise.] the husband of Clementina Tanska, a + Polish refugee who came to Paris in 1832 and continued to reside there + till 1848. Maurice is of course Schlesinger the publisher. Of Smitkowski I + know only that he was one of Chopin's Polish friends, whose list is pretty + long and comprised among others Prince Casimir Lubomirski, Grzymala, + Fontana, and Orda. + </p> + <p> + [Footnote: Of Grzymala and Fontana more will be heard in the sequel. + Prince Casimir Lubomirski was a passionate lover of music, and published + various compositions. Liszt writes that Orda, "who seemed to command a + future," was killed at the age of twenty in Algiers. Karasowski gives the + same information, omitting, however, the age. My inquiries about Orda + among French musicians and Poles have had no result. Although the data do + not tally with those of Liszt and Karasowski, one is tempted to identify + Chopin's friend with the Napoleon Orda mentioned in Sowinski's Musiciens + polonais et slaves—"A pianist-composer who had made himself known + since the events of 1831. One owes to him the publication of a Polish + Album devoted to the composers of this nation, published at Paris in 1838. + M. Orda is the author of several elegantly-written pianoforte works." In a + memoir prefixed to an edition of Chopin's mazurkas and waltzes (Boosey + & Co.), J.W. Davison mentions a M. Orda (the "M." stands, I suppose, + for Monsieur) and Charles Filtsch as pupils of Chopin.] + </p> + <p> + It was well for Chopin that he was so abundantly provided with friends, + for, as Hiller told me, he could not do without company. But here is + Chopin's letter to Franchomme:— + </p> +<pre xml:space="preserve"> + Begun on Saturday, the 14th, and finished on Wednesday, the + 18th. + + DEAR FRIEND,—It would be useless to excuse myself for my + silence. If my thoughts could but go without paper to the + post-office! However, you know me too well not to know that + I, unfortunately, never do what I ought to do. I got here + very comfortably (except for a little disagreeable episode, + caused by an excessively odoriferous gentleman who went as + far as Chartres—he surprised me in the night-time). I have + found more occupation in Paris than I left behind me, which + will, without doubt, hinder me from visiting you at Coteau. + Coteau! oh Coteau! Say, my child, to the whole family at + Coteau that I shall never forget my stay in Touraine—that so + much kindness has made me for ever grateful. People think I + am stouter and look very well, and I feel wonderfully well, + thanks to the ladies that sat beside me at dinner, who + bestowed truly maternal attentions upon me. When I think of + all this the whole appears to me such an agreeable dream that + I should like to sleep again. And the peasant-girls of + Pormic! [FOOTNOTE: A village near the place where Chopin had + been staying.] and the flour! or rather your graceful nose + which you were obliged to plunge into it. + + [FOOTNOTE: The remark about the "flour" and Franchomme's "nez + en forme gracieuse" is an allusion to some childish game in + which Chopin, thanks to his aquiline nose, got the better of + his friend, who as regards this feature was less liberally + endowed.] + + A very interesting visit has interrupted my letter, which was + begun three days ago, and which I have not been able to + finish till to-day. + + Hiller embraces you, Maurice, and everybody. I have delivered + your note to his brother, whom I did not find at home. + + Paer, whom I saw a few days ago, spoke to me of your return. + Come back to us stout and in good health like me. Again a + thousand messages to the estimable Forest family. I have + neither words nor powers to express all I feel for them. + Excuse me. Shake hands with me—I pat you on the shoulder—I + hug you—I embrace you. My friend—au revoir. + + Hoffmann, the stout Hoffmann, and the slim Smitkowski also, + embrace you. + + [FOOTNOTE: The orthography of the French original is very + careless. Thus one finds frequent omissions and misplacements + of accents and numerous misspellings, such as trouvais + instead of trouve, engresse instead of engraisse, plonge + instead of plonger. Of course, these mistakes have to be + ascribed to negligence not to ignorance. I must mention yet + another point which the English translation does not bring + out—namely, that in addressing Franchomme Chopin makes use + of the familiar form of the second person singular.] +</pre> + <p> + The last-quoted letter adds a few more touches to the portraiture of + Chopin which has been in progress in the preceding pages. The insinuating + affectionateness and winning playfulness had hitherto not been brought out + so distinctly. There was then, and there remained to the end of his life, + something of a woman and of a boy in this man. The sentimental element is + almost wholly absent from Chopin's letters to his non-Polish friends. Even + to Franchomme, the most intimate among these, he shows not only less of + his inmost feelings and thoughts than to Titus Woyciechowski and John + Matuszyriski, the friends of his youth, but also less than to others of + his countrymen whose acquaintance he made later in life, and of whom + Grzymala may be instanced. Ready to give everything, says Liszt, Chopin + did not give himself— + </p> +<pre xml:space="preserve"> + his most intimate acquaintances did not penetrate into the + sacred recess where, apart from the rest of his life, dwelt + the secret spring of his soul: a recess so well concealed + that one hardly suspected its existence. +</pre> + <p> + Indeed, you could as little get hold of Chopin as, to use L. Enault's + expression, of the scaly back of a siren. Only after reading his letters + to the few confidants to whom he freely gave his whole self do we know how + little of himself he gave to the generality of his friends, whom he pays + off with affectionateness and playfulness, and who, perhaps, never + suspected, or only suspected, what lay beneath that smooth surface. This + kind of reserve is a feature of the Slavonic character, which in Chopin's + individuality was unusually developed. + </p> +<pre xml:space="preserve"> + The Slavonians [says Enault pithily] lend themselves, they do + not give themselves; and, as if Chopin had wished to make his + country-men pardon him the French origin of his family, he + showed himself more Polish than Poland. +</pre> + <p> + Liszt makes some very interesting remarks on this point, and as they throw + much light on the character of the race, and on that of the individual + with whom we are especially concerned in this book, I shall quote them:— + </p> +<pre xml:space="preserve"> + With the Slavonians, the loyalty and frankness, the + familiarity and captivating desinvoltura of their manners, do + not in the least imply trust and effusiveness. Their feelings + reveal and conceal themselves like the coils of a serpent + convoluted upon itself; it is only by a very attentive + examination that one discovers the connection of the rings. + It would be naive to take their complimentary politeness, + their pretended modesty literally. The forms of this + politeness and this modesty belong to their manners, which + bear distinct traces of their ancient relations with the + East. Without being in the least infected by Mussulmanic + taciturnity, the Slavonians have learned from it a defiant + reserve on all subjects which touch the intimate chords of + the heart. One may be almost certain that, in speaking of + themselves, they maintain with regard to their interlocutor + some reticence which assures them over him an advantage of + intelligence or of feeling, leaving him in ignorance of some + circumstance or some secret motive by which they would be the + most admired or the least esteemed; they delight in hiding + themselves behind a cunning interrogatory smile of + imperceptible mockery. Having on every occasion a taste for + the pleasure of mystification, from the most witty and droll + to the most bitter and lugubrious kinds, one would say that + they see in this mocking deceit a form of disdain for the + superiority which they inwardly adjudge to themselves, but + which they veil with the care and cunning of the oppressed. +</pre> + <p> + And now we will turn our attention once more to musical matters. In the + letter to Hiller (August 2, 1832) Chopin mentioned the coming of Field and + Moscheles, to which, no doubt, he looked forward with curiosity. They were + the only eminent pianists whom he had not yet heard. Moscheles, however, + seems not to have gone this winter to Paris; at any rate, his personal + acquaintance with the Polish artist did not begin till 1839. Chopin, whose + playing had so often reminded people of Field's, and who had again and + again been called a pupil of his, would naturally take a particular + interest in this pianist. Moreover, he esteemed him very highly as a + composer. Mikuli tells us that Field's A flat Concerto and nocturnes were + among those compositions which he delighted in playing (spielte mit + Vorliebe). Kalkbrenner is reported [FOOTNOTE: In the Allgemeine + musikalische Zeitung of April 3, 1833.] to have characterised Field's + performances as quite novel and incredible; and Fetis, who speaks of them + in the highest terms, relates that on hearing the pianist play a concerto + of his own composition, the public manifested an indescribable enthusiasm, + a real delirium. Not all accounts, however, are equally favourable. + </p> + <p> + [FOOTNOTE: In the Revue musicale of December 29, 1832. The criticism is + worth reproducing:—"Quiconque n'a point entendu ce grand pianiste ne + peut se faire d'idee du mecanisme admirable de ses doigts, mecanisme tel + que les plus grandes difficultes semblent etre des choses fort simples, et + que sa main n'a point l'air de se mouvoir. Il n'est d'ailleurs pas mains + etonnant dans l'art d'attaquer la note et de varier a l'infini les + diverses nuances de force, de douceur et d'accent. Un enthousiasme + impossible a decrire, un veritable delire s'est manifeste dans le public a + l'audition de ce concerto plein de charme rendu avec une perfection de + fini, de precision, de nettete et d'expression qu'il serait impossible de + surpasser et que bien peu de pianistes pourraient egaler." Of a MS. + concerto played by Field at his second concert, given on February 3, 1833, + Fetis says that it is "diffus, peu riche en motifs heureux, peu digne, en + un mot, de la renommee de son auteur," but "la delicieuse execution de M. + Field nous a tres-heureusement servi de compensation"] + </p> + <p> + Indeed, the contradictory criticisms to be met with in books and + newspapers leave on the reader the impression that Field disappointed the + expectations raised by his fame. The fact that the second concert he gave + was less well attended than the first cannot but confirm this impression. + He was probably no longer what he had been; and the reigning pianoforte + style and musical taste were certainly no longer what they had been. "His + elegant playing and beautiful manner of singing on the piano made people + admire his talent," wrote Fetis at a later period (in his "Biographie + universelle des Musiciens"), "although his execution had not the power of + the pianists of the modern school." It is not at all surprising that the + general public and the younger generation of artists, more especially the + romanticists, were not unanimously moved to unbounded enthusiasm by "the + clear limpid flow" and "almost somnolent tranquillity" of Field's playing, + "the placid tenderness, graceful candour, and charming ingenuousness of + his melodious reveries." This characterisation of Field's style is taken + from Liszt's preface to the nocturnes. Moscheles, with whom Field dined in + London shortly before the latter's visit to Paris, gives in his diary a by + no means flattering account of him. Of the man, the diarist says that he + is good-natured but not educated and rather droll, and that there cannot + be a more glaring contrast than that between Field's nocturnes and Field's + manners, which were often cynical. Of the artist, Moscheles remarks that + while his touch was admirable and his legato entrancing, his playing + lacked spirit and accent, light and shadow, and depth of feeling. M. + Marmontel was not far wrong when, before having heard Field, he regarded + him as the forerunner of Chopin, as a Chopin without his passion, sombre + reveries, heart-throes, and morbidity. The opinions which the two artists + had of each other and the degree of their mutual sympathy and antipathy + may be easily guessed. We are, however, not put to the trouble of guessing + all. Whoever has read anything about Chopin knows of course Field's + criticism of him—namely, that he was "un talent de chambre de + malade," which, by the by, reminds one of a remark of Auber's, who said + that Chopin was dying all his life (il se meurt tonte sa vie). It is a + pity that we have not, as a pendant to Field's criticism on Chopin, one of + Chopin on Field. But whatever impression Chopin may have received from the + artist, he cannot but have been repelled by the man. And yet the older + artist's natural disposition was congenial to that of the younger one, + only intemperate habits had vitiated it. Spohr saw Field in 1802-1803, and + describes him as a pale, overgrown youth, whose dreamy, melancholy playing + made people forget his awkward bearing and badly-fitting clothes. One who + knew Field at the time of his first successes portrays him as a young man + with blonde hair, blue eyes, fair complexion, and pleasing features, + expressive of the mood of the moment—of child-like ingenuousness, + modest good-nature, gentle roguishness, and artistic aspiration. M. + Marmontel, who made his acquaintance in 1832, represents him as a + worn-out, vulgar-looking man of fifty, whose outward appearance contrasted + painfully with his artistic performances, and whose heavy, thick-set form + in conjunction with the delicacy and dreaminess of his musical thoughts + and execution called to mind Rossini's saying of a celebrated singer, + "Elle a l'air d'un elephant qui aurait avale un rossignol." One can easily + imagine the surprise and disillusion of the four pupils of Zimmermann—MM. + Marmontel, Prudent, A. Petit, and Chollet—who, provided with a + letter of introduction by their master, called on Field soon after his + arrival in Paris and beheld the great pianist— + </p> +<pre xml:space="preserve"> + in a room filled with tobacco smoke, sitting in an easy + chair, an enormous pipe in his mouth, surrounded by large and + small bottles of all sorts [entoure de chopes et bouteilles + de toutes provenances]. His rather large head, his highly- + coloured cheeks, his heavy features gave a Falstaff-like + appearance to his physiognomy. +</pre> + <p> + Notwithstanding his tipsiness, he received the young gentlemen kindly, and + played to them two studies by Cramer and Clementi "with rare perfection, + admirable finish, marvellous agility, and exquisiteness of touch." Many + anecdotes might be told of Field's indolence and nonchalance; for + instance, how he often fell asleep while giving his lessons, and on one + occasion was asked whether he thought he was paid twenty roubles for + allowing himself to be played to sleep; or, how, when his walking-stick + had slipped out of his hand, he waited till some one came and picked it + up; or, how, on finding his dress-boots rather tight, he put on slippers, + and thus appeared in one of the first salons of Paris and was led by the + mistress of the house, the Duchess Decazes, to the piano—but I have + said enough of the artist who is so often named in connection with Chopin. + </p> + <p> + From placid Field to volcanic Berlioz is an enormous distance, which, + however, we will clear at one leap, and do it too without hesitation or + difficulty. For is not leaping the mind's natural mode of locomotion, and + walking an artificially-acquired and rare accomplishment? Proceeding step + by step we move only with more or less awkwardness, but aided by ever so + slight an association of ideas we bound with the greatest ease from any + point to any other point of infinitude. Berlioz returned to Paris in the + latter part of 1832, and on the ninth of December of that year gave a + concert at which he produced among other works his "Episode de la vie d'un + artiste" (Part I.—"Symphonic fantastique," for the second time; Part + II—"Lelio, ou le retour a la vie," for the first time), the subject + of which is the history of his love for Miss Smithson. Chopin, no doubt, + made Berlioz's acquaintance through Liszt, whose friendship with the great + French symphonic composer dated from before the latter's departure for + Italy. The characters of Chopin and Berlioz differed too much for a deep + sympathy to exist between them; their connection was indeed hardly more + than a pleasant social companionship. Liszt tells us that the constant + intercourse with Berlioz, Hiller, and other celebrities who were in the + habit of saying smart things, developed Chopin's natural talent for + incisive remarks, ironical answers, and ambiguous speeches. Berlioz. I + think, had more affection for Chopin than the latter for Berlioz. + </p> + <p> + But it is much more the artistic than the social attitude taken up by + Chopin towards Berlioz and romanticism which interests us. Has Liszt + correctly represented it? Let us see. It may be accepted as in the main + true that the nocturnes of Field, [Footnote: In connection with this, + however, Mikuli's remark has to be remembered.] the sonatas of Dussek, and + the "noisy virtuosities and decorative expressivities" of Kalkbrenner were + either insufficient for or antipathetic to Chopin; and it is plainly + evident that he was one of those who most perseveringly endeavoured to + free themselves from the servile formulas of the conventional style and + repudiated the charlatanisms that only replace old abuses by new ones. On + the other hand, it cannot be said that he joined unreservedly those who, + seeing the fire of talent devour imperceptibly the old worm-eaten + scaffolding, attached themselves to the school of which Berlioz was the + most gifted, valiant, and daring representative, nor that, as long as the + campaign of romanticism lasted, he remained invariable in his + predilections and repugnances. The promptings of his genius taught Chopin + that the practice of any one author or set of authors, whatever their + excellence might be, ought not to be an obligatory rule for their + successors. But while his individual requirements led him to disregard use + and wont, his individual taste set up a very exclusive standard of his + own. He adopted the maxims of the romanticists, but disapproved of almost + all the works of art in which they were embodied. Or rather, he adopted + their negative teaching, and like them broke and threw off the trammels of + dead formulas; but at the same time he rejected their positive teaching, + and walked apart from them. Chopin's repugnance was not confined only to + the frantic side and the delirious excesses of romanticism as Liszt + thinks. He presents to us the strange spectacle of a thoroughly romantic + and emphatically unclassical composer who has no sympathy either with + Berlioz and Liszt, or with Schumann and other leaders of romanticism, and + the object of whose constant and ardent love and admiration was Mozart, + the purest type of classicism. But the romantic, which Jean Paul Richter + defined as "the beautiful without limitation, or the beautiful infinite" + [das Schone ohne Begrenzung, oder das schone Unendliche], affords more + scope for wide divergence, and allows greater freedom in the display of + individual and national differences, than the classical. + </p> + <p> + Chopin's and Berlioz's relative positions may be compared to those of V. + Hugo and Alfred de Musset, both of whom were undeniably romanticists, and + yet as unlike as two authors can be. For a time Chopin was carried away by + Liszt's and Killer's enthusiasm for Berlioz, but he soon retired from his + championship, as Musset from the Cenacle. Franchomme thought this took + place in 1833, but perhaps he antedated this change of opinion. At any + rate, Chopin told him that he had expected better things from Berlioz, and + declared that the latter's music justified any man in breaking off all + friendship with him. Some years afterwards, when conversing with his pupil + Gutmann about Berlioz, Chopin took up a pen, bent back the point of it, + and then let it rebound, saying: "This is the way Berlioz composes—he + sputters the ink over the pages of ruled paper, and the result is as + chance wills it." Chopin did not like the works of Victor Hugo, because he + felt them to be too coarse and violent. And this may also have been his + opinion of Berlioz's works. No doubt he spurned Voltaire's maxim, "Le gout + n'est autre chose pour la poesie que ce qu'il est pour les ajustements des + femmes," and embraced V. Hugo's countermaxim, "Le gout c'est la raison du + genie"; but his delicate, beauty-loving nature could feel nothing but + disgust at what has been called the rehabilitation of the ugly, at such + creations, for instance, as Le Roi s'amuse and Lucrece Borgia, of which, + according to their author's own declaration, this is the essence:— + </p> +<pre xml:space="preserve"> + Take the most hideous, repulsive, and complete physical + deformity; place it where it stands out most prominently, in + the lowest, most subterraneous and despised story of the + social edifice; illuminate this miserable creature on all + sides by the sinister light of contrasts; and then give it a + soul, and place in that soul the purest feeling which is + bestowed on man, the paternal feeling. What will be the + result? This sublime feeling, intensified according to + certain conditions, will transform under your eyes the + degraded creature; the little being will become great; the + deformed being will become beautiful.—Take the most hideous, + repulsive, and complete moral deformity; place it where it + stands out most prominently, in the heart of a woman, with + all the conditions of physical beauty and royal grandeur + which give prominence to crime; and now mix with all this + moral deformity a pure feeling, the purest which woman can + feel, the maternal feeling; place a mother in your monster + and the monster will interest you, and the monster will make + you weep, and this creature which caused fear will cause + pity, and this deformed soul will become almost beautiful in + your eyes. Thus we have in Le Roi s'amuse paternity + sanctifying physical deformity; and in Lucrece Borgia + maternity purifying moral deformity. [FOOTNOTE: from Victor + Hugo's preface to "Lucrece Borgia."] +</pre> + <p> + In fact, Chopin assimilated nothing or infinitely little of the ideas that + were surging around him. His ambition was, as he confided to his friend + Hiller, to become to his countrymen as a musician what Uhland was to the + Germans as a poet. Nevertheless, the intellectual activity of the French + capital and its tendencies had a considerable influence on Chopin. They + strengthened the spirit of independence in him, and were potent impulses + that helped to unfold his individuality in all its width and depth. The + intensification of thought and feeling, and the greater fulness and + compactness of his pianoforte style in his Parisian compositions, cannot + escape the attentive observer. The artist who contributed the largest + quotum of force to this impulse was probably Liszt, whose fiery passions, + indomitable energy, soaring enthusiasm, universal tastes, and capacity of + assimilation, mark him out as the very opposite of Chopin. But, although + the latter was undoubtedly stimulated by Liszt's style of playing the + piano and of writing for this instrument, it is not so certain as Miss L. + Ramann, Liszt's biographer, thinks, that this master's influence can be + discovered in many passages of Chopin's music which are distinguished by a + fiery and passionate expression, and resemble rather a strong, swelling + torrent than a gently-gliding rivulet. She instances Nos. 9 and 12 of + "Douze Etudes," Op. 10; Nos. 11 and 12 of "Douze Etudes," Op. 25; No. 24 + of "Vingt-quatre Preludes," Op. 28; "Premier Scherzo," Op. 20; "Polonaise" + in A flat major, Op. 53; and the close of the "Nocturne" in A flat major, + Op. 32. All these compositions, we are told, exhibit Liszt's style and + mode of feeling. Now, the works composed by Chopin before he came to Paris + and got acquainted with Liszt comprise not only a sonata, a trio, two + concertos, variations, polonaises, waltzes, mazurkas, one or more + nocturnes, &c., but also—and this is for the question under + consideration of great importance—most of, if not all, the studies + of Op. 10, [FOOTNOTE: Sowinski says that Chopin brought with him to Paris + the MS. of the first book of his studies.] and some of Op. 25; and these + works prove decisively the inconclusiveness of the lady's argument. The + twelfth study of Op. 10 (composed in September, 1831) invalidates all she + says about fire, passion, and rushing torrents. In fact, no cogent reason + can be given why the works mentioned by her should not be the outcome of + unaided development.[FOONOTE: That is to say, development not aided in the + way indicated by Miss Ramann. Development can never be absolutely unaided; + it always presupposes conditions—external or internal, physical or + psychical, moral or intellectual—which induce and promote it. What + is here said may be compared with the remarks about style and + individuality on p. 214.] The first Scherzo alone might make us pause and + ask whether the new features that present themselves in it ought not to be + fathered on Liszt. But seeing that Chopin evolved so much, why should he + not also have evolved this? Moreover, we must keep in mind that Liszt had, + up to 1831, composed almost nothing of what in after years was considered + either by him or others of much moment, and that his pianoforte style had + first to pass through the state of fermentation into which Paganini's, + playing had precipitated it (in the spring of 1831) before it was formed; + on the other hand, Chopin arrived in Paris with his portfolios full of + masterpieces, and in possession of a style of his own, as a player of his + instrument as well as a writer for it. That both learned from each other + cannot be doubted; but the exact gain of each is less easily determinable. + Nevertheless, I think I may venture to assert that whatever be the extent + of Chopin's indebtedness to Liszt, the latter's indebtedness to the former + is greater. The tracing of an influence in the works of a man of genius, + who, of course, neither slavishly imitates nor flagrantly appropriates, is + one of the most difficult tasks. If Miss Ramann had first noted the works + produced by the two composers in question before their acquaintance began, + and had carefully examined Chopin's early productions with a view to + ascertain his capability of growth, she would have come to another + conclusion, or, at least, have spoken less confidently. [FOOTNOTE: + Schumann, who in 1839 attempted to give a history of Liszt's development + (in the "Neue Zeitschrift fur Musik"), remarked that when Liszt, on the + one hand, was brooding over the most gloomy fancies, and indifferent, nay, + even blase, and, on the other hand, laughing and madly daring, indulged in + the most extravagant virtuoso tricks, "the sight of Chopin, it seems, + first brought him again to his senses."] + </p> + <p> + It was not till 1833 that Chopin became known to the musical world as a + composer. For up to that time the "Variations," Op. 2, published in 1830, + was the only work in circulation; the compositions previously published in + Warsaw—the "Rondo," Op. 1, and the "Rondeau a la Mazur," Op. 5—may + be left out of account, as they did not pass beyond the frontier of Poland + till several years afterwards, when they were published elsewhere. After + the publication, in December, 1832, of Op. 6, "Quatre Mazurkas," dedicated + to Mdlle. la Comtesse Pauline Plater, and Op. 7, "Cinq Mazurkas," + dedicated to Mr. Johns, Chopin's compositions made their appearance in + quick succession. In the year 1833 were published: in January, Op. 9, + "Trois Nocturnes," dedicated to Mdme. Camille Pleyel; in March, Op. 8, + "Premier Trio," dedicated to M. le Prince Antoine Radziwill; in July, Op. + 10, "Douze Grandes Etudes," dedicated to Mr. Fr. Liszt; and Op. 11, "Grand + Concerto" (in E minor), dedicated to Mr. Fr. Kalkbrenner; and in November, + Op. 12, "Variations brillantes" (in B flat major), dedicated to Mdlle. + Emma Horsford. In 1834 were published: in January, Op. 15, "Trois + Nocturnes," dedicated to Mr. Ferd. Hiller; in March, Op. 16, "Rondeau" (in + E flat major), dedicated to Mdlle. Caroline Hartmann; in April, Op. 13, + "Grande Fantaisie sur des airs polonais," dedicated to Mr. J. P. Pixis; + and in May, Op. 17, "Quatre Mazurkas," dedicated to Mdme. Lina Freppa; in + June, Op. 14, "Krakowiak, grand Rondeau de Concert," dedicated to Mdme. la + Princesse Adam Czartoryska; and Op. 18, "Grande Valse brillante," + dedicated to Mdlle. Laura Horsford; and in October, Op. 19, "Bolero" (in C + major), dedicated to Mdme. la Comtesse E. de Flahault. [FOOTNOTE: The + dates given are those when the pieces, as far as I could ascertain, were + first heard of as published. For further information see "List of Works" + at the end of the second volume, where my sources of information are + mentioned, and the divergences of the different original editions, as + regards time of publication, are indicated.] + </p> + <p> + The "Allgemeine musikalische Zeitung" notices several of Chopin's + compositions with great praise in the course of 1833; in the year after + the notices became more frequent. But the critic who follows Chopin's + publications with the greatest attention and discusses them most fully is + Rellstab, the editor of the Iris. Unfortunately, he is not at all + favourably inclined towards the composer. He occasionally doles out a + little praise, but usually shows himself a spendthrift in censure and + abuse. His most frequent complaints are that Chopin strives too much after + originality, and that his music is unnecessarily difficult for the hands. + A few specimens of Rellstab's criticism may not be out of place here. Of + the "Mazurkas," Op. 7, he says:— + </p> +<pre xml:space="preserve"> + In the dances before us the author satisfies the passion [of + writing affectedly and unnaturally] to a loathsome excess. He + is indefatigable, and I might say inexhaustible [sic], in his + search for ear-splitting discords, forced transitions, harsh + modulations, ugly distortions of melody and rhythm. + Everything it is possible to think of is raked up to produce + the effect of odd originality, but especially strange keys, + the most unnatural positions of chords, the most perverse + combinations with regard to fingering. +</pre> + <p> + After some more discussion of the same nature, he concludes thus:— + If Mr. Chopin had shown this composition to a master, the latter would, it + is to be hoped, have torn it and thrown it at his feet, which we hereby do + symbolically. + </p> + <p> + In his review of the "Trois Nocturnes," Op. 9, occurs the following pretty + passage:— + </p> +<pre xml:space="preserve"> + Where Field smiles, Chopin makes a grinning grimace: where + Field sighs, Chopin groans; where Field shrugs his shoulders, + Chopin twists his whole body; where Field puts some seasoning + into the food, Chopin empties a handful of Cayenne + pepper...In short, if one holds Field's charming romances + before a distorting concave mirror, so that every delicate + expression becomes coarse, one gets Chopin's work...We + implore Mr. Chopin to return to nature. +</pre> + <p> + I shall quote one more sentence; it is from a notice of the "Douze + Etudes," Op. 10:— + </p> +<pre xml:space="preserve"> + Those who have distorted fingers may put them right by + practising these studies; but those who have not, should not + play them, at least, not without having a surgeon at hand. + + [FOOTNOTE: In the number of the Iris in which this criticism + appeared (No. 5 of Vol. V., 1834 Rellstab inserts the + following letter, which he says he received from Leipzig:— + + "P. P. + + "You are really a very bad man, and not worthy that God's + earth either knows (sic) or bears you. The King of Prussia + should have imprisoned you in a fortress; in that case he + would have removed from the world a rebel, a disturber of the + peace, and an infamous enemy of humanity, who probably will + yet be choked in his own blood. I have noticed a great number + of enemies, not only in Berlin, but in all towns which I + visited last summer on my artistic tour, especially very many + here in Leipzig, where I inform you of this, in order—that + you may in future change your disposition, and not act so + uncharitably towards others. Another bad, bad trick, and you + are done for! Do you understand me, you little man, you + loveless and partial dog of a critic, you musical snarler + [Schnurrbart], you Berlin wit-cracker [Witzenmacher], &c. + + "Your most obedient Servant, + + "CHOPIN." + + To this Rellstab adds: "Whether Mr. Chopin has written this + letter himself, I do not know, and will not assert it, but + print the document that he may recognise or repudiate it." + The letter was not repudiated, but I do not think that it was + written by Chopin. Had he written a letter, he surely would + have written a less childish one, although the German might + not have been much better than that of the above. But my + chief reasons for doubting its genuineness are that Chopin + made no artistic tour in Germany after 1831, and is not known + to have visited Leipzig either in 1833 or 1834.] +</pre> + <p> + However, we should not be too hard upon Rellstab, seeing that one of the + greatest pianists and best musicians of the time made in the same year (in + 1833, and not in 1831, as we read in Karasowski's book) an entry in his + diary, which expresses an opinion not very unlike his. Moscheles writes + thus:— + </p> +<pre xml:space="preserve"> + I like to employ some free hours in the evening in making + myself acquainted with Chopin's studies and his other + compositions, and find much charm in the originality and + national colouring of their motivi; but my fingers always + stumble over certain hard, inartistic, and to me + incomprehensible modulations, and the whole is often too + sweetish for my taste, and appears too little worthy of a man + and a trained musician. +</pre> + <p> + And again— + </p> +<pre xml:space="preserve"> + I am a sincere admirer of Chopin's originality; he has + furnished pianists with matter of the greatest novelty and + attractiveness. But personally I dislike the artificial, + often forced modulations; my fingers stumble and fall over + such passages; however much I may practise them, I cannot + execute them without tripping. +</pre> + <p> + The first criticism on Chopin's publications which I met with in the + French musical papers is one on the "Variations," Op. 12. It appeared in + the "Revue musicale" of January 26, 1834. After this his new works are + pretty regularly noticed, and always favourably. From what has been said + it will be evident that Karasowski made a mistake when he wrote that + Chopin's compositions began to find a wide circulation as early as the + year 1832. + </p> + <p> + Much sympathy has been undeservedly bestowed on the composer by many, + because they were under the impression that he had had to contend with + more than the usual difficulties. Now just the reverse was the case. Most + of his critics were well-disposed towards him, and his fame spread fast. + In 1834 (August 13) a writer in the "Allgemeine musikalische Zeitung" + remarks that Chopin had the good fortune to draw upon himself sooner than + others the attention not only of the pianists, although of these + particularly, but also of a number of the musicians generally. And in 1836 + even Rellstab, Chopin's most adverse critic, says: "We entertain the hope + of hearing a public performance of the Concerto [the second, Op. 21] in + the course of the winter, for now it is a point of honour for every + pianist to play Chopin." The composer, however, cannot be said to have + enjoyed popularity; his works were relished only by the few, not by the + many. Chopin's position as a pianist and composer at the point we have + reached in the history of his life (1833-1834) is well described by a + writer in the "Revue musicale" of May 15, 1834:— + </p> +<pre xml:space="preserve"> + Chopin [he says] has opened up for himself a new route, and + from the first moment of his appearance on the scene he has + taken so high a stand, both by his pianoforte-playing and by + his compositions for this instrument, that he is to the + multitude an inexplicable phenomenon which it looks on in + passing with astonishment, and which stupid egoism regards + with a smile of pity, while the small number of connoisseurs, + led by a sure judgment, rather by an instinct of progress + than by a reasoned sentiment of enjoyment, follow this artist + in his efforts and in his creations, if not closely, at least + at a distance, admiring him, learning from him, and trying to + imitate him. For this reason Chopin has not found a critic, + although his works are already known everywhere. They have + either excited equivocal smiles and have been disparaged, or + have provoked astonishment and an overflow of unlimited + praise; but nobody has as yet come forward to say in what + their peculiar character and merit consists, by what they are + distinguished from so many other compositions, what assigns + to them a superior rank, &c. +</pre> + <p> + No important events are to be recorded of the season 1833-1834, but that + Chopin was making his way is shown by a passage from a letter which + Orlowski wrote to one of his friends in Poland:— + </p> +<pre xml:space="preserve"> + Chopin [he says] is well and strong; he turns the heads of + all the Frenchwomen, and makes the men jealous of him. He is + now the fashion, and the elegant world will soon wear gloves + a la Chopin, Only the yearning after his country consumes + him. +</pre> + <p> + In the spring of 1834 Chopin took a trip to Aix-la-Chapelle, where at + Whitsuntide the Lower Rhenish Music Festival was held. Handel's "Deborah," + Mozart's Jupiter Symphony, and part of Beethoven's Ninth were on the + programme, and the baton was in the hand of Ferdinand Ries. Hiller, who + had written additional accompaniments to the oratorio and translated the + English words into German, had received an invitation from the committee, + and easily persuaded Chopin to accompany him. But this plan very nearly + came to naught. While they were making preparations for the journey, news + reached them that the festival was postponed; and when a few days later + they heard that it would take place after all, poor Chopin was no longer + able to go, having in the meantime spent the money put aside for + travelling expenses, probably given it away to one of his needy + countrymen, to whom, as Hiller says, his purse was always open. But what + was to be done now? Hiller did not like to depart without his friend, and + urged him to consider if he could not contrive in one way or another to + procure the requisite pecuniary outfit. At last Chopin said he thought he + could manage it, took the manuscript of the Waltz in E flat (Op. 18), went + with it to Pleyel, and returned with 500 francs. [FOOTNOTE: I repeat + Hiller's account without vouching for its literal correctness, confining + myself to the statement that the work was in print on the 1st of + June,1834, and published by Schlesinger, of Paris, not by Pleyel.] Thus + the barrier was removed, and the friends set out for Aix-la-Chapelle. + There Hiller was quartered in the house of the burgomaster, and Chopin got + a room close by. They went without much delay to the rehearsal of + "Deborah," where they met Mendelssohn, who describes their meeting in a + letter addressed to his mother (Dusseldorf, May 23, 1834):— + </p> +<pre xml:space="preserve"> + On the first tier sat a man with a moustache reading the + score, and as he was coming downstairs after the rehearsal, + and I was going up, we met in the side-scenes, and Ferdinand + Hiller stumbled right into my arms, almost crushing me in his + joyful embrace. He had come from Paris to hear the oratorio, + and Chopin had left his pupils in the lurch and come with + him, and thus we met again. Now I had my full share of + pleasure in the musical festival, for we three now remained + together, got a box in the theatre (where the performances + are given) to ourselves, and as a matter of course betook + ourselves next morning to a piano, where I enjoyed myself + greatly. They have both still further developed their + execution, and Chopin is now one of the very first pianoforte- + players; he produces as novel effects as Paganini does on the + violin, and performs wonders which one would never have + imagined possible. Hiller, too, is an excellent player, + powerful and coquettish enough. Both are a little infected by + the Parisian mania for despondency and straining after + emotional vehemence [Verzweif-lungssucht und + Leidenschaftssucherei], and often lose sight of time and + repose and the really musical too much. I, on the other hand, + do so perhaps too little. Thus we made up for each other's + deficiencies, and all three, I think, learned something, + while I felt rather like a schoolmaster, and they like + mirliflores or incroyables. +</pre> + <p> + After the festival the three musicians travelled together to Dusseldorf, + where since the preceding October Mendelssohn was settled as musical + director. They passed the morning of the day which Chopin and Hiller spent + in the town at Mendelssohn's piano, and in the afternoon took a walk, at + the end of which they had coffee and a game at skittles. In this walk they + were accompanied by F. W. Schadow, the director of the Academy of Art and + founder of the Dusseldorf School, and some of his pupils, among whom may + have been one or more of its brightest stars—Lessing, Bendemann, + Hildebrandt, Sohn, and Alfred Rethel. Hiller, who furnishes us with some + particulars of what Mendelssohn calls "a very agreeable day passed in + playing and discussing music," says that Schadow and his pupils appeared + to him like a prophet surrounded by his disciples. But the dignified + manner and eloquent discourse of the prophet, the humble silence of the + devoutly-listening disciples, seem to have prevented Chopin from feeling + quite at ease. + </p> +<pre xml:space="preserve"> + Chopin [writes Hiller], who was not known to any of them, and + extremely reserved, kept close to me during the walk, + observing everything and making remarks to me in a low, low + tone. For the later part of the evening we were invited to + the Schadows', who were never wanting in hospitality. We + found there some of the most eminent young painters. The + conversation soon became very animated, and all would have + been right if poor Chopin had not sat there so reserved—not + to say unnoticed. However, Mendelssohn and I knew that he + would have his revenge, and were secretly rejoicing at the + thought. At last the piano was opened; I began, Mendelssohn + followed; then we asked Chopin to play, and rather doubtful + looks were cast at him and us. But he had hardly played a few + bars when all present, especially Schadow, looked at him with + altogether different eyes. Nothing like it had ever been + heard. They were all in the greatest delight, and begged for + more and more. Count Almaviva had dropped his disguise, and + all were speechless. +</pre> + <p> + The following day Chopin and Hiller set out per steamer for Coblenz, and + Mendelssohn, although Schadow had asked him what was to become of "St. + Paul," at which he was working, accompanied them as far as Cologne. There, + after a visit to the Apostles' church, they parted at the Rhine bridge, + and, as Mendelssohn wrote to his mother, "the pleasant episode was over." + </p> + <p> + <a name="link2HCH0017" id="link2HCH0017"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER XVII + </h2> + <p> + 1834-1835. + </p> + <p> + MATUSZYNSKI SETTLES IN PARIS.—MORE ABOUT CHOPIN'S WAY OF LIFE.—OP. + 25.—HE IS ADVISED TO WRITE AN OPERA.—HIS OWN IDEAS IN REGARD + TO THIS, AND A DISCUSSION OF THE QUESTION.—CHOPIN'S PUBLIC + APPEARANCES.—BERLIOZ'S CONCERT.—STOEPEL's CONCERT.—A + CONCERT AT PLEYEL'S ROOMS.—A CONCERT AT THE THEATRE-ITALIEN FOR THE + BENEFIT OF THE INDIGENT POLISH REFUGEES.—A CONCERT OF THE SOCIETE + DES CONCERTS.—CHOPIN AS A PUBLIC PERFORMER.—CHOUQUET, LISZT, + ETC., ON THE CHARACTER OF HIS PLAYING.—BELLINI AND HIS RELATION TO + CHOPIN.—CHOPIN GOES TO CARLSBAD.—AT DRESDEN.—HIS VISIT + TO LEIPZIG: E. F. WENZEL'S REMINISCENCES; MENDELSSOHN'S AND SCHUMANN'S + REMARKS ON THE SAME EVENT.—CHOPIN'S STAY AT HEIDELBERG AND RETURN TO + PARIS. + </p> + <p> + The coming to Paris and settlement there of his friend Matuszynski must + have been very gratifying to Chopin, who felt so much the want of one with + whom he could sigh. Matuszynski, who, since we heard last of him, had + served as surgeon-major in the Polish insurrectionary army, and taken his + doctor's degree at Tubingen in 1834, proceeded in the same year to Paris, + where he was appointed professor at the Ecole de Medecine. The latter + circumstance testifies to his excellent professional qualities, and + Chopin's letters do not leave us in doubt concerning the nature of his + qualities as a friend. Indeed, what George Sand says of his great + influence over Chopin only confirms what these letters lead one to think. + In 1834 Matuszynski wrote in a letter addressed to his brother-in-law:— + </p> +<pre xml:space="preserve"> + The first thing I did in Paris was to call on Chopin. I + cannot tell you how great our mutual happiness was on meeting + again after a separation of five years. He has grown strong + and tall; I hardly recognised him. Chopin is now the first + pianist here; he gives a great many lessons, but none under + twenty francs. He has composed much, and his works are in + great request. I live with him: Rue Chaussee d'Antin, No. 5. + This street is indeed rather far from the Ecole de Medecine + and the hospitals; but I have weighty reasons for staying + with him—he is my all! We spend the evenings at the theatre + or pay visits; if we do not do one or the other, we enjoy + ourselves quietly at home. +</pre> + <p> + Less interesting than this letter of Matuszynski's, with its glimpses of + Chopin's condition and habits, are the reminiscences of a Mr. W., now or + till lately a music-teacher at Posen, who visited Paris in 1834, and was + introduced to Chopin by Dr. A. Hofman. [FOONOTE: See p. 257.] But, + although less interesting, they are by no means without significance, for + instance, with regard to the chronology of the composer's works. Being + asked to play something, Mr. W. chose Kalkbrenner's variations on one of + Chopin's mazurkas (the one in B major, Op. 7, No. 1). Chopin generously + repaid the treat which Kalkbrenner's variations and his countryman's + execution may have afforded him, by playing the studies which he + afterwards published as Op. 25. + </p> + <p> + Elsner, like all Chopin's friends, was pleased with the young artist's + success. The news he heard of his dear Frederick filled his heart with + joy, nevertheless he was not altogether satisfied. "Excuse my sincerity," + he writes, on September 14, 1834, "but what you have done hitherto I do + not yet consider enough." Elsner's wish was that Chopin should compose an + opera, if possible one with a Polish historical subject; and this he + wished, not so much for the increase of Chopin's fame as for the advantage + of the art. Knowing his pupil's talents and acquirements he was sure that + what a critic pointed out in Chopin's mazurkas would be fully displayed + and obtain a lasting value only in an opera. The unnamed critic referred + to must be the writer in the "Gazette musicale," who on June 29, 1834, in + speaking of the "Quatre Mazurkas," Op. 17, says— + </p> +<pre xml:space="preserve"> + Chopin has gained a quite special reputation by the clever + spirituelle and profoundly artistic manner in which he knows + how to treat the national music of Poland, a genre of music + which was to us as yet little known...here again he appears + poetical, tender, fantastic, always graceful, and always + charming, even in the moments when he abandons himself to the + most passionate inspiration. +</pre> + <p> + Karasowski says that Elsner's letter made Chopin seriously think of + writing an opera, and that he even addressed himself to his friend + Stanislas Kozmian with the request to furnish him with a libretto, the + subject of which was to be taken from Polish history. I do not question + this statement. But if it is true, Chopin soon abandoned the idea. In + fact, he thoroughly made up his mind, and instead of endeavouring to + become a Shakespeare he contented himself with being an Uhland. The + following conversations will show that Chopin acquired the rarest and most + precious kind of knowledge, that is, self-knowledge. His countryman, the + painter Kwiatkowski, calling one day on Chopin found him and Mickiewicz in + the midst of a very excited discussion. The poet urged the composer to + undertake a great work, and not to fritter away his power on trifles; the + composer, on the other hand, maintained that he was not in possession of + the qualities requisite for what he was advised to undertake. G. Mathias, + who studied under Chopin from 1839 to 1844, remembers a conversation + between his master and M. le Comte de Perthuis, one of Louis Philippe's + aides-de-camp. The Count said— + </p> +<pre xml:space="preserve"> + "Chopin, how is it that you, who have such admirable ideas, + do not compose an opera?" [Chopin, avec vos idees admirables, + pourquoi ne nous faites-vous pas un opera?] "Ah, Count, let + me compose nothing but music for the pianoforte; I am not + learned enough to compose operas!" [Ah, Monsieur le Comte, + laissez-moi ne faire que de la musique de piano; pour faire + des operas je ne suis pas assez savant.] +</pre> + <p> + Chopin, in fact, knew himself better than his friends and teacher knew + him, and it was well for him and it is well for us that he did, for + thereby he saved himself much heart-burning and disappointment, and us the + loss of a rich inheritance of charming and inimitable pianoforte music. He + was emphatically a Kleinmeister—i.e. a master of works of small size + and minute execution. His attempts in the sonata-form were failures, + although failures worth more—some of them at least—than many a + clever artist's most brilliant successes. Had he attempted the dramatic + form the result would in all probability have been still less happy; for + this form demands not only a vigorous constructive power, but in addition + to it a firm grasp of all the vocal and instrumental resources—qualities, + in short, in which Chopin was undeniably deficient, owing not so much to + inadequate training as to the nature of his organisation. Moreover, he was + too much given to express his own emotions, too narrow in his sympathies, + in short, too individual a composer, to successfully express the emotions + of others, to objectively conceive and set forth the characters of men and + women unlike himself. Still, the master's confidence in his pupil, though + unfounded in this particular, is beautiful to contemplate; and so also is + his affection for him, which even the pedantic style of his letters cannot + altogether hide. Nor is it possible to admire in a less degree the + reciprocation of these sentiments by the great master's greater pupil:— + </p> +<pre xml:space="preserve"> + What a pity it is [are the concluding words of Elsner's + letter of September 14, 1834] that we can no longer see each + other and exchange our opinions! I have got so much to tell + you. I should like also to thank you for the present, which + is doubly precious to me. I wish I were a bird, so that I + might visit you in your Olympian dwelling, which the + Parisians take for a swallow's nest. Farewell, love me, as I + do you, for I shall always remain your sincere friend and + well-wisher. +</pre> + <p> + In no musical season was Chopin heard so often in public as in that of + 1834-35; but it was not only his busiest, it was also his last season as a + virtuoso. After it his public appearances ceased for several years + altogether, and the number of concerts at which he was subsequently heard + does not much exceed half-a-dozen. The reader will be best enabled to + understand the causes that led to this result if I mention those of + Chopin's public performances in this season which have come under my + notice. On December 7, 1834, at the third and last of a series of concerts + given by Berlioz at the Conservatoire, Chopin played an "Andante" for the + piano with orchestral accompaniments of his own composition, which, placed + as it was among the overtures to "Les Francs-Juges" and "King Lear," the + "Harold" Symphony, and other works of Berlioz, no doubt sounded at the + concert as strange as it looks on the programme. The "Andante" played by + Chopin was of course the middle movement of one of his concertos. + [Footnote: Probably the "Larghetto" from the F minor Concerto. See Liszt's + remark on p. 282.] + </p> + <p> + On December 25 of the same year, Dr. Francois Stoepel gave a matinee + musicale at Pleyel's rooms, for which he had secured a number of very + distinguished artists. But the reader will ask—"Who is Dr. Stoepel?" + An author of several theoretical works, instruction books, and musical + compositions, who came to Paris in 1829 and founded a school on Logier's + system, as he had done in Berlin and other towns, but was as unsuccessful + in the French capital as elsewhere. Disappointed and consumptive he died + in 1836 at the age of forty-two; his income, although the proceeds of + teaching were supplemented by the remuneration for contributions to the + "Gazette musicale," having from first to last been scanty. Among the + artists who took part in this matinee musicale were Chopin, Liszt, the + violinist Ernst, and the singers Mdlle. Heinefetter, Madame Degli-Antoni, + and M. Richelmi. The programme comprised also an improvisation on the + orgue expressif (harmonium) by Madame de la Hye, a grand-niece of J.J. + Rousseau's. Liszt and Chopin opened the matinee with a performance of + Moscheles' "Grand duo a quatre mains," of which the reporter of the + "Gazette musicale" writes as follows:— + </p> +<pre xml:space="preserve"> + We consider it superfluous to say that this piece, one of the + masterworks of the composer, was executed with a rare + perfection of talent by the two greatest pianoforte-virtuosos + of our epoch. Brilliancy of execution combined with perfect + delicacy, sustained elevation, and the contrast of the most + spirited vivacity and calmest serenity, of the most graceful + lightness and gravest seriousness—the clever blending of all + the nuances can only be expected from two artists of the same + eminence and equally endowed with deep artistic feeling. The + most enthusiastic applause showed MM. Liszt and Chopin better + than we can do by our words how much they charmed the + audience, which they electrified a second time by a Duo for + two pianos composed by Liszt. +</pre> + <p> + This work of Liszt's was no doubt the Duo for two pianos on a theme of + Mendelssohn's which, according to Miss Ramann, was composed in 1834 but + never published, and is now lost. + </p> + <p> + The "Menestrel" of March 22, 1835, contains a report of a concert at + Pleyel's rooms, without, however, mentioning the concert-giver, who was + probably the proprietor himself:— + </p> +<pre xml:space="preserve"> + The last concert at Pleyel's rooms was very brilliant. Men of + fashion, litterateurs, and artists had given each other + rendez-vous there to hear our musical celebrities—MM. Herz, + Chopin, Osborne, Hiller, Reicha, Mesdames Camille Lambert and + Leroy, and M. Hamati [read Stamati], a young pianist who had + not yet made a public appearance in our salons. These artists + performed various pieces which won the approval of all. +</pre> + <p> + And now mark the dying fall of this vague report: "Kalkbrenner's + Variations on the cavatina 'Di tanti palpiti' were especially applauded." + </p> + <p> + We come now to the so much talked-of concert at the Italian Opera, which + became so fateful in Chopin's career as a virtuoso. It is generally spoken + of as a concert given by Chopin, and Karasowski says it took place in + February, 1834. I have, however, been unable to find any trace of a + concert given by Chopin in 1834. On the other hand, Chopin played on April + 5, 1835, at a concert which in all particulars except that of date answers + to the description of the one mentioned by Karasowski. The "Journal des + Debats" of April 4, 1835, draws the public's attention to it by the + following short and curious article:— + </p> +<pre xml:space="preserve"> + The concert for the benefit of the indigent Poles [i.e., + indigent Polish refugees] will take place to-morrow, + Saturday, at the Theatre-Italien, at eight o'clock in the + evening. Mdlle. Falcon and Nourrit, MM. Ernst, Dorus, Schopin + [sic], Litz [sic], and Pantaleoni, will do the honours of + this soiree, which will be brilliant. Among other things + there will be heard the overtures to "Oberon" and "Guillaume + Tell," the duet from the latter opera, sung by Mdlle. Falcon + and Nourrit, and romances by M. Schubert, sung by Nourrit and + accompanied by Litz, &c. +</pre> + <p> + To this galaxy of artistic talent I have yet to add Habeneck, who + conducted the orchestra. Chopin played with the orchestra his E minor + Concerto and with Liszt a duet for two pianos by Hiller. + </p> +<pre xml:space="preserve"> + As you may suppose [says a writer of a notice in the "Gazette + musicale"] M. Chopin was not a stranger to the composition of + the programme of this soiree in behalf of his unhappy + countrymen. Accordingly the fete was brilliant. +</pre> + <p> + In the same notice may also be read the following:— + </p> +<pre xml:space="preserve"> + Chopin's Concerto, so original, of so brilliant a style, so + full of ingenious details, so fresh in its melodies, obtained + a very great success. It is very difficult not to be + monotonous in a pianoforte concerto; and the amateurs could + not but thank Chopin for the pleasure he had procured them, + while the artists admired the talent which enabled him to do + so [i.e., to avoid monotony], and at the same time to + rejuvenate so antiquated a form. +</pre> + <p> + The remark on the agedness of the concerto-form and the difficulty of not + being monotonous is naive and amusing enough to be quoted for its own + sake, but what concerns us here is the correctness of the report. Although + the expressions of praise contained in it are by no means enthusiastic, + nay, are not even straightforward, they do not tally with what we learn + from other accounts. This discrepancy may be thus explained. Maurice + Schlesinger, the founder and publisher of the "Gazette musicale," was on + friendly terms with Chopin and had already published some of his + compositions. What more natural, therefore, than that, if the artist's + feelings were hurt, he should take care that they should not be further + tortured by unpleasant remarks in his paper. Indeed, in connection with + all the Chopin notices and criticisms in the "Gazette musicale" we must + keep in mind the relations between the publisher and composer, and the + fact that several of the writers in the paper were Chopin's intimate + friends, and many of them were of the clique, or party, to which he also + belonged. Sowinski, a countryman and acquaintance of Chopin's, says of + this concert that the theatre was crowded and all went well, but that + Chopin's expectations were disappointed, the E minor Concerto not + producing the desired effect. The account in Larousse's "Grand + Dictionnaire" is so graphic that it makes one's flesh creep. After + remarking that Chopin obtained only a demi-success, the writer of the + article proceeds thus: "The bravos of his friends and a few connoisseurs + alone disturbed the cold and somewhat bewildered attitude of the majority + of the audience." According to Sowinski and others Chopin's repugnance to + play in public dates from this concert; but this repugnance was not the + outcome of one but of many experiences. The concert at the Theatre-Italien + may, however, have brought it to the culminating point. Liszt told me that + Chopin was most deeply hurt by the cold reception he got at a concert at + the Conservatoire, where he played the Larghetto from the F minor + Concerto. This must have been at Berlioz's concert, which I mentioned on + one of the foregoing pages of this chapter. + </p> + <p> + Shortly after the concert at the Theatre-Italien, Chopin ventured once + more to face that terrible monster, the public. On Sunday, April 26, 1835, + he played at a benefit concert of Habeneck's, which is notable as the only + concert of the Societe des Concerts du Conservatoire in which he took + part. The programme was as follows:—1. The "Pastoral Symphony," by + Beethoven; 2. "The Erl-King," by Schubert, sung by M. Ad. Nourrit; 3. + Scherzo from the "Choral Symphony," by Beethoven; 4. "Polonaise avec + introduction" [i.e., "Polonaise brillante precedee d'un Andante + spianato"], composed and played by M. Chopin; 5. Scena, by Beethoven, sung + by Mdlle. Falcon; 6. Finale from the C minor Symphony, by Beethoven. The + writer of the article Chopin in Larousse's "Grand Dictionnaire" says that + Chopin had no reason to repent of having taken part in the concert, and + others confirm this statement. In Elwart's "Histoire des Concerts du + Conservatoire" we read:—"Le compositeur reveur, l'elegiaque + pianiste, produisit a ce concert un effet delicieux." To the author of the + "Histoire dramatique en France" and late curator of the Musee du + Conservatoire I am indebted for some precious communications. M. Gustave + Chouquet, who at the time we are speaking of was a youth and still at the + College, informed me in a charming letter that he was present at this + concert at which Chopin played, and also at the preceding one (on Good + Friday) at which Liszt played Weber's "Concertstuck," and that he + remembered very well "the fiery playing of Liszt and the ineffable poetry + of Chopin's style." In another letter M. Chouquet gave a striking resume + of the vivid reminiscences of his first impressions:— + </p> +<pre xml:space="preserve"> + Liszt, in 1835 [he wrote], represented a merveilleux the + prototype of the virtuoso; while in my opinion Chopin + personified the poet. The first aimed at effect and posed as + the Paganini of the piano; Chopin, on the other hand, seemed + never to concern himself [se preuccuper] about the public, + and to listen only to the inner voices. He was unequal; but + when inspiration took hold of him [s'emparait de hit] he made + the keyboard sing in an ineffable manner. I owe him some + poetic hours which I shall never forget. +</pre> + <p> + One of the facts safely deducible from the often doubtful and + contradictory testimonies relative to Chopin's public performances is, + that when he appeared before a large and mixed audience he failed to call + forth general enthusiasm. He who wishes to carry the multitude away with + him must have in him a force akin to the broad sweep of a full river. + Chopin, however, was not a Demosthenes, Cicero, Mirabeau, or Pitt. Unless + he addressed himself to select conventicles of sympathetic minds, the best + of his subtle art remained uncomprehended. How well Chopin knew this may + be gathered from what he said to Liszt:— + </p> +<pre xml:space="preserve"> + I am not at all fit for giving concerts, the crowd + intimidates me, its breath suffocates me, I feel paralysed by + its curious look, and the unknown faces make me dumb. But you + are destined for it, for when you do not win your public, you + have the power to overwhelm it. +</pre> + <p> + Opposition and indifference, which stimulate more vigorous natures, + affected Chopin as touch does the mimosa pudica, the sensitive plant—they + made him shrink and wither. Liszt observes correctly that the concerts did + not so much fatigue Chopin's physical constitution as provoke his + irritability as a poet; that, in fact, his delicate constitution was less + a reason than a pretext for abstention, he wishing to avoid being again + and again made the subject of debate. But it is more difficult for one in + similar circumstances not to feel as Chopin did than for a successful + virtuoso like Liszt to say:— + </p> +<pre xml:space="preserve"> + If Chopin suffered on account of his not being able to take + part in those public and solemn jousts where popular + acclamation salutes the victor; if he felt depressed at + seeing himself excluded from them, it was because he did not + esteem highly enough what he had, to do gaily without what he + had not. +</pre> + <p> + To be sure, the admiration of the best men of his time ought to have + consoled him for the indifference of the dull crowd. But do we not all + rather yearn for what we have not than enjoy what we have? Nay, do we not + even often bewail the unattainableness of vain bubbles when it would be + more seasonable to rejoice in the solid possessions with which we are + blessed? Chopin's discontent, however, was caused by the unattainableness + not of a vain bubble, but of a precious crown. There are artists who + pretend to despise the great public, but their abuse of it when it + withholds its applause shows their real feeling. No artist can at heart be + fully satisfied with the approval of a small minority; Chopin, at any + rate, was not such a one. Nature, who had richly endowed him with the + qualities that make a virtuoso, had denied him one, perhaps the meanest of + all, certainly the least dispensable, the want of which balked him of the + fulfilment of the promise with which the others had flattered him, of the + most brilliant reward of his striving. In the lists where men much below + his worth won laurels and gold in abundance he failed to obtain a fair + share of the popular acclamation. This was one of the disappointments + which, like malignant cancers, cruelly tortured and slowly consumed his + life. + </p> + <p> + The first performance of Bellini's "I Puritani" at the Theatre-Italien + (January 24, 1835), which as well as that of Halevy's "La Juive" at the + Academic (February 23, 1835), and of Auber's "Le cheval de bronze" at the + Opera-Comique (March 23, 1835), was one of the chief musico-dramatic + events of the season 1834-1835, reminds me that I ought to say a few words + about the relation which existed between the Italian and the Polish + composer. Most readers will have heard of Chopin's touching request to be + buried by the side of Bellini. Loath though I am to discredit so charming + a story, duty compels me to state that it is wholly fictitious. Chopin's + liking for Bellini and his music, how ever, was true and real enough. + Hiller relates that he rarely saw him so deeply moved as at a performance + of Norma, which they attended together, and that in the finale of the + second act, in which Rubini seemed to sing tears, Chopin had tears in his + eyes. A liking for the Italian operatic music of the time, a liking which + was not confined to Bellini's works, but, as Franchomme, Wolff, and others + informed me, included also those of Rossini, appears at first sight rather + strange in a musician of Chopin's complexion; the prevalent musical taste + at Warsaw, and a kindred trait in the national characters of the Poles and + Italians, however, account for it. With regard to Bellini, Chopin's + sympathy was strengthened by the congeniality of their individual + temperaments. Many besides Leon Escudier may have found in the genius of + Chopin points of resemblance with Bellini as well as with Raphael—two + artists who, it is needless to say, were heaven-wide apart in the mastery + of the craft of their arts, and in the width, height, and depth of their + conceptions. The soft, rounded Italian contours and sweet sonorousness of + some of Chopin's cantilene cannot escape the notice of the observer. + Indeed, Chopin's Italicisms have often been pointed out. Let me remind the + reader here only of some remarks of Schumann's, made apropos of the Sonata + in B flat minor, Op. 35:— + </p> +<pre xml:space="preserve"> + It is known that Bellini and Chopin were friends, and that + they, who often made each other acquainted with their + compositions, may perhaps have had some artistic influence on + each other. But, as has been said, there is [on the part of + Chopin] only a slight leaning to the southern manner; as soon + as the cantilena is at an end the Sarmatian flashes out + again. +</pre> + <p> + To understand Chopin's sympathy we have but to picture to ourselves + Bellini's personality—the perfectly well-proportioned, slender + figure, the head with its high forehead and scanty blonde hair, the + well-formed nose, the honest, bright look, the expressive mouth; and + within this pleasing exterior, the amiable, modest disposition, the heart + that felt deeply, the mind that thought acutely. M. Charles Maurice + relates a characteristic conversation in his "Histoire anecdotique du + Theatre." Speaking to Bellini about "La Sonnambula," he had remarked that + there was soul in his music. This expression pleased the composer + immensely. "Oui, n'est-ce pas? De l'ame!" he exclaimed in his soft Italian + manner of speaking, "C'est ce que je veux...De L'ame! Oh! je suis + sensible! Merci!...C'est que l'ame, c'est toute la musique!" "And he + pressed my hands," says Charles Maurice, "as if I had discovered a new + merit in his rare talent." This specimen of Bellini's conversation is + sufficient to show that his linguistic accomplishments were very limited. + Indeed, as a good Sicilian he spoke Italian badly, and his French was + according to Heine worse than bad, it was frightful, apt to make people's + hair stand on end. + </p> + <p> + When one was in the same salon with him, his vicinity inspired one with a + certain anxiety mingled with the fascination of terror which repelled and + attracted at the same time. His puns were not always of an amusing kind. + Hiller also mentions Bellini's bad grammar and pronunciation, but he adds + that the contrast between what he said and the way he said it gave to his + gibberish a charm which is often absent from the irreproachable language + of trained orators. It is impossible to conjecture what Bellini might have + become as a musician if, instead of dying before the completion of his + thirty-third year (September 24, 1835), he had lived up to the age of + fifty or sixty; thus much, however, is certain, that there was still in + him a vast amount of undeveloped capability. Since his arrival in Paris he + had watched attentively the new musical phenomena that came there within + his ken, and the "Puritani" proves that he had not done so without profit. + This sweet singer from sensuous Italy was not insensible even to the depth + and grandeur of German music. After hearing Beethoven's Pastoral Symphony, + for instance, he said to Hiller, his eyes glistening as if he had himself + done a great deed: "E bel comme la nature!" [Footnote: I give the words + literally as they are printed in Hiller's Kimmerleben. The mixture of + Italian and French was no doubt intended, but hardly the spelling.] In + short, Bellini was a true artist, and therefore a meet companion for a + true artist like Chopin, of whose music it can be said with greater force + than of that of most composers that "it is all soul." Chopin, who of + course met Bellini here and there in the salons of the aristocracy, came + also in closer contact with him amidst less fashionable but more congenial + surroundings. I shall now let Hiller, the pleasant story-teller, speak, + who, after remarking that Bellini took a great interest in piano-forte + music, even though it was not played by a Chopin, proceeds thus:— + </p> +<pre xml:space="preserve"> + I can never forget some evenings which I spent with him + [Bellini] and Chopin and a few other guests at Madame + Freppa's. Madame Freppa, an accomplished and exceedingly + musical woman, born at Naples, but of French extraction, had, + in order to escape from painful family circumstances, settled + in Paris, where she taught singing in the most distinguished + circles. She had an exceedingly sonorous though not powerful + voice, and an excellent method, and by her rendering of + Italian folk-songs and other simple vocal compositions of the + older masters charmed even the spoiled frequenters of the + Italian Opera. We cordially esteemed her, and sometimes went + together to visit her at the extreme end of the Faubourg St. + Germain, where she lived with her mother on a troisieme au + dessus de l'entresol, high above all the noise and tumult of + the ever-bustling city. There music was discussed, sung, and + played, and then again discussed, played, and sung. Chopin + and Madame Freppa seated themselves by turns at the + pianoforte; I, too, did my best; Bellini made remarks, and + accompanied himself in one or other of his cantilene, rather + in illustration of what he had been saying than for the + purpose of giving a performance of them. He knew how to sing + better than any German composer whom I have met, and had a + voice less full of sound than of feeling. His pianoforte- + playing sufficed for the reproduction of his orchestra, + which, indeed, is not saying much. But he knew very well what + he wanted, and was far from being a kind of natural poet, as + some may imagine him to have been. +</pre> + <p> + In the summer of 1835, towards the end of July, Chopin journeyed to + Carlsbad, whither his father had been sent by the Warsaw physicians. The + meeting of the parents and their now famous son after a separation of + nearly five years was no doubt a very joyous one; but as no accounts have + come down to us of Chopin's doings and feelings during his sojourn in the + Bohemian watering-place, I shall make no attempt to fill up the gap by a + gushing description of what may have been, evolved out of the omniscience + of my inner consciousness, although this would be an insignificant feat + compared with those of a recent biographer whose imaginativeness enabled + her to describe the appearance of the sky and the state of the weather in + the night when her hero became a free citizen of this planet, and to + analyse minutely the characters of private individuals whose lives were + passed in retirement, whom she had never seen, and who had left neither + works nor letters by which they might be judged. + </p> + <p> + From Carlsbad Chopin went to Dresden. His doings there were of great + importance to him, and are of great interest to us. In fact, a new + love-romance was in progress. But the story had better be told + consecutively, for which reason I postpone my account of his stay in the + Saxon capital till the next chapter. + </p> + <p> + Frederick Wieck, the father and teacher of Clara, who a few years later + became the wife of Robert Schumann, sent the following budget of Leipzig + news to Nauenburg, a teacher of music in Halle, in the autumn of 1835:— + </p> +<pre xml:space="preserve"> + The first subscription concert will take place under the + direction of Mendelssohn on October 4, the second on October + 4. To-morrow or the day after to-morrow Chopin will arrive + here from Dresden, but will probably not give a concert, for + he is very lazy. He could stay here for some time, if false + friends (especially a dog of a Pole) did not prevent him from + making himself acquainted with the musical side of Leipzig. + But Mendelssohn, who is a good friend of mine and Schumann's, + will oppose this. Chopin does not believe, judging from a + remark he made to a colleague in Dresden, that there is any + lady in Germany who can play his compositions—we will see + what Clara can do. +</pre> + <p> + The Neue Zeitschrift fur Musik, Schumann's paper, of September 29, 1835, + contained the following announcement:— + </p> +<pre xml:space="preserve"> + Leipzig will soon be able to show a Kalisz [Footnote: An + allusion to the encampment of Russian and Prussian troops and + friendly meeting of princes which took place there in 1835.] + as regards musical crowned heads. Herr Mendelssohn has + already arrived. Herr Moscheles comes this week; and besides + him there will be Chopin, and later, Pixis and Franzilla. + [Footnote: Franzilla (or Francilla) Pixis, the adopted + daughter of Peter Pixis, whose acquaintance the reader made + in one of the preceding chapters (p. 245).] +</pre> + <p> + The details of the account of Chopin's visit to Leipzig which I am now + going to give, were communicated to me by Ernst Ferdinand Wenzel, the + well-known professor of pianoforte-playing at the Leipzig Conservatorium, + who died in 1880. + </p> + <p> + In the middle of the year 1835 the words "Chopin is coming" were passing + from mouth to mouth, and caused much stir in the musical circles of + Leipzig. Shortly after this my informant saw Mendelssohn in the street + walking arm in arm with a young man, and he knew at once that the Polish + musician had arrived, for this young man could be no other than Chopin. + From the direction in which the two friends were going, he guessed whither + their steps were tending. He, therefore, ran as fast as his legs would + carry him to his master Wieck, to tell him that Chopin would be with him + in another moment. The visit had been expected, and a little party was + assembled, every one of which was anxious to see and hear the + distinguished artist. Besides Wieck, his wife, daughter, and + sister-in-law, there were present Robert Schumann and Wieck's pupils + Wenzel, Louis Rakemann, and Ulex. But the irascible pedagogue, who felt + offended because Chopin had not come first to him, who had made such + efforts for the propagation of his music, would not stay and welcome his + visitor, but withdrew sulkily into the inner apartments. Wieck had + scarcely left the room when Mendelssohn and Chopin entered. The former, + who had some engagement, said, "Here is Chopin!" and then left, rightly + thinking this laconic introduction sufficient. Thus the three most + distinguished composers of their time were at least for a moment brought + together in the narrow space of a room. [Footnote: This dictum, like all + superlatives and sweeping assertions, will no doubt raise objectors; but, + I think, it may be maintained, and easily maintained with the saving + clause "apart from the stage."] Chopin was in figure not unlike + Mendelssohn, but the former was more lightly built and more graceful in + his movements. He spoke German fluently, although with a foreign accent. + The primary object of Chopin's visit was to make the acquaintance of Clara + Wieck, who had already acquired a high reputation as a pianist. She played + to him among other things the then new and not yet published Sonata in F + sharp minor (Op. 11) by Schumann, which she had lately been studying. The + gentlemen dared not ask Chopin to play because of the piano, the touch of + which was heavy and which consequently would not suit him. But the ladies + were bolder, and did not cease entreating him till he sat down and played + his Nocturne in E flat (Op. 9, No. 2). After the lapse of forty-two years + Wenzel was still in raptures about the wonderful, fairy-like lightness and + delicacy of Chopin's touch and style. The conversation seems to have + turned on Schubert, one of Schumann's great favourites, for Chopin, in + illustration of something he said, played the commencement of Schubert's + Alexander March. Meanwhile Wieck was sorely tried by his curiosity when + Chopin was playing, and could not resist the temptation of listening in + the adjoining room, and even peeping through the door that stood slightly + ajar. When the visit came to a close; Schumann conducted Chopin to the + house of his friend Henrietta Voigt, a pupil of Louis Berger's, and + Wenzel, who accompanied them to the door, heard Schumann say to Chopin: + "Let us go in here where we shall find a thorough, intelligent pianist and + a good piano." They then entered the house, and Chopin played and also + stayed for dinner. No sooner had he left, than the lady, who up to that + time had been exceedingly orthodox in her musical opinions and tastes, + sent to Kistner's music-shop, and got all the compositions by Chopin which + were in stock. + </p> + <p> + The letter of Mendelssohn which I shall quote presently and an entry in + Henrietta Voigt's diary of the year 1836, which will be quoted in the next + chapter, throw some doubt on the latter part of Herr Wenzel's + reminiscences. Indeed, on being further questioned on the subject, he + modified his original information to this, that he showed Chopin, + unaccompanied by Schumann, the way to the lady's house, and left him at + the door. As to the general credibility of the above account, I may say + that I have added nothing to my informant's communications, and that in my + intercourse with him I found him to be a man of acute observation and + tenacious memory. What, however, I do not know, is the extent to which the + mythopoeic faculty was developed in him. + </p> + <p> + [Footnote: Richard Pohl gave incidentally a characterisation of this + exceedingly interesting personality in the Signale of September, 1886, No. + 48. Having been personally acquainted with Wenzel and many of his friends + and pupils, I can vouch for its truthfulness. He was "one of the best and + most amiable men I have known," writes R. Pohl, "full of enthusiasm for + all that is beautiful, obliging, unselfish, thoroughly kind, and at the + same time so clever, so cultured, and so many-sided as—excuse me, + gentlemen—I have rarely found a pianoforte-teacher. He gave + pianoforte lessons at the Conservatorium and in many private houses; he + worked day after day, year after year, from morning till night, and with + no other outcome as far as he himself was concerned than that all his + pupils—especially his female pupils—loved him + enthusiastically. He was a pupil of Friedrich Wieck and a friend of + Schumann."] + </p> + <p> + In a letter dated October 6, 1835, and addressed to his family, + Mendelssohn describes another part of Chopin's sojourn in Leipzig and + gives us his opinion of the Polish artist's compositions and playing:— + </p> +<pre xml:space="preserve"> + The day after I accompanied the Hensels to Delitzsch, Chopin + was here; he intended to remain only one day, so we spent + this entirely together and had a great deal of music. I + cannot deny, dear Fanny, that I have lately found that you do + not do him justice in your judgment [of his talents]; perhaps + he was not in a right humour for playing when you heard him, + which may not unfrequently be the case with him. But his + playing has enchanted me anew, and I am persuaded that if you + and my father had heard some of his better pieces played as + he played them to me, you would say the same. There is + something thoroughly original and at the same time so very + masterly in his piano-forte-playing that he may be called a + really perfect virtuoso; and as every kind of perfection is + welcome and gratifying to me, that day was a most pleasant + one, although so entirely different from the previous ones + spent with you Hensels. + + I was glad to be once more with a thorough musician, not with + those half-virtuosos and half-classics who would gladly + combine in music les honneurs de la vertu et les plaisirs du + vice, but with one who has his perfect and well-defined genre + [Richtung]. To whatever extent it may differ from mine, I can + get on with it famously; but not with those half-men. The + Sunday evening was really curious when Chopin made me play + over my oratorio to him, while curious Leipzigers stole into + the room to see him, and how between the first and second + parts he dashed off his new Etudes and a new Concerto, to the + astonishment of the Leipzigers, and I afterwards resumed my + St. Paul, just as if a Cherokee and a Kaffir had met and + conversed. He has such a pretty new notturno, several parts + of which I have retained in my memory for the purpose of + playing it for Paul's amusement. Thus we passed the time + pleasantly together, and he promised seriously to return in + the course of the winter if I would compose a new symphony + and perform it in honour of him. We vowed these things in the + presence of three witnesses, and we shall see whether we both + keep our word. My works of Handel [Footnote: A present from + the Committee of the Cologne Musical Festival of 1835.] + arrived before Chopin's departure, and were a source of quite + childish delight to him; but they are really so beautiful + that I cannot sufficiently rejoice in their possession. +</pre> + <p> + Although Mendelssohn never played any of Chopin's compositions in public, + he made his piano pupils practise some of them. Karasowski is wrong in + saying that Mendelssohn had no such pupils; he had not many, it is true, + but he had a few. A remark which Mendelssohn once made in his peculiar + naive manner is very characteristic of him and his opinion of Chopin. What + he said was this: "Sometimes one really does not know whether Chopin's + music is right or wrong." On the whole, however, if one of the two had to + complain of the other's judgment, it was not Chopin but Mendelssohn, as we + shall see farther on. + </p> + <p> + To learn what impression Chopin made on Schumann, we must once more turn + to the Neue Zeitschrift fur Musik, where we find the Polish artist's visit + to Leipzig twice mentioned:— + </p> +<pre xml:space="preserve"> + October 6, 1835. Chopin was here, but only for a few hours, + which he passed in private circles. He played just as he + composes, that is, uniquely. +</pre> + <p> + The second mention is in the P.S. of a transcendental Schwarmerbrief + addressed by Eusebius (the personification of the gentle, dreamy side of + Schumann's character) to Chiara (Clara Wieck):— + </p> +<pre xml:space="preserve"> + October 20, 1835. Chopin was here. Florestan [the + personification of the strong, passionate side of Schumann's + character] rushed to him. I saw them arm in arm glide rather + than walk. I did not speak with him, was quite startled at + the thought. +</pre> + <p> + On his way to Paris, Chopin stopped also at Heidelberg, where he visited + the father of his pupil Adolph Gutmann, who treated him, as one of his + daughters remarked, not like a prince or even a king, but like somebody + far superior to either. The children were taught to look up to Chopin as + one who had no equal in his line. And the daughter already referred to + wrote more than thirty years afterwards that Chopin still stood out in her + memory as the most poetical remembrance of her childhood and youth. + </p> + <p> + Chopin must have been back in Paris in the first half or about the middle + of October, for the Gazette musicale of the 18th of that month contains + the following paragraph:— + </p> +<pre xml:space="preserve"> + One of the most eminent pianists of our epoch, M. Chopin, has + returned to Paris, after having made a tour in Germany which + has been for him a real ovation. Everywhere his admirable + talent obtained the most flattering reception and excited + enthusiasm. It was, indeed, as if he had not left our capital + at all. +</pre> + <p> + <a name="link2HCH0018" id="link2HCH0018"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER XVIII + </h2> + <p> + 1835—1837. + </p> + <p> + PUBLICATIONS IN 1835 AND 1836.—FIRST PERFORMANCE OF LES HUGUENOTS.— + GUSIKOW, LIPINSKI, THALBERG.—CHOPIN'S IMPRESSIONABLENESS AND + FICKLENESS IN REGARD TO THE FAIR SEX.—THE FAMILY WODZINSKI.—CHOPIN'S + LOVE FOR MARIA WODZINSKA (DRESDEN, 1835; MARIENBAD, 1836).—ANOTHER + VISIT TO LEIPZIG (1836).—CHARACTER OF THE CHIEF EVENTS IN 1837.—MENTION + OF HIS FIRST MEETING WITH GEORGE SAND.—HIS VISIT TO LONDON.—NEWSPAPER + ANNOUNCEMENT OF ANOTHER VISIT TO MARIENBAD.—STATE OF HIS HEALTH IN + 1837. + </p> + <p> + IF we leave out of account his playing in the salons, Chopin's artistic + activity during the period comprised in this chapter was confined to + teaching and composition. [Footnote: A Paris correspondent wrote in the + Neue Zeitschrift fur Musik of May 17, 1836, that Chopin had not been heard + at all that winter, meaning, of course, that he had not been heard in + public.] The publication of his works enables us to form an approximate + idea of how he was occupied as a creative musician. In the year 1835 were + published: in February, Op. 20, Premier Scherzo (in B minor), dedicated to + Mr. T. Albrecht, and in November, Op. 24, Quatre Mazurkas, dedicated to M. + le Comte de Perthuis. In 1836 appeared: in April, Op. 21, Second Concerto + (in F minor), dedicated to Madame la Comtesse Delphine Potocka: in May, + Op. 27, Deux Nocturnes (in C sharp minor and D flat major), dedicated to + Madame la Comtesse d'Appony; in June, Op. 23, Ballade (in G minor), + dedicated to M. le Baron de Stockhausen; in July, Op. 22, Grande Polonaise + brillante (E flat major) precedee d'un Andante spianato for pianoforte and + orchestra, dedicated to Madame la Baronne d'Est; and Op. 26, Deux + Polonaises (in C sharp minor and E flat minor), dedicated to Mr. J. + Dessauer. It is hardly necessary to point out that the opus numbers do not + indicate the order of succession in which the works were composed. The + Concerto belongs to the year 1830; the above notes show that Op. 24 and 27 + were sooner in print than Op. 23 and 26; and Op. 25, although we hear of + its being played by the composer in 1834 and 1835, was not published till + 1837. + </p> + <p> + The indubitably most important musical event of the season 1835-1836, was + the production of Meyerbeer's Les Huguenots, which took place on February + 29, 1836, and had an extraordinary success. The concert-rooms, however, + concern us more than the opera-houses. This year brought to Paris two + Polish musicians: Lipinski, the violinist, and Gusikow, the virtuoso on + the Strohfiedel, [FOOTNOTE: "Straw-fiddle," Gigelira, or Xylophone, an + instrument consisting of a graduated series of bars of wood that lie on + cords of twisted straw and are struck with sticks.] whom Mendelssohn + called "a true genius," and another contemporary pointed out as one of the + three great stars (Paganini and Malibran were the two others) at that time + shining in the musical heavens. The story goes that Lipinski asked Chopin + to prepare the ground for him in Paris. The latter promised to do all in + his power if Lipinski would give a concert for the benefit of the Polish + refugees. The violinist at first expressed his willingness to do so, but + afterwards drew back, giving as his reason that if he played for the + Polish refugees he would spoil his prospects in Russia, where he intended + shortly to make an artistic tour. Enraged at this refusal, Chopin declined + to do anything to further his countryman's plans in Paris. But whether the + story is true or not, Lipinski's concert at the Hotel de Ville, on March + 3, was one of the most brilliant and best-attended of the season. + [FOOTNOTE: Revue et Gazette musicale of March 13, 1836. Mainzer had a + report to the same effect in the Neue Zeitschrift fur Musik.] + </p> + <p> + The virtuoso, however, whose appearance caused the greatest sensation was + Thalberg. The Gazette musicale announced his arrival on November 8, 1835. + He was first heard at M. Zimmermann's; Madame Viardot-Garcia, Duprez, and + De Beriot being the other artists that took active parts in the soiree. + The enthusiasm which Thalberg on this occasion as well as subsequently + excited was immense. The Menestrel expressed the all but unanimous opinion + when, on March 13, 1836, it said: "Thalberg is not only the first pianist + in the world, but he is also a most distinguished composer." His novel + effects astonished and delighted his hearers. The pianists showed their + appreciation by adopting their confrere's manipulations and treatment of + the piano as soon as these ceased to puzzle them; the great majority of + the rising Parisian pianists became followers of Thalberg, nor were some + of the older ones slow in profiting by his example. The most taking of the + effects which Thalberg brought into vogue was the device of placing the + melody in the middle—i.e., the most sonorous part of the instrument—and + dividing it so between the hands that they could at the same time + accompany it with full chords and brilliant figures. Even if he borrowed + the idea from the harpist Parish-Alvars, or from the pianist Francesco G. + Pollini, there remains to him the honour of having improved the invention + of his forerunners and applied it with superior ability. His greatness, + however, does not solely or even mainly rest on this or any other + ingeniously-contrived and cleverly-performed trick. The secret of his + success lay in the aristocratic nature of his artistic personality, in + which exquisite elegance and calm self-possession reigned supreme. In + accordance with this fundamental disposition were all the details of his + style of playing. His execution was polished to the highest degree; the + evenness of his scales and the clearness of his passages and + embellishments could not be surpassed. If sensuous beauty is the sole end + of music, his touch must be pronounced the ideal of perfection, for it + extracted the essence of beauty. Strange as the expression "unctuous + sonorousness" may sound, it describes felicitously a quality of a style of + playing from which roughness, harshness, turbulence, and impetuosity were + altogether absent. Thalberg has been accused of want of animation, + passion, in short, of soul; but as Ambros remarked with great acuteness— + </p> +<pre xml:space="preserve"> + Thalberg's compositions and playing had soul, a salon soul to + be sure, somewhat like that of a very elegant woman of the + world, who, nevertheless, has really a beautiful disposition + [Gemueth], which, however, is prevented from fully showing + itself by the superexquisiteness of her manners. +</pre> + <p> + This simile reminds me of a remark of Heine's, who thought that Thalberg + distinguished himself favourably from other pianists by what he (Heine) + felt inclined to call "his musical conduct [Betragen]." Here are some more + of the poet-critic's remarks on the same subject:— + </p> +<pre xml:space="preserve"> + As in life so also in art, Thalberg manifests innate tact; + his execution is so gentlemanlike, so opulent, so decorous, + so entirely without grimace, so entirely without forced + affectation of genius [forcirtes Genialthun], so entirely + without that boastful boorishness which badly conceals the + inner pusillanimity...He enchants by balsamic euphony, by + sobriety and gentleness....There is only one I prefer. That + is Chopin. +</pre> + <p> + As a curiosity I must quote a passage from a letter dated July 10, 1836, + and addressed by George Sand to the Comtesse d'Agoult. Feelings of + friendship, and, in one case at least, of more than friendship, made these + ladies partial to another prince of the keyboard:— + </p> +<pre xml:space="preserve"> + I have heard Thalberg in Paris. He made on me the impression + of a good little child, very nice and very well-behaved. + There are hours when Franz [Liszt], while amusing himself, + trifles [badine], like him, on some notes in order to let the + furious elements afterwards loose on this gentle breeze. +</pre> + <p> + Liszt, who was at the time of Thalberg's visit to Paris in Switzerland, + doubted the correctness of the accounts which reached him of this + virtuoso's achievements. Like Thomas he would trust only his own senses; + and as his curiosity left him no rest, he betook himself in March, 1836, + to Paris. But, unfortunately, he arrived too late, Thalberg having quitted + the capital on the preceding day. The enthusiastic praises which were + everywhere the answer to his inquiries about Thalberg irritated Liszt, and + seemed to him exaggerations based on delusions. To challenge criticism and + practically refute the prevalent opinion, he gave two private soirees, one + at Pleyel's and another at Erard's, both of which were crowded, the latter + being attended by more than four hundred people. The result was a + brilliant victory, and henceforth there were two camps. The admiration and + stupefaction of those who heard him were extraordinary; for since his last + appearance Liszt had again made such enormous progress as to astonish even + his most intimate friends. In answer to those who had declared that with + Thalberg a new era began, Berlioz, pointing to Liszt's Fantasia on I + Pirati and that on themes from La Juive, now made the counter-declaration + that "this was the new school of pianoforte-playing." Indeed, Liszt was + only now attaining to the fulness of his power as a pianist and composer + for his instrument; and when after another sojourn in Switzerland he + returned in December, 1836, to Paris, and in the course of the season + entered the lists with Thalberg, it was a spectacle for the gods. + "Thalberg," writes Leon Escudier, "est la grace, comme Liszt la force; le + jeu de l'un est blond, celui de l'autre est brun." A lady who heard the + two pianists at a concert for the Italian poor, given in the salons of the + Princess Belgiojoso, exclaimed: "Thalberg est le premier pianiste du + monde."—"Et Liszt?" asked the person to whom the words were + addressed—"Liszt! Liszt—c'est le seul!" was the reply. This is + the spirit in which great artists should be judged. It is oftener + narrowness of sympathy than acuteness of discrimination which makes people + exalt one artist and disparage another who differs from him. In the wide + realm of art there are to be found many kinds of excellence; one man + cannot possess them all and in the highest degree. Some of these + excellences are indeed irreconcilable and exclude each other; most of them + can only be combined by a compromise. Hence, of two artists who differ + from each other, one is not necessarily superior to the other; and he who + is the greater on the whole may in some respects be inferior to the + lesser. Perhaps the reader will say that these are truisms. To be sure + they are. And yet if he considers only the judgments which are every day + pronounced, he may easily be led to believe that these truisms are most + recondite truths now for the first time revealed. When Liszt after his + first return from Switzerland did not find Thalberg himself, he tried to + satisfy his curiosity by a careful examination of that pianist's + compositions. The conclusions he came to be set forth in a criticism of + Thalberg's Grande Fantaisie, Op. 22, and the Caprices, Op. 15 and 19, + which in 1837 made its appearance in the Gazette musicale, accompanied by + an editorial foot-note expressing dissent. I called Liszt's article a + criticism, but "lampoon" or "libel" would have been a more appropriate + designation. In the introductory part Liszt sneers at Thalberg's title of + "Pianist to His Majesty the Emperor of Austria," and alludes to his + rival's distant (i.e., illegitimate) relationship to a noble family, + ascribing his success to a great extent to these two circumstances. The + personalities and abusiveness of the criticism remind one somewhat of the + manner in which the scholars of earlier centuries, more especially of the + sixteenth and seventeenth, dealt critically with each other. Liszt + declares that love of truth, not jealousy, urged him to write; but he + deceived himself. Nor did his special knowledge and experience as a + musician and virtuoso qualify him, as he pretended, above others for the + task he had undertaken; he forgot that no man can be a good judge in his + own cause. No wonder, therefore, that Fetis, enraged at this unprovoked + attack of one artist on a brother-artist, took up his pen in defence of + the injured party. Unfortunately, his retort was a lengthy and pedantic + dissertation, which along with some true statements contained many + questionable, not to say silly, ones. In nothing, however, was he so far + off the mark as in his comparative estimate of Liszt and Thalberg. The + sentences in which he sums up the whole of his reasoning show this + clearly: "You are the pre-eminent man of the school which is effete and + which has nothing more to do, but you are not the man of a new school! + Thalberg is this man—herein lies the whole difference between you + two." Who can help smiling at this combination of pompous + authoritativeness and wretched short-sightedness? It has been truly + observed by Ambros that there is between Thalberg and Liszt all the + difference that exists between a man of talent and a man of genius; + indeed, the former introduced but a new fashion, whereas the latter + founded really a new school. The one originated a few new effects, the + other revolutionised the whole style of writing for the pianoforte. + Thalberg was perfect in his genre, but he cannot be compared to an artist + of the breadth, universality, and, above all, intellectual and emotional + power of Liszt. It is possible to describe the former, but the latter, + Proteus-like, is apt to elude the grasp of him who endeavours to catch + hold of him. The Thalberg controversy did not end with Fetis's article. + Liszt wrote a rejoinder in which he failed to justify himself, but + succeeded in giving the poor savant some hard hits. I do not think Liszt + would have approved of the republication of these literary escapades if he + had taken the trouble to re-read them. It is very instructive to compare + his criticism of Thalberg's compositions with what Schumann—who in + this case is by no means partial—said of them. In the opinion of the + one the Fantaisie sur Les Huguenots is not only one of the most empty and + mediocre works, but it is also so supremely monotonous that it produces + extreme weariness. In the opinion of the other the Fantaisie deserves the + general enthusiasm which it has called forth, because the composer proves + himself master of his language and thoughts, conducts himself like a man + of the world, binds and loosens the threads with so much ease that it + seems quite unintentional, and draws the audience with him wherever he + wishes without either over-exciting or wearying it. The truth, no doubt, + is rather with Schumann than with Liszt. Although Thalberg's compositions + cannot be ranked with the great works of ideal art, they are superior to + the morceaux of Czerny, Herz, and hoc genus omne, their appearance marking + indeed an improvement in the style of salon music. + </p> + <p> + But what did Chopin think of Thalberg? He shared the opinion of Liszt, + whose side he took. In fact, Edouard Wolff told me that Chopin absolutely + despised Thalberg. To M. Mathias I owe the following communication, which + throws much light on Chopin's attitude:— + </p> +<pre xml:space="preserve"> + I saw Chopin with George Sand at the house of Louis Viardot, + before the marriage of the latter with Pauline Garcia. I was + very young, being only twelve years old, but I remember it as + though it had been yesterday. Thalberg was there, and had + played his second fantasia on Don Giovanni (Op. 42), and upon + my word Chopin complimented him most highly and with great + gravity; nevertheless, God knows what Chopin thought of it in + his heart, for he had a horror of Thalberg's arrangements, + which I have seen and heard him parody in the most droll and + amusing manner, for Chopin had the sense of parody and + ridicule in a high degree. +</pre> + <p> + Thalberg had not much intercourse with Chopin, nor did he exercise the + faintest shadow of an influence over him; but as one of the foremost + pianist-composers—indeed, one of the most characteristic phenomena + of the age—he could not be passed by in silence. Moreover, the noisy + careers of Liszt and Thalberg serve as a set-off to the noiseless one of + Chopin. + </p> + <p> + I suspect that Chopin was one of that race of artists and poets "qui font + de la passion un instrument de l'art et de la poesie, et dont l'esprit n'a + d'activite qu'autant qu'il est mis en mouvement par les forces motrices du + coeur." At any rate, the tender passion was a necessary of his existence. + That his disappointed first love did not harden his heart and make him + insensible to the charms of the fair sex is apparent from some remarks of + George Sand, who says that although his heart was ardent and devoted, it + was not continuously so to any one person, but surrendered itself + alternately to five or six affections, each of which, as they struggled + within it, got by turns the mastery over all the others. He would + passionately love three women in the course of one evening party and + forget them as soon as he had turned his back, while each of them imagined + that she had exclusively charmed him. In short, Chopin was of a very + impressionable nature: beauty and grace, nay, even a mere smile, kindled + his enthusiasm at first sight, and an awkward word or equivocal glance was + enough to disenchant him. But although he was not at all exclusive in his + own affections, he was so in a high degree with regard to those which he + demanded from others. In illustration of how easily Chopin took a dislike + to anyone, and how little he measured what he accorded of his heart with + what he exacted from that of others, George Sand relates a story which she + got from himself. In order to avoid misrepresenting her, I shall translate + her own words:— + </p> +<pre xml:space="preserve"> + He had taken a great fancy to the granddaughter of a + celebrated master. He thought of asking her in marriage at + the same time that he entertained the idea of another + marriage in Poland—his loyalty being engaged nowhere, and + his fickle heart floating from one passion to the other. The + young Parisian received him very kindly, and all went as well + as could be till on going to visit her one day in company + with another musician, who was of more note in Paris than he + at that time, she offered a chair to this gentleman before + thinking of inviting Chopin to be seated. He never called on + her again, and forgot her immediately. +</pre> + <p> + The same story was told me by other intimate friends of Chopin's, who + evidently believed in its genuineness; their version differed from that of + George Sand only in this, that there was no allusion to a lady-love in + Poland. Indeed, true as George Sand's observations are in the main, we + must make allowance for the novelist's habit of fashioning and + exaggerating, and the woman's endeavour to paint her dismissed and + aggrieved lover as black as possible. Chopin may have indulged in + innumerable amorous fancies, but the story of his life furnishes at least + one instance of his having loved faithfully as well as deeply. Nor will it + be denied that Chopin's love for Constantia Gladkowska was a serious + affair, whether the fatal end be attributable to him or her, or both. And + now I have to give an account of another love-affair which deserves + likewise the epithet "serious." + </p> + <p> + As a boy Chopin contracted a friendship with the brothers Wodzinski, who + were boarders at his father's establishment. With them he went repeatedly + to Sluzewo, the property of their father, and thus became also acquainted + with the rest of the family. The nature of the relation in which Chopin + and they stood to each other is shown by a letter written by the former on + July 18, 1834, to one of the brothers who with his mother and other + members of the family was at that time staying at Geneva, whither they had + gone after the Polish revolution of 1830-31, in which the three brothers—Anthony, + Casimir, and Felix—had taken part:— + </p> +<pre xml:space="preserve"> + My dear Felix,—Very likely you thought "Fred must be moping + that he does not answer my letter!" But you will remember + that it was always my habit to do everything too late. Thus I + went also too late to Miss Fanche, and consequently was + obliged to wait till honest Wolf had departed. Were it not + that I have only recently come back from the banks of the + Rhine and have an engagement from which I cannot free myself + just now, I would immediately set out for Geneva to thank + your esteemed mamma and at the same time accept her kind + invitation. But cruel fate—in one word, it cannot be done. + Your sister was so good as to send me her composition. It + gives me the greatest pleasure, and happening to improvise + the veryevening of its arrival in one of our salons, I took + for my subject the pretty theme by a certain Maria with whom + in times gone by I played at hide and seek in the house of + Mr. Pszenny...To-day! Je prends la liberte d'envoyer a mon + estimable collegue Mile Marie une petite valse que je viens + de publier. May it afford her a hundredth part of the + pleasure which I felt on receiving her variations. In + conclusion, I once more thank your mamma most sincerely for + kindly remembering her old and faithful servant in whose + veins also there run some drops of Cujavian blood. + [Footnote: Cujavia is the name of a Polish district.] + + F. CHOPIN. + + P.S.—Embrace Anthony, stifle Casimir with caresses if you + can; as for Miss Maria make her a graceful and respectful + bow. Be surprised and say in a whisper, "Dear me, how tall + she has grown!" +</pre> + <p> + The Wodzinskis, with the exception of Anthony, returned in the summer of + 1835 to Poland, making on their way thither a stay at Dresden. Anthony, + who was then in Paris and in constant intercourse with Chopin, kept the + latter informed of his people's movements and his people of Chopin's. Thus + it came about that they met at Dresden in September, 1835, whither the + composer went after his meeting with his parents at Carlsbad, mentioned in + the preceding chapter (p. 288). Count Wodzinski says in his Les trois + Romans de Frederic Chopin that Chopin had spoken to his father about his + project of marrying Maria Wodzinska, and that this idea had sprung up in + his soul by the mere force of recollections. The young lady was then + nineteen years of age, and, according to the writer just mentioned, tall + and slender in figure, and light and graceful in gait. The features, he + tells us, were distinguished neither by regularity nor classical beauty, + but had an indefinable charm. Her black eyes were full of sweetness, + reverie, and restrained fire; a smile of ineffable voluptuousness played + around her lips; and her magnificent hair was as dark as ebony and long + enough to serve her as a mantle. Chopin and Maria saw each other every + evening at the house of her uncle, the Palatine Wodzinski. The latter + concluded from their frequent tete-a-tete at the piano and in corners that + some love-making was going on between them. When he found that his + monitory coughs and looks produced no effect on his niece, he warned his + sister-in-law. She, however, took the matter lightly, saying that it was + an amitie d'enfance, that Maria was fond of music, and that, moreover, + there would soon be an end to all this—their ways lying in opposite + directions, hers eastward to Poland, his westward to France. And thus + things were allowed to go on as they had begun, Chopin passing all his + evenings with the Wodzinskis and joining them in all their walks. At last + the time of parting came, the clock of the Frauenkirche struck the hour of + ten, the carriage was waiting at the door, Maria gave Chopin a rose from a + bouquet on the table, and he improvised a waltz which he afterwards sent + her from Paris, and which she called L'Adieu. Whatever we may think of the + details of this scene of parting, the waltz composed for Maria at Dresden + is an undeniable fact. Facsimiles may be seen in Szulc's Fryderyk Chopin + and Count Wodziriski's Les trois Romans de Frederic Chopin. The manuscript + bears the superscription: "Tempo de Valse" on the left, and "pour Mile. + Marie" on the right; and the subscription: "F. Chopin, Drezno [Dresden], + September, 1835." [FOOTNOTE: It is Op. 69, No. 1, one of the posthumous + works published by Julius Fontana.] + </p> + <p> + The two met again in the following summer, this time at Marienbad, where + he knew she and her mother were going. They resumed their walks, music, + and conversations. She drew also his portrait. And then one day Chopin + proposed. Her answer was that she could not run counter to her parents' + wishes, nor could she hope to be able to bend their will; but she would + always preserve for him in her heart a grateful remembrance.[FOOTNOTE: + Count Wodzinski relates on p. 255 of his book that at a subsequent period + of her life the lady confided to him the above-quoted answer.] This + happened in August, 1836; and two days after mother and daughter left + Marienbad. Maria Wodzinska married the next year a son of Chopin's + godfather, Count Frederick Skarbek. The marriage turned but an unhappy + one, and was dissolved. Subsequently the Countess married a Polish + gentleman of the name of Orpiszewski, who died some years ago in Florence. + She, I think, is still alive. + </p> + <p> + Karasowski relates the affair very differently. He says Chopin, who knew + the brothers Wodzinski in Poland, met them again in Paris, and through + them made the acquaintance of their sister Maria, whose beauty and + amiability inspired him at once with an interest which soon became ardent + love. But that Chopin had known her in Poland may be gathered from the + above letter to Felix Wodzinski, quite apart from the distinct statements + of the author of Les trois Romans that Chopin was a frequent visitor at + Sluzewo, and a great friend of Maria's. Further, Karasowski, who does not + mention at all the meeting of Chopin and the Wodzinskis at Dresden in + 1835, says that Chopin went in the middle of July, 1836, to Marienbad, + where he knew he would find Maria and her mother, and that there he + discovered that she whom he loved reciprocated his affection, the + consequence being an engagement approved of by her relations. When the + sojourn in Marienbad came to an end, the whole party betook itself to + Dresden, where they remained together for some weeks, which they spent + most pleasantly. + </p> + <p> + [FOOTNOTE: Karasowski relates that Chopin was at the zenith of happiness. + His good humour was irresistible. He imitated the most famous pianists, + and played his dreamy mazurkas in the manner much in favour with Warsaw + amateurs—i.e., strictly in time and with the strongly-accented + rhythm of common dance-tunes. And his friends reminded him of the tricks + which, as a boy, he had played on his visits to the country, and how he + took away his sisters' kid gloves when he was going to an evening-party, + and could not buy himself new ones, promising to send them dozens as soon + as he had gained a good position in Paris. Count Wodzinski, too, bears + witness to Chopin's good humour while in the company of the Wodzinskis. In + the course of his account of the sojourn at Marienbad, this writer speaks + of Chopin's polichinades: "He imitated then this or that famous artist, + the playing of certain pupils or compatriots, belabouring the keyboard + with extravagant gestures, a wild [echevele] and romantic manner, which he + called aller a la chasse aux pigeons."] + </p> + <p> + Unless Chopin was twice with the Wodzinskis in Dresden, Karasowski must be + mistaken. That Chopin sojourned for some time at Dresden in 1835 is + evidenced by Wieck's letter, quoted on p. 288, and by the above-mentioned + waltz. The latter seems also to confirm what Count Wodzinski says about + the presence of the Wodzinskis at Dresden in that year. On the other hand, + we have no such documents to prove the presence at Dresden in 1836 either + of Chopin or the Wodzinskis. According to Karasowski, the engagement made + at Marienbad remained in force till the middle of 1837, when Chopin + received at Paris the news that the lady withdrew from it. [FOOTNOTE: In + explanation of the breaking-off of this supposed engagement, it has also + been said that the latter was favoured by the mother, but opposed by the + father.] The same authority informs us that before this catastrophe Chopin + had thoughts of settling with his future wife in the neighbourhood of + Warsaw, near his beloved parents and sisters. There he would cultivate his + art in retirement, and found schools for the people. How, without a + fortune of his own, and with a wife who, although belonging to a fairly + wealthy family, would not come into the possession of her portion till + after the death of her parents, he could have realised these dreams, I am + at a loss to conjecture. + </p> + <p> + [FOONOTE: To enable his readers to measure the social distance that + separated Chopin from his beloved one, Count Wodzinski mentions among + other details that her father possessed a domain of about 50,000 acres + (20,000 hectares). It is hardly necessary to add that this large acreage, + which we will suppose to be correctly stated, is much less a measure of + the possessor's wealth than of his social rank.] + </p> + <p> + Chopin's letters, which testify so conclusively to the cordial friendship + existing between him and the Wodzinskis, unfortunately contain nothing + which throws light on his connection with the young lady, although her + name occurs in them several times. On April 2, 1837, Chopin wrote to + Madame Wodzinska as follows:— + </p> +<pre xml:space="preserve"> + I take advantage of Madame Nakwaska's permission and enclose + a few words. I expect news from Anthony's own hand, and shall + send you a letter even more full of details than the one + which contained Vincent's enclosure. I beg of you to keep + your mind easy about him. As yet all are in the town. I am + not in possession of any details, because the correspondents + only give accounts of themselves. My letter of the same date + must certainly be in Sluzewo; and, as far as is possible, it + will set your mind at rest with regard to this Spaniard who + must, must write me a few words. I am not going to use many + words in expressing the sorrow I felt on learning the news of + your mother's death—not for her sake whom I did not know, + but for your sake whom I do know. (This is a matter of + course!) I have to confess, Madam, that I have had an attack + like the one I had in Marienbad; I sit before Miss Maria's + book, and were I to sit a hundred years I should be unable to + write anything in it. For there are days when I am out of + sorts. To-day I would prefer being in Sluzewo to writing to + Sluzewo. Then would I tell you more than I have now written. + My respects to Mr. Wodzinski and my kind regards to Miss + Maria, Casimir, Theresa, and Felix. +</pre> + <p> + The object of another letter, dated May 14, 1837, is likewise to give news + of Anthony Wodzinski, who was fighting in Spain. Miss Maria is mentioned + in the P.S. and urged to write a few words to her brother. + </p> + <p> + After a careful weighing of the evidence before us, it appears to me that—notwithstanding + the novelistic tricking-out of Les trois Romans de Frederic Chopin—we + cannot but accept as the true account the author's statement as to + Chopin's proposal of marriage and Miss Wodzinska's rejection at Marienbad + in 1836. The testimony of a relation with direct information from one of + the two chief actors in the drama deserves more credit than that of a + stranger with, at best, second-hand information; unless we prefer to + believe that the lady misrepresented the facts in order to show herself to + the world in a more dignified and amiable character than that of a jilt. + The letters can hardly be quoted in support of the engagement, for the + rejection would still admit of the continuation of the old friendship, and + their tone does not indicate the greater intimacy of a closer + relationship. + </p> + <p> + Subsequent to his stay at Marienbad Chopin again visited Leipzig. But the + promises which Mendelssohn and Chopin had so solemnly made to each other + in the preceding year had not been kept; the latter did not go in the + course of the winter to Leipzig, and if he had gone, the former could not + have performed a new symphony of his in honour of the guest. Several + passages in letters written by Schumann in the early part of 1836 show, + however, that Chopin was not forgotten by his Leipzig friends, with whom + he seems to have been in correspondence. On March 8, 1836, Schumann wrote + to Moscheles:— + </p> +<pre xml:space="preserve"> + Mendelssohn sends you his hearty greetings. He has finished + his oratorio, and will conduct it himself at the Dusseldorf + Musical Festival. Perhaps I shall go there too, perhaps also + Chopin, to whom we shall write about it. +</pre> + <p> + The first performance of Mendelssohn's St. Paul took place at Dusseldorf + on May 22, and was a great success. But neither Schumann nor Chopin was + there. The latter was, no doubt, already planning his excursion to + Marienbad, and could not allow himself the luxury of two holidays within + so short a time. + </p> + <p> + Here is another scrap from a letter of Schumann's, dated August 28, 1836, + and addressed to his brother Edward and his sister-in-law Theresa:— + </p> +<pre xml:space="preserve"> + I have just written to Chopin, who is said to be in + Marienbad, in order to learn whether he is really there. In + any case, I should visit you again in autumn. But if Chopin + answers my letter at once, I shall start sooner, and go to + Marienbad by way of Carlsbad. Theresa, what do you think! you + must come with me! Read first Chopin's answer, and then we + will fully discuss the rest. +</pre> + <p> + Chopin either had left or was about to leave Marienbad when he received + Schumann's letter. Had he received it sooner, his answer would not have + been very encouraging. For in his circumstances he could not but have felt + even the most highly-esteemed confrere, the most charming of companions, + in the way.[FOOTNOTE: Mendelscohn's sister, Rebecka Dirichlet, found him + completely absorbed in his Polish Countess. (See The Mendelssohn Family, + Vol. II, p. 15.)] But although the two musicians did not meet at + Marienbad, they saw each other at Leipzig. How much one of them enjoyed + the visit may be seen in the following extract from a letter which + Schumann wrote to Heinrich Dorn on September 14, 1836:— + </p> +<pre xml:space="preserve"> + The day before yesterday, just after I had received your + letter and was going to answer it, who should enter?—Chopin. + This was a great pleasure. We passed a very happy day + together, in honour of which I made yesterday a holiday...I + have a new ballade by Chopin. It appears to me his + genialischstes (not genialstes) work; and I told him that I + liked it best of all. + + [FOOTNOTE: "Sein genialischstes (nicht genialstes) Werk." I + take Schumann to mean that the ballade in question (the one + in G minor) is Chopin's most spirited, most daring work, but + not his most genial—i.e., the one fullest of genius. + Schumann's remark, in a criticism of Op. 37, 38, and 42, that + this ballade is the "wildest and most original" of Chopin's + compositions, confirms my conjecture.] + + After a long meditative pause he said with great emphasis: "I + am glad of that, it is the one which I too like best." He + played besides a number of new etudes, nocturnes, and + mazurkas—everything incomparable. You would like him very + much. But Clara [Wieck] is greater as a virtuoso, and gives + almost more meaning to his compositions than he himself. + Imagine the perfection, a mastery which seems to be quite + unconscious of itself! +</pre> + <p> + Besides the announcement of September 16, 1836, that Chopin had been a day + in Leipzig, that he had brought with him among other things new "heavenly" + etudes, nocturnes, mazurkas, and a new ballade, and that he played much + and "very incomparably," there occur in Schumann's writings in the Neue + Zeitschrift fur Musik unmistakable reminiscences of this visit of the + Polish musician. Thus, for instance, in a review of dance-music, which + appeared in the following year, and to which he gave the fantastic form of + a "Report to Jeanquirit in Augsburg of the editor's last + artistico-historical ball," the writer relates a conversation he had with + his partner Beda:— + </p> +<pre xml:space="preserve"> + I turned the conversation adroitly on Chopin. Scarcely had + she heard the name than she for the first time fully looked + at me with her large, kindly eyes. "And you know him?" I + answered in the affirmative. "And you have heard him?" Her + form became more and more sublime. "And have heard him + speak?" And when I told her that it was a never-to-be- + forgotten picture to see him sitting at the piano like a + dreaming seer, and how in listening to his playing one seemed + to one's self like the dream he created, and how he had the + dreadful habit of passing, at the end of each piece, one + finger quickly over the whizzing keyboard, as if to get rid + of his dream by force, and how he had to take care of his + delicate health—she clung to me with ever-increasing + timorous delight, and wished to know more and more about him. +</pre> + <p> + Very interesting is Schumann's description of how Chopin played some + etudes from his Op. 25; it is to be found in another criticism of the same + year (1837):— + </p> +<pre xml:space="preserve"> + As regards these etudes, I have the advantage of having heard + most of them played by Chopin himself, and, as Florestan + whispered in my ear at the time, "He plays them very much a + la Chopin." Imagine an AEolian harp that had all the scales, + and that these were jumbled together by the hand of an artist + into all sorts of fantastic ornaments, but in such a manner + that a deeper fundamental tone and a softly-singing higher + part were always audible, and you have an approximate idea of + his playing. No wonder that we have become fondest of those + pieces which we heard him play himself, and therefore we + shall mention first of all the first one in A flat, which is + rather a poem than an etude. It would be a mistake, however, + to suppose that he brought out every one of the little notes + with distinctness; it was more like a billowing of the A flat + major chord, swelled anew here and there by means of the + pedal; but through the harmonies were heard the sustained + tones of a wondrous melody, and only in the middle of it did + a tenor part once come into greater prominence amid the + chords along with that principal cantilena. After listening + to the study one feels as one does after a blissful vision, + seen in a dream, which, already half awake, one would fain + bring back. He soon came to the one in F minor, the second in + the book, likewise one which impresses one indelibly with his + originality; it is so charming, dreamy, and soft, somewhat + like the singing of a child in its sleep. Beautiful also, + although less new in character than in the figure, was the + following one in F major; here the object was more to exhibit + bravura, the most charming bravura, and we could not but + praise the master highly for it....But of what use are + descriptive words? +</pre> + <p> + This time we cannot cite a letter of Mendelssohn's; he was elsewhere + similarly occupied as Chopin in Marienbad. After falling in love with a + Frankfort lady, Miss Jeanrenaud, he had gone to Scheweningen to see + whether his love would stand the test of absence from the beloved object. + It stood the test admirably, and on September 9, a few days before + Chopin's arrival in Leipzig, Mendelssohn's engagement to the lady who + became his wife on March 28, 1837, took place. + </p> + <p> + But another person who has been mentioned in connection with Chopin's + first visit to Leipzig, Henrietta Voigt, [FOOTNOTE: The editor of "Acht + Briefe und ein Facsimile van Felix Mendelssohn-Bartholdy" speaks of her as + "the artistic wife of a Leipzig merchant, whose house stood open to + musicians living in and passing through Leipzig."] has left us an account + of the impression made upon her. An entry in her diary on September 13, + 1836, runs thus:— + </p> +<pre xml:space="preserve"> + Yesterday Chopin was here and played an hour on my piano—a + fantasia and new etude of his—interesting man and still more + interesting playing; he moved me strangely. The over- + excitement of his fantastic manner is imparted to the keen- + eared; it made me hold my breath. Wonderful is the ease with + which his velvet fingers glide, I might almost say fly, over + the keys. He has enraptured me—I cannot deny it—in a way + which hitherto had been unknown to me. What delighted me was + the childlike, natural manner which he showed in his + demeanour and in his playing. +</pre> + <p> + After this short break of his journey at Leipzig, which he did not leave + without placing a wreath of flowers on the monument of Prince Joseph + Poniatowski, who in 1812 met here with an early death, being drowned in + the river Elster, Chopin proceeded on his homeward journey, that is toward + Paris, probably tarrying again for a day or two at Heidelberg. + </p> + <p> + The non-artistic events of this period are of a more stirring nature than + the artistic ones. First in time and importance comes Chopin's meeting + with George Sand, which more than any other event marks an epoch in the + composer's life. But as this subject has to be discussed fully and at some + length we shall leave it for another chapter, and conclude this with an + account of some other matters. + </p> + <p> + Mendelssohn, who arrived in London on August 24, 1837, wrote on September + 1 to Hiller:— + </p> +<pre xml:space="preserve"> + Chopin is said to have suddenly turned up here a fortnight + ago; but he visited nobody and made no acquaintances. He + played one evening most beautifully at Broadwood's, and then + hurried away again. I hear he is still suffering very much. +</pre> + <p> + Chopin accompanied by Camille Pleyel and Stanislas Kozmian, the elder, + came to London on the 11th of July and stayed till the 22nd. Pleyel + introduced him under the name of M. Fritz to his friend James Broadwood, + who invited them to dine with him at his house in Bryanston Square. The + incognito, however, could only be preserved as long as Chopin kept his + hands off the piano. When after dinner he sat down to play, the ladies of + the family suspected, and, suspicion being aroused, soon extracted a + confession of the truth. + </p> + <p> + Moscheles in alluding in his diary to this visit to London adds an item or + two to its history:— + </p> +<pre xml:space="preserve"> + Chopin, who passed a few days in London, was the only one of + the foreign artists who visited nobody and also did not wish + to be visited, as every conversation aggravates his chest- + complaint. He went to some concerts and disappeared. +</pre> + <p> + Particularly interesting are the reminiscences of the writer of an + enthusiastic review [Footnote: Probably J. W. Davison.]of some of Chopin's + nocturnes and a scherzo in the "Musical World" of February 23, 1838:— + </p> +<pre xml:space="preserve"> + Were he [Chopin] not the most retiring and unambitious of all + living musicians, he would before this time have been + celebrated as the inventor of a new style, or school, of + pianoforte composition. During his short visit to the + metropolis last season, but few had the high gratification of + hearing his extemporaneous performance. Those who experienced + this will not readily lose its remembrance. He is, perhaps, + par eminence, the most delightful of pianists in the drawing- + room. The animation of his style is so subdued, its + tenderness so refined, its melancholy so gentle, its niceties + so studied and systematic, the tout-ensemble so perfect, and + evidently the result of an accurate judgment and most + finished taste, that when exhibited in the large concert- + room, or the thronged saloon, it fails to impress itself on + the mass. The "Neue Zeitschrift fur Musik" of September 8, + 1837, brought the piece of news that Chopin was then at a + Bohemian watering-place. I doubt the correctness of this + statement; at any rate, no other information to that effect + has come to my knowledge, and the ascertained facts do not + favour the assumption of its truth. +</pre> + <p> + Never robust, Chopin had yet hitherto been free from any serious illness. + Now, however, the time of his troubles begins. In a letter, undated, but + very probably written in the summer of 1837, which he addressed to Anthony + Wodzinski, who had been wounded in Spain, where civil war was then raging, + occur remarks confirmatory of Mendelssohn's and Moscheles' statements:— + </p> +<pre xml:space="preserve"> + My dearest life! Wounded! Far from us—and I can send you + nothing....Your friends are thinking only of you. For mercy's + sake recover as soon as possible and return. The newspaper + accounts say that your legion is completely annihilated. + Don't enter the Spanish army....Remember that your blood may + serve a better purpose....Titus [Woyciechowski] wrote to ask + me if I could not meet him somewhere in Germany. During the + winter I was again ill with influenza. They wanted to send me + to Ems. Up to the present, however, I have no thought of + going, as I am unable to move. I write and prepare + manuscript. I think far more of you than you imagine, and + love you as much as ever. + + F. C. + + Believe me, you and Titus are enshrined in my memory. +</pre> + <p> + On the margin, Chopin writes— + </p> +<pre xml:space="preserve"> + I may perhaps go for a few days to George Sand's, but keep + your mind easy, this will not interfere with the forwarding + of your money, for I shall leave instructions with Johnnie + [Matuszynski]. +</pre> + <p> + With regard to this and to the two preceding letters to members of the + Wodzinski family, I have yet to state that I found them in M. A. Szulc's + "Fryderyk Chopin." + </p> + <p> + <a name="link2HCH0019" id="link2HCH0019"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER XIX. + </h2> + <p> + GEORGE SAND: HER EARLY LIFE (1804—1836); AND HER CHARACTER AS A + WOMAN, THINKER, AND LITERARY ARTIST. + </p> + <p> + It is now necessary that the reader should be made acquainted with Madame + Dudevant, better known by her literary name, George Sand, whose coming on + the scene has already been announced in the preceding chapter. The + character of this lady is so much a matter of controversy, and a correct + estimate of it so essential for the right understanding of the important + part she plays in the remaining portion of Chopin's life, that this long + chapter—an intermezzo, a biography in a biography—will not be + regarded as out of place or too lengthy. If I begin far off, as it were + before the beginning, I do so because the pedigree has in this case a + peculiar significance. + </p> + <p> + The mother of George Sand's father was the daughter of the Marschal de + Saxe (Count Maurice of Saxony, natural son of August the Strong, King of + Poland and Elector of Saxony, and the Countess Maria Aurora von + Konigsmark) and the dame de l'opera, Mdlle. de Verrieres, whose real name + was Madame de la Riviere, nee Marie Rinteau. This daughter, Marie Aurore, + married at the age of fifteen Comte de Home, a natural son of Louis XV., + who died soon after; and fifteen years later she condescended to accept + the hand of M. Dupin de Francueil, receveur general, who, although of an + old and well-connected family, did not belong to the high nobility. The + curious may read about Mdlle. de Verrieres in the "Memoires" of Marmontel, + who was one of her many lovers, and about M. Dupin, his father, + mother-in-law, first wife &c., in Rousseau's "Confessions," where, + however, he is always called De Francueil. Notwithstanding the disparity + of age, the husband being twice as old as his wife, the marriage of M. + Dupin and the Comtesse de Home proved to be a very happy one. They had one + child, a son, Maurice Francois Elisabeth Dupin. He entered the army in + 1798, and two years later, in the course of the Italian campaign, became + first lieutenant and then aide-de-camp to General Dupont. + </p> + <p> + In Italy and about the same time Maurice Dupin saw and fell in love with + Sophie Victoire Antoinette Delaborde, the daughter of a Paris bird-seller, + who had been a supernumerary at some small theatre, and whose youth, as + George Sand delicately expresses it, "had by the force of circumstances + been exposed to the most frightful hazards." Sacrificing all the + advantages she was then enjoying, she followed Maurice Dupin to France. + From this liaison sprang several children, all of whom, however, except + one, died very young. A month before the birth of her in whom our interest + centres, Maurice Dupin married Sophie Delaborde. The marriage was a civil + one and contracted without the knowledge of his mother, who was opposed to + this union less on account of Sophie's plebeian origin than of her + doubtful antecedents. + </p> + <p> + It was on July 5, 1804, that Amantine Lucile Aurore Dupin, who under the + name of George Sand became famous all the world over, saw for the first + time the light of day. The baby, which by a stratagem was placed in the + arms of her grandmother, mollified the feelings of the old lady, whom the + clandestine marriage had put in a great rage, so effectually that she + forgave her son, received his wife, and tried to accommodate herself to + the irremediable. After the Spanish campaign, during which he acted as + aide-de-camp to Murat, Maurice Dupin and his family came to Nohant, his + mother's chateau in Berry. There little Aurora lost her father when she + was only four years old. Returning home one evening from La Chatre, a + neighbouring town, he was thrown off his horse, and died almost instantly. + </p> + <p> + This was an event that seriously affected the future of the child, for + only the deceased could keep in check the antagonism of two such + dissimilar characters as those of Aurora's mother and grandmother. The + mother was "dark-complexioned, pale, ardent, awkward and timid in + fashionable society, but always ready to explode when the storm was + growling too strongly within"; her temperament was that "of a Spaniard—jealous, + passionate, choleric, and weak, perverse and kindly at the same time." + Abbe Beaumont (a natural son of Mdlle. de Verrieres and the Prince de + Turenne, Duke de Bouillon, and consequently grand-uncle of Aurora) said of + her that she had a bad head but a good heart. She was quite uneducated, + but had good natural parts, sang charmingly, and was clever with her + hands. The grandmother, on the other hand, was "light-complexioned, + blonde, grave, calm, and dignified in her manners, a veritable Saxon of + noble race, with an imposing demeanour full of ease and patronising + goodness." She had been an assiduous student of the eighteenth century + philosophers, and on the whole was a lady of considerable culture. For + about two years these two women managed to live together, not, however, + without a feeling of discord which was not always successfully suppressed, + and sometimes broke out into open dissension. At last they came to an + arrangement according to which the child was to be left in the keeping of + the grandmother, who promised her daughter-in-law a yearly allowance which + would enable her to take up her abode in Paris. This arrangement had the + advantage for the younger Madame Dupin that she could henceforth devote + herself to the bringing-up of another daughter, born before her + acquaintance with Aurora's father. + </p> + <p> + From her mother Aurora received her first instruction in reading and + writing. The taste for literary composition seems to have been innate in + her, for already at the age of five she wrote letters to her grandmother + and half-brother (a natural son of her father's). When she was seven, + Deschartres, her grandmother's steward, who had been Maurice Dupin's + tutor, began to teach her French grammar and versification, Latin, + arithmetic, botany, and a little Greek. But she had no liking for any of + these studies. The dry classifications of plants and words were + distasteful to her; arithmetic she could not get into her head; and poetry + was not her language. History, on the other hand, was a source of great + enjoyment to her; but she read it like a romance, and did not trouble + herself about dates and other unpleasant details. She was also fond of + music; at least she was so as long as her grandmother taught her, for the + mechanical drilling she got from the organist of La Chatre turned her + fondness into indifference. That subject of education, however, which is + generally regarded as the foundation of all education—I mean + religion—was never even mentioned to her. The Holy Scriptures were, + indeed, given into the child's hands, but she was left to believe or + reject whatever she liked. Her grandmother, who was a deist, hated not + only the pious, but piety itself, and, above all, Roman Catholicism. + Christ was in her opinion an estimable man, the gospel an excellent + philosophy, but she regretted that truth was enveloped in ridiculous + fables. The little of religion which the girl imbibed she owed to her + mother, by whose side she was made to kneel and say her prayers. "My + mother," writes George Sand in her "Histoire de ma Vie," from which these + details are taken, "carried poetry into her religious feeling, and I stood + in need of poetry." Aurora's craving for religion and poetry was not to + remain unallayed. One night there appeared to her in a dream a phantom, + Corambe by name. The dream-created being took hold of her waking + imagination, and became the divinity of her religion and the title and + central figure of her childish, unwritten romance. Corambe, who was of no + sex, or rather of either sex just as occasion might require—for it + underwent numberless metamorphoses—had "all the attributes of + physical and moral beauty, the gift of eloquence, and the all-powerful + charm of the arts, especially the magic of musical improvisation," being + in fact an abstract of all the sacred and secular histories with which she + had got acquainted. + </p> + <p> + The jarrings between her mother and grandmother continued; for of course + their intercourse did not entirely cease. The former visited her relations + at Nohant, and the latter and her grandchildren occasionally passed some + weeks in Paris. Aurora, who loved both, her mother even passionately, was + much harassed by their jealousy, which vented itself in complaints, + taunts, and reproaches. Once she determined to go to Paris and live with + her mother, and was only deterred from doing so by the most cruel means + imaginable—namely, by her grandmother telling her of the dissolute + life which her mother had led before marrying her father. + </p> +<pre xml:space="preserve"> + I owe my first socialistic and democratic instincts to the + singularity of my position, to my birth a cheval so to speak + on two classes—to my love for my mother thwarted and broken + by prejudices which made me suffer before I could comprehend + them. I owe them also to my education, which was by turns + philosophical and religious, and to all the contrasts which + my own life has presented to me from my earliest years. +</pre> + <p> + At the age of thirteen Aurora was sent to the convent of English + Augustines in Paris, the only surviving one of the three or four + institutions of the kind that were founded during the time of Cromwell. + There she remained for the next three years. Her knowledge when she + entered this educational as well as religious establishment was not of the + sort that enables its possessor to pass examinations; consequently she was + placed in the lowest class, although in discussion she could have held her + own even against her teachers. Much learning could not be acquired in the + convent, but the intercourse with other children, many of them belonging, + like the nuns, to English-speaking nations, was not without effect on the + development of her character. There were three classes of pupils, the + diables, betes, and devotes (the devils, blockheads, and devout). Aurora + soon joined the first, and became one of their ringleaders. But all of a + sudden a change came over her. From one extreme she fell into the other. + From being the wildest of the wild she became the most devout of the + devout: "There was nothing strong in me but passion, and when that of + religion began to break out, it devoured everything in my heart; and + nothing in my brain opposed it." The acuteness of this attack of religious + mania gradually diminished; still she harboured for some time the project + of taking the veil, and perhaps would have done so if she had been left to + herself. + </p> + <p> + After her return-to Nohant her half-brother Hippolyte, who had recently + entered the army, gave her riding lessons, and already at the end of a + week she and her mare Colette might be seen leaping ditches and hedges, + crossing deep waters, and climbing steep inclines. "And I, the eau + dormante of the convent, had become rather more daring than a hussar and + more robust than a peasant." The languor which had weighed upon her so + long had all of once given way to boisterous activity. When she was + seventeen she also began seriously to think of self-improvement; and as + her grandmother was now paralytic and mentally much weakened, Aurora had + almost no other guidance than that of chance and her own instinct. Thomas + a Kempis' "Imitation of Christ," which had been her guide since her + religious awakening, was now superseded, not, however, without some + struggles, by Chateaubriand's "Le Genie du Christianisme." The book was + lent her by her confessor with a view to the strengthening of her faith, + but it produced quite the reverse effect, detaching her from it for ever. + After reading and enjoying Chateaubriand's book she set to work on the + philosophers and essayists Mably, Locke, Condillac, Montesquieu, Bacon, + Bossuet, Aristotle, Leibnitz, Pascal, Montaigne, and then turned to the + poets and moralists La Bruyere, Pope, Milton, Dante, Virgil, Shakespeare, + &c. But she was not a metaphysician; the tendencies of her mind did + not impel her to seek for scientific solutions of the great mysteries. + "J'etais," she says, "un etre de sentiment, et le sentiment seul tranchait + pour moi les questions a man usage, qui toute experience faite, devinrent + bientot les seules questions a ma, portee." This "le sentiment seul + tranchait pour moi les questions" is another self-revelation, or instance + of self-knowledge, which it will be useful to remember. What more natural + than that this "being of sentiment" should prefer the poets to the + philosophers, and be attracted, not by the cold reasoners, but by + Rousseau, "the man of passion and sentiment." It is impossible to describe + here the various experiences and doings of Aurora. Without enlarging on + the effects produced upon her by Byron's poetry, Shakespeare's "Hamlet," + and Chateaubriand's "Rene"; on her suicidal mania; on the long rides + which, clad in male attire, she took with Deschartres; on the death of her + grandmother, whose fortune she inherited; on her life in Paris with her + extravagantly-capricious mother; on her rupture with her father's family, + her aristocratic relations, because she would not give up her mother—I + say, without enlarging on all this we will at once pass on to her + marriage, about which there has been so much fabling. + </p> + <p> + Aurore Dupin married Casimir Dudevant in September, 1822, and did so of + her own free will. Nor was her husband, as the story went, a bald-headed, + grey-moustached old colonel, with a look that made all his dependents + quake. On the contrary, Casimir Dudevant, a natural son of Colonel + Dudevant (an officer of the legion of honour and a baron of the Empire), + was, according to George Sand's own description, "a slender, and rather + elegant young man, with a gay countenance and a military manner." Besides + good looks and youth—he was twenty-seven—he must also have + possessed some education, for, although he did not follow any profession, + he had been at a military school, served in the army as sub-lieutenant, + and on leaving the army had read for the bar and been admitted a + barrister. There was nothing romantic in the courtship, but at the same + time it was far from commonplace. + </p> +<pre xml:space="preserve"> + He did not speak to me of love [writes George Sand], and + owned that he was little inclined to sudden passion, to + enthusiasm, and in any case no adept in expressing it in an + attractive manner. He spoke of a friendship that would stand + any test, and compared the tranquil happiness of our hosts + [she was then staying with some friends] to that which he + believed he could swear to procure me. +</pre> + <p> + She found sincerity not only in his words, but also in his whole conduct; + indeed, what lady could question a suitor's sincerity after hearing him + say that he had been struck at first sight by her good-natured and + sensible look, but that he had not thought her either beautiful or pretty? + </p> + <p> + Shortly after their marriage the young couple proceeded to Nohant, where + they spent the winter. In June, 1823, they went to Paris, and there their + son Maurice was born. Their only other offspring, the daughter Solange, + did not come into the world till fiveyears later. The discrepancies of the + husband and wife's character, which became soon apparent, made themselves + gradually more and more felt. His was a practical, hers a poetic nature. + Under his management Nohant assumed an altogether different aspect—there + was now order, neatness, and economy, where there was previously + confusion, untidiness, and waste. She admitted that the change was for the + better, but could not help regretting the state of matters that had been—the + old dog Phanor taking possession of the fire-place and putting his muddy + paws upon the carpet; the old peacock eating the strawberries in the + garden; and the wild neglected nooks, where as a child she had so often + played and dreamed. Both loved the country, but they loved it for + different reasons. He was especially fond of hunting, a consequence of + which was that he left his wife much alone. And when he was at home his + society may not always have been very entertaining, for what liveliness he + had seems to have been rather in his legs than in his brain. Writing to + her mother on April i, 1828, Madame Dudevant says: "Vous savez comme il + est paresseux de l'esprit et enrage des jambes." On the other hand, her + temper, which was anything but uniformly serene, must have been trying to + her husband. Occasionally she had fits of weeping without any immediate + cause, and one day at luncheon she surprised her husband by a sudden burst + of tears which she was unable to account for. As M. Dudevant attributed + his wife's condition to the dulness of Nohant, the recent death of her + grandmother, and the air of the country, he proposed a change of scene, + which he did the more readily as he himself did not in the least like + Berry. The pleasant and numerous company they found in the house of the + friends with whom they went to stay at once revived her spirits, and she + became us frolicsome as she had before been melancholy. George Sand + describes her character as continually alternating between "contemplative + solitude and complete giddiness in conditions of primitive innocence." It + is hardly to be wondered at that one who exhibited such glaring and + unaccountable contrasts of character was considered by some people + whimsical (bizarre) and by her husband an idiot. She herself admits the + possibility that he may not have been wrong. At any rate, little by little + he succeeded in making her feel the superiority of reason and intelligence + so thoroughly that for a long time she was quite crushed and stupefied in + company. Afraid of finding themselves alone at Nohant, the ill-matched + pair continued their migration on leaving their friends. Madame Dudevant + made great efforts to see through her husband's eyes and to think and act + as he wished, but no sooner did she accord with him than she ceased to + accord with her own instincts. Whatever they undertook, wherever they + went, that sadness "without aim and name" would from time to time come + over her. Thinking that the decline of her religiousness was the cause of + her lowness of spirits, she took counsel with her old confessor, the + Jesuit Abbe de Premord, and even passed, with her husband's consent, some + days in the retirement of the English convent. After staying during the + spring of 1825 at Nohant, M. and Madame Dudevant set out for the south of + France on July 5, the twenty-first anniversary of the latter's birthday. + In what George Sand calls the "History of my Life," she inserted some + excerpts from a diary kept by her at this time, which throw much light on + the relation that existed between wife and husband. If only we could be + sure that it is not like so much in the book the outcome of her powerful + imagination! Besides repeated complaints about her husband's ill-humour + and frequent absences, we meet with the following ominous reflections on + marriage:— + </p> +<pre xml:space="preserve"> + Marriage is beautiful for lovers and useful for saints. + + Besides saints and lovers there are a great many ordinary + minds and placid hearts that do not know love and cannot + attain to sanctity. + + Marriage is the supreme aim of love. When love has left it, + or never entered it, sacrifice remains. This is very well for + those who understand sacrifice. The latter presupposes a + measure of heart and a degree of intelligence which are not + frequently to be met with. + + For sacrifice there are compensations which the vulgar mind + can appreciate. The approbation of the world, the routine + sweetness of custom, a feeble, tranquil, and sensible + devotion that is not bent on rapturous exaltation, or money, + that is to say baubles, dress, luxury—in short, a thousand + little things which make one forget that one is deprived of + happiness. +</pre> + <p> + The following extracts give us some glimpses which enable us to realise + the situation:— + </p> +<pre xml:space="preserve"> + I left rather sad. ____ said hard things to me, having been told + by a Madame ____ that I was wrong in making excursions without + my husband. I do not think that this is the case, seeing that + my husband goes first, and I go where he intends to go. + + My husband is one of the most intrepid of men. He goes + everywhere, and I follow him. He turns round and rebukes me. + He says that I affect singularity. I'll be hanged if I think + of it. I turn round, and I see Zoe following me. I tell her + that she affects singularity. My husband is angry because Zoe + laughs. + + ...We quickly leave the guides and the caravan behind us. + We ride over the most fantastic roads at a gallop. Zoe is mad + with courage. This intoxicates me, and I at once am her + equal. +</pre> + <p> + In addition to the above, we must read a remark suggested by certain + entries in the diary:— + </p> +<pre xml:space="preserve"> + Aimee was an accomplished person of an exquisite distinction. + She loved everything that in any way is elegant and ornate in + society: names, manners, talents, titles. Madcap as I + assuredly was, I looked upon all this as vanity, and went in + quest of intimacy and simplicity combined with poesy. Thanks + to God, I found them in Zoe, who was really a person of + merit, and, moreover, a woman with a heart as eager for + affection as my own. +</pre> + <p> + M. and Madame Dudevant spent the greater part of autumn and the whole + winter at Guillery, the chateau of Colonel Dudevant. Had the latter not + died at this time, he might perhaps have saved the young people from those + troubles towards which they were drifting, at least so his daughter-in-law + afterwards thought. In the summer of 1826 the ill-matched couple returned + to Nohant, where they continued to live, a few short absences excepted, + till 1831. Hitherto their mutual relation had left much to be desired, + henceforth it became worse and worse every day. It would, however, be a + mistake to account for this state of matters solely by the dissimilarity + of their temperaments—the poetic tendency on the one side, the + prosaic on the other—for although it precluded an ideal matrimonial + union, it by no means rendered an endurable and even pleasant + companionship impossible. The real cause of the gathering clouds and + imminent storm is to be sought elsewhere. Madame Dudevant was endowed with + great vitality; she was, as it were, charged with an enormous amount of + energy, which, unless it found an outlet, oppressed her and made her + miserable. Now, in her then position, all channels were closed up. The + management of household affairs, which, if her statement may be trusted, + she neither considered beneath her dignity nor disliked, might have served + as a safety-valve; but her administration came to an untimely end. When, + after the first year of their married life, her husband examined the + accounts, he discovered that she had spent 14,000 francs instead of + 10,000, and found himself constrained to declare that their purse was too + light for her liberality. Not having anything else to do, and her + uselessness vexing her, she took to doctoring the poor and concocting + medicines. Hers, however, was not the spirit that allows itself to be + fettered by the triple vow of obedience, silence, and poverty. No wonder, + therefore, that her life, which she compared to that of a nun, was not to + her taste. She did not complain so much of her husband, who did not + interfere with her reading and brewing of juleps, and was in no way a + tyrant, as of being the slave of a given situation from which he could not + set her free. The total lack of ready money was felt by her to constitute + in our altogether factitious society an intolerable situation, frightful + misery or absolute powerlessness. What she missed was some means of which + she might dispose, without compunction and uncontrolled, for an artistic + treat, a beautiful book, a week's travelling, a present to a poor friend, + a charity to a deserving person, and such like trifles, which, although + not indispensable, make life pleasant. "Irresponsibility is a state of + servitude; it is something like the disgrace of the interdict." But + servitude and disgrace are galling yokes, and it was not likely that so + strong a character would long and meekly submit to them. We have, however, + not yet exhausted the grievances of Madame Dudevant. Her brother + Hippolyte, after mismanaging his own property, came and lived for the sake + of economy at Nohant. His intemperance and that of a friend proved + contagious to her husband, and the consequence was not only much rioting + till late into the night, but occasionally also filthy conversations. She + began, therefore, to consider how the requisite means might be obtained—which + would enable her to get away from such undesirable surroundings, and to + withdraw her children from these evil influences. For four years she + endeavoured to discover an employment by which she could gain her + livelihood. A milliner's business was out of the question without capital + to begin with; by needlework no more than ten sous a day could be earned; + she was too conscientious to make translation pay; her crayon and + water-colour portraits were pretty good likenesses, but lacked + originality; and in the painting of flowers and birds on cigar-cases, + work-boxes, fans, &c., which promised to be more successful, she was + soon discouraged by a change of fashion. + </p> + <p> + At last Madame Dudevant made up her mind to go to Paris and try her luck + in literature. She had no ambition whatever, and merely hoped to be able + to eke out in this way her slender resources. As regards the capital of + knowledge she was possessed of she wrote: "I had read history and novels; + I had deciphered scores; I had thrown an inattentive eye over the + newspapers....Monsieur Neraud [the Malgache of the "Lettres d'un + Voyageur"] had tried to teach me botany. According to the "Histoire de ma + Vie" this new departure was brought about by an amicable arrangement; her + letters, as in so many cases, tell, however, a very different tale. + Especially important is a letter written, on December 3, 1830, to Jules + Boucoiran, who had lately been tutor to her children, and whom, after the + relation of what had taken place, she asks to resume these duties for her + sake now that she will be away from Nohant and her children part of the + year. Boucoiran, it should be noted, was a young man of about twenty, who + was a total stranger to her on September 2, 1829, but whom she addressed + on November 30 of that year as "Mon cher Jules." Well, she tells him in + the letter in question that when looking for something in her husband's + writing-desk she came on a packet addressed to her, and on which were + further written by his hand the words "Do not open it till after my + death." Piqued by curiosity, she did open the packet, and found in it + nothing but curses upon herself. "He had gathered up in it," she says, + "all his ill-humour and anger against me, all his reflections on my + perversity." This was too much for her; she had allowed herself to be + humiliated for eight years, now she would speak out. + </p> +<pre xml:space="preserve"> + Without waiting a day longer, still feeble and ill, I + declared my will and mentioned my motives with an aplomb and + coolness which petrified him. He hardly expected to see a + being like me rise to its full height in order to face him. + He growled, disputed, beseeched. I remained immovable. I want + an allowance, I shall go to Paris, my children will remain at + Nohant. +</pre> + <p> + She feigned intractability on all these points, but after some time + relented and consented to return to Nohant if her conditions were + accepted. From the "Histoire de ma Vie" we learn what these conditions + were. She demanded her daughter, permission to pass twice three months + every year in Paris, and an allowance of 250 francs per month during the + time of her absence from Nohant. Her letters, however, show that her + daughter was not with her during her first three months at Paris. + </p> + <p> + Madame Dudevant proceeded to Paris at the beginning of 1831. Her + establishment there was of the simplest. It consisted of three little + rooms on the fifth story (a mansarde) in a house on the Quai Saint-Michel. + She did the washing and ironing herself, the portiere assisting her in the + rest of the household work. The meals came from a restaurant, and cost two + francs a day. And thus she managed to keep within her allowance. I make + these and the following statements on her own authority. As she found her + woman's attire too expensive, little suited for facing mud and rain, and + in other respects inconvenient, she provided herself with a coat + (redingote-guerite), trousers, and waistcoat of coarse grey cloth, a hat + of the same colour, a large necktie, and boots with little iron heels. + This latter part of her outfit especially gave her much pleasure. Having + often worn man's clothes when riding and hunting at Nohant, and + remembering that her mother used to go in the same guise with her father + to the theatre during their residence in Paris, she felt quite at home in + these habiliments and saw nothing shocking in donning them. Now began what + she called her literary school-boy life (vie d'ecolier litteraire), her + vie de gamin. She trotted through the streets of Paris at all times and in + all weathers, went to garrets, studios, clubs, theatres, coffee-houses, in + fact, everywhere except to salons. The arts, politics, the romance of + society and living humanity, were the studies which she passionately + pursued. But she gives those the lie who said of her that she had the + "curiosite du vice." + </p> + <p> + The literary men with whom she had constant intercourse, and with whom she + was most closely connected, came, like herself, from Berry. Henri de + Latouche (or Delatouche, as George Sand writes), a native of La Chatre, + who was editor of the Figaro, enrolled her among the contributors to this + journal. But she had no talent for this kind of work, and at the end of + the month her payment amounted to perhaps from twelve to fifteen francs. + Madame Dudevant and the two other Berrichons, Jules Sandeau and Felix + Pyat, were, so to speak, the literary apprentices of Delatouche, who not + only was much older than they, having been born in 1785, but had long ago + established his reputation as a journalist, novelist, and dramatic writer. + The first work which Madame Dudevant produced was the novel "Rose et + Blanche"; she wrote it in collaboration with Jules Sandeau, whose relation + to her is generally believed to have been not only of a literary nature. + The novel, which appeared in 1831, was so successful that the publishers + asked the authors to write them another. Madame Dudevant thereupon wrote + "Indiana", but without the assistance of Jules Sandeau. She was going to + have it published under the nom de plume Jules Sand, which they had + assumed on the occasion of "Rose et Blanche." But Jules Sandeau objected + to this, saying that as she had done all the work, she ought to have all + the honour. To satisfy both, Jules Sandeau, who would not adorn himself + with another's plumes, and the publishers, who preferred a known to an + unknown name, Delatouche gave Madame Dudevant the name of George Sand, + under which henceforth all her works were published, and by which she was + best known in society, and generally called among her friends. "Valentine" + appeared, like "Indiana," in 1832, and was followed in 1833 by Lelia. For + the first two of these novels she received 3,000 francs. When Buloz bought + the Revue des deux Mondes, she became one of the contributors to that + journal. This shows that a great improvement had taken place in her + circumstances, and that the fight she had to fight was not a very hard + one. Indeed, in the course of two years she had attained fame, and was now + a much-praised and much-abused celebrity. + </p> + <p> + All this time George Sand had, according to agreement, spent alternately + three months in Paris and three months at Nohant. A letter written by M. + Dudevant to his wife in 1831 furnishes a curious illustration of the + relation that existed between husband and wife. The accommodating spirit + which pervades it is most charming:— + </p> +<pre xml:space="preserve"> + I shall go to Paris; I shall not put up at your lodgings, for + I do not wish to inconvenience you any more than I wish you + to inconvenience me (parceque je ne veux pas vous gener, pas + plus que je ne veux que vous me geniez). +</pre> + <p> + In August, 1833, George Sand and Alfred de Musset met for the first time + at a dinner which the editor Buloz gave to the contributors to the Revue + des deux Mondes. The two sat beside each other. Musset called on George + Sand soon after, called again and again, and before long was passionately + in love with her. She reciprocated his devotion. But the serene + blissfulness of the first days of their liaison was of short duration. + Already in the following month they fled from the Parisian surroundings + and gossipings, which they regarded as the disturbers of their harmony. + After visiting Genoa, Florence, and Pisa, they settled at Venice. Italy, + however, did not afford them the hoped-for peace and contentment. It was + evident that the days of "adoration, ecstasy, and worship" were things of + the past. Unpleasant scenes became more and more frequent. How, indeed, + could a lasting concord be maintained by two such disparate characters? + The woman's strength and determination contrasted with the man's weakness + and vacillation; her reasoning imperturbation, prudent foresight, and love + of order and activity, with his excessive irritability and sensitiveness, + wanton carelessness, and unconquerable propensity to idleness and every + kind of irregularity. While George Sand sat at her writing-table engaged + on some work which was to bring her money and fame, Musset trifled away + his time among the female singers and dancers of the noiseless city. In + April, 1834, before the poet had quite recovered from the effects of a + severe attack of typhoid fever, which confined him to his bed for several + weeks, he left George Sand after a violent quarrel and took his departure + from Venice. This, however, was not yet the end of their connection. Once + more, in spite of all that had happened, they came together; but it was + only for a fortnight (at Paris, in the autumn of 1834), and then they + parted for ever. + </p> + <p> + It is impossible, at any rate I shall not attempt, to sift the true from + the false in the various accounts which have been published of this + love-drama. George Sand's version may be read in her Lettres d'un Voyageur + and in Elle et Lui; Alfred de Musset's version in his brother Paul's book + Lui et Elle. Neither of these versions, however, is a plain, unvarnished + tale. Paul de Musset seems to keep on the whole nearer the truth, but he + too cannot be altogether acquitted of the charge of exaggeration. Rather + than believe that by the bedside of her lover, whom she thought + unconscious and all but dead, George Sand dallied with the physician, sat + on his knees, retained him to sup with her, and drank out of one glass + with him, one gives credence to her statement that what Alfred de Musset + imagined to be reality was but the illusion of a feverish dream. In + addition to George Sand's and Paul de Musset's versions, Louise Colet has + furnished a third in her Lui, a publication which bears the stamp of + insincerity on almost every page, and which has been described, I think by + Maxime du Camp, as worse than a lying invention—namely, as a + systematic perversion of the truth. A passage from George Sand's Elle et + Lui, in which Therese and Laurent, both artists, are the representatives + of the novelist and poet, will indicate how she wishes the story to be + read:— + </p> +<pre xml:space="preserve"> + Therese had no weakness for Laurent in the mocking and + libertine sense that one gives to this word in love. It was + by an act of her will, after nights of sorrowful meditation, + that she said to him—"I wish what thou wishest, because we + have come to that point where the fault to be committed is + the inevitable reparation of a series of committed faults. I + have been guilty towards thee in not having the egotistical + prudence to shun thee; it is better that I should be guilty + towards myself in remaining thy companion and consolation at + the expense of my peace and of my pride."..."Listen," she + added, holding his hand in both of hers with all the strength + she possessed, "never draw back this hand from me, and, + whatever happens, preserve so much honour and courage as not + to forget that before being thy mistress I was thy + FRIEND....I ask of thee only, if thou growest weary of my + Jove as thou now art of my friendship, to recollect that it + was not a moment of delirium that threw me into thy arms, but + a sudden impulse of my heart, and a more tender and more + lasting feeling than the intoxication of voluptuousness." +</pre> + <p> + I shall not continue the quotation, the discussion becomes too nauseous. + One cannot help sympathising with Alfred de Musset's impatient + interruption of George Sand's unctuous lecturing reported in his brother's + book—"My dear, you speak so often of chastity that it becomes + indecent." Or this other interruption reported by Louise Colet:— + </p> +<pre xml:space="preserve"> + When one gives the world what the world calls the scandale of + love, one must have at least the courage of one's passion. In + this respect the women of the eighteenth century are better + than you: they did not subtilise love in metaphysics [elles + n'alambiquaient pas l'amour dans la metaphysique]. +</pre> + <p> + It is hardly necessary to say that George Sand had much intercourse with + men of intellect. Several litterateurs of some distinction have already + been mentioned. Sainte-Beuve and Balzac were two of the earliest of her + literary friends, among whom she numbered also Heine. With Lamartine and + other cultivators of the belles-lettres she was likewise acquainted. Three + of her friends, men of an altogether different type and calibre, have, + however, a greater claim on the attention of the student of George Sand's + personality than any of those just named, because their speculations and + teachings gave powerful impulses to her mind, determined the direction of + her thoughts, and widened the sphere of her intellectual activity. The + influences of these three men—the advocate Michel of Bourges, an + earnest politician; the philosopher and political economist: Pierre + Leroux, one of the founders of the "Encyclopedie Nouvelle," and author of + "De l'humanite, de son principe et de son avenir"; and the Abbe Lamennais, + the author of the "Essai sur l'indifference en matiere de religion," + "Paroles d'un Croyant," &c.—are clearly traceable in the + "Lettres a Marcie, Spiridion," "Les sept Cordes de la Lyre," "Les + Compagnons du tour de France," "Consuelo," "La Comtesse de Rudolstadt," + "Le Peche de M. Antoine," "Le Meunier d'Angibault," &c. George Sand + made the acquaintance of Pierre Leroux and the Abbe Lammenais in 1835. The + latter was introduced to her by her friend Liszt, who knew all the + distinguished men of the day, and seems to have often done her similar + services. George Sand's friendship with Michel of Bourges, the Everard of + her "Lettres d'un Voyageur," dates farther back than 1835. + </p> + <p> + During George Sand's stay in Venice M. Dudevant had continued to write to + her in an amicable and satisfied tone. On returning in the summer of 1834 + to France she therefore resumed her periodical sojourns at Nohant; but the + pleasure of seeing her home and children was as short-lived as it was + sweet, for she soon discovered that neither the former nor the latter, + "morally speaking," belonged to her. M. Dudevant's ideas of how they ought + to be managed differed entirely from those of his wife, and altogether + things had become very uncongenial to her. George Sand, whose view of the + circumstances I am giving, speaks mysteriously of abnormal and dangerous + influences to which the domestic hearth was exposed, and of her inability + to find in her will, adverse as it was to daily struggles and family + quarrels, the force to master the situation. From the vague and + exceedingly brief indications of facts which are scattered here and there + between eloquent and lengthy dissertations on marriage in all its aspects, + on the proper pride of woman, and more of the same nature, we gather, + however, thus much: she wished to be more independent than she had been + hitherto, and above all to get a larger share of her revenues, which + amounted to about 15,000 francs, and out of which her husband allowed her + and her daughter only 3,000 francs. M. Dudevant, it must be noted, had all + along been living on his wife's income, having himself only expectations + which would not be realised till after his stepmother's death. By the + remonstrances of his wife and the advice of her brother he was several + times prevailed upon to agree to a more equitable settlement. But no + sooner had he given a promise or signed a contract than he revoked what he + had done. According to one of these agreements George Sand and her + daughter were to have a yearly allowance of 6,000 francs; according to + another M. Dudevant was to have a yearly allowance of 7,000 francs and + leave Nohant and the remainder of the revenues to his wife. The terms of + the latter of these agreements were finally accepted by both parties, but + not till after more than a year's quarrelling and three lawsuits. George + Sand sued for a divorce, and the Court of La Chatre gave judgment in her + favour on February 16, 1836. This judgment was confirmed after a second + trial by the same Court on May 11, 1836. + </p> + <p> + [Footnote: What George Sand calls her "matrimonial biography" can be read + in "Le Droit" ("Journal des Tribunaux") of May 18, 1836. The account there + given, no doubt inspired by her advocate if not directly by herself, + contains some interesting items, but leaves others unmentioned. One would + have liked to learn something more of the husband's pleadings. + </p> + <p> + The proceedings began on October 30, 1835, when "Madame D——- a + forme centre son mari une demande en separation de corps. Cette demande + etait fondee sur les injures graves, sevices et mauvais traitements dont + elle se plaignait de la part de son mari." + </p> + <p> + The following is a passage from Michel of Bourges, her advocate's defence: + "Des 1824, la vie intime etait devenue difficile; les egards auxquels + toute femme a droit furent oublies, des actes d'emportement et de violence + revelerent de la part de M. D——- un caractere peu facile, peu + capable d'apprecier le devouement et la delicatesse qu'on lui avail + temoignes. Les mauvais traitements furent d'abord plus rares que les + mauvais precedes, ainsi les imputations d'imbecillite, de stupidite, + furent prodiguees a Madame D——- le droit de raisonner, de + prendre l'art a la conversation lui fut interdit... des relations avec + d'autres femmes furent connues de l'epouse,et vers le mois de Decembre, + 1828, toute cohabitation intime cessa. + </p> + <p> + "Les enfants eux-memes eurent quelque part dans les mauvais traitements."] + </p> + <p> + M. Dudevant then appealed to the Court of Cassation at Bourges, where the + case was tried on July 25; but he withdrew his appeal before judgment was + given. The insinuations and revelations made in the course of these + lawsuits were anything but edifying. George Sand says that she confined + herself to furnishing the proofs strictly demanded by the law, and + revealed only such facts as were absolutely necessary. But these facts and + proofs must have been of a very damaging nature, for M. Dudevant answered + them by imputations to merit one hundred-thousandth part of which would + have made her tremble. "His attorney refused to read a libel. The judges + would have refused to listen to it." Of a deposition presented by M. + Dudevant to the Court, his wife remarks that it was "dictated, one might + have said, drawn up," by two servants whom she had dismissed. She + maintains that she did not deserve this treatment, as she betrayed of her + husband's conduct only what he himself was wont to boast of. + </p> + <p> + George Sand's letters [Footnote: George Sand: Correspondence 1812-1876; + Six volumes (Paris: Calman Levy).] seem to me to show conclusively that + her chief motives for seeking a divorce were a desire for greater + independence and above all for more money. Complaints of ill-treatment are + not heard of till they serve to justify an action or to attain a purpose. + And the exaggeration of her varying statements must be obvious to all but + the most careless observer. George Sand is slow in making up her mind; but + having made it up she acts with fierce promptitude, obstinate vigour, and + inconsiderate unscrupulousness, in one word, with that concentration of + self which sees nothing but its own desires. On the whole, I should say + that M. Dudevant was more sinned against than sinning. George Sand, even + as she represents herself in the Histoire de ma Vie and in her letters, + was far from being an exemplary wife, or indeed a woman with whom even the + most angelic of husbands would have found it easy to live in peace and + happiness. + </p> + <p> + From the letters, which reveal so strikingly the ungentlewomanlikeness + (not merely in a conventional sense) of her manners and her numerous and + curious intimacies with men of all ages, more especially with young men, I + shall now cull a few characteristic passages in proof of what I have said. + </p> +<pre xml:space="preserve"> + One must have a passion in life. I feel ennui for the want of + one. The agitated and often even rather needy life I am + leading here drives spleen far away. I am very well, and you + will see me in the best of humours. [To her friend A. M. + Duteil. Paris, February 15, 1831.] + + I have an object, a task, let me say the word, a passion. The + profession of writing is a violent and almost indestructible + one. [To Jules Boucoiran. Paris, March 4, 1831.] + + I cannot bear the shadow of a constraint, this is my + principal fault. Everything that is imposed upon me as a duty + becomes hateful to me. +</pre> + <p> + After saying that she leaves her husband full liberty to do what he likes—"qu'il + a des maitresses ou n'en a pas, suivant son appetit,"—and speaking + highly of his management of their affairs, she writes in the same letter + as follows:— + </p> +<pre xml:space="preserve"> + Moreover, it is only just that this great liberty which my + husband enjoys should be reciprocal; otherwise, he would + become to me odious and contemptible; that is what he does + not wish to be. I am therefore quite independent; I go to bed + when he rises, I go to La Chatre or to Rome, I come in at + midnight or at six o'clock; all this is my business. Those + who do not approve of this, and disparage me to you, judge + them with your reason and your mother's heart; the one and + the other ought to be with me. [To her mother. Nohant, May + 31, 1831.] + + Marriage is a state so contrary to every kind of union and + happiness that I have good reason to fear for you. [To Jules + Boucoiran, who had thoughts of getting married. Paris, March + 6, 1833.] + + You load me with very heavy reproaches, my dear child... you + reproach me with my numerous liaisons, my frivolous + friendships. I never undertake to clear myself from the + accusations which bear on my character. I can explain facts + and actions; but never defects of the mind or perversities of + the heart. [To Jules Boucoiran. Paris, January 18, 1833.] + + Thou hast pardoned me when I committed follies which the + world calls faults. [To her friend Charles Duvernet. Paris, + October 15, 1834.] + + But I claim to possess, now and for ever, the proud and + entire independence which you believe you alone have the + right to enjoy. I shall not advise it to everyone; but I + shall not suffer that, so far as I am concerned, any love + whatever shall in the least fetter it. I hope to make my + conditions so hard and so clear that no man will be bold and + vile enough to accept them. [To her friend Adolphe Gueroult. + Paris, May 6, 1835.] + + Nothing shall prevent me from doing what I ought to and what + I will do. I am the daughter of my father, and I care not for + prejudices when my heart enjoins justice and courage. [To her + mother. Nohant, October 25, 1835.] + + Opinion is a prostitute which must be sent about her business + with kicks when one is in the right. [To her friend Adolphe + Gueroult. La Chatre, November 9, 1835.] +</pre> + <p> + The materials made use of in the foregoing sketch of George Sand's life up + to 1836 consist to a very considerable extent of her own DATA, and in part + even of her own words. From this fact, however, it ought not to be + inferred that her statements can always be safely accepted without + previous examination, or at any time be taken au pied de la lettre. + Indeed, the writer of the Histoire de ma Vie reveals her character + indirectly rather than directly, unawares rather than intentionally. This + so-called "history" of her life contains some truth, although not all the + truth; but it contains it implicitly, not explicitly. What strikes the + observant reader of the four-volumed work most forcibly, is the attitude + of serene self-admiration and self-satisfaction which the autobiographer + maintains throughout. She describes her nature as pre-eminently "confiding + and tender," and affirms that in spite of the great and many wrongs she + was made to suffer, she never wronged anyone in all her life. Hence the + perfect tranquillity of conscience she always enjoyed. Once or twice, it + is true, she admits that she may not be an angel, and that she as well as + her husband may have had faults. Such humble words, however, ought not to + be regarded as penitent confessions of a sinful heart, but as generous + concessions of a charitable mind. In short, a thorough belief in her own + virtuousness and superior excellence was the key-note of her character. + The Pharisaical tendency to thank God for not having made her like other + people pervades every page of her autobiography, of which Charles Mazade + justly says that it is— + </p> +<pre xml:space="preserve"> + a kind of orgy of a personality intoxicated with itself, an + abuse of intimate secrets in which she slashes her friends, + her reminiscences, and—truth. +</pre> + <p> + George Sand declares again and again that she abstains from speaking of + certain matters out of regard for the feelings or memories of other + persons, whereas in reality she speaks recklessly of everybody as long as + she can do so without compromising herself. What virtuous motives can have + prompted her to publish her mother's shame? What necessity was there to + expatiate on her brother's drunkenness? And if she was the wronged and yet + pitiful woman she pretended to be, why, instead of burying her husband's, + Musset's, and others' sins in silence, does she throw out against them + those artful insinuations and mysterious hints which are worse than open + accusations? Probably her artistic instincts suggested that a dark + background would set off more effectively her own glorious luminousness. + However, I do not think that her indiscretions and misrepresentations + deserve always to be stigmatised as intentional malice and conscious + falsehood. On the contrary, I firmly believe that she not only tried to + deceive others, but that she actually deceived herself. The habit of + self-adoration had given her a moral squint, a defect which was aggravated + by a powerful imagination and excellent reasoning faculties. For, swayed + as these were by her sentiments and desires, they proved themselves most + fertile in generating flattering illusions and artful sophisms. George + Sand was indeed a great sophist. She had always in readiness an + inexhaustible store of interpretations and subterfuges with which to + palliate, excuse, or even metamorphose into their contraries the most + odious of her words and actions. It is not likely that any one ever + equalled, much less surpassed, her expertness in hiding ugly facts or + making innocent things look suspicious. To judge by her writings and + conversations she never acted spontaneously, but reasoned on all matters + and on all occasions. + </p> +<pre xml:space="preserve"> + At no time whatever [writes Paul Lindau in his "Alfred de + Musset"] is there to be discovered in George Sand a trace of + a passion and inconsiderateness, she possesses an + imperturbable calmness. Love sans phrase does not exist for + her. That her frivolity may be frivolity, she never will + confess. She calculates the gifts of love, and administers + them in mild, well-measured doses. She piques herself upon + not being impelled by the senses. She considers it more + meritorious if out of charity and compassion she suffers + herself to be loved. She could not be a Gretchen [a Faust's + Margaret], she would not be a Magdalen, and she became a Lady + Tartuffe. +</pre> + <p> + George Sand's three great words were "maternity," "chastity," and "pride." + She uses them ad nauseam, and thereby proves that she did not possess the + genuine qualities. No doubt, her conceptions of the words differed from + those generally accepted: by "pride" (orgueil), for instance, she seems to + have meant a kind of womanly self-respect debased by a supercilious + haughtiness and self-idolatry. But, as I have said already, she was a + victim to self-deception. So much is certain, the world, with an approach + to unanimity rarely attained, not only does not credit her with the + virtues which she boasts of, but even accuses her of the very opposite + vices. None of the writers I have consulted arrives, in discussing George + Sand's character, at conclusions which tally with her own estimate; and + every person, in Paris and elsewhere, with whom I have conversed on the + subject condemned her conduct most unequivocally. Indeed, a Parisian—who, + if he had not seen much of her, had seen much of many who had known her + well—did not hesitate to describe her to me as a female Don Juan, + and added that people would by-and-by speak more freely of her adventures. + Madame Audley (see "Frederic Chopin, sa vie et ses oeuvres," p. 127) seems + to me to echo pretty exactly the general opinion in summing up her + strictures thus:— + </p> +<pre xml:space="preserve"> + A woman of genius, but a woman with sensual appetites, with + insatiable desires, accustomed to satisfy them at any price, + should she even have to break the cup after draining it, + equally wanting in balance, wisdom, and purity of mind, and + in decorum, reserve, and dignity of conduct. +</pre> + <p> + Many of the current rumours about her doings were no doubt inventions of + idle gossips and malicious enemies, but the number of well-ascertained + facts go far to justify the worst accusations. And even though the + evidence of deeds were wanting, have we not that of her words and opinions + as set forth in her works? I cannot help thinking that George Sand's + fondness for the portraiture of sensual passion, sometimes even of sensual + passion in its most brutal manifestations, is irreconcilable with true + chastity. Many a page in her novels exhibits indeed a surprising knowledge + of the physiology of love, a knowledge which presupposes an extensive + practical acquaintance with as wellas attentive study of the subject. That + she depicts the most repulsive situations with a delicacy of touch which + veils the repulsiveness and deceives the unwary rather aggravates the + guilt. Now, though the purity of a work of art is no proof of the purity + of the artist (who may reveal only the better part of his nature, or give + expression to his aspirations), the impurity of a work of art always + testifies indubitably to the presence of impurity in the artist, of + impurity in thought, if not in deed. It is, therefore, not an unwarranted + assumption to say that the works of George Sand prove conclusively that + she was not the pure, loving, devoted, harmless being she represents + herself in the "Histoire de ma Vie." Chateaubriand said truly that: "le + talent de George Sand a quelque ratine dans la corruption, elle + deviendrait commune en devenant timoree." Alfred Nettement, who, in his + "Histoire de la litterature franqaise sous le gouvernement de Juillet," + calls George Sand a "painter of fallen and defiled natures," remarks that— + </p> +<pre xml:space="preserve"> + most of her romances are dazzling rehabilitations of + adultery, and in reading their burning pages it would seem + that there remains only one thing to be done—namely, to break + the social chains in order that the Lelias and Sylvias may go + in quest of their ideal without being stopped by morality and + the laws, those importune customs lines which religion and + the institutions have opposed to individual whim and + inconstancy. +</pre> + <p> + Perhaps it will be objected to this that the moral extravagances and + audacious sophistries to be met with in "Lelia," in "Leoni," and other + novels of hers, belong to the characters represented, and not to the + author. Unfortunately this argument is untenable after the publication of + George Sand's letters, for there she identifies herself with Lelia, and + develops views identical with those that shocked us in Leoni and + elsewhere. + </p> + <p> + [Footnote: On May 26, 1833, she writes to her friend Francois Rollinat + with regard to this book: "It is an eternal chat between us. We are the + gravest personages in it." Three years later, writing to the Comtesse + d'Agoult, her account differs somewhat: "I am adding a volume to 'Lelia.' + This occupies me more than any other novel has as yet done. Lelia is not + myself, je suis meilleure enfant; but she is my ideal."—Correspondance, + vol. I., pp. 248 and 372.] + </p> + <p> + These letters, moreover, contain much that is damaging to her claim to + chastity. Indeed, one sentence in a letter written in June, 1835 + (Correspondance, vol. I., p. 307), disposes of this claim decisively. The + unnecessarily graphic manner in which she here deals with an indelicate + subject would be revolting in a man addressing a woman, in a woman + addressing a man it is simply monstrous. + </p> + <p> + As a thinker, George Sand never attained to maturity; she always remained + the slave of her strong passions and vitiated principles. She never wrote + a truer word than when she confessed that she judged everything by + sympathy. Indeed, what she said of her childhood applies also to her + womanhood: "Il n'y avait de fort en moi que la passion... rien dans man + cerveau fit obstacle." George Sand often lays her finger on sore places, + fails, however, not only to prescribe the right remedy, but even to + recognise the true cause of the disease. She makes now and then acute + observations, but has not sufficient strength to grapple successfully with + the great social, philosophical, and religious problems which she so + boldly takes up. In fact, reasoning unreasonableness was a very frequent + condition of George Sand's mind. That the unreasonableness of her + reasoning remains unseen by many, did so at any rate in her time, is due + to the marvellous beauty and eloquence of her language. The best that can + be said of her subversive theories was said by a French critic—namely, + that they were in reality only "le temoignage d'aspirations genereuses et + de nobles illusions." But even this is saying too much, for her + aspirations and illusions are far from being always generous and noble. If + we wish to see George Sand at her best we must seek her out in her quiet + moods, when she contents herself with being an artist, and unfolds before + us the beauties of nature and the secrets of the human heart. Indeed, + unless we do this, we cannot form a true idea of her character. Not all + the roots of her talent were imbedded in corruption. She who wrote Lelia + wrote also Andre, she who wrote Lucrezia Floriani wrote also La petite + Fadette. And in remembering her faults and shortcomings justice demands + that we should not forget her family history, with its dissensions and + examples of libertinism, and her education without system, continuity, + completeness, and proper guidance. + </p> + <p> + The most precious judgment pronounced on George Sand is by one who was at + once a true woman and a great poet. Mrs. Elizabeth Barrett Browning saw in + her the "large-brained woman and large-hearted man... whose soul, amid the + lions of her tumultuous senses, moans defiance and answers roar for roar, + as spirits can"; but who lacked "the angel's grace of a pure genius + sanctified from blame." This is from the sonnet to George Sand, entitled + "A Desire." In another sonnet, likewise addressed to George Sand and + entitled "A Recognition," she tells her how vain it was to deny with a + manly scorn the woman's nature... while before + </p> +<pre xml:space="preserve"> + The world thou burnest in a poet-fire, + We see thy woman-heart beat evermore + Through the large flame. Beat purer, heart, and higher, + Till God unsex thee on the heavenly shore + Where unincarnate spirits purely aspire! +</pre> +<pre xml:space="preserve"> + END OF VOLUME I. +</pre> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> <a name="link2H_4_0032" id="link2H_4_0032"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h1> + VOLUME II. + </h1> + <p> + <a name="link2H_TABL" id="link2H_TABL"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <p> + <a name="link2HCH0020" id="link2HCH0020"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER XX. + </h2> + <p> + 1836—1838. + </p> + <p> + THE LOVES OF CELEBRITIES.—VARIOUS ACCOUNTS OF CHOPIN AND GEORGE + SAND'S FIRST MEETING.—CHOPIN'S FIRST IMPRESSION OF HER.—A + COMPARISON OF THE TWO CHARACTERS.—PORTRAYALS OF CHOPIN AND GEORGE + SAND.—HER POWER OF PLEASING.—CHOPIN'S PUBLICATIONS IN 1837 AND + 1838.—HE PLAYS AT COURT AND AT CONCERTS IN PARIS AND ROUEN.—CRITICISM. + </p> + <p> + THE loves of famous men and women, especially of those connected with + literature and the fine arts, have always excited much curiosity. In the + majority of cases the poet's and artist's choice of a partner falls on a + person who is incapable of comprehending his aims and sometimes even of + sympathising with his striving. The question "why poets are so apt to + choose their mates, not for any similarity of poetical endowment, but for + qualities which might make the happiness of the rudest handicrafts-man as + well as that of the ideal craftsman" has perhaps never been better + answered than by Nathaniel Hawthorne, who remarks that "at his highest + elevation the poet needs no human intercourse; but he finds it dreary to + descend, and be a stranger." Still, this is by no means a complete + solution of the problem which again and again presents itself and + challenges our ingenuity. Chopin and George Sand's case belongs to the + small minority of loves where both parties are distinguished practitioners + of ideal crafts. Great would be the mistake, however, were we to assume + that the elective affinities of such lovers are easily discoverable On the + contrary, we have here another problem, one which, owing to the higher, + finer, and more varied factors that come into play, is much more difficult + to solve than the first. But before we can engage in solving the problem, + it must be properly propounded. Now, to ascertain facts about the + love-affairs of poets and artists is the very reverse of an easy task; and + this is so partly because the parties naturally do not let outsiders into + all their secrets, and partly because romantic minds and imaginative + litterateurs are always busy developing plain facts and unfounded rumours + into wonderful myths. The picturesqueness of the story, the piquancy of + the anecdote, is generally in inverse proportion to the narrator's + knowledge of the matter in question. In short, truth is only too often + most unconscionably sacrificed to effect. Accounts, for instance, such as + L. Enault and Karasowski have given of Chopin's first meeting with George + Sand can be recommended only to those who care for amusing gossip about + the world of art, and do not mind whether what they read is the simple + truth or not, nay, do not mind even whether it has any verisimilitude. + Nevertheless, we will give these gentlemen a hearing, and then try if we + cannot find some firmer ground to stand on. + </p> + <p> + L. Enault relates that Chopin and George Sand met for the first time at + one of the fetes of the Marquis de C., where the aristocracy of Europe + assembled—the aristocracy of genius, of birth, of wealth, of beauty, + &c.:— + </p> +<pre xml:space="preserve"> + The last knots of the chaine anglaise had already been untied, + the brilliant crowd had left the ball-room, the murmur of + discreet conversation was heard in the boudoirs: the fetes of + the intimate friends began. Chopin seated himself at the + piano. He played one of those ballads whose words are written + by no poet, but whose subjects, floating in the dreamy soul of + nations, belong to the artist who likes to take them. I + believe it was the Adieux du Cavalier...Suddenly, in the + middle of the ballad, he perceived, close to the door, + immovable and pale, the beautiful face of Lelia. [FOOTNOTE: + This name of the heroine of one of her romances is often given + to George Sand. See Vol. I., p. 338.] She fixed her passionate + and sombre eyes upon him; the impressionable artist felt at + the same time pain and pleasure... others might listen to him: + he played only for her. + + They met again. + + From this moment fears vanished, and these two noble souls + understood each other... or believed they understood each + other. +</pre> + <p> + Karasowski labours hard to surpass Enault, but is not like him a master of + the ars artem celare. The weather, he tells us, was dull and damp, and had + a depressing effect on the mind of Chopin. No friend had visited him + during the day, no book entertained him, no musical idea gladdened him. It + was nearly ten o'clock at night (the circumstantiality of the account + ought to inspire confidence) when he bethought himself of paying a visit + to the Countess C. (the Marquis, by some means, magical or natural, has + been transformed into a Countess), this being her jour fixe, on which an + intellectual and agreeable company was always assembled at her house. + </p> +<pre xml:space="preserve"> + When he ascended the carpet-covered stairs [Unfortunately we + are not informed whether the carpet was Turkey, Brussels, or + Kidderminster], it seemed to him as if he were followed by a + shadow that diffused a fragrance of violets [Ah!], and a + presentiment as if something strange and wonderful were going + to happen to him flashed through his soul. He was on the point + of turning back and going home, but, laughing at his own + superstition, he bounded lightly and cheerfully over the last + steps. +</pre> + <p> + Skipping the fine description of the brilliant company assembled in the + salon, the enumeration of the topics on which the conversation ran, and + the observation that Chopin, being disinclined to talk, seated himself in + a corner and watched the beautiful ladies as they glided hither and + thither, we will join Karasowski again where, after the departure of the + greater number of the guests, Chopin goes to the piano and begins to + improvise. + </p> +<pre xml:space="preserve"> + His auditors, whom he, absorbed in his own thoughts and + looking only at the keys, had entirely forgotten, listened + with breathless attention. When he had concluded his + improvisation, he raised his eyes, and noticed a plainly- + dressed lady who, leaning on the instrument, seemed to wish to + read his soul with her dark fiery eyes. [Although a severe + critic might object to the attitude of a lady leaning on a + piano as socially and pictorially awkward, he must admit that + from a literary point of view it is unquestionably more + effective than sitting or standing by the door.] Chopin felt + he was blushing under the fascinating glances of the lady + [Bravo! This is a master-touch]; she smiled [Exquisite!], and + when the artist was about to withdraw from the company behind + a group of camellias, he heard the peculiar rustling of a silk + dress, which exhaled a fragrance of violets [Camellias, + rustling silks, fragrance of violets! What a profusion of + beauty and sweetness!], and the same lady who had watched him + so inquiringly at the piano approached him accompanied by + Liszt. Speaking to him with a deep, sweet voice, she made some + remarks on his playing, and more especially on the contents of + his improvisation. Frederick listened to her with pleasure and + emotion, and while words full of sparkling wit and + indescribable poetry flowed from the lady's eloquent lips + [Quite a novel representation of her powers of conversation], + he felt that he was understood as he had never been. +</pre> + <p> + All this is undoubtedly very pretty, and would be invaluable in a novel, + but I am afraid we should embarrass Karasowski were we to ask him to name + his authorities. + </p> + <p> + Of this meeting at the house of the Marquis de C.—i.e., the Marquis + de Custine—I was furnished with a third version by an eye-witness—namely, + by Chopin's pupil Adolph Gutmann. From him I learned that the occasion was + neither a full-dress ball nor a chance gathering of a jour fixe, but a + musical matinee. Gutmann, Vidal (Jean Joseph), and Franchomme opened the + proceedings with a trio by Mayseder, a composer the very existence of + whose once popular chamber-music is unknown to the present generation. + Chopin played a great deal, and George Sand devoured him with her eyes. + Afterwards the musician and the novelist walked together a long time in + the garden. Gutmann was sure that this matinee took place either in 1836 + or in 1837, and was inclined to think that it was in the first-mentioned + year. + </p> + <p> + Franchomme, whom I questioned about the matinee at the Marquis de + Custine's, had no recollection of it. Nor did he remember the circumstance + of having on this or any other occasion played a trio of Mayseder's with + Gutmann and Vidal. But this friend of the Polish pianist—composer, + while confessing his ignorance as to the place where the latter met the + great novelist for the first time, was quite certain as to the year when + he met her. Chopin, Franchomme informed me, made George Sand's + acquaintance in 1837, their connection was broken in 1847, and he died, as + everyone knows, on October 17, 1849. In each of these dates appears the + number which Chopin regarded with a superstitious dread, which he avoided + whenever he could-for instance, he would not at any price take lodgings in + a house the number of which contained a seven—and which may be + thought by some to have really exercised a fatal influence over him. It is + hardly necessary to point out that it was this fatal number which fixed + the date in Franchomme's memory. + </p> + <p> + But supposing Chopin and George Sand to have really met at the Marquis de + Custine's, was this their first meeting? + </p> + <p> + [FOONOTE: That they were on one occasion both present at a party given by + the Marquis de Custine may be gathered from Freiherr von Flotow's + Reminiscences of his life in Paris (published in the "Deutsche Revue" of + January, 1883, p. 65); but not that this was their first meeting, nor the + time when it took place. As to the character of this dish of + reminiscences, I may say that it is sauced and seasoned for the + consumption of the blase magazine reader, and has no nutritive substance + whatever.] + </p> + <p> + I put the question to Liszt in the course of a conversation I had with him + some years ago in Weimar. His answer was most positive, and to the effect + that the first meeting took place at Chopin's own apartments. "I ought to + know best," he added, "seeing that I was instrumental in bringing the two + together." Indeed, it would be difficult to find a more trustworthy + witness in this matter than Liszt, who at that time not only was one of + the chief comrades of Chopin, but also of George Sand. According to him, + then, the meeting came about in this way. George Sand, whose curiosity had + been excited both by the Polish musician's compositions and by the + accounts she had heard of him, expressed to Liszt the wish to make the + acquaintance of his friend. Liszt thereupon spoke about her to Chopin, but + the latter was averse to having any intercourse with her. He said he did + not like literary women, and was not made for their society; it was + different with his friend, who there found himself in his element. George + Sand, however, did not cease to remind Liszt of his promise to introduce + her to Chopin. One morning in the early part of 1837 Liszt called on his + friend and brother-artist, and found him in high spirits on account of + some compositions he had lately finished. As Chopin was anxious to play + them to his friends, it was arranged to have in the evening a little party + at his rooms. + </p> + <p> + This seemed to Liszt an excellent opportunity to redeem the promise which + he had given George Sand when she asked for an introduction; and, without + telling Chopin what he was going to do, he brought her with him along with + the Comtesse d'Agoult. The success of the soiree was such that it was soon + followed by a second and many more. + </p> + <p> + In the foregoing accounts the reader will find contradictions enough to + exercise his ingenuity upon. But the involuntary tricks of memory and the + voluntary ones of imagination make always such terrible havoc of facts + that truth, be it ever so much sought and cared for, appears in history + and biography only in a more or less disfigured condition. George Sand's + own allusion to the commencement of the acquaintance agrees best with + Liszt's account. After passing in the latter part of 1836 some months in + Switzerland with Liszt and the Comtesse d'Agoult, she meets them again at + Paris in the December of the same year:— + </p> +<pre xml:space="preserve"> + At the Hotel de France, where Madame d'Agoult had persuaded me + to take quarters near her, the conditions of existence were + charming for a few days. She received many litterateurs, + artists, and some clever men of fashion. It was at Madame + d'Agoult's, or through her, that I made the acquaintance of + Eugene Sue, Baron d'Eckstein, Chopin, Mickiewicz, Nourrit, + Victor Schoelcher, &c. My friends became also hers. Through me + she got acquainted with M. Lamennais, Pierre-Leroux, Henri + Heine, &c. Her salon, improvised in an inn, was therefore a + reunion d'elite over which she presided with exquisite grace, + and where she found herself the equal of all the eminent + specialists by reason of the extent of her mind and the + variety of her faculties, which were at once poetic and + serious. Admirable music was performed there, and in the + intervals one could instruct one's self by listening to the + conversation. +</pre> + <p> + To reconcile Liszt's account with George Sand's remark that Chopin was one + of those whose acquaintance she made at Madame d'Agoult's or through her, + we have only to remember the intimate relation in which Liszt stood to + this lady (subsequently known in literature under the nom de plume of + Daniel Stern), who had left her husband, the Comte d'Agoult, in 1835. + </p> + <p> + And now at last we can step again from the treacherous quicksand of + reminiscences on the terra firma of documents. The following extracts from + some letters of George Sand's throw light on her relation to Chopin in the + early part of 1837:— + </p> +<pre xml:space="preserve"> + Nohant, March 28, 1837. + + [To Franz Liszt.]...Come and see us as soon as possible. Love, + esteem, and friendship claim you at Nohant. Love (Marie + [FOOTNOTE: The Comtesse d'Agoult.]) is some what ailing, + esteem (Maurice and Pelletan [FOOTNOTE: The former, George + Sand's son; the latter, Eugene Pelletan, Maurice's tutor.]) + pretty well, and friendship (myself) obese and in excellent + health. + + Marie told me that there was some hope of Chopin. Tell Chopin + that I beg of him to accompany you; that Marie cannot live + without him, and that I adore him. + + I shall write to Grzymala personally in order to induce him + also, if I can, to come and see us. I should like to be able + to surround Marie with all her friends, in order that she also + may live in the bosom of love, esteem, and friendship. +</pre> + <p> + [FOOTNOTE: Albert Grzymala, a man of note among the Polish refugees. He + was a native of Dunajowce in Podolia, had held various military and other + posts—those of maitre des requites, director of the Bank of Poland, + attache to the staff of Prince Poniatowski, General Sebastiani, and + Lefebvre, &c.—and was in 1830 sent by the Polish Government on a + diplomatic mission to Berlin, Paris, and London. (See L'Amanach de + L'Emigration polonaise, published at Paris some forty years ago.) He must + not be confounded with the publicist Francis Grzymala, who at Warsaw was + considered one of the marechaux de plume, and at Paris was connected with + the Polish publication Sybilla. With one exception (Vol. I., p. 3), the + Grzymala spoken of in these volumes is Albert Grzymala, sometimes also + called Count Grzymala. This title, however, was, if I am rightly informed, + only a courtesy title. The Polish nobility as such was untitled, titles + being of foreign origin and not legally recognised. But many Polish + noblemen when abroad assume the prefix de or von, or the title "Count," in + order to make known their rank.] + </p> +<pre xml:space="preserve"> + Nohant, April 5, 1837. + + [To the Comtesse d'Agoult.]...Tell Mick....[FOOTNOTE: + Mickiewicz, the poet.] (non-compromising manner of writing + Polish names) that my pen and my house are at his service, and + are only too happy to be so; tell Grzy...., [FOOTNOTE: + Gryzmala] whom I adore, Chopin, whom I idolatrise, and all + those whom you love that I love them, and that, brought by + you, they will be welcome. Berry in a body watches for the + maestro's [FOOTNOTE: Liszt's] return in order to hear him play + the piano. I believe we shall be obliged to place le garde- + champetre and la garde nationals of Nohant under arms in order + to defend ourselves against the dilettanti berrichoni. +</pre> +<pre xml:space="preserve"> + Nohant, April 10, 1837. + + [To the Comtesse d'Agoult.] I want the fellows, [FOOTNOTE: + "Fellows" (English) was the nickname which Liszt gave to + himself and his pupil Hermann Cohen.] I want them as soon and + as LONG as possible. I want them a mort. I want also Chopin + and all the Mickiewiczs and Grzymalas in the world. I want + even Sue if you want him. What more would I not want if that + were your fancy? For instance, M. de Suzannet or Victor + Schoelcher! Everything, a lover excepted. +</pre> +<pre xml:space="preserve"> + Nohant, April 21, 1837. + + [To the Comtesse d'Agoult.] Nobody has permitted himself to + breathe the air of your room since you left it. Arrangements + will be made to put up all those you may bring with you. I + count on the maestro, on Chopin, on the Rat, [FOOTNOTE: + Liszt's pupil, Hermann Cohen.] if he does not weary you too + much, and all the others at your choice. +</pre> + <p> + Chopin's love for George Sand was not instantaneous like that of Romeo for + Juliet. Karasowski remembers having read in one of those letters of the + composer which perished in 1863: "Yesterday I met George Sand...; she made + a very disagreeable impression upon me." Hiller in his Open Letter to + Franz Liszt writes:— + </p> +<pre xml:space="preserve"> + One evening you had assembled in your apartments the + aristocracy of the French literary world—George Sand was of + course one of the company. On the way home Chopin said to me + "What a repellent [antipathische] woman the Sand is! But is + she really a woman? I am inclined to doubt it." +</pre> + <p> + Liszt, in discussing this matter with me, spoke only of Chopin's "reserve" + towards George Sand, but said nothing of his "aversion" to her. And + according to this authority the novelist's extraordinary mind and + attractive conversation soon overcame the musician's reserve. Alfred de + Musset's experience had been of a similar nature. George Sand did not + particularly please him at first, but a few visits which he paid her + sufficed to inflame his heart with a violent passion. The liaisons of the + poet and musician with the novelist offer other points of resemblance + besides the one just mentioned: both Musset and Chopin were younger than + George Sand—the one six, the other five years; and both, + notwithstanding the dissimilarity of their characters, occupied the + position of a weaker half. In the case of Chopin I am reminded of a saying + of Sydney Smith, who, in speaking of his friends the historian Grote and + his wife, remarked: "I do like them both so much, for he is so lady-like, + and she is such a perfect gentleman." Indeed, Chopin was described to me + by his pupil Gutmann as feminine in looks, gestures, and taste; as to + George Sand, although many may be unwilling to admit her perfect + gentlemanliness, no one can doubt her manliness:— + </p> +<pre xml:space="preserve"> + Dark and olive-complexioned Lelia! [writes Liszt] thou hast + walked in solitary places, sombre as Lara, distracted as + Manfred, rebellious as Cain, but more fierce [farouche], more + pitiless, more inconsolable than they, because thou hast found + among the hearts of men none feminine enough to love thee as + they have been loved, to pay to thy virile charms the tribute + of a confiding and blind submission, of a silent and ardent + devotion, to suffer his allegiance to be protected by thy + Amazonian strength! +</pre> + <p> + The enthusiasm with which the Poles of her acquaintance spoke of their + countrywomen, and the amorous suavity, fulness of feeling, and spotless + nobleness which she admired in the Polish composer's inspirations, seem to + have made her anticipate, even before meeting Chopin, that she would find + in him her ideal lover, one whose love takes the form of worship. To quote + Liszt's words: "She believed that there, free from all dependence, secure + against all inferiority, her role would rise to the fairy-like power of + some being at once the superior and the friend of man." Were it not + unreasonable to regard spontaneous utterances—expressions of passing + moods and fancies, perhaps mere flights of rhetoric—as + well-considered expositions of stable principles, one might be tempted to + ask: Had George Sand found in Chopin the man who was "bold or vile enough" + to accept her "hard and clear" conditions? [FOOTNOTE: See extract from one + of her letters in the preceding chapter, Vol. I., p. 334.] + </p> + <p> + While the ordinary position of man and woman was entirely reversed in this + alliance, the qualities which characterised them can nevertheless hardly + ever have been more nearly diametrically opposed. Chopin was weak and + undecided; George Sand strong and energetic. The former shrank from + inquiry and controversy; the latter threw herself eagerly into them. + [FOOTNOTE: George Sand talks much of the indolence of her temperament: we + may admit this fact, but must not overlook another one—namely, that + she was in possession of an immense fund of energy, and was always ready + to draw upon it whenever speech or action served her purpose or fancy.] + The one was a strict observer of the laws of propriety and an almost + exclusive frequenter of fashionable society; the other, on the contrary, + had an unmitigated scorn for the so-called proprieties and so-called good + society. Chopin's manners exhibited a studied refinement, and no woman + could be more particular in the matter of dress than he was. It is + characteristic of the man that he was so discerning a judge of the + elegance and perfection of a female toilette as to be able to tell at a + glance whether a dress had been made in a first-class establishment or in + an inferior one. The great composer is said to have had an unlimited + admiration for a well-made and well-carried (bien porte) dress. Now what a + totally different picture presents itself when we turn to George Sand, who + says of herself, in speaking of her girlhood, that although never boorish + or importunate, she was always brusque in her movements and natural in her + manners, and had a horror of gloves and profound bows. Her fondness for + male garments is as characteristic as Chopin's connoisseurship of the + female toilette; it did not end with her student life, for she donned them + again in 1836 when travelling in Switzerland. + </p> + <p> + The whole of Chopin's person was harmonious. "His appearance," says + Moscheles, who saw him in 1839, "is exactly like his music [ist + identificirt mit seiner Musik], both are tender and schwarmerisch." + </p> + <p> + [FOOTNOTE: I shall not attempt to translate this word, but I will give the + reader a recipe. Take the notions "fanciful," "dreamy," and "enthusiastic" + (in their poetic sense), mix them well, and you have a conception of + schwarmerisck.] + </p> + <p> + A slim frame of middle height; fragile but wonderfully flexible limbs; + delicately-formed hands; very small feet; an oval, softly-outlined head; a + pale, transparent complexion; long silken hair of a light chestnut colour, + parted on one side; tender brown eyes, intelligent rather than dreamy; a + finely-curved aquiline nose; a sweet subtle smile; graceful and varied + gestures: such was the outward presence of Chopin. As to the colour of the + eyes and hair, the authorities contradict each other most thoroughly. + Liszt describes the eyes as blue, Karasowski as dark brown, and M. Mathias + as "couleur de biere." [FOOTNOTE: This strange expression we find again in + Count Wodzinski's Les trois Romans de Frederic Chopin, where the author + says: "His large limpid, expressive, and soft eyes had that tint which the + English call auburn, which the Poles, his compatriots, describe as piwne + (beer colour), and which the French would denominate brown."] Of the hair + Liszt says that it was blonde, Madame Dubois and others that it was + cendre, Miss L. Ramann that it was dark blonde, and a Scotch lady that it + was dark brown. [FOOTNOTE: Count Wodzinski writes: "It was not blonde, but + of a shade similar to that of his eyes: ash-coloured (cendre), with golden + reflections in the light."] Happily the matter is settled for us by an + authority to which all others must yield—namely, by M. T. + Kwiatkowski, the friend and countryman of Chopin, an artist who has drawn + and painted the latter frequently. Well, the information I received from + him is to the effect that Chopin had des yeux bruns tendres (eyes of a + tender brown), and les cheveux blonds chatains (chestnut-blonde hair). + Liszt, from whose book some of the above details are derived, completes + his portrayal of Chopin by some characteristic touches. The timbre of his + voice, he says, was subdued and often muffled; and his movements had such + a distinction and his manners such an impress of good society that one + treated him unconsciously like a prince. His whole appearance made one + think of that of the convolvuli, which on incredibly slender stems balance + divinely-coloured chalices of such vapourous tissue that the slightest + touch destroys them. + </p> + <p> + And whilst Liszt attributes to Chopin all sorts of feminine graces and + beauties, he speaks of George Sand as an Amazon, a femme-heros, who is not + afraid to expose her masculine countenance to all suns and winds. Merimee + says of George Sand that he has known her "maigre comme un clou et noire + comme une taupe." Musset, after their first meeting, describes her, to + whom he at a subsequent period alludes as femme a l'oeil sombre, thus:— + </p> +<pre xml:space="preserve"> + She is very beautiful; she is the kind of woman I like—brown, + pale, dull-complexioned with reflections as of bronze, and + strikingly large-eyed like an Indian. I have never been able + to contemplate such a countenance without inward emotion. Her + physiognomy is rather torpid, but when it becomes animated it + assumes a remarkably independent and proud expression. +</pre> + <p> + The most complete literary portrayal of George Sand that has been handed + down to us, however, is by Heine. He represents her as Chopin knew her, + for although he published the portrait as late as 1854 he did not + represent her as she then looked; indeed, at that time he had probably no + intercourse with her, and therefore was obliged to draw from memory. The + truthfulness of Heine's delineation is testified by the approval of many + who knew George Sand, and also by Couture's portrait of her:— + </p> +<pre xml:space="preserve"> + George Sand, the great writer, is at the same time a beautiful + woman. She is even a distinguished beauty. Like the genius + which manifests itself in her works, her face is rather to be + called beautiful than interesting. The interesting is always a + graceful or ingenious deviation from the type of the + beautiful, and the features of George Sand bear rather the + impress of a Greek regularity. Their form, however, is not + hard, but softened by the sentimentality which is suffused + over them like a veil of sorrow. The forehead is not high, and + the delicious chestnut-brown curly hair falls parted down to + the shoulders. Her eyes are somewhat dim, at least they are + not bright, and their fire may have been extinguished by many + tears, or may have passed into her works, which have spread + their flaming brands over the whole world, illumined many a + comfortless prison, but perhaps also fatally set on fire many + a temple of innocence. The authoress of "Lelia" has quiet, + soft eyes, which remind one neither of Sodom nor of Gomorrah. + She has neither an emancipated aquiline nose nor a witty + little snub nose. It is just an ordinary straight nose. A good- + natured smile plays usually around her mouth, but it is not + very attractive; the somewhat hanging under-lip betrays + fatigued sensuality. The chin is full and plump, but + nevertheless beautifully proportioned. Also her shoulders are + beautiful, nay, magnificent. Likewise her arms and hands, + which, like her feet, are small. Let other contemporaries + describe the charms of her bosom, I confess my incompetence. + The rest of her bodily frame seems to be somewhat too stout, + at least too short. Only her head bears the impress of + ideality; it reminds one of the noblest remains of Greek art, + and in this respect one of our friends could compare the + beautiful woman to the marble statue of the Venus of Milo, + which stands in one of the lower rooms of the Louvre. Yes, she + is as beautiful as the Venus of Milo; she even surpasses the + latter in many respects: she is, for instance, very much + younger. The physiognomists who maintain that the voice of man + reveals his character most unmistakably would be much at a + loss if they were called upon to detect George Sand's + extraordinary depth of feeling [Innigkeit] in her voice. The + latter is dull and faded, without sonority, but soft and + agreeable. The naturalness of her speaking lends it some + charm. Of vocal talent she exhibits not a trace! George Sand + sings at best with the bravura of a beautiful grisette who has + not yet breakfasted or happens not to be in good voice. The + organ of George Sand has as little brilliancy as what she + says. She has nothing whatever of the sparkling esprit of her + countrywomen, but also nothing of their talkativeness. The + cause of this taciturnity, however, is neither modesty nor + sympathetic absorption in the discourse of another. She is + taciturn rather from haughtiness, because she does not think + you worth squandering her cleverness [Geist] upon, or even + from selfishness, because she endeavours to absorb the best of + your discourse in order to work it up afterwards in her works. + That out of avarice George Sand knows how never to give + anything and always to take something in conversation, is a + trait to which Alfred de Musset drew my attention. "This gives + her a great advantage over us," said Musset, who, as he had + for many years occupied the post of cavaliere servente to the + lady, had had the best opportunity to learn to know her + thoroughly. George Sand never says anything witty; she is + indeed one of the most unwitty Frenchwomen I know. +</pre> + <p> + While admiring the clever drawing and the life-like appearance of the + portrait, we must, however, not overlook the exaggerations and + inaccuracies. The reader cannot have failed to detect the limner tripping + with regard to Musset, who occupied not many years but less than a year + the post of cavaliere servente. But who would expect religious adherence + to fact from Heine, who at all times distinguishes himself rather by wit + than conscientiousness? What he says of George Sand's taciturnity in + company and want of wit, however, must be true; for she herself tells us + of these negative qualities in the Histoire de ma Vie. + </p> + <p> + The musical accomplishments of Chopin's beloved one have, of course, a + peculiar interest for us. Liszt, who knew her so well, informed me that + she was not musical, but possessed taste and judgment. By "not musical" he + meant no doubt that she was not in the habit of exhibiting her practical + musical acquirements, or did not possess these latter to any appreciable + extent. She herself seems to me to make too much of her musical talents, + studies, and knowledge. Indeed, her writings show that, whatever her + talents may have been, her taste was vague and her knowledge very limited. + </p> + <p> + When we consider the diversity of character, it is not a matter for wonder + that Chopin was at first rather repelled than attracted by the personality + of George Sand. Nor is it, on the other hand, a matter for wonder that her + beauty and power of pleasing proved too strong for his antipathy. How + great this power of pleasing was when she wished to exercise it, the + reader may judge from the incident I shall now relate. Musset's mother, + having been informed of her son's projected tour to Italy, begged him to + give it up. The poet promised to comply with her request: "If one must + weep, it shall not be you," he said. In the evening George Sand came in a + carriage to the door and asked for Madame Musset; the latter came out, and + after a short interview gave her consent to her son's departure. Chopin's + unsuccessful wooing of Miss Wodzinska and her marriage with Count Skarbek + in this year (1837) may not have been without effect on the composer. His + heart being left bruised and empty was as it were sensitised (if I may use + this photographic term) for the reception of a new impression by the + action of love. In short, the intimacy between Chopin and George Sand grew + steadily and continued to grow till it reached its climax in the autumn of + 1838, when they went together to Majorca. Other matters, however, have to + be adverted to before we come to this passage of Chopin's life. First I + shall have to say a few words about his artistic activity during the years + 1837 and 1838. + </p> + <p> + Among the works composed by Chopin in 1837 was one of the Variations on + the March from I Puritani, which were published under the title Hexameron: + Morceau de Concert. Grandes variations de bravoure sur la marche des + Puritains de Bellini, composees pour le concert de Madame la Princesse + Belgiojoso au benefice des pauvres, par M.M. Liszt, Thalberg, Pixis, H. + Herz, Czerny, et Chopin. This co-operative undertaking was set on foot by + the Princess, and was one of her many schemes to procure money for her + poor exiled countrymen. Liszt played these Variations often at his + concerts, and even wrote orchestral accompaniments to them, which, + however, were never published. + </p> + <p> + Chopin's publications of the year 1837 are: in October, Op. 25, Douze + Etudes, dedicated to Madame la Comtesse d'Agoult; and in December, Op. 29, + Impromptu (in A flat major), dedicated to Mdlle. la Comtesse de Lobau; Op. + 30, Quatre Mazurkas, dedicated to Madame la Princesse de Wurtemberg, nee + Princesse Czartoryska; Op. 31, Deuxieme Scherzo (B flat minor), dedicated + to Mdlle. la Comtesse Adele de Furstenstein; and Op. 32, Deux Nocturnes (B + major and A flat major), dedicated to Madame la Baronne de Billing. His + publications of the year 1838 are: in October, Op. 33, Quatre Mazurkas, + dedicated to Mdlle. la Comtesse Mostowska; and, in December, Op. 34, Trois + Valses brillantes (A flat major, A minor, and F major), respectively + dedicated to Mdlle. de Thun-Hohenstein, Madame G. d'Ivri, and Mdlle. A. + d'Eichthal. This last work appeared at Paris first in an Album des + Pianistes, a collection of unpublished pieces by Thalberg, Chopin, + Doehler, Osborne, Liszt, and Mereaux. Two things in connection with this + album may yet be mentioned—namely, that Mereaux contributed to it a + Fantasia on a mazurka by Chopin, and that Stephen Heller reviewed it in + the Gazette musicale. Chopin was by no means pleased with the insertion of + the waltzes in Schlesinger's Album des Pianistes. But more of this and his + labours and grievances as a composer in the next chapter. + </p> + <p> + There are also to be recorded some public and semi-public appearances of + Chopin as a virtuoso. On February 25, 1838, the Gazette musicale informs + its readers that Chopin, "that equally extraordinary and modest pianist," + had lately been summoned to Court to be heard there en cercle intime. His + inexhaustible improvisations, which almost made up the whole of the + evening's entertainment, were particularly admired by the audience, which + knew as well as a gathering of artists how to appreciate the composer's + merits. At a concert given by Valentin Alkan on March 3, 1838, Chopin + performed with Zimmermann, Gutmann, and the concert-giver, the latter's + arrangement of Beethoven's A major Symphony (or rather some movements from + it) for two pianos and eight hands. And in the Gazette musicale of March + 25, 1838, there is a report by M. Legouve of Chopin's appearance at a + concert given by his countryman Orlowski at Rouen, where the latter had + settled after some years stay in Paris. From a writer in the Journal de + Rouen (December 1, 1849) we learn that ever since this concert, which was + held in the town-hall, and at which the composer played his E minor + Concerto with incomparable perfection, the name of Chopin had in the + musical world of Rouen a popularity which secured to his memory an + honourable and cordial sympathy. But here is what Legouve says about this + concert. I transcribe the notice in full, because it shows us both how + completely Chopin had retired from the noise and strife of publicity, and + how high he stood in the estimation of his contemporaries. + </p> +<pre xml:space="preserve"> + Here is an event which is not without importance in the + musical world. Chopin, who has not been heard in public for + several years; Chopin, who imprisons his charming genius in an + audience of five or six persons; Chopin, who resembles those + enchanted isles where so many marvels are said to abound that + one regards them as fabulous; Chopin, whom one can never + forget after having once heard him; Chopin has just given a + grand concert at Rouen before 500 people for the benefit of a + Polish professor. Nothing less than a good action to be done + and the remembrance of his country could have overcome his + repugnance to playing in public. Well! the success was + immense! immense! All these enchanting melodies, these + ineffable delicacies of execution, these melancholy and + impassioned inspirations, and all that poesy of playing and of + composition which takes hold at once of your imagination and + heart, have penetrated, moved, enraptured 500 auditors, as + they do the eight or ten privileged persons who listen to him + religiously for whole hours; every moment there were in the + hall those electric fremissements, those murmurs of ecstasy + and astonishment which are the bravos of the soul. Forward + then, Chopin! forward! let this triumph decide you; do not be + selfish, give your beautiful talent to all; consent to pass + for what you are; put an end to the great debate which divides + the artists; and when it shall be asked who is the first + pianist of Europe, Liszt or Thalberg, let all the world reply, + like those who have heard you..."It is Chopin." +</pre> + <p> + Chopin's artistic achievements, however, were not unanimously received + with such enthusiastic approval. A writer in the less friendly La France + musicale goes even so far as to stultify himself by ridiculing, a propos + of the A flat Impromptu, the composer's style. This jackanapes—who + belongs to that numerous class of critics whose smartness of verbiage + combined with obtuseness of judgment is so well-known to the serious + musical reader and so thoroughly despised by him—ignores the + spiritual contents of the work under discussion altogether, and condemns + without hesitation every means of expression which in the slightest degree + deviates from the time-honoured standards. We are told that Chopin's mode + of procedure in composing is this. He goes in quest of an idea, writes, + writes, modulates through all the twenty-four keys, and, if the idea fails + to come, does without it and concludes the little piece very nicely + (tres-bien). And now, gentle reader, ponder on this momentous and + immeasurably sad fact: of such a nature was, is, and ever will be the + great mass of criticism. + </p> + <p> + <a name="link2HCH0021" id="link2HCH0021"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER XXI. + </h2> + <p> + CHOPIN'S VISITS TO NOHANT IN 1837 AND 1838.—HIS ILL HEALTH.—HE + DECIDES TO GO WITH MADAME SAND AND HER CHILDREN TO MAJORCA.—MADAME + SAND'S ACCOUNT OF THIS MATTER AND WHAT OTHERS THOUGHT ABOUT IT.—CHOPIN + AND HIS FELLOW—TRAVELLERS MEET AT PERPIGNAN IN THE BEGINNING OF + NOVEMBER, 1838, AND PROCEED BY PORT-VENDRES AND BARCELONA TO PALMA.—THEIR + LIFE AND EXPERIENCES IN THE TOWN, AT THE VILLA SON-VENT, AND AT THE + MONASTERY OF VALDEMOSA, AS DESCRIBED IN CHOPIN'S AND GEORGE SAND'S + LETTERS, AND THE LATTER'S "MA VIE" AND "UN HIVER A MAJORQUE."—THE + PRELUDES.—RETURN TO FRANCE BY BARCELONA AND MARSEILLES IN THE END OF + FEBRUARY, 1839. + </p> + <p> + In a letter written in 1837, and quoted on p. 313 of Vol. I., Chopin said: + "I may perhaps go for a few days to George Sand's." How heartily she + invited him through their common friends Liszt and the Comtesse d'Agoult, + we saw in the preceding chapter. We may safely assume, I think, that + Chopin went to Nohant in the summer of 1837, and may be sure that he did + so in the summer of 1838, although with regard to neither visit reliable + information of any kind is discoverable. Karasowski, it is true, quotes + four letters of Chopin to Fontana as written from Nohant in 1838, but + internal evidence shows that they must have been written three years + later. + </p> + <p> + We know from Mendelssohn's and Moscheles' allusions to Chopin's visit to + London that he was at that time ailing. He himself wrote in the same year + (1837) to Anthony Wodzinski that during the winter he had been again ill + with influenza, and that the doctors had wanted to send him to Ems. As + time went on the state of his health seems to have got worse, and this led + to his going to Majorca in the winter of 1838-1839. The circumstance that + he had the company of Madame Sand on this occasion has given rise to much + discussion. According to Liszt, Chopin was forced by the alarming state of + his health to go to the south in order to avoid the severities of the + Paris winter; and Madame Sand, who always watched sympathetically over her + friends, would not let him depart alone, but resolved to accompany him. + Karasowski, on the other hand, maintains that it was not Madame Sand who + was induced to accompany Chopin, but that Madame Sand induced Chopin to + accompany her. Neither of these statements tallies with Madame Sand's own + account. She tells us that when in 1838 her son Maurice, who had been in + the custody of his father, was definitively entrusted to her care, she + resolved to take him to a milder climate, hoping thus to prevent a return + of the rheumatism from which he had suffered so much in the preceding + year. Besides, she wished to live for some time in a quiet place where she + could make her children work, and could work herself, undisturbed by the + claims of society. + </p> +<pre xml:space="preserve"> + As I was making my plans and preparations for departure [she + goes on to say], Chopin, whom I saw every day and whose genius + and character I tenderly loved, said to me that if he were in + Maurice's place he would soon recover. I believed it, and I + was mistaken. I did not put him in the place of Maurice on the + journey, but beside Maurice. His friends had for long urged + him to go and spend some time in the south of Europe. People + believed that he was consumptive. Gaubert examined him and + declared to me that he was not. "You will save him, in fact," + he said to me, "if you give him air, exercise, and rest." + Others, knowing well that Chopin would never make up his mind + to leave the society and life of Paris without being carried + off by a person whom he loved and who was devoted to him, + urged me strongly not to oppose the desire he showed so a + propos and in a quite unhoped-for way. + + As time showed, I was wrong in yielding to their hopes and my + own solicitude. It was indeed enough to go abroad alone with + two children, one already ill, the other full of exuberant + health and spirits, without taking upon myself also a terrible + anxiety and a physician's responsibility. + + But Chopin was just then in a state of health that reassured + everybody. With the exception of Grzymala, who saw more + clearly how matters stood, we were all hopeful. I nevertheless + begged Chopin to consider well his moral strength, because for + several years he had never contemplated without dread the idea + of leaving Paris, his physician, his acquaintances, his room + even, and his piano. He was a man of imperious habits, and + every change, however small it might be, was a terrible event + in his life. +</pre> + <p> + Seeing that Liszt—who was at the time in Italy—and Karasowski + speak only from hearsay, we cannot do better than accept George Sand's + account, which contains nothing improbable. In connection with this + migration to the south, I must, however, not omit to mention certain + statements of Adolph Gutmann, one of Chopin's pupils. Here is the + substance of what Gutmann told me. Chopin was anxious to go to Majorca, + but for some time was kept in suspense by the scantiness of his funds. + This threatening obstacle, however, disappeared when his friend the + pianoforte-maker and publisher, Camille Pleyel, paid him 2,000 francs for + the copyright of the Preludes, Op. 28. Chopin remarked of this transaction + to Gutmann, or in his hearing: "I sold the Preludes to Pleyel because he + liked them [parcequ'il les aimait]." And Pleyel exclaimed on one occasion: + "These are my Preludes [Ce sont mes Preludes]." Gutmann thought that + Pleyel, who was indebted to Chopin for playing on his instruments and + recommending them, wished to assist his friend in a delicate way with some + money, and therefore pretended to be greatly taken with these compositions + and bent upon possessing them. This, however, cannot be quite correct; for + from Chopin's letters, which I shall quote I presently, it appears that he + had indeed promised Pleyel the Preludes, but before his departure received + from him only 500 francs, the remaining 1,500 being paid months + afterwards, on the delivery of the manuscript. These letters show, on the + other hand, that when Chopin was in Majorca he owed to Leo 1,000 francs, + which very likely he borrowed from him to defray part of the expenses of + his sojourn in the south. + </p> + <p> + [FOOTNOTE: August Leo, a Paris banker, "the friend and patron of many + artists," as he is called by Moscheles, who was related to him through his + wife Charlotte Embden, of Hamburg. The name of Leo occurs often in the + letters and conversations of musicians, especially German musicians, who + visited Paris or lived there in the second quarter of this century. Leo + kept house together with his brother-in-law Valentin. (See Vol. I., p. + 254.)] + </p> + <p> + Chopin kept his intention of going with Madame Sand to Majorca secret from + all but a privileged few. According to Franchomme, he did not speak of it + even to his friends. There seem to have been only three exceptions—Fontana, + Matuszynski, and Grzymala, and in his letters to the first he repeatedly + entreats his friend not to talk about him. Nor does he seem to have been + much more communicative after his return, for none of Chopin's + acquaintances whom I questioned was able to tell me whether the composer + looked back on this migration with satisfaction or with regret; still less + did they remember any remark made by him that would throw a more searching + light on this period of his life. + </p> + <p> + Until recently the only sources of information bearing on Chopin's stay in + Majorca were George Sand's "Un Hiver a Majorque" and "Histoire de ma Vie." + But now we have also Chopin's letters to Fontana (in the Polish edition of + Karasowski's "Chopin") and George Sand's "Correspondance," which + supplement and correct the two publications of the novelist. Remembering + the latter's tendency to idealise everything, and her disinclination to + descend to the prose of her subject, I shall make the letters the backbone + of my narrative, and for the rest select my material cautiously. + </p> + <p> + Telling Chopin that she would stay some days at Perpignan if he were not + there on her arrival, but would proceed without him if he failed to make + his appearance within a certain time, Madame Sand set out with her two + children and a maid in the month of November, 1838, for the south of + France, and, travelling for travelling's sake, visited Lyons, Avignon, + Vaucluse, Nimes, and other places. The distinguished financier and + well-known Spanish statesman Mendizabal, their friend, who was going to + Madrid, was to accompany Chopin to the Spanish frontier. Madame Sand was + not long left in doubt as to whether Chopin would realise his reve de + voyage or not, for he put in his appearance at Perpignan the very next day + after her arrival there. Madame Sand to Madame Marliani, [FOOTNOTE: The + wife of the Spanish politician and author, Manuel Marliani. We shall hear + more of her farther on.] November, 1838:— Chopin arrived at + Perpignan last night, fresh as a rose, and rosy as a turnip; moreover, in + good health, having stood his four nights of the mail-coach heroically. As + to ourselves, we travelled slowly, quietly, and surrounded at all stations + by our friends, who overwhelmed us with kindness. + </p> + <p> + As the weather was fine and the sea calm Chopin did not suffer much on the + passage from Port-Vendres to Barcelona. At the latter town the party + halted for a while-spending some busy days within its walls, and making an + excursion into the country-and then took ship for Palma, the capital of + Majorca and the Balearic Isles generally. Again the voyagers were favoured + by the elements. + </p> +<pre xml:space="preserve"> + The night was warm and dark, illumined only by an + extraordinary phosphorescence in the wake of the ship; + everybody was asleep on board except the steersman, who, in + order to keep himself awake, sang all night, but in a voice so + soft and so subdued that one might have thought that he feared + to awake the men of the watch, or that he himself was half + asleep. We did not weary of listening to him, for his singing + was of the strangest kind. He observed a rhythm and + modulations totally different from those we are accustomed to, + and seemed to allow his voice to go at random, like the smoke + of the vessel carried away and swayed by the breeze. It was a + reverie rather than a song, a kind of careless divagation of + the voice, with which the mind had little to do, but which + kept time with the swaying of the ship, the faint sound of the + dead water, and resembled a vague improvisation, restrained, + nevertheless, by sweet and monotonous forms. +</pre> + <p> + When night had passed into day, the steep coasts of Majorca, dentelees au + soleil du matin par les aloes et les palmiers, came in sight, and soon + after El Mallorquin landed its passengers at Palma. Madame Sand had left + Paris a fortnight before in extremely cold weather, and here she found in + the first half of November summer heat. The newcomers derived much + pleasure from their rambles through the town, which has a + strongly-pronounced character of its own and is rich in fine and + interesting buildings, among which are most prominent the magnificent + Cathedral, the elegant Exchange (la lonja), the stately Town-Hall, and the + picturesque Royal Palace (palacio real). Indeed, in Majorca everything is + picturesque, + </p> +<pre xml:space="preserve"> + from the hut of the peasant, who in his most insignificant + buildings has preserved the tradition of the Arabic style, to + the infant clothed in rags and triumphant in his "malproprete + grandiose," as Heine said a propos of the market-women of + Verona. The character of the landscape, whose vegetation is + richer than that of Africa is in general, has quite as much + breadth, calm, and simplicity. It is green Switzerland under + the sky of Calabria, with the solemnity and silence of the + East. +</pre> + <p> + But picturesqueness alone does not make man's happiness, and Palma seems + to have afforded little else. If we may believe Madame Sand, there was not + a single hotel in the town, and the only accommodation her party could get + consisted of two small rooms, unfurnished rather than furnished, in some + wretched place where travellers are happy to find "a folding-bed, a + straw-bottomed chair, and, as regards food, pepper and garlic a + discretion." Still, however great their discomfort and disgust might be, + they had to do their utmost to hide their feelings; for, if they had made + faces on discovering vermin in their beds and scorpions in their soup, + they would certainly have hurt the susceptibilities of the natives, and + would probably have exposed themselves to unpleasant consequences. No + inhabitable apartments were to be had in the town itself, but in its + neighbourhood a villa chanced to be vacant, and this our party rented at + once. + </p> + <p> + Madame Sand to Madame Marliani; Palma, November 14, 1838:— + </p> +<pre xml:space="preserve"> + I am leaving the town, and shall establish myself in the + country: I have a pretty furnished house, with a garden and a + magnificent view, for fifty francs per month. Besides, two + leagues from there I have a cell, that is to say, three rooms + and a garden full of oranges and lemons, for thirty-five + francs PER YEAR, in the large monastery of Valdemosa. +</pre> + <p> + The furniture of the villa was indeed of the most primitive kind, and the + walls were only whitewashed, but the house was otherwise convenient, well + ventilated—in fact, too well ventilated—and above all + beautifully situated at the foot of rounded, fertile mountains, in the + bosom of a rich valley which was terminated by the yellow walls of Palma, + the mass of the cathedral, and the sparkling sea on the horizon. + </p> + <p> + Chopin to Fontana; Palma, November 15, 1838:— + </p> + <p> + [FOOTNOTE: Julius Fontana, born at Warsaw in 1810, studied music (at the + Warsaw Conservatoire under Elsner) as an amateur and law for his + profession; joined in 1830 the Polish insurrectionary army; left his + country after the failure of the insurrection; taught the piano in London; + played in 1835 several times with success in Paris; resided there for some + years; went in 1841 to Havannah; on account of the climate, removed to New + York; gave there concerts with Sivori; and returned to Paris in 1850. This + at least is the account we get of him in Sowinski's "Les Musiciens + polonais et slaves." Mr. A. J. Hipkins, who became acquainted with Fontana + during a stay which the latter made in London in 1856 (May and early part + of June), described him to me as "an honourable and gentlemanly man." From + the same informant I learned that Fontana married a lady who had an income + for life, and that by this marriage he was enabled to retire from the + active exercise of his profession. Later on he became very deaf, and this + great trouble was followed by a still greater one, the death of his wife. + Thus left deaf and poor, he despaired, and, putting a pistol to one of his + ears, blew out his brains. According to Karasowski he died at Paris in + 1870. The compositions he published (dances, fantasias, studies, &c.) + are of no importance. He is said to have published also two books, one on + Polish orthography in 1866 and one on popular astronomy in 1869. The above + and all the following letters of Chopin to Fontana are in the possession + of Madame Johanna Lilpop, of Warsaw, and are here translated from + Karasowski's Polish edition of his biography of Chopin. Many of the + letters are undated, and the dates suggested by Karasowski generally + wrong. There are, moreover, two letters which are given as if dated by + Chopin; but as the contents point to Nohant and 1841 rather than to + Majorca and 1838 and 1839, I shall place them in Chapter XXIV., where also + my reasons for doing so will be more particularly stated. A third letter, + supposed by Karasowski to be written at Valdemosa in February, I hold to + be written at Marseilles in April. It will be found in the next chapter.] + </p> +<pre xml:space="preserve"> + My dear friend,—I am at Palma, among palms, cedars, cactuses, + aloes, and olive, orange, lemon, fig, and pomegranate trees, + &c., which the Jardin des Plantes possesses only thanks to its + stoves. The sky is like a turquoise, the sea is like lazuli, + and the mountains are like emeralds. The air? The air is just + as in heaven. During the day there is sunshine, and + consequently it is warm—everybody wears summer clothes. + During the night guitars and songs are heard everywhere and at + all hours. Enormous balconies with vines overhead, Moorish + walls...The town, like everything here, looks towards + Africa...In one word, a charming life! + + Dear Julius, go to Pleyel—the piano has not yet arrived—and + ask him by what route they have sent it. + + The Preludes you shall have soon. + + I shall probably take up my quarters in a delightful monastery + in one of the most beautiful sites in the world: sea, + mountains, palm trees, cemetery, church of the Knights of the + Cross, ruins of mosques, thousand-year-old olive trees!...Ah, + my dear friend, I am now enjoying life a little more; I am + near what is most beautiful—I am a better man. + + Letters from my parents and whatever you have to send me give + to Grzymala; he knows the safest address. + + Embrace Johnnie. [FOOTNOTE: The Johnnie so frequently + mentioned in the letters to Fontana is John Matuszynski.] How + soon he would recover here! + + Tell Schlesinger that before long he will receive MS. To + acquaintances speak little of me. Should anybody ask, say that + I shall be back in spring. The mail goes once a week; I write + through the French Consulate here. + + Send the enclosed letter as it is to my parents; leave it at + the postoffice yourself. + + Yours, + + CHOPIN. +</pre> + <p> + George Sand relates in "Un Hiver a Majorque" that the first days which her + party passed at the Son-Vent (House of the Wind)—this was the name + of the villa they had rented—were pretty well taken up with + promenading and pleasant lounging, to which the delicious climate and + novel scenery invited. But this paradisaic condition was suddenly changed + as if by magic when at the end of two or three weeks the wet season began + and the Son-Vent became uninhabitable. + </p> +<pre xml:space="preserve"> + The walls of it were so thin that the lime with which our + rooms were plastered swelled like a sponge. For my part I + never suffered so much from cold, although it was in reality + not very cold; but for us, who are accustomed to warm + ourselves in winter, this house without a chimney was like a + mantle of ice on our shoulders, and I felt paralysed. Chopin, + delicate as he was and subject to violent irritation of the + larynx, soon felt the effects of the damp. + + We could not accustom ourselves to the stifling odour of the + brasiers, and our invalid began to ail and to cough. + + From this moment we became an object of dread and horror to + the population. We were accused and convicted of pulmonary + phthisis, which is equivalent to the plague in the prejudices + regarding contagion entertained by Spanish physicians. A rich + doctor, who for the moderate remuneration of forty-five francs + deigned to come and pay us a visit, declared, nevertheless, + that there was nothing the matter, and prescribed nothing. + + Another physician came obligingly to our assistance; but the + pharmacy at Palma was in such a miserable state that we could + only procure detestable drugs. Moreover, the illness was to be + aggravated by causes which no science and no devotion could + efficiently battle against. + + One morning, when we were given up to serious fears on account + of the duration of these rains and these sufferings which were + bound up together, we received a letter from the fierce Gomez + [the landlord], who declared, in the Spanish style, that we + held a person who held a disease which carried contagion into + his house, and threatened prematurely the life of his family; + in consequence of which he requested us to leave his palace + with the shortest delay possible. + + This did not cause us much regret, for we could no longer stay + there without fear of being drowned in our rooms; but our + invalid was not in a condition to be moved without danger, + especially by such means of transport as are available in + Majorca, and in the weather then obtaining. And then the + difficulty was to know where to go, for the rumour of our + phthisis had spread instantaneously, and we could no longer + hope to find a shelter anywhere, not even at a very high price + for a night. We knew that the obliging persons who offeredto + take us in were themselves not free from prejudices, and that, + moreover, we should draw upon them, in going near them, the + reprobation which weighed upon us. Without the hospitality of + the French consul, who did wonders in order to gather us all + under his roof, we were threatened with the prospect of + camping in some cavern like veritable Bohemians. + + Another miracle came to pass, and we found an asylum for the + winter. At the Carthusian monastery of Valdemosa there was a + Spanish refugee, who had hidden himself there for I don't know + what political reason. Visiting the monastery, we were struck + with the gentility of his manners, the melancholy beauty of + his wife, and the rustic and yet comfortable furniture of + their cell. The poesy of this monastery had turned my head. It + happened that the mysterious couple wished to leave the + country precipitately, and—that they were as delighted to + dispose to us of their furniture and cell as we were to + acquire them. For the moderate sum of a thousand francs we had + then a complete establishment, but such a one as we could have + procured in France for 300 francs, so rare, costly, and + difficult to get are the most necessary things in Majorca. +</pre> + <p> + The outcasts decamped speedily from the Son-Vent. But before Senor Gomez + had done with his tenants, he made them pay for the whitewashing and the + replastering of the whole house, which he held to have been infected by + Chopin. + </p> + <p> + And now let us turn once more from George Sand's poetical inventions, + distortions, and exaggerations, to the comparative sobriety and + trustworthiness of letters. + </p> + <p> + Chopin to Fontana; Palma, December 3, 1838:— + </p> +<pre xml:space="preserve"> + I cannot send you the MSS. as they are not yet finished. + During the last two weeks I have been as ill as a dog, in + spite of eighteen degrees of heat, [FOOTNOTE: That is, + eighteen degrees Centigrade, which are equal to about sixty- + four degrees Fahrenheit.] and of roses, and orange, palm, and + fig trees in blossom. I caught a severe cold. Three doctors, + the most renowned in the island, were called in for + consultation. One smelt what I spat, the second knocked whence + I spat, the third sounded and listened when I spat. The first + said that I would die, the second that I was dying, the third + that I had died already; and in the meantime I live as I was + living. I cannot forgive Johnnie that in the case of bronchite + aigue, which he could always notice in me, he gave me no + advice. I had a narrow escape from their bleedings, + cataplasms, and such like operations. Thanks to Providence, I + am now myself again. My illness has nevertheless a pernicious + effect on the Preludes, which you will receive God knows when. + + In a few days I shall live in the most beautiful part of the + world. Sea, mountains... whatever you wish. We are to have our + quarters in an old, vast, abandoned and ruined monastery of + Carthusians whom Mend [FOOTNOTE: Mendizabal] drove away as it + were for me. Near Palma—nothing more wonderful: cloisters, + most poetic cemeteries. In short, I feel that there it will be + well with me. Only the piano has not yet come! I wrote to + Pleyel. Ask there and tell him that on the day after my + arrival here I was taken very ill, and that I am well again. + On the whole, speak little about me and my manuscripts. Write + to me. As yet I have not received a letter from you. + + Tell Leo that I have not as yet sent the Preludes to the + Albrechts, but that I still love them sincerely, and shall + write to them shortly. + + Post the enclosed letter to my parents yourself, and write as + soon as possible. + + My love to Johnnie. Do not tell anyone that I was ill, they + would only gossip about it. +</pre> + <p> + [FOOTNOTE: to Madame Dubois I owe the information that Albrecht, an + attache to the Saxon legation (a post which gave him a good standing in + society) and at the same time a wine-merchant (with offices in the Place + Vendome—his specialty being "vins de Bordeaux"), was one of Chopin's + "fanatic friends." In the letters there are allusions to two Albrechts, + father and son; the foregoing information refers to the son, who, I think, + is the T. Albrecht to whom the Premier Scherzo, Chopin's Op. 20, is + dedicated.] + </p> + <p> + Chopin to Fontana; Palma, December 14, 1838:— + </p> +<pre xml:space="preserve"> + As yet not a word from you, and this is my third or fourth + letter. Did you prepay? Perhaps my parents did not write. + Maybe some misfortune has befallen them. Or are you so lazy? + But no, you are not lazy, you are so obliging. No doubt you + sent my two letters to my people (both from Palma). And you + must have written to me, only the post of this place, which is + the most irregular in the world, has not yet delivered your + letters. + + Only to-day I was informed that on the ist of December my + piano was embarked at Marseilles on a merchant vessel. The + letter took fourteen days to come from that town. Thus there + is some hope that the piano may pass the winter in the port, + as here nobody stirs when it rains. The idea of my getting it + just at my departure pleases me, for in addition to the 500 + francs for freight and duty which I must pay, I shall have the + pleasure of packing it and sending it back. Meanwhile my + manuscripts are sleeping, whereas I cannot sleep, but cough, + and am covered with plasters, waiting anxiously for spring or + something else. + + To-morrow I start for this delightful monastery of Valdemosa. + I shall live, muse, and write in the cell of some old monk who + may have had more fire in his heart than I, and was obliged to + hide and smother it, not being able to make use of it. + + I think that shortly I shall be able to send you my Preludes + and my Ballade. Go and see Leo; do not mention that I am ill, + he would fear for his 1,000 francs. + + Give my kind remembrances to Johnnie and Pleyel. +</pre> + <p> + Madame Sand to Madame Marliani; Palma, December 14, 1838:— + </p> +<pre xml:space="preserve"> + ...What is really beautiful here is the country, the sky, the + mountains, the good health of Maurice, and the radoucissement of + Solange. The good Chopin is not in equally brilliant health. He + misses his piano very much. We received news of it to-day. It has + left Marseilles, and we shall perhaps have it in a fortnight. Mon + Dieu, how hard, difficult, and miserable the physical life is + here! It is beyond what one can imagine. + + By a stroke of fortune I have found for sale a clean suite of + furniture, charming for this country, but which a French + peasant would not have. Unheard-of trouble was required to get + a stove, wood, linen, and who knows what else. Though for a + month I have believed myself established, I am always on the + eve of being so. Here a cart takes five hours to go three + leagues; judge of the rest. They require two months to + manufacture a pair of tongs. There is no exaggeration in what + I say. Guess about this country all I do not tell you. For my + part I do not mind it, but I have suffered a little from it in + the fear of seeing my children suffer much from it. + + Happily, my ambulance is doing well. To-morrow we depart for + the Carthusian monastery of Valdemosa, the most poetic + residence on earth. We shall pass there the winter, which has + hardly begun and will soon end. This is the sole happiness of + this country. I have never in my life met with a nature so + delicious as that of Majorca. +</pre> + <p> + ...The people of this country are generally very gracious, very obliging; + but all this in words... + </p> +<pre xml:space="preserve"> + I shall write to Leroux from the monastery at leisure. If you + knew what I have to do! I have almost to cook. Here, another + amenity, one cannot get served. The domestic is a brute: + bigoted, lazy, and gluttonous; a veritable son of a monk (I + think that all are that). It requires ten to do the work which + your brave Mary does. Happily, the maid whom I have brought + with me from Paris is very devoted, and resigns herself to do + heavy work; but she is not strong, and I must help her. + Besides, everything is dear, and proper nourishment is + difficult to get when the stomach cannot stand either rancid + oil or pig's grease. I begin to get accustomed to it; but + Chopin is ill every time that we do not prepare his food + ourselves. In short, our expedition here is, in many respects, + a frightful fiasco. +</pre> + <p> + On December 15, 1838, then, the Sand party took possession of their + quarters in the monastery of Valdemosa, and thence the next letters are + dated. + </p> + <p> + Chopin to Fontana; "Palma, December 28, 1838, or rather Valdemosa, a few + miles distant from Palma":— + </p> +<pre xml:space="preserve"> + Between rocks and the sea, in a great abandoned Carthusian + monastery, in one of the cells with doors bigger than the + gates in Paris, you may imagine me with my hair uncurled, + without white gloves, pale as usual. The cell is in the shape + of a coffin, high, and full of dust on the vault. The window + small, before the window orange, palm, and cypress trees. + Opposite the window, under a Moorish filigree rosette, stands + my bed. By its side an old square thing like a table for + writing, scarcely serviceable; on it a leaden candlestick (a + great luxury) with a little tallow-candle, Works of Bach, my + jottings, and old scrawls that are not mine, this is all I + possess. Quietness... one may shout and nobody will hear... in + short, I am writing to you from a strange place. + + Your letter of the 9th of December I received the day before + yesterday; as on account of the holidays the express mail does + not leave till next week, I write to you in no great hurry. It + will be a Russian month before you get the bill of exchange + which I send you. + + Sublime nature is a fine thing, but one should have nothing to + do with men—nor with roads and posts. Many a time I came here + from Palma, always with the same driver and always by another + road. Streams of water make roads, violent rains destroy them; + to-day it is impossible to pass, for what was a road is + ploughed; next day only mules can pass where you were driving + yesterday. And what carriages here! That is the reason, + Julius, why you do not see a single Englishman, not even an + English consul. + + Leo is a Jew, a rogue! I was at his house the day before my + departure, and I told him not to send me anything here. I + cannot send you the Preludes, they are not yet finished. At + present I am better and shall push on the work. I shall write + and thank him in a way that will make him wince. + + But Schlesinger is a still worse dog to put my Waltzes + [FOOTNOTE: "Trois Valses brillantes," Op. 34.] in the Album, + and to sell them to Probst [FOOTNOTE: Heinrich Albert Probst + founded in 1823 a music-shop and publishing-house at Leipzig. + In 1831 Fr. Kistner entered the business (Probst-Kistner), + which under his name has existed from 1836 down to this day. + In the Chopin letters we meet Probst in the character of + Breitkopf and Hartel's agent.] when I gave him them because he + begged them for his father in Berlin. [FOOTNOTE: Adolf Martin + Schlesinger, a music-publisher like his son Maurice Adolph of + Paris, so frequently mentioned in these letters.] All this + irritates me. I am only sorry for you; but in one month at the + latest you will be clear of Leo and my landlord. With the + money which you receive on the bill of exchange, do what is + necessary. And my servant, what is he doing? Give the portier + twenty francs as a New Year's present. + + I do not remember whether I left any debts of importance. At + all events, as I promised you, we shall be clear in a month at + the latest. + + To-day the moon is wonderful, I never saw it more beautiful. + + By the way, you write that you sent me a letter from my + people. I neither saw nor heard of one, and I am longing so + much for one! Did you prepay when you sent them the letter? + + Your letter, the only one I have hitherto received, was very + badly addressed. Here nature is benevolent, but the people are + thievish. They never see any strangers, and therefore do not + know what to ask of them. For instance, an orange they will + give you for nothing, but ask a fabulous sum for a coat- + button. + + Under this sky you are penetrated with a kind of poetical + feeling which everything seems to exhale. Eagles alarmed by no + one soar every day majestically over our heads. + + For God's sake write, always prepay, and to Palma add always + Valdemosa. + + I love Johnnie, and I think it is a pity that he did not + altogether qualify himself as director of the children of some + benevolent institution in some Nuremberg or Bamberg. Get him + to write to me, were it only a few words. + + I enclose you a letter to my people...I think it is already + the third or fourth that I send you for my parents. + + My love to Albrecht, but speak very little about me. +</pre> + <p> + Chopin to Fontana; Valdemosa, January 12, 1839:— + </p> +<pre xml:space="preserve"> + I send you the Preludes, make a copy of them, you and Wolf; + [FOOTNOTE: Edouard Wolff] I think there are no mistakes. You + will give the transcript to Probst, but my manuscript to + Pleyel. When you get the money from Probst, for whom I enclose + a receipt, you will take it at once to Leo. I do not write and + thank him just now, for I have no time. Out of the money which + Pleyel will give you, that is 1,500 francs, you will pay the + rent of my rooms till the New Year, 450 francs and you will + give notice of my giving them up if you have a chance to get + others from April. If not it will be necessary to keep them + for a quarter longer. The rest of the amount, or 1,000 francs, + you will return from me to Nougi. Where he lives you will + learn from Johnnie, but don't tell the latter of the money, + for he might attack Nougi, and I do not wish that anyone but + you and I should know of it. Should you succeed in finding + rooms, you could send one part of the furniture to Johnnie and + another to Grzymala. You will tell Pleyel to send letters + through you. + + I sent you before the New Year a bill of exchange for Wessel; + tell Pleyel that I have settled with Wessel. + + [FOOTNOTE: The music-publisher Christian Rudolph Wessel, of + Bremen, who came to London in 1825. Up to 1838 he had Stodart, + and from 1839 to 1845 Stapleton, as partner. He retired in + 1860, Messrs. Edwin Ashdown and Henry Parry being his + successors. Since the retirement of Mr. Parry, in 1882, Mr. + Ashdown is the sole proprietor. Mr. Ashdown, whom I have to + thank for the latter part of this note, informs me that Wessel + died in 1885.] + + In a few weeks you will receive a Ballade, a Polonaise, and a + Scherzo. + + Until now I have not yet received any letters from my parents. + + I embrace you. + + Sometimes I have Arabian balls, African sun, and always before + my eyes the Mediterranean Sea. + + I do not know when I shall be back, perhaps as late as May, + perhaps even later. +</pre> + <p> + Madame Sand to Madame Marliani; Valdemosa, January 15, 1839:— + </p> +<pre xml:space="preserve"> + ...We inhabit the Carthusian monastery of Valdemosa, a really + sublime place, which I have hardly the time to admire, so many + occupations have I with my children, their lessons, and my work. + + There are rains here of which one has elsewhere no idea: it is + a frightful deluge! The air is on account of it so relaxing, + so soft, that one cannot drag one's self along; one is really + ill. Happily, Maurice is in admirable health; his constitution + is only afraid of frost, a thing unknown here. But the little + Chopin [FOOTNOTE: Madame Marliani seems to have been in the + habit of calling Chopin "le petit." In another letter to her + (April 28, 1839) George Sand writes of Chopin as votre petit. + This reminds one of Mendelssohn's Chopinetto.] is very + depressed and always coughs much. For his sake I await with + impatience the return of fine weather, which will not be long + in coming. His piano has at last arrived at Palma; but it is + in the clutches of the custom-house officers, who demand from + five to six hundred francs duty, and show themselves + intractable. + + ...I am plunged with Maurice in Thucydides and company; with + Solange in the indirect object and the agreement of the + participle. Chopin plays on a poor Majorcan piano which reminds + me of that of Bouffe in "Pauvre Jacques." I pass my nights + generally in scrawling. When I raise my nose, it is to see + through the sky-light of my cell the moon which shines in the + midst of the rain on the orange trees, and I think no more of it + than she. +</pre> + <p> + Madame Sand to M. A. M. Duteil; Valdemosa, January 20, 1839:— + </p> +<pre xml:space="preserve"> + ...This [the slowness and irregularity of the post] is not the + only inconvenience of the country. There are innumerable ones, + and yet this is the most beautiful country. The climate is + delicious. At the time I am writing, Maurice is gardening in his + shirt-sleeves, and Solange, seated under an orange tree loaded + with fruit, studies her lesson with a grave air. We have bushes + covered with roses, and spring is coming in. Our winter lasted + six weeks, not cold, but rainy to a degree to frighten us. It is + a deluge! The rain uproots the mountains; all the waters of the + mountain rush into the plain; the roads become torrents. We found + ourselves caught in them, Maurice and I. We had been at Palma in + superb weather. When we returned in the evening, there were no + fields, no roads, but only trees to indicate approximately the + way which we had to go. I was really very frightened, especially + as the horse refused to proceed, and we were obliged to traverse + the mountain on foot in the night, with torrents across our legs. +</pre> + <p> + Madame Sand to Madame Marliani; Valdemosa, February 22, 1839:— + </p> +<pre xml:space="preserve"> + ...You see me at my Carthusian monastery, still sedentary, and + occupied during the day with my children, at night with my work. + In the midst of all this, the warbling of Chopin, who goes his + usual pretty way, and whom the walls of the cell are much + astonished to hear. + + The only remarkable event since my last letter is the arrival + of the so much-expected piano. After a fortnight of + applications and waiting we have been able to get it out of + the custom-house by paying three hundred francs of duty. + Pretty country this! After all, it has been disembarked + without accident, and the vaults of the monastery are + delighted with it. And all this is not profaned by the + admiration of fools-we do not see a cat. + + Our retreat in the mountains, three leagues from the town, has + freed us from the politeness of idlers. + + Nevertheless, we have had one visitor, and a visitor from + Paris!—namely, M. Dembowski, an Italian Pole whom Chopin + knew, and who calls himself a cousin of Marliani—I don't know + in what degree. + + ...The fact is, that we are very much pleased with the freedom + which this gives us, because we have work to do; but we + understand very well that these poetic intervals which one + introduces into one's life are only times of transition and rest + allowed to the mind before it resumes the exercise of the + emotions. I mean this in the purely intellectual sense; for, as + regards the life of the heart, it cannot cease for a moment... +</pre> + <p> + This brings us to the end of the known letters written by Chopin and + Madame Sand from Majorca. And now let us see what we can find in George + Sand's books to complete the picture of the life of her and her party at + Valdemosa, of which the letters give only more or less disconnected + indications. I shall use the materials at my disposal freely and + cautiously, quoting some passages in full, regrouping and summing-up + others, and keeping always in mind—which the reader should likewise + do—the authoress's tendency to emphasise, colour, and embellish, for + the sake of literary and moral effect. + </p> + <p> + Not to extend this chapter too much, I refer the curious to George Sand's + "Un Hiver a Majorque" for a description of the "admirable, grandiose, and + wild nature" in the midst of which the "poetic abode" of her and her party + was situated—of the grandly and beautifully-varied surface of the + earth, the luxuriant southern vegetation, and the marvellous phenomena of + light and air; of the sea stretching out on two sides and meeting the + horizon; of the surrounding formidable peaks, and the more distant + round-swelling hills; of the eagles descending in the pursuit of their + prey down to the orange trees of the monastery gardens; of the avenue of + cypresses serpentining from the top of the mountain to the bottom of the + gorge; of the torrents covered with myrtles; in short, of the immense + ensemble, the infinite details, which overwhelm the imagination and outvie + the poet's and painter's dreams. Here it will be advisable to confine + ourselves to the investigation of a more limited sphere, to inspect rather + narrow interiors than vast landscapes. + </p> + <p> + As the reader has gathered from the preceding letters, there was no longer + a monastic community at Valdemosa. The monks had been dispersed some time + before, and the monastery had become the property of the state. During the + hot summer months it was in great part occupied by small burghers from + Palma who came in quest of fresh air. The only permanent inhabitants of + the monastery, and the only fellow-tenants of George Sand's party, were + two men and one woman, called by the novelist respectively the Apothecary, + the Sacristan, and Maria Antonia. The first, a remnant of the dispersed + community, sold mallows and couch-grass, the only specifics he had; the + second was the person in whose keeping were the keys of the monastery; and + the third was a kind of housekeeper who, for the love of God and out of + neighbourly friendship, offered her help to new-comers, and, if it was + accepted, did not fail to levy heavy contributions. + </p> + <p> + The monastery was a complex of strongly-constructed, buildings without any + architectural beauty, and such was, its circumference and mass of stones + that it would have been easy to house an army corps. Besides the dwelling + of the superior, the cells of the lay-brothers, the lodgings for visitors, + the stables, and other structures, there were three cloisters, each + consisting of twelve cells and twelve chapels. The most ancient of these + cloisters, which is also the smallest, dates from the 15th century. + </p> +<pre xml:space="preserve"> + It presents a charming coup d'oeil. The court which it + encloses with its broken-down walls is the ancient cemetery of + the monks. No inscription distinguishes these tombs...The + graves are scarcely indicated by the swellings of the turf. +</pre> + <p> + In the cells were stored up the remains of all sorts of fine old furniture + and sculpture, but these could only be seen through the chinks, for the + cells were carefully locked, and the sacristan would not open them to + anyone. The second cloister, although of more recent date, was likewise in + a dilapidated state, which, however, gave it character. In stormy weather + it was not at all safe to pass through it on account of the falling + fragments of walls and vaults. + </p> +<pre xml:space="preserve"> + I never heard the wind sound so like mournful voices and utter + such despairing howls as in these empty and sonorous + galleries. The noise of the torrents, the swift motion of the + clouds, the grand, monotonous sound of the sea, interrupted by + the whistling of the storm and the plaintive cries of sea- + birds which passed, quite terrified and bewildered, in the + squalls; then thick fogs which fell suddenly like a shroud and + which, penetrating into the cloisters through the broken + arcades, rendered us invisible, and made the little lamp we + carried to guide us appear like a will-o'-the-wisp wandering + under the galleries; and a thousand other details of this + monastic life which crowd all at once into my memory: all + combined made indeed this monastery the most romantic abode in + the world. + + I was not sorry to see for once fully and in reality what I + had seen only in a dream, or in the fashionable ballads, and + in the nuns' scene in Robert le Diable at the Opera. Even + fantastic apparitions were not wanting to us. [FOOTNOTE: "Un + Hiver a Majorque," pp. 116 and 117.] +</pre> + <p> + In the same book from which the above passage is extracted we find also a + minute description of the new cloister; the chapels, variously ornamented, + covered with gilding, decorated with rude paintings and horrible statues + of saints in coloured wood, paved in the Arabic style with enamelled + faience laid out in various mosaic designs, and provided with a fountain + or marble conch; the pretty church, unfortunately without an organ, but + with wainscot, confessionals, and doors of most excellent workmanship, a + floor of finely-painted faience, and a remarkable statue in painted wood + of St. Bruno; the little meadow in the centre of the cloister, + symmetrically planted with box-trees, &c., &c. + </p> + <p> + George Sand's party occupied one of the spacious, well-ventilated, and + well-lighted cells in this part of the monastery. I shall let her describe + it herself. + </p> +<pre xml:space="preserve"> + The three rooms of which it was composed were spacious, + elegantly vaulted, and ventilated at the back by open + rosettes, all different and very prettily designed. These + three rooms were separated from the cloister by a dark passage + at the end of which was a strong door of oak. The wall was + three feet thick. The middle room was destined for reading, + prayer, and meditation; all its furniture consisted of a large + chair with a praying-desk and a back, from six to eight feet + high, let into and fixed in the wall. The room to the right of + this was the friar's bed-room; at the farther end of it was + situated the alcove, very low, and paved above with flags like + a tomb. The room to the left was the workshop, the refectory, + the store-room of the recluse. A press at the far end of the + room had a wooden compartment with a window opening on the + cloister, through which his provisions were passed in. His + kitchen consisted of two little stoves placed outside, but + not, as was the strict rule, in the open air; a vault, opening + on the garden, protected the culinary labours of the monk from + the rain, and allowed him to give himself up to this + occupation a little more than the founder would have wished. + Moreover, a fire-place introduced into this third room + indicated many other relaxations, although the science of the + architect had not gone so far as to make this fire-place + serviceable. + + Running along the back of the rooms, on a level with the + rosettes, was a long channel, narrow and dark, intended for + the ventilation of the cell, and above was a loft in which the + maize, onions, beans, and other simple winter provisions were + kept. On the south the three rooms opened on a flower garden, + exactly the size of the cell itself, which was separated from + the neighbouring gardens by walls ten feet high, and was + supported by a strongly-built terrace above a little orange + grove which occupied this ledge of the mountain. The lower + ledge was covered with a beautiful arbour of vines, the third + with almond and palm trees, and so on to the bottom of the + little valley, which, as I have said, was an immense garden. + + The flower garden of each cell had all along its right side a + reservoir, made of freestone, from three to four feet in width + and the same in depth, receiving through conduits placed in + the balustrade of the terrace the waters of the mountain, and + distributing them in the flower garden by means of a stone + cross, which divided it into four equal squares. + + As to this flower garden, planted with pomegranate, lemon, and + orange trees, surrounded by raised walks made of bricks which, + like the reservoir, were shaded by perfumed arbours, it was + like a pretty salon of flowers and verdure, where the monk + could walk dry-footed on wet days. +</pre> + <p> + Even without being told, we should have known that the artists who had now + become inmates of the monastery were charmed with their surroundings. + Moreover, George Sand did her utmost to make life within doors + comfortable. When the furniture bought from the Spanish refugee had been + supplemented by further purchases, they were, considering the + circumstances, not at all badly off in this respect. The tables and + straw-bottomed chairs were indeed no better than those one finds in the + cottages of peasants; the sofa of white wood with cushions of mattress + cloth stuffed with wool could only ironically be called "voluptuous"; and + the large yellow leather trunks, whatever their ornamental properties + might be, must have made but poor substitutes for wardrobes. The + folding-beds, on the other hand, proved irreproachable; the mattresses, + though not very soft, were new and clean, and the padded and quilted + chintz coverlets left nothing to be desired. Nor does this enumeration + exhaust the comforts and adornments of which the establishment could + boast. Feathers, a rare article in Majorca, had been got from a French + lady to make pillows for Chopin; Valenciennes matting and long-fleeced + sheep skins covered the dusty floor; a large tartan shawl did duty as an + alcove curtain; a stove of somewhat eccentric habits, and consisting + simply of an iron cylinder with a pipe that passed through the window, had + been manufactured for them at Palma; a charming clay vase surrounded with + a garland of ivy displayed its beauty on the top of the stove; a beautiful + large Gothic carved oak chair with a small chest convenient as a book-case + had, with the consent of the sacristan, been brought from the monks' + chapel; and last, but not least, there was, as we have already read in the + letters, a piano, in the first weeks only a miserable Majorcan instrument, + which, however, in the second half of January, after much waiting, was + replaced by one of Pleyel's excellent cottage pianos. + </p> + <p> + [FOOTNOTE: By the way, among the many important and unimportant doubtful + points which Chopin's and George Sand's letters settle, is also that of + the amount of duty paid for the piano. The sum originally asked by the + Palma custom-house officers seems to have been from 500 to 600 francs, and + this demand was after a fortnight's negotiations reduced to 300 francs. + That the imaginative novelist did not long remember the exact particulars + of this transaction need not surprise us. In Un Hiver a Majorque she + states tha the original demand was 700 francs, and the sum ultimately paid + about 400 francs.] + </p> + <p> + These various items collectively and in conjunction with the rooms in + which they were gathered together form a tout-ensemble picturesque and + homely withal. As regards the supply of provisions, the situation of our + Carthusians was decidedly less brilliant. Indeed, the water and the juicy + raisins, Malaga potatoes, fried Valencia pumpkins, &c., which they had + for dessert, were the only things that gave them unmixed satisfaction. + With anything but pleasure they made the discovery that the chief + ingredient of Majorcan cookery, an ingredient appearing in all imaginable + and unimaginable guises and disguises, was pork. Fowl was all skin and + bones, fish dry and tasteless, sugar of so bad a quality that it made them + sick, and butter could not be procured at all. Indeed, they found it + difficult to get anything of any kind. On account of their non-attendance + at church they were disliked by the villagers of Valdemosa, who sold their + produce to such heretics only at twice or thrice the usual price. Still, + thanks to the good offices of the French consul's cook, they might have + done fairly well had not wet weather been against them. But, alas, their + eagerly-awaited provisions often arrived spoiled with rain, oftener still + they did not arrive at all. Many a time they had to eat bread as hard as + ship-biscuits, and content themselves with real Carthusian dinners. The + wine was good and cheap, but, unfortunately, it had the objectionable + quality of being heady. + </p> + <p> + These discomforts and wants were not painfully felt by George Sand and her + children, nay, they gave, for a time at least, a new zest to life. It was + otherwise with Chopin. "With his feeling for details and the wants of a + refined well-being, he naturally took an intense dislike to Majorca after + a few days of illness." We have already seen what a bad effect the wet + weather and the damp of Son-Vent had on Chopin's health. But, according to + George Sand, [FOOTNOTE: "Un Hiver a Marjorque," pp. 161-168. I suspect + that she mixes up matters in a very unhistorical manner; I have, however, + no means of checking her statements, her and her companion's letters being + insufficient for the purpose. Chopin certainly was not likely to tell his + friend the worst about his health.] it was not till later, although still + in the early days of their sojourn in Majorca, that his disease declared + itself in a really alarming manner. The cause of this change for the worse + was over-fatigue incurred on an excursion which he made with his friends + to a hermitage three miles [FOOTNOTE: George Sand does not say what kind + of miles] distant from Valdemosa; the length and badness of the road alone + would have been more than enough to exhaust his fund of strength, but in + addition to these hardships they had, on returning, to encounter a violent + wind which threw them down repeatedly. Bronchitis, from which he had + previously suffered, was now followed by a nervous excitement that + produced several symptoms of laryngeal phthisis. [FOOTNOTE: In the + Histoire de ma Vie George Sand Bays: "From the beginning of winter, which + set in all at once with a diluvian rain, Chopin showed, suddenly also, all + the symptoms of pulmonary affection."] The physician, judging of the + disease by the symptoms that presented themselves at the time of his + visits, mistook its real nature, and prescribed bleeding, milk diet, &c. + Chopin felt instinctively that all this would be injurious to him, that + bleeding would even be fatal. George Sand, who was an experienced nurse, + and whose opportunities for observing were less limited than those of the + physician, had the same presentiment. After a long and anxious struggle + she decided to disregard the strongly-urged advice of the physician and to + obey the voice that said to her, even in her sleep: "Bleeding will kill + him; but if you save him from it, he will not die," She was persuaded that + this voice was the voice of Providence, and that by obeying it she saved + her friend's life. What Chopin stood most in need of in his weakness and + languor was a strengthening diet, and that, unfortunately, was impossible + to procure:— + </p> +<pre xml:space="preserve"> + What would I not have given to have had some beef-tea and a + glass of Bordeaux wine to offer to our invalid every day! The + Majorcan food, and especially the manner in which it was + prepared when we were not there with eye and hand, caused him + an invincible disgust. Shall I tell you how well founded this + disgust was? One day when a lean chicken was put on the table + we saw jumping on its steaming back enormous Mattres Floh, + [FOOTNOTE: Anglice "fleas."] of which Hoffmann would have made + as many evil spirits, but which he certainly would not have + eaten in gravy. My children laughed so heartily that they + nearly fell under the table. +</pre> + <p> + Chopin's most ardent wish was to get away from Majorca and back to France. + But for some time he was too weak to travel, and when he had got a little + stronger, contrary winds prevented the steamer from leaving the port. The + following words of George Sand depict vividly our poor Carthusian friends' + situation in all its gloom:— + </p> +<pre xml:space="preserve"> + As the winter advanced, sadness more and more paralysed my + efforts at gaiety and cheerfulness. The state of our invalid + grew always worse; the wind wailed in the ravines, the rain + beat against our windows, the voice of the thunder penetrated + through our thick walls and mingled its mournful sounds with + the laughter and sports of the children. The eagles and + vultures, emboldened by the fog, came to devour our poor + sparrows, even on the pomegranate tree which shaded my window. + The raging sea kept the ships in the harbours; we felt + ourselves prisoners, far from all enlightened help and from + all efficacious sympathy. Death seemed to hover over our heads + to seize one of us, and we were alone in contending with him + for his prey. +</pre> + <p> + If George Sand's serenity and gaiety succumbed to these influences, we may + easily imagine how much more they oppressed Chopin, of whom she tells us + that— + </p> +<pre xml:space="preserve"> + The mournful cry of the famished eagle and the gloomy + desolation of the yew trees covered with snow saddened him + much longer and more keenly than the perfume of the orange + trees, the gracefulness of the vines, and the Moorish song of + the labourers gladdened him. +</pre> + <p> + The above-quoted letters have already given us some hints of how the + prisoners of Valdemosa passed their time. In the morning there were first + the day's provisions to be procured and the rooms to be tidied—which + latter business could not be entrusted to Maria Antonia without the + sacrifice of their night's rest. [FOOTNOTE: George Sand's share of the + household work was not so great as she wished to make the readers of Un + Hiver a Majorque believe, for it consisted, as we gather from her letters, + only in giving a helping hand to her maid, who had undertaken to cook and + clean up, but found that her strength fell short of the requirements.] + Then George Sand would teach her children for some hours. These lessons + over, the young ones ran about and amused themselves for the rest of the + day, while their mother sat down to her literary studies and labours. In + the evening they either strolled together through the moonlit cloisters or + read in their cell, half of the night being generally devoted by the + novelist to writing. George Sand says in the "Histoire de ma Vie" that she + wrote a good deal and read beautiful philosophical and historical works + when she was not nursing her friend. The latter, however, took up much of + her time, and prevented her from getting out much, for he did not like to + be left alone, nor, indeed, could he safely be left long alone. Sometimes + she and her children would set out on an expedition of discovery, and + satisfy their curiosity and pleasantly while away an hour or two in + examining the various parts of the vast aggregation of buildings; or the + whole party would sit round the stove and laugh over the rehearsal of the + morning's transactions with the villagers. Once they witnessed even a ball + in this sanctuary. It was on Shrove-Tuesday, after dark, that their + attention was roused by a strange, crackling noise. On going to the door + of their cell they could see nothing, but they heard the noise + approaching. After a little there appeared at the opposite end of the + cloister a faint glimmer of white light, then the red glare of torches, + and at last a crew the sight of which made their flesh creep and their + hair stand on end—he-devils with birds' heads, horses' tails, and + tinsel of all colours; she-devils or abducted shepherdesses in white and + pink dresses; and at the head of them Lucifer himself, horned and, except + the blood-red face, all black. The strange noise, however, turned out to + be the rattling of castanets, and the terrible-looking figures a merry + company of rich farmers and well-to-do villagers who were going to have a + dance in Maria Antonia's cell. The orchestra, which consisted of a large + and a small guitar, a kind of high-pitched violin, and from three to four + pairs of castanets, began to play indigenous jotas and fandangos which, + George Sand tells us, resemble those of Spain, but have an even bolder + form and more original rhythm. The critical spectators thought that the + dancing of the Majorcans was not any gayer than their singing, which was + not gay at all, and that their boleros had "la gravite des ancetres, et + point de ces graces profanes qu'on admire en Andalousie." Much of the + music of these islanders was rather interesting than pleasing to their + visitors. The clicking of the castanets with which they accompany their + festal processions, and which, unlike the broken and measured rhythm of + the Spaniards, consists of a continuous roll like that of a drum "battant + aux champs," is from time to time suddenly interrupted in order to sing in + unison a coplita on a phrase which always recommences but never finishes. + George Sand shares the opinion of M. Tastu that the principal Majorcan + rhythms and favourite fioriture are Arabic in type and origin. + </p> + <p> + Of quite another nature was the music that might be heard in those winter + months in one of the cells of the monastery of Valdemosa. "With what poesy + did his music fill this sanctuary, even in the midst of his most grievous + troubles!" exclaims George Sand. I like to picture to myself the vaulted + cell, in which Pleyel's piano sounded so magnificently, illumined by a + lamp, the rich traceries of the Gothic chair shadowed on the wall, George + Sand absorbed in her studies, her children at play, and Chopin pouring out + his soul in music. + </p> + <p> + It would be a mistake to think that those months which the friends spent + in Majorca were for them a time of unintermittent or even + largely-predominating wretchedness. Indeed, George Sand herself admits + that, in spite of the wildness of the country and the pilfering habits of + the people, their existence might have been an agreeable one in this + romantic solitude had it not been for the sad spectacle of her companion's + sufferings and certain days of serious anxiety about his life. And now I + must quote a. long but very important passage from the "Histoire de ma + Vie":— + </p> +<pre xml:space="preserve"> + The poor great artist was a detestable patient. What I had + feared, but unfortunately not enough, happened. He became + completely demoralised. Bearing pain courageously enough, he + could not overcome the disquietude of his imagination. The + monastery was for him full of terrors and phantoms, even when + he was well. He did not say so, and I had to guess it. On + returning from my nocturnal explorations in the ruins with my + children, I found him at ten o'clock at night before his + piano, his face pale, his eyes wild, and his hair almost + standing on end. It was some moments before he could + recognise us. + + He then made an attempt to laugh, and played to us sublime + things he had just composed, or rather, to be more accurate, + terrible or heartrending ideas which had taken possession of + him, as it were without his knowledge, in that hour of + solitude, sadness, and terror. + + It was there that he composed the most beautiful of those + short pages he modestly entitled "Preludes." They are + masterpieces. Several present to the mind visions of deceased + monks and the sounds of the funeral chants which beset his + imagination; others are melancholy and sweet—they occurred + to him in the hours of sunshine and of health, with the noise + of the children's laughter under the window, the distant + sound of guitars, the warbling of the birds among the humid + foliage, and the sight of the pale little full-blown roses on + the snow. + + Others again are of a mournful sadness, and, while charming + the ear, rend the heart. There is one of them which occurred + to him on a dismal rainy evening which produces a terrible + mental depression. We had left him well that day, Maurice and + I, and had gone to Palma to buy things we required for our + encampment. The rain had come on, the torrents had + overflowed, we had travelled three leagues in six hours to + return in the midst of the inundation, and we arrived in the + dead of night, without boots, abandoned by our driver, having + passed through unheard-of dangers. We made haste, + anticipating the anxiety of our invalid. It had been indeed + great, but it had become as it were congealed into a kind of + calm despair, and he played his wonderful prelude weeping. On + seeing us enter he rose, uttering a great cry, then he said + to us, with a wild look and in a strange tone: "Ah! I knew + well that you were dead!" + + When he had come to himself again, and saw the state in which + we were, he was ill at the retrospective spectacle of our + dangers; but he confessed to me afterwards that while waiting + for our return he had seen all this in a dream and that, no + longer distinguishing this dream from reality, he had grown + calm and been almost lulled to sleep while playing the piano, + believing that he was dead himself. He saw himself drowned in + a lake; heavy and ice-cold drops of water fell at regular + intervals upon his breast, and when I drew his attention to + those drops of water which were actually falling at regular + intervals upon the roof, he denied having heard them. He was + even vexed at what I translated by the term imitative + harmony. He protested with all his might, and he was right, + against the puerility of these imitations for the ear. His + genius was full of mysterious harmonies of nature, translated + by sublime equivalents into his musical thought, and not by a + servile repetition of external sounds. His composition of + this evening was indeed full of the drops of rain which + resounded on the sonorous tiles of the monastery, but they + were transformed in his imagination and his music into tears + falling from heaven on his heart. +</pre> + <p> + Although George Sand cannot be acquitted of the charge of exaggerating the + weak points in her lover's character, what she says about his being a + detestable patient seems to have a good foundation in fact. Gutmann, who + nursed him often, told me that his master was very irritable and difficult + to manage in sickness. On the other hand, Gutmann contradicted George + Sand's remarks about the Preludes, saying that Chopin composed them before + starting on his journey. When I mentioned to him that Fontana had made a + statement irreconcilable with his, and suggested that Chopin might have + composed some of the Preludes in Majorca, Gutmann maintained firmly that + every one of them was composed previously, and that he himself had copied + them. Now with Chopin's letters to Fontana before us we must come to the + conclusion that Gutmann was either under a false impression or confirmed a + rash statement by a bold assertion, unless we prefer to assume that + Chopin's labours on the Preludes in Majorca were confined to selecting, + [FOOTNOTE: Internal evidence suggests that the Preludes consist (to a + great extent at least) of pickings from the composer's portfolios, of + pieces, sketches, and memoranda written at various times and kept to be + utilised when occasion might offer.] filing, and polishing. My opinion—which + not only has probability but also the low opus number (28) and the letters + in its favour—is that most of the Preludes, if not all, were + finished or sketched before Chopin went to the south, and that a few, if + any, were composed and the whole revised at Palma and Valdemosa. Chopin + cannot have composed many in Majorca, because a few days after his arrival + there he wrote: from Palma (Nov. 15, 1838) to Fontana that he would send + the Preludes soon; and it was only his illness that prevented him from + doing so. There is one statement in George Sand's above-quoted narrative + which it is difficult to reconcile with other statements in "Un Hiver a + Majorque" and in her and Chopin's letters. In the just-mentioned book (p. + 177) she says that the journey in question was made for the purpose of + rescuing the piano from the hands of the custom-house officers; and in a + letter of January 15, 1839, to her friend Madame Marliani (quoted on p. + 31), which does not contain a word about adventures on a stormy night, + [They are first mentioned in the letter of January 20, 1839, quoted on p. + 32.] she writes that the piano is still in the clutches of the + custom-house officers. From this, I think, we may conclude that it must + have taken place after January 15. But, then, how could Chopin have + composed on that occasion a Prelude included in a work the manuscript of + which he sent away on the lath? Still, this does not quite settle the + question. Is it not possible that Chopin may have afterwards substituted + the new Prelude for one of those already forwarded to France? To this our + answer must be that it is possible, but that the letters do not give any + support to such an assumption. Another and stronger objection would be the + uncertainty as to the correctness of the date of the letter. Seeing that + so many of Chopin's letters have been published with wrong dates, why not + also that of January 12? Unfortunately, we cannot in this case prove or + disprove the point by internal evidence. There is, however, one factor we + must be especially careful not to forget in our calculations—namely, + George Sand's habitual unconscientious inaccuracy; but the nature of her + narrative will indeed be a sufficient warning to the reader, for nobody + can read it without at once perceiving that it is not a plain, unvarnished + recital of facts. + </p> + <p> + It would be interesting to know which were the compositions that Chopin + produced at Valdemosa. As to the Prelude particularly referred to by + George Sand, it is generally and reasonably believed to be No. 6 (in B + minor). [FOOTNOTE: Liszt, who tells the story differently, brings in the F + sharp minor Prelude. (See Liszt's Chopin, new edition, pp. 273 and 274.)] + The only compositions besides the Preludes which Chopin mentions in his + letters from Majorca are the Ballade, Op, 38, the Scherzo, Op. 39, and the + two Polonaises, Op. 40. The peevish, fretful, and fiercely-scornful + Scherzo and the despairingly-melancholy second Polonaise (in C minor) are + quite in keeping with the moods one imagines the composer to have been in + at the time. Nor is there anything discrepant in the Ballade. But if the + sadly-ailing composer really created, and not merely elaborated and + finished, in Majorca the superlatively-healthy, vigorously-martial, + brilliantly-chivalrous Polonaise in A major, we have here a remarkable + instance of the mind's ascendency over the body, of its independence of + it. This piece, however, may have been conceived under happier + circumstances, just as the gloomy Sonata, Op. 35 (the one in B flat minor, + with the funeral march), and the two Nocturnes, Op. 37—the one (in G + minor) plaintive, longing, and prayerful; the other (in G major) sunny and + perfume-laden—may have had their origin in the days of Chopin's + sojourn in the Balearic island. A letter of Chopin's, written from Nohant + in the summer of 1839, leaves, as regards the Nocturnes, scarcely room for + such a conjecture. On the other hand, we learn from the same letter that + he composed at Palma the sad, yearning Mazurka in E minor (No. 2 of Op. + 41). + </p> + <p> + As soon as fair weather set in and the steamer resumed its weekly courses + to Barcelona, George Sand and her party hastened to leave the island. The + delightful prospects of spring could not detain them. + </p> +<pre xml:space="preserve"> + Our invalid (she says) did not seem to be in a state to stand + the passage, but he seemed equally incapable of enduring + another week in Majorca. The situation was frightful; there + were days when I lost hope and courage. To console us, Maria + Antonia and her village gossips repeated to us in chorus the + most edifying discourses on the future life. "This consumptive + person," they said, "is going to hell, first because he is + consumptive, secondly, because he does not confess. If he is + in this condition when he dies, we shall not bury him in + consecrated ground, and as nobody will be willing to give him + a grave, his friends will have to manage matters as well as + they can. It remains to be seen how they will get out of the + difficulty; as for me, I will have Inothing to do with it,— + Nor I—Nor I: and Amen!" +</pre> + <p> + In fact, Valdemosa, which at first was enchanting to them, lost afterwards + much of its poesy in their eyes. George Sand, as we have seen, said that + their sojourn was I in many respects a frightful fiasco; it was so + certainly as far as Chopin was concerned, for he arrived with a cough and + left the place spitting blood. + </p> + <p> + The passage from Palma to Barcelona was not so pleasant as that from + Barcelona to Palma had been. Chopin suffered much from sleeplessness, + which was caused by the noise and bad smell of the most favoured class of + passengers on board the Mallorquin—i.e., pigs. "The captain showed + us no other attention than that of begging us not to let the invalid lie + down on the best bed of the cabin, because according to Spanish prejudice + every illness is contagious; and as our man thought already of burning the + couch on which the invalid reposed, he wished it should be the worst." + [FOOTNOTE: "Un Hiver a Majorque," pp. 24—25.] + </p> + <p> + On arriving at Barcelona George Sand wrote from the Mallorquin and sent by + boat a note to M. Belves, the officer in command at the station, who at + once came in his cutter to take her and her party to the Meleagre, where + they were well received by the officers, doctor, and all the crew. It + seemed to them as if they had left the Polynesian savages and were once + more in civilised society. When they shook hands with the French consul + they could contain themselves no longer, but jumped for joy and cried + "Vive La France!" + </p> + <p> + A fortnight after their leaving Palma the Phenicien landed them at + Marseilles. The treatment Chopin received from the French captain of this + steamer differed widely from that he had met with at the hands of the + captain of the Mallorquin; for fearing that the invalid was not quite + comfortable in a common berth, he gave him his own bed. [FOOTNOTE: "Un + Hiver a Majorque," p. 183.] + </p> + <p> + An extract from a letter written by George Sand from Marseilles on March + 8, 1839, to her friend Francois Rollinat, which contains interesting + details concerning Chopin in the last scenes of the Majorca intermezzo, + may fitly conclude this chapter. + </p> +<pre xml:space="preserve"> + Chopin got worse and worse, and in spite of all offers of + service which were made to us in the Spanish manner, we should + not have found a hospitable house in all the island. At last + we resolved to depart at any price, although Chopin had not + the strength to drag himself along. We asked only one—a first + and a last service—a carriage to convey him to Palma, where + we wished to embark. This service was refused to us, although + our FRIENDS had all equipages and fortunes to correspond. We + were obliged to travel three leagues on the worst roads in a + birlocho [FOOTNOTE: A cabriolet. In a Spainish Dictionary I + find a birlocho defined as a vehicle open in front, with two + seats, and two or four wheels. A more detailed description is + to be found on p. 101 of George Sand's "Un Hiver a + Marjorque."] that is to say, a brouette. + + On arriving at Palma, Chopin had a frightful spitting of + blood; we embarked the following day on the only steamboat of + the island, which serves to transport pigs to Barcelona. There + is no other way of leaving this cursed country. We were in + company of 100 pigs, whose continual cries and foul odour left + our patient no rest and no respirable air. He arrived at + Barcelona still spitting basins full of blood, and crawling + along like a ghost. There, happily, our misfortunes were + mitigated! The French consul and the commandant of the French + maritime station received us with a hospitality and grace + which one does not know in Spain. We were brought on board a + fine brig of war, the doctor of which, an honest and worthy + man, came at once to the assistance of the invalid, and + stopped the hemorrhage of the lung within twenty-four hours. + + From that moment he got better and better. The consul had us + driven in his carriage to an hotel. Chopin rested there a + week, at the end of which the same vessel which had conveyed + us to Spain brought us back to France. When we left the hotel + at Barcelona the landlord wished to make us pay for the bed in + which Chopin had slept, under the pretext that it had been + infected, and that the police regulations obliged him to burn + it. +</pre> + <p> + <a name="link2HCH0022" id="link2HCH0022"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER XXII. + </h2> + <p> + STAY AT MARSEILLES (FROM MARCH TO MAY, 1839) AS DESCRIBED IN CHOPIN'S AND + MADAME SAND'S LETTERS.—HIS STATE OF HEALTH.—COMPOSITIONS AND + THEIR PUBLICATION.—PLAYING THE ORGAN AT A FUNERAL SERVICE FOR + NOURRIT.—AN EXCURSION TO GENOA.—DEPARTURE FOR NOHANT. + </p> + <p> + As George Sand and her party were obliged to stop at Marseilles, she had + Chopin examined by Dr. Cauviere. This celebrated physician thought him in + great danger, but, on seeing him recover rapidly, augured that with proper + care his patient might nevertheless live a long time. Their stay at + Marseilles was more protracted than they intended and desired; in fact, + they did not start for Nohant till the 22nd of May. Dr. Cauviere would not + permit Chopin to leave Marseilles before summer; but whether this was the + only cause of the long sojourn of the Sand party in the great commercial + city, or whether there were others, I have not been able to discover. + Happily, we have first-hand information—namely, letters of Chopin + and George Sand—to throw a little light on these months of the + pianist-composer's life. As to his letters, their main contents consist of + business matters—wranglings about terms, abuse of publishers, &c. + Here and there, however, we find also a few words about his health, + characteristic remarks about friends and acquaintances, interesting hints + about domestic arrangements and the like—the allusion (in the letter + of March 2, 1839) to a will made by him some time before, and which he + wishes to be burned, will be read with some curiosity. + </p> + <p> + An extract or two from the letter which George Sand wrote on March 8, + 1839, to Francois Rollinat, launches us at once in medias res. + </p> +<pre xml:space="preserve"> + At last we are in Marseilles. Chopin has stood the passage + very well. He is very weak here, but is doing infinitely + better in all respects, and is in the hands of Dr. Cauviere, + an excellent man and excellent physician, who takes a paternal + care of him, and who answers for his recovery. We breathe at + last, but after how many troubles and anxieties!...Write to me + here to the address of Dr. Cauviere, Rue de Rome, 71. + + Chopin charges me to shake you heartily by the hand for him. + Maurice and Solange embrace you. They are wonderfully well. + Maurice has completely recovered. +</pre> + <p> + Chopin to Fontana; Marseilles, March 2, 1839:— + </p> +<pre xml:space="preserve"> + You no doubt learned from Grzymala of the state of my health + and my manuscripts. Two months ago I sent you from Palma my + Preludes. After making a copy of them for Probst and getting + the money from him, you were to give to Leo 1,000 francs; and + out of the 1,500 francs which Pleyel was to give you for the + Preludes I wrote you to pay Nougi and one term to the + landlord. In the same letter, if I am not mistaken, I asked + you to give notice of my leaving the apartments; for were this + not done before April, I should be obliged to retain them for + the next quarter, till July. + + The second batch of manuscripts may have now reached you; for + it must have remained a long time at the custom-house, on the + sea, and again at the custom-house. + + I also wrote to Pleyel with the Preludes that I give him the + Ballade (which I sold to Probst for Germany) for 1,000 francs. + For the two Polonaises I asked 1,500 francs for France, + England, and Germany (the right of Probst is confined to the + Ballade). It seems to me that this is not too dear. + + In this way you ought to get, on receiving the second batch of + manuscripts, from Pleyel 2,500 francs, and from Probst, for + the Ballade, 500 or 600 francs, I do not quite remember, which + makes altogether 3,000 francs. + + I asked Grzymala if he could send me immediately at least 500 + francs, which need not prevent him from sending me soon the + rest. Thus much for business. + + Now if, which I doubt, you succeed in getting apartments from + next month, divide my furniture amongst you three: Grzymala, + Johnnie, and you. Johnnie has the most room, although not the + most sense, judging from the childish letter he wrote to me. + For his telling me that I should become a Camaldolite, let him + take all the shabby things. Do not overload Grzymala too much, + and take to your house what you judge necessary and + serviceable to you, as I do not know whether I shall return to + Paris in summer (keep this to yourself). At all events, we + will always write one another, and if, as I expect, it be + necessary to keep my apartments till July, I beg of you to + look after them and pay the quarterly rent. + + For your sincere and truly affectionate letter you have an + answer in the second Polonaise. [FOOTNOTE: See next foot- + note.] It is not my fault that I am like a mushroom that + poisons when you unearth and taste it. I know I have never in + anything been of service to anyone, but also not of much to + myself. + + I told you that in the first drawer of my writing-desk near + the door there was a paper which you or Grzymala or Johnnie + might unseal on a certain occasion. Now I beg of you to take + it out and, WITHOUT READING IT, BURN IT. Do this, I entreat + you, for friendship's sake. This paper is now of no use. + + If Anthony leaves without sending you the money, it is very + much in the Polish style; nota bene, do not say to him a word + about it. Try to see Pleyel; tell him I have received no word + from him, and that his pianino is entrusted to safe hands. + Does he agree to the transaction I proposed to him? + + The letters from home reached me all three together, with + yours, before going on board the vessel. I again send you one. + + I thank you for the friendly help you give me, who am not + strong. My love to Johnnie, tell him that I did not allow + them, or rather that they were not permitted, to bleed me; + that I wear vesicatories, that I am coughing a very little in + the morning, and that I am not yet at all looked upon as a + consumptive person. I drink neither coffee nor wine, but milk. + Lastly, I keep myself warm, and look like a girl. +</pre> + <p> + Chopin to Fontana; Marseilles, March 6, 1839:— + </p> +<pre xml:space="preserve"> + My health is still improving; I begin to play, eat, walk, and + speak, like other men; and when you receive these few words + from me you will see that I again write with ease. But once + more of business. I would like very much that my Preludes + should be dedicated to Pleyel (surely there is still time, for + they are not yet printed) and the Ballade to Robert Schumann. + The Polonaises, as they are, to you and to Kessler. If Pleyel + does not like to give up the dedication of the Ballade, you + will dedicate the Preludes to Schumann. + + [FOOTNOTE: The final arrangement was that Op. 38, the + "Deuxieme Ballade," was dedicated to Robert Schumann; Op. 40, + the "Deux Polonaises," to Julius Fontana; the French and the + English edition of Op. 28, "Vingt-quatre Preludes," to Camille + Pleyel, and the German editon to J. C. Kessler.] + + Garczynski called upon me yesterday on his way back from Aix; + he is the only person that I have received, for I keep the + door well shut to all amateurs of music and literature. + + Of the change of dedication you will inform Probst as soon as + you have arranged with Pleyel. + + From the money obtained you will give Grzymala 500 francs, the + rest, 2,500 francs, you will send me as soon as possible. + + Love me and write. + + Pardon me if I overwhelm you too much with commissions, but do + not be afraid, these are not the last. I think you do + willingly what I ask you. + + My love to Johnnie. +</pre> + <p> + Chopin to Fontana; Marseilles, March 10, 1839:— + </p> +<pre xml:space="preserve"> + Thanks for your trouble. I did not expect Jewish tricks from + Pleyel; but if it is so, I beg of you to give him the enclosed + letter, unless he makes no difficulties about the Ballade and + the Polonaises. On the other hand, on receiving for the + Ballade 500 francs from Probst, you will take it to + Schlesinger. If one has to deal with Jews, let it at least be + with orthodox ones. Probst may cheat me still worse; he is a + bird you will not catch. Schlesinger used to cheat me, he + gained enough by me, and he will not reject new profit, only + be polite to him. Though a Jew, he nevertheless wishes to pass + for something better. + + Thus, should Pleyel make the least difficulties, you will go + to Schlesinger, and tell him that I give him the Ballade for + France and England for 800 francs, and the Polonaises for + Germany, England, and France for 1,500 francs (should he not + be inclined to give so much, give them for 1,400, 1,300, and + even for 1,200 francs). If he mentions the Preludes, you may + say that it is a thing long ago promised to Pleyel—he wished + to be the publisher of them; that he asked them from me as a + favour before my departure from Paris—as was really the case. + You see, my very dear friend, for Pleyel I could break with + Schlesinger, but for Probst I cannot. What is it to me if + Schlesinger makes Probst pay dearer for my manuscripts? If + Probst pays dear for them to Schlesinger, it shows that the + latter cheats me, paying me too little. After all, Probst has + no establishment in Paris. For all my printed things + Schlesinger paid me at once, and Probst very often made me + wait for money. If he will not have them all, give him the + Ballade separately, and the Polonaises separately, but at the + latest within two weeks. If he does not accept the offer, then + apply to Probst. Being such an admirer of mine, he must not + pay less than Pleyel. You will deliver my letter to Pleyel + only if he makes any difficulties. + + Dear me! this Pleyel who is such an adorer of mine! He thinks, + perhaps, that I shall never return to Paris alive. I shall + come back, and shall pay him a visit, and thank him as well as + Leo. + + I enclose a note to Schlesinger, in which I give you full + authority to act in this matter. + + I feel better every day; nevertheless, you will pay the + portier these fifty francs, to which I completely agree, for + my doctor does not permit me to move from here before summer. + + Mickiewicz's "Dziady" I received yesterday. What shall you do + with my papers? + + The letters you will leave in the writing-desk, and send the + music to Johnnie, or take it to your own house. In the little + table that stands in the anteroom there are also letters; you + must lock it well. + + My love to Johnnie, I am glad he is better. +</pre> + <p> + Chopin to Fontana; March 17, 1839:— + </p> +<pre xml:space="preserve"> + I thank you for all your efforts. Pleyel is a scoundrel, + Probst a scape-grace. He never gave me 1,000 francs for three + manuscripts. Very likely you have received my long letter + about Schlesinger, therefore I wish you and beg of you to give + that letter of mine to Pleyel, who thinks my manuscripts too + dear. If I have to sell them cheap, I would rather do so to + Schlesinger than look for new and improbable connections. For + Schlesinger can always count upon England, and as I am square + with Wessel, he may sell them to whomsoever he likes. The same + with the Polonaises in Germany, for Probst is a bird whom I + have known a long time. As regards the money, you must make an + unequivocal agreement, and do not give the manuscripts except + for cash. I send you a reconnaissance for Pleyel, it + astonishes me that he absolutely wants it, as if he could not + trust me and you. + + Dear me, this Pleyel who said that Schlesinger paid me badly! + 500 francs for a manuscript for all the countries seems to him + too dear! I assure you I prefer to deal with a real Jew. And + Probst, that good-for-nothing fellow, who pays me 300 francs + for my mazurkas! You see, the last mazurkas brought me with + ease 800 francs—namely, Probst 300 francs, Schlesinger 400, + and Wessel 100. I prefer giving my manuscripts as formerly at + a very low price to stooping before these...I prefer being + submissive to one Jew to being so to three. Therefore go to + Schlesinger, but perhaps you settled with Pleyel. + + Oh, men, men! But this Mrs. Migneron, she too is a good one! + However, Fortune turns round, I may yet live and hear that + this lady will come and ask you for some leather; if, as you + say, you are aiming at being a shoemaker. I beg of you to make + shoes neither for Pleyel nor for Probst. + + Do not yet speak to anyone of the Scherzo [Op. 39]. I do not + know when I shall finish it, for I am still weak and cannot + write. + + As yet I have no idea when I shall see you. My love to + Grzymala; and give him such furniture as he will like, and let + Johnnie take the rest from the apartments. I do not write to + him, but I love him always. Tell him this, and give him my + love. + + Wodzinski still astonishes me. + + When you receive the money from Pleyel, pay first the + landlord's rent, and send me immediately 500 francs. I left on + the receipt for Pleyel the Op. blank, for I do not remember + the following number. +</pre> + <p> + Madame Sand to Madame Marliani; Marseilles, April 22, 1839:— + </p> +<pre xml:space="preserve"> + ...I was also occupied with the removal from one hotel to + another. Notwithstanding all his efforts and inquiries, the good + doctor was not able to find me a corner in the country where to + pass the month of April. + + I am pretty tired of this town of merchants and shopkeepers, + where the intellectual life is wholly unknown; but here I am + still shut up for the month of April. +</pre> + <p> + Further on in the letter, after inviting Madame Marliani and her husband + to come to Nohant in May, she proceeds thus:— + </p> +<pre xml:space="preserve"> + He [M. Marliani] loves the country, and I shall be a match for + him as regards rural pleasures, while you [Madame Marliani] + will philosophise at the piano with Chopin. It can hardly be + said that he enjoys himself in Marseilles; but he resigns + himself to recover patiently. +</pre> + <p> + The following letter of Chopin to Fontana, which Karasowski thinks was + written at Valdemosa in the middle of February, ought to be dated + Marseilles, April, 1839:— + </p> +<pre xml:space="preserve"> + As they are such Jews, keep everything till my return. The + Preludes I have sold to Pleyel (I received from him 500 + francs). He is entitled to do with them what he likes. But as + to the Ballades and Polonaises, sell them neither to + Schlesinger nor to Probst. But whatever may happen, with no + Schonenberger [FOOTNOTE: A Paris music-publisher] will I have + anything to do. Therefore, if you gave the Ballade to Probst, + take it back, even though he offered a thousand. You may tell + him that I have asked you to keep it till my return, that when + I am back we shall see. + + Enough of these...Enough for me and for you. + + My very life, I beg of you to forgive me all the trouble; you + have really been busying yourself like a friend, and now you + will have still on your shoulders my removal. I beg Grzymala + to pay the cost of the removal. As to the portier, he very + likely tells lies, but who will prove it? You must give, in + order to stop his barking. + + My love to Johnnie, I will write to him when I am in better + spirits. My health is improved, but I am in a rage. Tell + Johnnie that from Anthony as well as from me he will have + neither word nor money. + + Yesterday I received your letter, together with letters from + Pleyel and Johnnie. + + If Clara Wieck pleased you, that is good, for nobody can play + better than she does. When you see her give her my + compliments, and also to her father. + + Did I happen to lend you Witwicki's songs? I cannot find them. + I only ask for them in case you should chance to have them. +</pre> + <p> + Chopin to Fontana; Marseilles, March 25 [should no doubt be April 25], + 1839:— + </p> +<pre xml:space="preserve"> + I received your letter, in which you let me know the + particulars of the removal. I have no words to thank you for + your true, friendly help. The particulars were very + interesting to me. But I am sorry that you complain, and that + Johnnie is spitting blood. Yesterday I played for Nourrit on + the organ, you see by this that I am better. Sometimes I play + to myself at home, but as yet I can neither sing nor dance. + + Although the news of my mother is welcome, its having been + originated by Plat... is enough to make one consider it a + falsehood. + + The warm weather has set in here, and I shall certainly not + leave Marseilles before May, and then go somewhere else in the + south of France. + + It is not likely that we shall soon have news from Anthony. + Why should he write? Perhaps to pay his debts? But this is not + customary in Poland. The reason Raciborski appreciates you so + much is that you have no Polish habits, nota bene, not those + Polish habits you know and I mean. + + You are staying at No. 26 [Chaussee d'Antin]. Are you + comfortable? On what floor, and how much do you pay? I take + more and more interest in these matters, for I also shall be + obliged to think of new apartments, but not till after my + return to Paris. + + I had only that letter from Pleyel which he sent through you— + it is a month ago or more. Write to the same address, Rue et + Hotel Beauveau. + + Perhaps you did not understand what I said above about my + having played for Nourrit. His body was brought from Italy and + carried to Paris. There was a Requiem Mass for his soul. I was + asked by his friends to play on the organ during the + Elevation. + + Did Miss Wieck play my Etude well? Could she not select + something better than just this etude, the least interesting + for those who do not know that it is written for the black + keys? It would have been far better to do nothing at all. + [FOOTNOTE: Clara Wieck gave a concert in Paris on April 16, + 1839. The study in question is No. 5 of Op. 10 (G flat major). + Only the right hand plays throughout on black keys.] + + In conclusion, I have nothing more to write, except to wish + you good luck in the new house. Hide my manuscripts, that they + may not appear printed before the time. If the Prelude is + printed, that is Pleyel's trick. But I do not care. + Mischievous Germans, rascally Jews...! Finish the litany, for + you know them as well as I do. + + Give my love to Johnnie and Grzymaia if you see them.—Your + + FREDERICK. +</pre> + <p> + One subject mentioned in this letter deserves a fuller explanation than + Chopin vouchsafes. Adolphe Nourrit, the celebrated tenor singer, had in a + state of despondency, caused by the idea that since the appearance of his + rival Duprez his popularity was on the wane, put an end to his life by + throwing himself out of a window at Naples on the 8th of March, 1839. + [FOOTNOTE: This is the generally-accepted account of Nourrit's death. But + Madame Garcia, the mother of the famous Malibran, who at the time was + staying in the same house, thought it might have been an accident, the + unfortuante artist having in the dark opened a window on a level with the + floor instead of a door. (See Fetis: Biographie universelle des + Musiciens.)] Madame Nourrit brought her husband's body to Paris, and it + was on the way thither that a funeral service was held at Marseilles for + the much-lamented man and singer. + </p> + <p> + Le Sud, Journal de la Mediterranee of April 25, 1839, [FOOTNOTE: Quoted in + L. M. Quicherat's Adolphe Nourrit, sa vie, son talent, son caractere] + shall tell us of Chopin's part in this service:— + </p> +<pre xml:space="preserve"> + At the Elevation of the Host were heard the melancholy tones + of the organ. It was M. Chopin, the celebrated pianist, who + came to place a souvenir on the coffin of Nourrit; and what a + souvenir! a simple melody of Schubert, but the same which had + so filled us with enthusiasm when Nourrit revealed it to us at + Marseilles—the melody of Les Astres. [FOOTNOTE: Die gestirne + is the original German title of this song.] +</pre> + <p> + A less colourless account, one full of interesting facts and free from + conventional newspaper sentiment and enthusiasm, we find in a letter of + Chopin's companion. + </p> + <p> + Madame Sand to Madame Marliani; Marseilles, April 28, 1839:— + </p> +<pre xml:space="preserve"> + The day before yesterday I saw Madame Nourrit with her six + children, and the seventh coming shortly...Poor unfortunate + woman! what a return to France! accompanying this corpse, and + she herself super-intending the packing, transporting, and + unpacking [charger, voiturer, deballer] of it like a parcel! + + They held here a very meagre service for the poor deceased, + the bishop being ill-disposed. This was in the little church + of Notre-Dame-du-Mont. I do not know if the singers did so + intentionally, but I never heard such false singing. Chopin + devoted himself to playing the organ at the Elevation, what an + organ! A false, screaming instrument, which had no wind except + for the purpose of being out of tune. Nevertheless, YOUR + LITTLE ONE [votre petit] made the most of it. He took the + least shrill stops, and played Les Astres, not in a proud and + enthusiastic style as Nourrit used to sing it, but in a + plaintive and soft style, like the far-off echo from another + world. Two, at the most three, were there who deeply felt + this, and our eyes filled with tears. + + The rest of the audience, who had gone there en masse, and had + been led by curiosity to pay as much as fifty centimes for a + chair (an unheard-of price for Marseilles), were very much + disappointed; for it was expected that he would make a + tremendous noise and break at least two or three stops. They + expected also to see me, in full dress, in the very middle of + the choir; what not? They did not see me at all; I was hidden + in the organ-loft, and through the balustrade I descried the + coffin of poor Nourrit. +</pre> + <p> + Thanks to the revivifying influences of spring and Dr. Cauviere's + attention and happy treatment, Chopin was able to accompany George Sand on + a trip to Genoa, that vaga gemma del mar, fior delta terra. It gave George + Sand much pleasure to see again, now with her son Maurice by her side, the + beautiful edifices and pictures of the city which six years before she had + visited with Musset. Chopin was probably not strong enough to join his + friends in all their sight-seeing, but if he saw Genoa as it presents + itself on being approached from the sea, passed along the Via Nuova + between the double row of magnificent palaces, and viewed from the cupola + of S. Maria in Carignano the city, its port, the sea beyond, and the + stretches of the Riviera di Levante and Riviera di Ponente, he did not + travel to Italy in vain. Thus Chopin got at last a glimpse of the land + where nine years before he had contemplated taking up his abode for some + time. + </p> + <p> + On returning to Marseilles, after a stormy passage, on which Chopin + suffered much from sea-sickness, George Sand and her party rested for a + few days at the house of Dr. Cauviere, and then set out, on the 22nd of + May, for Nohant. + </p> + <p> + Madame Sand to Madame Marliani; Marseilles, May 20, 1839:— + </p> +<pre xml:space="preserve"> + We have just arrived from Genoa, in a terrible storm. The bad + weather kept us on sea double the ordinary time; forty hours + of rolling such as I have not seen for a long time. It was a + fine spectacle, and if everybody had not been ill, I would + have greatly enjoyed it... + + We shall depart the day after to-morrow for Nohant. Address + your next letter to me there, we shall be there in eight days. + My carriage has arrived from Chalon at Arles by boat, and we + shall post home very quietly, sleeping at the inns like good + bourgeois. +</pre> + <p> + <a name="link2HCH0023" id="link2HCH0023"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER XXIII. + </h2> + <p> + JUNE TO OCTOBER, 1839. + </p> + <p> + GEORGE SAND AND CHOPIN'S RETURN TO NOHANT.—STATE OF HIS HEALTH.—HIS + POSITION IN HIS FRIEND'S HOUSE.—HER ACCOUNT OF THEIR RELATIONSHIP.—HIS + LETTERS TO FONTANA, WHICH, AMONG MANY OTHER MATTERS, TREAT OF HIS + COMPOSITIONS AND OF PREPARATIONS TO BE MADE FOR HIS AND GEORGE SAND'S + ARRIVAL IN PARIS. + </p> + <p> + The date of one of George Sand's letters shows that the travellers were + settled again at Nohant on the 3rd of June, 1839. Dr. Papet, a rich friend + of George Sand's, who practised his art only for the benefit of the poor + and his friends, took the convalescent Chopin at once under his care. He + declared that his patient showed no longer any symptoms of pulmonary + affection, but was suffering merely from a slight chronic laryngeal + affection which, although he did not expect to be able to cure it, need + not cause any serious alarm. + </p> + <p> + On returning to Nohant, George Sand had her mind much exercised by the + question how to teach her children. She resolved to undertake the task + herself, but found she was not suited for it, at any rate, could not + acquit herself of it satisfactorily without giving up writing. This + question, however, was not the only one that troubled her. + </p> +<pre xml:space="preserve"> + In the irresolution in which I was for a time regarding the + arrangement of my life with a view to what would be best for + my dear children, a serious question was debated in my + conscience. I asked myself if I ought to entertain the idea + which Chopin had formed of taking up his abode near me. I + should not have hesitated to say "no," had I known then for + how short a time the retired life and the solemnity of the + country suited his moral and physical health. I still + attributed his despair and horror of Majorca to the excitement + of fever and the exces de caractere of that place. Nohant + offered pleasanter conditions, a less austere retreat, + congenial society, and resources in case of illness. Papet was + to him an enlightened and kind physician. Fleury, Duteil, + Duvernet, and their families, Planet, and especially Rollinat, + were dear to him at first sight. All of them loved him also, + and felt disposed to spoil him as I did. +</pre> + <p> + Among those with whom the family at Nohant had much intercourse, and who + were frequent guests at the chateau, was also an old acquaintance of ours, + one who had not grown in wisdom as in age, I mean George Sand's + half-brother, Hippolyte Chatiron, who was now again living in Berry, his + wife having inherited the estate of Montgivray, situated only half a + league from Nohant. + </p> +<pre xml:space="preserve"> + His warmth of manner, his inexhaustible gaiety, the + originality of his sallies, his enthusiastic and naive + effusions of admiration for the genius of Chopin, the always + respectful deference which he showed to him alone, even in the + inevitable and terrible apres-boire, found favour with the + eminently-aristocratic artist. All, then, went very well at + first, and I entertained eventually the idea that Chopin might + rest and regain his health by spending a few summers with us, + his work necessarily calling him back to Paris in the winter. + + However, the prospect of this kind of family union with a + newly-made friend caused me to reflect. I felt alarmed at the + task which I was about to undertake, and which I had believed + would be limited to the journey in Spain. +</pre> + <p> + In short, George Sand presents herself as a sister of mercy, who, prompted + by charity, sacrifices her own happiness for that of another. + Contemplating the possibility of her son falling ill and herself being + thereby deprived of the joys of her work, she exclaims: "What hours of my + calm and invigorating life should I be able to devote to another patient, + much more difficult to nurse and comfort than Maurice?" + </p> + <p> + The discussion of this matter by George Sand is so characteristic of her + that, lengthy as it is, I cannot refrain from giving it in full. + </p> +<pre xml:space="preserve"> + A kind of terror seized me in presence of a new duty which I + was to take upon me. I was not under the illusion of passion. + I had for the artist a kind of maternal adoration which was + very warm, very real, but which could not for a moment contend + with maternal love, the only chaste feeling which may be + passionate. + + I was still young enough to have perhaps to contend with love, + with passion properly so called. This contingency of my age, + of my situation, and of the destiny of artistic women, + especially when they have a horror of passing diversions, + alarmed me much, and, resolved as I was never to submit to any + influence which might divert me from my children, I saw a + less, but still possible danger in the tender friendship with + which Chopin inspired me. + + Well, after reflection, this danger disappeared and even + assumed an opposite character—that of a preservative against + emotions which I no longer wished to know. One duty more in my + life, already so full of and so overburdened with work, + appeared to me one chance more to attain the austerity towards + which I felt myself attracted with a kind of religious + enthusiasm. +</pre> + <p> + If this is a sincere confession, we can only wonder at the height of + self-deception attainable by the human mind; if, however, it is meant as a + justification, we cannot but be surprised at the want of skill displayed + by the generally so clever advocate. In fact, George Sand has in no + instance been less happy in defending her conduct and in setting forth her + immaculate virtuousness. The great words "chastity" and "maternity" are of + course not absent. George Sand could as little leave off using them as + some people can leave off using oaths. In either case the words imply much + more than is intended by those from whose mouths or pens they come. A + chaste woman speculating on "real love" and "passing diversions," as + George Sand does here, seems to me a strange phenomenon. And how + charmingly naive is the remark she makes regarding her relations with + Chopin as a "PRESERVATIVE against emotions which she no longer wished to + know"! I am afraid the concluding sentence, which in its unction is worthy + of Pecksniff, and where she exhibits herself as an ascetic and martyr in + all the radiance of saintliness, will not have the desired effect, but + will make the reader laugh as loud as Musset is said to have done when she + upbraided him with his ungratefulness to her, who had been devoted to him + to the utmost bounds of self-abnegation, to the sacrifice of her noblest + impulses, to the degradation of her chaste nature. + </p> + <p> + George Sand, looking back in later years on this period of her life, + thought that if she had put into execution her project of becoming the + teacher of her children, and of shutting herself up all the year round at + Nohant, she would have saved Chopin from the danger which, unknown to her, + threatened him—namely, the danger of attaching himself too + absolutely to her. At that time, she says, his love was not so great but + that absence would have diverted him from it. Nor did she consider his + affection exclusive. In fact, she had no doubt that the six months which + his profession obliged him to pass every year in Paris would, "after a few + days of malaise and tears," have given him back to "his habits of + elegance, exquisite success, and intellectual coquetry." The correctness + of the facts and the probability of the supposition may be doubted. At any + rate, the reasons which led her to assume the non-exclusiveness of + Chopin's affection are simply childish. That he spoke to her of a romantic + love-affair he had had in Poland, and of sweet attractions he had + afterwards experienced in Paris, proves nothing. What she says about his + mother having been his only passion is still less to the point. But + reasoning avails little, and the strength of Chopin's love was not put to + the test. He went, indeed, in the autumn of 1839 to Paris, but not alone; + George Sand, professedly for the sake of her children's education, went + there likewise. "We were driven by fate," she says, "into the bonds of a + long connection, and both of us entered into it unawares." The words + "driven by fate," and "entered into it unawares," sound strange, if we + remember that they apply not to a young girl who, inexperienced and + confiding, had lost herself in the mazes of life, but to a novelist + skilled in the reading of human hearts, to a constantly-reasoning and + calculating woman, aged 35, who had better reasons than poor Amelia in + Schiller's play for saying "I have lived and loved." + </p> + <p> + After all this reasoning, moralising, and sentimentalising, it is pleasant + to be once more face to face with facts, of which the following letters, + written by Chopin to Fontana during the months from June to October, 1839, + contain a goodly number. The rather monotonous publishing transactions + play here and there again a prominent part, but these Nohant letters are + on the whole more interesting than the Majorca letters, and decidedly more + varied as regards contents than those he wrote from Marseilles—they + tell us much more of the writer's tastes and requirements, and even reveal + something of his relationship to George Sand. Chopin, it appears to me, + did not take exactly the same view of this relationship as the novelist. + What will be read with most interest are Chopin's directions as to the + decoration and furnishing of his rooms, the engagement of a valet, the + ordering of clothes and a hat, the taking of a house for George Sand, and + certain remarks made en passant on composers and other less-known people. + </p> +<pre xml:space="preserve"> + [I.] + + ...The best part of your letter is your address, which I had + already forgotten, and without which I do not know if I would + have answered you so soon; but the worst is the death of + Albrecht. [FOOTNOTE: See p.27 foot-note 7.] + + You wish to know when I shall be back. When the misty and + rainy weather begins, for I must breathe fresh air. + + Johnnie has left. I don't know if he asked you to forward to + me the letters from my parents should any arrive during his + absence and be sent to his usual address. Perhaps he thought + of it, perhaps not. I should be very sorry if any of them + miscarried. It is not long since I had a letter from home, + they will not write soon, and by this time he, who is so kind + and good, will be in good health and return. + + I am composing here a Sonata in B flat minor, in which will be + the Funeral March which you have already. There is an allegro, + then a "Scherzo" in E flat minor, the "March," and a short + "Finale" of about three pages. The left hand unisono with the + right hand are gossiping [FOOTNOTE: "Lewa reka unisono z + prawa, ogaduja po Marszu."] after the March. I have a new + "Nocturne" in G major, which will go along with the Nocturne + in G minor, [FOOTNOTE: "Deux Nocturnes," Op.37.] if you + remember such a one. + + You know that I have four new mazurkas: one from Palma in E + minor, three from here in B major, A flat major, and C sharp + minor. [FOOTNOTE: Quatre mazurkas, Op. 41.] They seem to me + pretty, as the youngest children usually do when the parents + grow old. + + Otherwise I do nothing; I correct for myself the Parisian + edition of Bach; not only the stroke-makers' [FOOTNOTE: In + Polish strycharz, the usual meaning of which is "brickmaker." + Chopin may have played upon the word. A mistake, however, is + likewise possible, as the Polish for engraver is sztycharz.] + (engravers') errors, but, I think, the harmonic errors + committed by those who pretend to understand Bach. I do not do + it with the pretension that I understand him better than they, + but from a conviction that I sometimes guess how it ought to + be. + + You see I have praised myself enough to you. + + Now, if Grzymata will visit me (which is doubtful), send me + through him Weber for four hands. Also the last of my Ballade + in manuscript, as I wish to change something in it. I should + like very much to have your copy of the last mazurkas, if you + have such a thing, for I do not know if my gallantry went so + far as to give you a copy. + + Pleyel wrote to me that you were very obliging, and have + corrected the Preludes. Do you know how much Wessel paid him + for them? It would be well to know this for the future. + + My father has written to me that my old sonata has been + published by Haslinger, and that the Germans praise it. + [FOOTNOTE: There must have been some misunderstanding; the + Sonata, Op. 4, was not published till 1851.] + + I have now, counting those you have, six manuscripts; the + devil take them if they get them for nothing. Pleyel did not + do me any service with his offers, for he thereby made + Schlesinger indifferent about me. But I hope this will be set + right, f wrote to ask him to let me know if he had been paid + for the piano sent to Palma, and I did so because the French + consul in Majorca, whom I know very well, was to be changed, + and had he not been paid, it would have been very difficult + for me to settle this affair at such a distance. Fortunately, + he is paid, and very liberally, as he wrote to me only last + week. + + Write to me what sort of lodgings you have. Do you board at + the club? + + Woyciechowski wrote to me to compose an oratorio. I answered + him in the letter to my parents. Why does he build a sugar- + refinery and not a monastery of Camaldolites or a nunnery of + Dominican sisters! +</pre> +<pre xml:space="preserve"> + [2.] + + I give you my most hearty thanks for your upright, friendly, + not English but Polish soul. + + Select paper (wall-paper) such as I had formerly, tourterelle + (dove colour), only bright and glossy, for the two rooms, also + dark green with not too broad stripes. For the anteroom + something else, but still respectable. Nevertheless, if there + are any nicer and more fashionable papers that are to your + liking, and you think that I also will like them, then take + them. I prefer the plain, unpretending, and neat ones to the + common shopkeeper's staring colours. Therefore, pearl colour + pleases me, for it is neither loud nor does it look vulgar. I + thank you for the servant's room, for it is much needed. + + Now, as to the furniture: you will make the best of it if you + look to it yourself. I did not dare to trouble you with it, + but if you will be so kind, take it and arrange it as it ought + to be. I shall ask Grzymala to give money for the removal. I + shall write to him about it at once. As to the bed and writing- + desk, it may be necessary to give them to the cabinet-maker to + be renewed. In this case you will take the papers out of the + writing-desk, and lock them up somewhere else. I need not tell + you what you ought to do. Act as you like and judge what is + necessary. Whatever you may do will be well done. You have my + full confidence: this is one thing. + + Now the second. + + You must write to Wessel—doubtless you have already written + about the Preludes. Let him know that I have six new + manuscripts, for which I want 300 francs each (how many pounds + is that?). If you think he would not give so much, let me know + first. Inform me also if Probst is in Paris. Further look out + for a servant. I should prefer a respectable honest Pole. Tell + also Grzymala of it. Stipulate that he is to board himself; no + more than 80 francs. I shall not be in Paris before the end of + October—keep this, however, to yourself. + + My dear friend, the state of Johnnie's health weighs sometimes + strangely on my heart. May God give him what he stands in need + of, but he should not allow himself to be cheated...However, + this is neither here nor there. The greatest truth in the + world is that I shall always love you as a most honest and + kind man and Johnnie as another. + + I embrace you both, write each of you and soon, were it of + nothing more than the weather.—Your old more than ever long- + nosed + + FREDERICK. +</pre> +<pre xml:space="preserve"> + [3.] + + According to your description and that of Grzymala you have + found such capital rooms that we are now thinking you have a + lucky hand, and for this reason a man—and he is a great man, + being the portier of George's house—who will run about to + find a house for her, is ordered to apply to you when he has + found a few; and you with your elegant tact (you see how I + flatter you) will also examine what he has found, and give + your opinion thereon. The main point is that it should be + detached, if possible; for instance, a little hotel. Or + something in a courtyard, with a view into a garden, or, if + there be no garden, into a large court-yard; nota bene, very + few lodgers—elegant—not higher than the second story. + Perhaps some corps de logis, but small, or something like + Perthuis's house, or even smaller. Lastly, should it be in + front, the street must not be noisy. In one word, something + you judge would be good for her. If it could be near me, so + much the better; but if it cannot be, this consideration need + not prevent you. + + It seems to me that a little hotel in the new streets—such as + Clichy, Blanche, or Notre-Dame-de-Lorette, as far as Rue des + Martyrs—would be most suitable. Moreover, I send you a list + of the streets where Mr. Mardelle—the portier of the Hotel + Narbonne, Rue de la Harpe, No. 89, which belongs to George— + will look for a house. If in your leisure time you also looked + out for something in our part of the town, it would be very + nice. Fancy, I don't know why, but we think that you will find + something wonderfully good, although it is already late. + + The price she wishes to pay is from 2,000 to 2,500 francs, you + might also give a couple of hundred francs more if anything + extra fine should turn up. Grzymala and Arago promised to look + out for something, but in spite of Grzymala's efforts nothing + acceptable has thus far been found. I have written to him that + he should employ you also in this business of mine (I say of + MINE, for it is just the same as if it were mine). I shall + write to him again to-day and tell him that I have asked you + to give your help and use all your talents. It is necessary + that there should be three bedrooms, two of which must be + beside each other and one separated, for instance, by the + drawing-room. Adjoining the third there will be required a + well-lighted cabinet for her study. The other two may be + small, this one, the third, also not very large. Besides this + a drawing-room and dining-room in proportion. A pretty large + kitchen. Two rooms for the servants, and a coal-cellar. The + rooms must of course have inlaid floors, be newly laid, if + possible, and require no repairs. But a little hotel or a + separate part of a house in a court-yard looking into a garden + would be most desirable. There must be tranquillity, + quietness, no blacksmith in the neighbourhood. Respectable + stairs. The windows exposed to the sun, absolutely to the + south. Further, there must be no smoke, no bad odour, but a + fine view, a garden, or at least a large court. A garden would + be best. In the Faubourg St. Germain are many gardens, also in + the Faubourg St. Honore. Find something quickly, something + splendid, and near me. As soon as you have any chance, write + immediately, don't be lazy; or get hold of Grzymala, go and + see, both of you, take et que cela finisse. I send you a plan + of the arrangement of the apartments. If you find something + like this, draw the plan, or take it at once, which will be + better than letting it slip out of your hands. + + Mr. Mardelle is a decent man, and no fool, he was not always a + portier. He is ordered to go and see you whenever he finds + anything. You must also on your part be on the look-out, but + let us keep that between us. I embrace you and Johnnie also. + You will have our true gratitude when you find a house. + + [a diagram of the apartments is inserted here in the letter.] + + +————————————————————————————————+ + | | | | | | + | Study | Bedroom. | Drawing room. | Bedroom. | Servants' room. | + | | | | | | + |————————————————————————————————| + | | | | + | | Dining room | | + | | | | + |————————————————————————————————| + | | | | + | | Lobby | | + | | | | + +————————————————————————————————+ + + Pas de voisinage, surtout blacksmith, nor anything that + belongs to him. For God's sake I beg of you take an active + interest in the matter, my dear friend! +</pre> +<pre xml:space="preserve"> + [4.] + + I thank you for all your kind actions. + + In the anteroom you will direct the grey curtains to be hung + which were in my cabinet with the piano, and in the bedroom + the same that were in the bedroom, only under them the white + muslin ones which were under the grey ones. + + I should like to have a little press in my bedroom, unless + there be not room enough, or the drawing-room be too bare + between the windows. + + If the little sofa, the same which stood in the dining-room, + could be covered with red, with the same stuff with which the + chairs are covered, it might be placed in the drawing-room; + but as it would be necessary to call in the upholsterer for + that, it may be difficult. + + It is a good thing that Domaradzki is going to be married, for + surely he will give me back the 80 francs after the wedding. I + should like also to see Podczaski married, and Nakw. + (Nakwaska), and Anthony also. Let this remain between this + paper, myself, and you. + + Find me a valet. Kiss Madame Leo (surely the first commission + will be the more pleasant to you, wherefore I relieve you of + the second if you will do the first). + + Let me know about Probst, whether he is in Paris or not. Do + not forget Wessel. Tell Gutmann that I was much pleased that + he asked for me at least once. To Moscheles, should he be in + Paris, order to be given an injection of Neukomm's oratorios, + prepared with Berlioz's "Cellini" and Doehler's Concerto. Give + Johnnie from me for his breakfast moustaches of sphinxes and + kidneys of parrots, with tomato sauce powdered with little + eggs of the microscopic world. You yourself take a bath in + whale's infusion as a rest from all the commissions I give + you, for I know that you will do willingly as much as time + will permit, and I shall do the same for you when you are + married—of which Johnnie will very likely inform me soon. + Only not to Ox, for that is my party. +</pre> +<pre xml:space="preserve"> + [5.] + + My dear friend,—In five, six, or seven days I shall be in + Paris. Get things prepared as quickly as possible; if not all, + let me find at least the rooms papered and the bed ready. + + I am hastening my arrival as the presence of George Sand is + necessary on account of a piece to be played. [FOOTNOTE: + "Cosima." The first representation, at the Comedie Francaise, + did not take place until April, 1840.] But this remains + between us. We have fixed our departure for the day after to- + morrow; thus, counting a few days for delay, we shall see each + other on Wednesday or Thursday. + + Besides the different commissions I gave you, especially that + in the last letter about her house, which after our arrival + will be off your shoulders—but till then, for God's sake, be + obliging—besides all this, I say, I forgot to ask you to + order for me a hat from my Duport in your street, Chaussee + d'Antin. He has my measure, and knows how light I want it and + of what kind. Let him give the hat of this year's shape, not + too much exaggerated, for I do not know how you are dressing + yourself just now. Again, besides this, call in passing at + Dautremont's, my tailor's, on the Boulevards, and order him to + make me at once a pair of grey trousers. You will yourself + select a dark-grey colour for winter trousers; something + respectable, not striped, but plain and elastic. You are an + Englishman, so you know what I require. Dautremont will be + glad to hear that I am coming. Also a quiet black velvet + waistcoat, but with very little and no loud pattern, something + very quiet but very elegant. Should he not have the best + velvet of this kind, let him make a quiet, fine silk + waistcoat, but not too much open. If the servant could be got + for less than 80 francs, I should prefer it; but as you have + already found one, let the matter rest. + + My very dear friend, pardon me once more for troubling you, + but I must. In a few days we shall see each other, and embrace + for all this. + + I beg of you, for God's sake, do not say to any Poles that I + am coming so soon, nor to any Jewess either, as I should like + to reserve myself during the first few days only for you, + Grzymala, and Johnnie. Give them my love; to the latter I + shall write once more. + + I expect that the rooms will be ready. Write constantly to me, + three times a day if you like, whether you have anything to + say or not. Before leaving here I shall once more write to + you. +</pre> +<pre xml:space="preserve"> + Monday. + + You are inappreciable! Take Rue Pigal [Pigalle], both houses, + without asking anybody. Make haste. If by taking both houses + you can diminish a little the price, well; if not, take them + for 2,500 francs. Do not let them slip out of your hands, for + we think them the best and most excellent. SHE regards you as + my most logical and best—and I would add: the most splenetic, + Anglo-Polish, from my soul beloved—friend. +</pre> +<pre xml:space="preserve"> + [6.] + + The day after to-morrow, Thursday, at five o'clock in the + morning, we start, and on Friday at three, four, certainly at + five o'clock, I shall be in Rue Tronchet, No. 5. I beg of you + to inform the people there of this, I wrote to Johnnie to-day + to retain for me that valet, and order him to wait for me at + Rue Tronchet on Friday from noon. Should you have time to call + upon me at that time, we would most heartily embrace each + other. Once more my and my companion's most sincere thanks for + Rue Pigalle. + + Now, keep a sharp look-out on the tailor, he must have the + clothes ready by Friday morning, so that I can change my + clothes as soon as I come. Order him to take them to Rue + Tronchet, and deliver them there to the valet Tineau—if I + mistake not, that is his name. Likewise the hat from Dupont, + [FOOTNOTE: In the preceding letter it was Duport] and for that + I shall alter for you the second part of the Polonaise till + the last moment of my life. Yesterday's version also may not + please you, although I racked my brains with it for at least + eighty seconds. + + I have written out my manuscripts in good order. There are six + with your Polonaises, not counting the seventh, an impromptu, + which may perhaps be worthless—I do not know myself, it is + too new. But it would be well if it be not too much in the + style of Orlowski, Zimmermann, or Karsko-Konski, [FOOTNOTE: + Chopin's countryman, the pianist and composer Antoine Kontski] + or Sowinski, or other similar animals. For, according to my + reckoning, it might fetch me about 800 francs. That will be + seen afterwards. + + As you are such a clever man, you might also arrange that no + black thoughts and suffocating coughs shall annoy me in the + new rooms. Try to make me good. Change, if you can, many + episodes of my past. It would also not be a bad thing if I + should find a few years of great work accomplished. By this + you will greatly oblige me, also if you would make yourself + younger or bring about that we had never been born.—Your old + + FREDERICK. +</pre> + <p> + <a name="link2HCH0024" id="link2HCH0024"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER XXIV. + </h2> + <p> + 1839-1842. + </p> + <p> + RETURN OF GEORGE SAND AND CHOPIN TO PARIS.—GEORGE SAND IN THE RUE + PIGALLE.—CHOPIN IN THE RUE TRONCHET: REMINISCENCES OF BRINLEY + RICHARDS AND MOSCHELES.—SOIREES AT LEO'S AND ST. CLOUD.—CHOPIN + JOINS MADAME SAND IN THE RUE PIGALLE.—EXTRACTS FROM GEORGE SAND'S + CORRESPONDANCE; A LETTER OF MADAME SAND'S TO CHOPIN; BALZAC ANECDOTES.—MADAME + SAND AND CHOPIN DO NOT GO TO NOHANT IN 1840.—COMPOSITIONS OF THIS + PERIOD.—ABOUT CHOPIN AS A PIANIST.—LETTERS WRITTEN TO FONTANA + IN THE SUMMER AND AUTUMN OF 1841. + </p> + <p> + Although Chopin and George Sand came to Paris towards the end of October, + 1839, months passed before the latter got into the house which Fontana had + taken for her. This we learn from a letter written by her to her friend + Gustave Papet, and dated Paris, January, 1840, wherein we read:— + </p> +<pre xml:space="preserve"> + At last I am installed in the Rue Pigalle, 16, only since the + last two days, after having fumed, raged, stormed, and sworn + at the upholsterers, locksmith, &c., &c. What a long, + horrible, unbearable business it is to lodge one's self here! + + [FOOTNOTE: In the letter, dated Paris, October, 1839, + preceding, in the George Sand "Correspondance," the one from + which the above passage is extracted, occur the following + words: "Je suis enfin installee chez moi a Paris." Where this + chez moi was, I do not know.] +</pre> + <p> + How greatly the interiors of George Sand's pavilions in the Rue Pigalle + differed from those of Senor Gomez's villa and the cells in the monastery + of Valdemosa, may be gathered from Gutmann's description of two of the + apartments. + </p> + <p> + [FOOTNOTE: I do not guarantee the correctness of all the following + details, although I found them in a sketch of Gutmann's life inspired by + himself ("Der Lieblings-schuler Chopin's", No. 3 of "Schone Geister," by + Bernhard Stavenow, Bremen, 1879), and which he assured me was trustworthy. + The reasons of my scepticism are—1, Gutmann's imaginative memory and + tendency to show himself off to advantage; 2, Stavenow's love of fine + writing and a good story; 3, innumerable misstatements that can be + indisputably proved by documents.] + </p> + <p> + Regarding the small salon, he gives only the general information that it + was quaintly fitted up with antique furniture. But of George Sand's own + room, which made a deeper impression upon him, he mentions so many + particulars—the brown carpet covering the whole floor, the walls + hung with a dark-brown ribbed cloth (Ripsstoff), the fine paintings, the + carved furniture of dark oak, the brown velvet seats of the chairs, the + large square bed, rising but little above the floor, and covered with a + Persian rug (Teppich)—that it is easy to picture to ourselves the + tout-ensemble of its appearance. Gutmann tells us that he had an early + opportunity of making these observations, for Chopin visited his pupil the + very day after his arrival (?), and invited him at once to call on George + Sand in order to be introduced to her. When Gutmann presented himself in + the small salon above alluded to, he found George Sand seated on an + ottoman smoking a cigarette. She received the young man with great + cordiality, telling him that his master had often spoken to her of him + most lovingly. Chopin entered soon after from an adjoining apartment, and + then they all went into the dining-room to have dinner. When they were + seated again in the cosy salon, and George Sand had lit another cigarette, + the conversation, which had touched on a variety of topics, among the rest + on Majorca, turned on art. It was then that the authoress said to her + friend: "Chop, Chop, show Gutmann my room that he may see the pictures + which Eugene Delacroix painted for me." + </p> + <p> + Chopin on arriving in Paris had taken up his lodgings in the Rue Tronchet, + No. 5, and resumed teaching. One of his pupils there was Brinley Richards, + who practised under him one of the books of studies. Chopin also assisted + the British musician in the publication, by Troupenas, of his first + composition, having previously looked over and corrected it. Brinley + Richards informed me that Chopin, who played rarely in these lessons, + making his corrections and suggestions rather by word of mouth than by + example, was very languid, indeed so much so that he looked as if he felt + inclined to lie down, and seemed to say: "I wish you would come another + time." + </p> + <p> + About this time, that is in the autumn or early in the winter of 1839, + Moscheles came to Paris. We learn from his diary that at Leo's, where he + liked best to play, he met for the first time Chopin, who had just + returned from the country, and whose acquaintance he was impatient to + make. I have already quoted what Moscheles said of Chopin's appearance—namely, + that it was exactly like [identificirt mit] his music, both being delicate + and dreamy [schwarmerisch]. His remarks on his great contemporary's + musical performances are, of course, still more interesting to us. + </p> +<pre xml:space="preserve"> + He played to me at my request, and now for the first time I + understand his music, and can also explain to myself the + enthusiasm of the ladies. His ad libitum playing, which with + the interpreters of his music degenerates into disregard of + time, is with him only the most charming originality of + execution; the dilettantish harsh modulations which strike me + disagreeably when I am playing his compositions no longer + shock me, because he glides lightly over them in a fairy-like + way with his delicate fingers; his piano is so softly breathed + forth that he does not need any strong forte in order to + produce the wished-for contrasts; it is for this reason that + one does not miss the orchestral-like effects which the German + school demands from a pianoforte-player, but allows one's self + to be carried away, as by a singer who, little concerned about + the accompaniment, entirely follows his feeling. In short, he + is an unicum in the world of pianists. He declares that he + loves my music very much, and at all events he knows it very + well. He played me some studies and his latest work, the + "Preludes," and I played him many of my compositions. +</pre> + <p> + In addition to this characterisation of the artist Chopin, Moscheles' + notes afford us also some glimpses of the man. "Chopin was lively, merry, + nay, exceedingly comical in his imitations of Pixis, Liszt, and a + hunchbacked pianoforte-player." Some days afterwards, when Moscheles saw + him at his own house, he found him an altogether different Chopin:— + </p> +<pre xml:space="preserve"> + I called on him according to agreement with Ch. and E., who + are also quite enthusiastic about him, and who were + particularly struck with the "Prelude" in A flat major in 6/8 + time with the ever-recurring pedal A flat. Only the Countess + O. [Obreskoff] from St. Petersburg, who adores us artists en + bloc, was there, and some gentlemen. Chopin's excellent pupil + Gutmann played his master's manuscript Scherzo in C sharp + minor. Chopin himself played his manuscript Sonata in B flat + minor with the Funeral March. +</pre> + <p> + Gutmann relates that Chopin sent for him early in the morning of the day + following that on which he paid the above-mentioned visit to George Sand, + and said to him:— + </p> +<pre xml:space="preserve"> + Pardon me for disturbing you so early in the morning, but I + have just received a note from Moscheles, wherein he expresses + his joy at my return to Paris, and announces that he will + visit me at five in the afternoon to hear my new compositions. + Now I am unfortunately too weak to play my things to him; so + you must play. I am chiefly concerned about this Scherzo. +</pre> + <p> + Gutmann, who did not yet know the work (Op. 39), thereupon sat down at + Chopin's piano, and by dint of hard practising managed to play it at the + appointed hour from memory, and to the satisfaction of the composer. + Gutmann's account does not tally in several of its details with + Moscheles'. As, however, Moscheles does not give us reminiscences, but + sober, business-like notes taken down at the time they refer to, and + without any attempt at making a nice story, he is the safer authority. + Still, thus much at least we may assume to be certain:—Gutmann + played the Scherzo, Op. 39, on this occasion, and his rendering of it was + such as to induce his master to dedicate it to him. + </p> + <p> + Comte de Perthuis, the adjutant of King Louis Philippe, who had heard + Chopin and Moscheles repeatedly play the latter's Sonata in E flat major + for four hands, spoke so much and so enthusiastically about it at Court + that the royal family, wishing "to have also the great treat," invited the + two artists to come to St. Cloud. The day after this soiree Moscheles + wrote in his diary:— + </p> +<pre xml:space="preserve"> + Yesterday was a memorable day... at nine o'clock Chopin and I, + with Perthuis and his amiable wife, who had called for us, + drove out to St. Cloud in the heaviest showers of rain, and + felt so much the more comfortable when we entered the + brilliant, well-lighted palace. We passed through many state- + rooms into a salon carre, where the royal family was assembled + en petit comite. At a round table sat the queen with an + elegant work-basket before her (perhaps to embroider a purse + for me?); near her were Madame Adelaide, the Duchess of + Orleans, and ladies-in-waiting. The noble ladies were as + affable as if we had been old acquaintances...Chopin played + first a number of nocturnes and studies, and was admired and + petted like a favourite. After I also had played some old and + new studies, and been honoured with the same applause, we + seated ourselves together at the instrument—he again playing + the bass, which he always insists on doing. The close + attention of the little circle during my E flat major Sonata + was interrupted only by the exclamations "divine!" + "delicious!" After the Andante the queen whispered to a lady- + in-waiting: "Would it not be indiscreet to ask them to play it + again?" which naturally was equivalent to a command to repeat + it, and so we played it again with increased abandon. In the + Finale we gave ourselves up to a musical delirium. Chopin's + enthusiasm throughout the whole piece must, I believe, have + infected the auditors, who now burst forth into eulogies of + us. Chopin played again alone with the same charm, and called + forth the same sympathy as before; then I improvised... + + [FOOTNOTE: In the "Neue Zeitschrift fur Musik" of November 12, + 1839, we read that Chopin improvised on Grisar's "La Folle," + Moscheles on themes by Mozart. La Folle is a romance the + success of which was so great that a wit called it une folie + de salon. It had for some years an extraordinary popularity, + and made the composer a reputation.] +</pre> + <p> + To show his gratitude, the king sent the two artists valuable presents: to + Chopin a gold cup and saucer, to Moscheles a travelling case. "The king," + remarked Chopin, "gave Moscheles a travelling case to get the sooner rid + of him." The composer was fond of and had a talent for throwing off sharp + and witty sayings; but it is most probable that on this occasion the words + were prompted solely by the fancy, and that their ill-nature was only + apparent. Or must we assume that the man Moscheles was less congenial to + Chopin than the artist? Moscheles was a Jew, and Chopin disliked the Jews. + As, however, the tempting opportunity afforded by the nature of the king's + present to Moscheles is sufficient to account for Chopin's remark, and no + proofs warranting a less creditable explanation are forthcoming, it would + be unfair to listen to the suggestions of suspicion. + </p> + <p> + George Sand tells us in the "Histoire de ma Vie" that Chopin found his + rooms in the Rue Tronchet cold and damp, and felt sorely the separation + from her. The consequence of this was that the saintly woman, the sister + of mercy, took, after some time, pity upon her suffering worshipper, and + once more sacrificed herself. Not to misrepresent her account, the only + one we have, of this change in the domestic arrangements of the two + friends, I shall faithfully transcribe her delicately-worded statements:— + </p> +<pre xml:space="preserve"> + He again began to cough alarmingly, and I saw myself forced + either to give in my resignation as nurse, or to pass my life + in impossible journeyings to and fro. He, in order to spare me + these, came every day to tell me with a troubled face and a + feeble voice that he was wonderfully well. He asked if he + might dine with us, and he went away in the evening, shivering + in his cab. Seeing how he took to heart his exclusion from our + family life, I offered to let to him one of the pavilions, a + part of which I could give up to him. He joyfully accepted. He + had there his room, received there his friends, and gave there + his lessons without incommoding me. Maurice had the room above + his; I occupied the other pavilion with my daughter. +</pre> + <p> + Let us see if we cannot get some glimpses of the life in the pavilions of + the Rue Pigalle, No. 16. In the first months of 1840, George Sand was busy + with preparations for the performance of her drama Cosima, moving heaven + and earth to bring about the admission of her friend Madame Dorval into + the company of the Theatre-Francais, where her piece, in which she wished + this lady to take the principal part, was to be performed. Her son Maurice + passed his days in the studio of Eugene Delacroix; and Solange gave much + time to her lessons, and lost much over her toilet. Of Grzymala we hear + that he is always in love with all the beautiful women, and rolls his big + eyes at the tall Borgnotte and the little Jacqueline; and that Madame + Marliani is always up to her ears in philosophy. This I gathered from + George Sand's Correspondance, where, as the reader will see presently, + more is to be found. + </p> + <p> + George Sand to Chopin; Cambrai, August 13, 1840:— + </p> +<pre xml:space="preserve"> + I arrived at noon very tired, for it is 45 and 35 leagues from + Paris to this place. We shall relate to you good stories of + the bourgeois of Cambrai. They are beaux, they are stupid, + they are shopkeepers; they are the sublime of the genre. If + the Historical Procession does not console us, we are capable + of dying of ennui at the politeness which people show us. We + are lodged like princes. But what hosts, what conversations, + what dinners! We laugh at them when we are by ourselves, but + when we are before the enemy, what a pitiable figure we + selves, make! I am no longer desirous to see you come; but I + aspire to depart very quickly, and I understand why you do not + wish to give concerts. It is not unlikely that Pauline Viardot + may not sing the day after to-morrow, for want of a hall. We + shall, perhaps, leave a day sooner. I wish I were already far + away from the Cambresians, male and female. + + Good night! I am going to bed, I am overcome with fatigue. + + Love your old woman [votre vieille] as she loves you. +</pre> + <p> + From a letter written two days later to her son, we learn that Madame + Viardot after all gave two concerts at Cambrai. But amusing as the letter + is, we will pass it over as not concerning us here. Of another letter + (September 20,1840), likewise addressed to her son, I shall quote only one + passage, although it contains much interesting matter about the friends + and visitors of the inmates of the pavilions of the Rue Pigalle, No. 16:— + </p> +<pre xml:space="preserve"> + Balzac came to dine here the day before yesterday. He is quite + mad. He has discovered the blue rose, for which the + horticultural societies of London and Belgium have promised a + reward of 500,000 francs (qui dit, dit-il). He will sell, + moreover, every grain at a hundred sous, and for this great + botanic production he will lay out only fifty centimes. + Hereupon Rollinat asked him naively:— + + "Well, why, then, do you not set about it at once?" + + To which Balzac replied: + + "Oh! because I have so many other things to do; but I shall + set about it one of these days." +</pre> + <p> + Stavenow, in Schone Geister (see foot-note, p. 70), tells an anecdote of + Balzac, which may find a place here:— + </p> +<pre xml:space="preserve"> + One day Balzac had invited George Sand, Chopin, and Gutmann to + dinner. On that occasion he related to them that the next day + he would have to meet a bill of 30,000 francs, but that he had + not a sou in his pocket. Gutmann asked what he intended to do? + "Well," replied Balzac, "what shall I do? I wait quietly. + Before to-morrow something unexpected may turn up, and give me + the means to pay the sum." Scarcely had he said this when the + door bell rang. The servant entered and announced that a + gentleman was there who urgently wished to speak with M. + Balzac. + + Balzac rose and left the room. After a quarter of an hour he + came back in high spirits and said: + + "The 30,000 francs are found. My publisher wishes to bring out + a new edition of my works, and he offers me just this sum." + + George Sand, Chopin, and Gutmann looked at each other with a + smile, and thought—"Another one!" +</pre> + <p> + George Sand to her son; Paris, September 4, 1840:— + </p> +<pre xml:space="preserve"> + We have had here great shows of troops. They have fione the + gendarme and cuisse the national guardsman. All Paris was in + agitation, as if there were to be a revolution. Nothing took + place, except that some passers-by were knocked down by the + police. + + There were places in Paris where it was dangerous to pass, as + these gentlemen assassinated right and left for the pleasure + of getting their hands into practice. Chopin, who will not + believe anything, has at last the proof and certainty of it. + + Madame Marliani is back. I dined at her house the day before + yesterday with the Abbe de Lamennais. Yesterday Leroux dined + here. Chopin embraces you a thousand times. He is always qui, + qui, qui, me, me, me. Rollinat smokes like a steam-boat. + Solange has been good for two or three days, but yesterday she + had a fit of temper [acces de fureur]. It is the Rebouls, the + English neighbours, people and dogs, who turn her head. +</pre> + <p> + In the summer of 1840 George Sand did not go to Nohant, and Chopin seems + to have passed most of, if not all, the time in Paris. From a letter + addressed to her half-brother, we learn that the reason of her staying + away from her country-seat was a wish to economise:— + </p> +<pre xml:space="preserve"> + If you will guarantee my being able to pass the summer at + Nohant for 4,000 francs, I will go. But I have never been + there without spending 1,500 francs per month, and as I do not + spend here the half of this, it is neither the love of work, + nor that of spending, nor that of glory, which makes me + stay... +</pre> + <p> + George Sand's fits of economy never lasted very long. At any rate, in the + summer of 1841 we find her again at Nohant. But as it is my intention to + treat of Chopin's domestic life at Nohant and in Paris with some fulness + in special chapters, I shall now turn to his artistic doings. + </p> + <p> + In 1839 there appeared only one work by Chopin, Op. 28, the "Preludes," + but in the two following years as many as sixteen—namely, Op. 35-50. + Here is an enumeration of these compositions, with the dates of + publication and the dedications. + </p> + <p> + [FOOTNOTE: Both the absence of dedications in the case of some + compositions, and the persons to whom others are dedicated, have a + biographical significance. They tell us of the composer's absence from + Paris and aristocratic society, and his return to them.] + </p> + <p> + The "Vingt-quatre Preludes," Op. 28, published in September, 1839, have a + twofold dedication, the French and English editions being dedicated a son + ami Pleyel, and the German to Mr. J. C. Kessler. The publications of 1840 + are: in May—Op. 35, "Sonate" (B flat minor); Op. 36, "Deuxieme + Impromptu" (F sharp minor); Op. 37, "Deux Nocturnes" (G minor and G + major); in July—Op. 42, "Valse" (A flat major); in September—Op. + 38, "Deuxieme Ballade" (F major), dedicated to Mr. R. Schumann; in October—Op. + 39, "Troisieme Scherzo" (C sharp minor), dedicated to Mr. A. Gutmann; in + November—Op. 40, "Deux Polonaises" (A major and C minor), dedicated + to Mr. J. Fontana; and in December—Op. 41, "Quatre Mazurkas" (C + sharp and E minor, B and A flat major), dedicated to E. Witwicki. Those of + 1841 are: in October—Op. 43, "Tarantelle" (A flat major), without + any dedication; and in November—Op. 44, "Polonaise" (F sharp minor), + dedicated to Madame la Princesse Charles de Beauvau; Op. 45, "Prelude" (C + sharp minor), dedicated to Madame la Princesse Elizabeth Czernicheff; Op. + 46, "Allegro de Concert" (A major), dedicated to Mdlle. F. Muller; Op. 47, + "Troisieme Ballade" (A flat major), dedicated to Mdlle. P. de Noailles; + Op. 48, "Deux Nocturnes" (C minor and F sharp minor), dedicated to Mdlle. + L. Duperre; Op. 49, "Fantaisie" (F minor), dedicated to Madame la + Princesse C. de Souzzo; and Op. 50, "Trois Mazurkas" (G and A flat major, + and C sharp minor), dedicated to Mr. Leon Smitkowski. + </p> + <p> + Chopin's genius had now reached the most perfect stage of its development, + and was radiating with all the intensity of which its nature was capable. + Notwithstanding such later creations as the fourth "Ballade," Op. 52, the + "Barcarolle," Op. 60, and the "Polonaise," Op. 53, it can hardly be said + that the composer surpassed in his subsequent works those which he had + published in recent years, works among which were the first three + ballades, the preludes, and a number of stirring polonaises and charming + nocturnes, mazurkas, and other pieces. + </p> + <p> + However, not only as a creative artist, but also as an executant, Chopin + was at the zenith of his power. His bodily frame had indeed suffered from + disease, but as yet it was not seriously injured, at least, not so + seriously as to disable him to discharge the functions of a musical + interpreter. Moreover, the great majority of his compositions demanded + from the executant other qualities than physical strength, which was + indispensable in only a few of his works. A writer in the "Menestrel" + (April 25, 1841) asks himself the question whether Chopin had progressed + as a pianist, and answers: "No, for he troubles himself little about the + mechanical secrets of the piano; in him there is no charlatanism; heart + and genius alone speak, and in these respects his privileged organisation + has nothing to learn." Or rather let us say, Chopin troubled himself + enough about the mechanical secrets of the piano, but not for their own + sakes: he regarded them not as ends, but as means to ends, and although + mechanically he may have made no progress, he had done so poetically. Love + and sorrow, those most successful teachers of poets and musicians, had not + taught him in vain. + </p> + <p> + It was a fortunate occurrence that at this period of his career Chopin was + induced to give a concert, and equally fortunate that men of knowledge, + judgment, and literary ability have left us their impressions of the + event. The desirability of replenishing an ever-empty purse, and the + instigations of George Sand, were no doubt the chief motive powers which + helped the composer to overcome his dislike to playing in public. + </p> + <p> + "Do you practise when the day of the concert approaches?" asked Lenz. + [FOOTNOTE: Die grossen Pianoforte-Virtusen unstrer Zeit, p. 36.] "It is a + terrible time for me," was Chopin's answer; "I dislike publicity, but it + is part of my position. I shut myself up for a fortnight and play Bach. + That is my preparation; I never practise my own compositions." What + Gutmann told me confirms these statements. Chopin detested playing in + public, and became nervous when the dreaded time approached. He then + fidgeted a great deal about his clothes, and felt very unhappy if one or + the other article did not quite fit or pinched him a little. On one + occasion Chopin, being dissatisfied with his own things, made use of a + dress-coat and shirt of his pupil Gutmann. By the way, the latter, who + gave me this piece of information, must have been in those days of less + bulk, and, I feel inclined to add, of less height, than he was when I + became acquainted with him. + </p> + <p> + Leaving the two concerts given by Chopin in 1841 and 1842 to be discussed + in detail in the next chapter, I shall now give a translation of the + Polish letters which he wrote in the summer and autumn of 1841 to Fontana. + The letters numbered 4 and 5 are those already alluded to on p. 24 + (foot-note 3) which Karasowski gives as respectively dated by Chopin: + "Palma, November 17, 1838"; and "Valdemosa, January 9, 1839." But against + these dates militate the contents: the mention of Troupenas, with whom the + composer's business connection began only in 1840 (with the Sonata, Op. + 35); the mention of the Tarantelle, which was not published until 1841; + the mention (contradictory to an earlier inquiry—see p. 30) of the + sending back of a valet nowhere else alluded to; the mention of the + sending and arrival of a piano, irreconcilable with the circumstances and + certain statements in indisputably correctly-dated letters; and, lastly, + the absence of all mention of Majorca and the Preludes, those important + topics in the letters really from that place and of that time. Karasowski + thinks that the letters numbered 1, 2, 3, and 9 were of the year 1838, and + those numbered 6, 7, and 8 of the year 1839; but as the "Tarantelle," Op. + 43, the "Polonaise," Op. 44, the "Prelude," Op. 45, the "Allegro de + Concert," Op. 46, the third "Ballade," Op. 47, the two "Nocturnes," Op. + 48, and the "Fantaisie," Op. 49, therein mentioned, were published in + 1841, I have no doubt that they are of the year 1841. The mention in the + ninth letter of the Rue Pigalle, 16, George Sand's and Chopin's abode in + Paris, of Pelletan, the tutor of George Sand's son Maurice, and of the + latter's coming to Paris, speaks likewise against 1838 and for 1841, 1840 + being out of the question, as neither George Sand nor Chopin was in this + year at Nohant. What decides me especially to reject the date 1839 for the + seventh letter is that Pauline Garcia had then not yet become the wife of + Louis Viardot. There is, moreover, an allusion to a visit of Pauline + Viardot to Nohant in the summer of 1841 in one of George Sand's letters + (August 13, 1841). In this letter occurs a passage which is important for + the dating both of the fifth and the seventh letter. As to the order of + succession of the letters, it may be wrong, it certainly does not + altogether satisfy me; but it is the result of long and careful weighing + of all the pros and cons. I have some doubt about the seventh letter, + which, read by the light of George Sand's letter, ought perhaps to be + placed after the ninth. But the seventh letter is somewhat of a puzzle. + Puzzles, owing to his confused statements and slipshod style, are, + however, not a rare thing in Chopin's correspondence. The passage in the + above-mentioned letter of George Sand runs thus: "Pauline leaves me on the + 16th [of August]; Maurice goes on the 17th to fetch his sister, who should + be here on the 23rd." + </p> +<pre xml:space="preserve"> + [I.] 1841. + + My very dear friend,—I arrived here yesterday, Thursday. For + Schlesinger [FOOTNOTE: The Paris music-publisher.] I have + composed a Prelude in C sharp minor [Op. 45], which is short, + as he wished it. Seeing that, like Mechetti's [FOOTNOTE: The + Vienna music-publisher.] Beethoven, this has to come out at + the New Year, do not yet give my Polonaise to Leo (although + you have already transcribed it), for to-morrow I shall send + you a letter for Mechetti, in which I shall explain to him + that, if he wishes something short, I will give him for the + Album instead of the mazurka (which is already old) the NEW + prelude. It is well modulated, and I can send it without + hesitation. He ought to give me 300 francs for it, n'est-ce + pas? Par-dessus le marche he may get the mazurka, only he must + not print it in the Album. + + Should Troupenas, [FOOTNOTE: Eugene Troupenas, the Paris music- + publisher.] that is, Masset, [FOOTNOTE: Masset (his daughter, + Madame Colombier, informed me) was the partner of Troupenas, + and managed almost the whole business, Troupenas being in weak + health, which obliged him to pass the last ten winters of his + life at Hyeres.] make any difficulties, do not give him the + pieces a farthing cheaper, and tell him that if he does not + wish to print them all—which I should not like—I could sell + them at a better price to others. + + Now of something else. + + You will find in the right-hand drawer of my writing-desk (in + the place where the cash-box always is) a sealed parcel + addressed to Madame Sand. Wrap this parcel in wax-cloth, seal + it, and send it by post to Madame Sand's address. Sew on the + address with a strong thread, that it may not come off the wax- + cloth. It is Madame Sand who asks me to do this. I know you + will do it perfectly well. The key, I think, is on the top + shelf of the little cabinet with the mirror. If it should not + be there, get a locksmith to open the drawer. + + I love you as an old friend. Embrace Johnnie.—Your + + FREDERICK. +</pre> +<pre xml:space="preserve"> + [2.] 1841. + + Thanks for forwarding the parcel. I send you the Prelude, in + large characters for Schlesinger and in small characters for + Mechetti. Clip the MS. of the Polonaise to the same size, + number the pages, and fold it like the Prelude, add to the + whole my letter to Mechetti, and deliver it into Leo's own + hands, praying him to send it by the first mail, as Mechetti + is waiting for it. + + The letter to Haslinger [FOOTNOTE: The Vienna music- + publisher.] post yourself; and if you do not find Schlesinger + at home leave the letter, but do not give him the MS. until he + tells you that he accepts the Prelude as a settlement of the + account. If he does not wish to acquire the right of + publication for London, tell him to inform me of it by letter. + Do not forget to add the opus on the Polonaise and the + following number on the Prelude—that is, on the copies that + are going to Vienna. + + I do not know how Czerniszewowa is spelt. Perhaps you will + find under the vase or on the little table near the bronze + ornament a note from her, from her daughter, or from the + governess; if not, I should be glad if you would go—they know + you already as my friend—to the Hotel de Londres in the Place + Vendome, and beg in my name the young Princess to give you her + name in writing and to say whether it is Tscher or Tcher. Or + better still, ask for Mdlle. Krause, the governess; tell her + that I wish to give the young Princess a surprise; and inquire + of her whether it is usual to write Elisabeth and + Tschernichef, or ff. [FOOTNOTE: Chopin dedicated the Prelude, + Op. 45, to Mdlle. la Princesse Elisabeth Czernicheff.] + + If you do not wish to do this, don't be bashful with me, and + write that you would rather be excused, in which case I shall + find it out by some other means. But do not yet direct + Schlesinger to print the title. Tell him I don't know how to + spell. Nevertheless, I hope that you will find at my house + some note from them on which will be the name.... + + I conclude because it is time for the mail, and I wish that my + letter should reach Vienna without fail this week. +</pre> +<pre xml:space="preserve"> + [3.] Nohant, Sunday, 1841. + + I send you the Tarantella [Op. 43]. Please to copy it. But + first go to Schlesinger, or, better still, to Troupenas, and + see the collection of Rossini's songs published by Troupenas. + In it there is a Tarantella in F. I do not know whether it is + written in 6/8 or 12/8 time. As to my composition, it does not + matter which way it is written, but I should prefer it to be + like Rossini's. Therefore, if the latter be in 12/8 or in C + with triplets, make in copying one bar out of two. It will be + thus: [here follows one bar of music, bars four and five of + the Tarantella as it is printed.] [FOOTNOTE: This is a + characteristic instance of Chopin's carelessness in the + notation of his music. To write his Tarantella in 12/8 or C + would have been an egregious mistake. How Chopin failed to see + this is inexplicable to me.] + + I beg of you also to write out everything in full, instead of + marking repeats. Be quick, and give it to Leo with my letter + to Schubert. [FOOTNOTE: Schuberth, the Hamburg music- + publisher.] You know he leaves for Hamburg before the 8th of + next month, and I should not like to lose 500 francs. + + As regards Troupenas, there is no hurry. If the time of my + manuscript is not right, do not deliver the latter, but make a + copy of it. Besides this, make a third copy of it for Wessel. + It will weary you to copy this nasty thing so often; but I + hope I shall not compose anything worse for a long time. I + also beg of you to look up the number of the last opus— + namely, the last mazurkas, or rather the waltz published by + Paccini [FOOTNOTE: Pacini, a Paris music-publisher. He + published the Waltz in A flat major, Op. 42, in the summer of + 1840, if not earlier.]—and give the following number to the + Tarantella. + + I am keeping my mind easy, for I know you are willing and + clever. I trust you will receive from me no more letters + burdened with commissions. Had I not been with only one foot + at home before my departure you would have none of these + unpleasantnesses. Attend to the Tarantella, give it to Leo, + and tell him to keep the money he may receive till I come + back. Once more I beg of you to excuse my troubling you so + much. To-day I received the letter from my people in Poland + you sent me. Tell the portier to give you all the letters + addressed to me. +</pre> +<pre xml:space="preserve"> + [4.] + + My dear friend,—As you are so good, be so to the end. Go to + the transport commission-office of Mr. Hamberg et Levistal + successeurs de Mr. Corstel fils aine et Cie, rue des Marais + St. Martin, No. 51, a Paris, and direct them to send at once + to Pleyel for the piano I am to have, so that it may go off + the next day. Say at the office that it is to be forwarded par + un envoy [sic] accelere et non ordinaire. Such a transport + costs of course far more, but is incomparably quicker. It will + probably cost five francs per cwt. I shall pay here. Only + direct them to give you a receipt, on which they will write + how many cwts. the piano weighs, when it leaves, and when it + will arrive at Chateauroux. If the piano is conveyed by + roulage [land-transport]—which goes straight to Toulouse and + leaves goods only on the route—the address must not be a la + Chatre, [FOOTNOTE: Instead of "la Chatre" we have in + Karasowski's Polish book "la Chatie," which ought to warn us + not to attribute all the peculiar French in this letter to + Chopin, who surely knew how to spell the name of the town in + the neighbourhood of the familiar Nohant.] but Madame + Dudevant, a Chateauroux, as I wrote above. [FOOTNOTE: "Address + of the piano: Madame Dudevant, a Chateauroux. Bureau Restant + chez M. Vollant Patureau." This is what Chopin wrote above.] + At the last-mentioned place the agency has been informed, and + will forward it at once. You need not send me the receipt, we + should require it only in case of some unforeseen reclamation. + The correspondent in Chateauroux says that PAR LA VOYE + ACCELERE [SIC] it will come from Paris in four days. If this + is so, let him bind himself to deliver the piano at + Chateauroux in four or five days. + + Now to other business. + + Should Pleyel make any difficulties, apply to Erard; I think + that the latter in all probability ought to be serviceable to + you. Only do not act hastily, and first ascertain how the + matter really stands. + + As to the Tarantella, seal it and send it to Hamburg. To- + morrow I shall write you of other affairs, concerning + Troupenas, &c. + + Embrace Johnnie, and tell him to write. +</pre> +<pre xml:space="preserve"> + [5.] + + Thanks for all the commissions you have executed so well. To- + day, that is on the 9th, I received the piano and the other + things. Do not send my little bust to Warsaw, it would + frighten them, leave it in the press. Kiss Johnnie for his + letter. I shall write him a few lines shortly. + + To-morrow I shall very likely send back my old servant, who + loses his wits here. He is an honest man and knows how to + serve, but he is tiresome, and makes one lose one's patience. + I shall send him back, telling him to wait for me in Paris. If + he appears at the house, do not be frightened. + + Latterly the weather has been only so-so. + + The man in Chateauroux was waiting three days for the piano; + yesterday, after receiving your letter, I gave orders that he + should be recalled. To-day I do not yet know what kind of tone + the piano has, as it is not yet unpacked; this great event is + to take place to-morrow. As to the delay and misunderstanding + in sending it, do not make any inquiries; let the matter rest, + it is not worth a quarrel. You did the best you could. A + little ill-humour and a few days lost in expectation are not + worth a pinch of snuff. Forget, therefore, my commissions and + your transaction; next time, if God permits us to live, + matters will turn out better. + + I write you these few words late at night. Once more I thank + you, most obliging of men, for the commissions, which are not + yet ended, for now comes the turn of the Troupenas business, + which will hang on your shoulders. I shall write to you on + this subject more fully some other time, and to-day I wish you + good night. But don't have dreams like Johnnie—that I died; + but rather dream that I am about to be born, or something of + the sort. + + In fact, I am feeling now as calm and serene as a baby in + swaddling-clothes; and if somebody wished to put me in leading- + strings, I should be very glad—nota bene, with a cap thickly + lined with wadding on my head, for I feel that at every moment + I should stumble and turn upside down. Unfortunately, instead + of leading-strings there are probably awaiting me crutches, if + I approach old age with my present step. I once dreamt that I + was dying in a hospital, and this is so strongly rooted in my + mind that I cannot forget it—it is as if I had dreamt it + yesterday. If you survive me, you will learn whether we may + believe in dreams. + + And now I often dream with my eyes open what may be said to + have neither rhyme nor reason in it. + + That is why I write you such a foolish letter, is it? + + Send me soon a letter from my people, and love your old + + FREDERICK. +</pre> +<pre xml:space="preserve"> + [6.] Nohant, 1841. + + Thanks for your very kind letter. Unseal all you judge + necessary. + + Do not give the manuscripts to Troupenas till Schubert has + informed you of the day of publication. The answer will very + likely come soon through Leo. + + What a pity that the Tarantella is gone to Berlin, for, as you + know from Schubert's letter, Liszt is mixed up in this + monetary affair, and I may have some unpleasantness. He is a + thin-skinned Hungarian, and may think that I do not trust him + because I directed that the manuscripts should not be given + otherwise than for cash. I do not know, but I have a + presentiment of a disagreeable mess. Do not say anything about + it to the ailing Leo; go and see him if you think it + necessary, give him my compliments and thanks (although + undeserved), and ask pardon for troubling him so much. After + all, it is kind of him to take upon him the forwarding of my + things. Give my compliments, also to Pleyel, and ask him to + excuse my not writing to him (do not say anything about his + sending me a very inferior piano). + + I beg of you to put into the letter-box at the Exchange + yourself the letter to my parents, but I say do it yourself, + and before 4 o'clock. Excuse my troubling you, but you know of + what great importance my letter is to my people. + + Escudier has very likely sent you that famous album. If you + wish you may ask Troupenas to get you a copy as if it were for + me; but if you don't wish, say nothing. + + [FOOTNOTE: Leon Escudier, I suppose. The brothers Marie and + Leon Escudier established a music business in the latter part + of the fourth decade of this century; but when soon after both + married and divided their common property, Marie got their + journal "La France Musicale" and Leon the music-business. They + wrote and published together various books on music and + musicians.] + + Still one more bother. + + At your leisure transcribe once more this unlucky Tarantella, + which will be sent to Wessel when the day [of publication] is + known. If I tire you so much with this Tarentella, you may be + sure that it is for the last time. From here, I am sure you + will have no more manuscript from me. If there should not be + any news from Schubert within a week, please write to me. In + that case you would give the manuscript to Troupenas. But I + shall write him about it. +</pre> +<pre xml:space="preserve"> + [7.] Nohant, 1841, Friday evening. + + My dear Julius,—I send you a letter for Bonnet; read, seal, + and deliver it. And if in passing through the streets in which + you know I can lodge, you find something suitable for me, + please write to me. Just now the condition about the staircase + exists no longer. [FOOTNOTE: Chopin felt so much stronger that + high stairs were no longer any objection to lodgings.] I also + send you a letter to Dessauer [FOOTNOTE: Joseph Dessauer, a + native of Prague, best known by his songs. He stayed in Paris + in 1833, and afterwards settled in Vienna. George Sand + numbered him among her friends.] in answer to his letter which + Madame Deller sent me from Austria. He must already be back to + Paris; be sure and ask Schlesinger, who will be best able to + inform you of this. + + Do not give Dessauer many particulars about me; do not tell + him that you are looking for rooms, nor Anthony either, for he + will mention it to Mdlle. de Rozieres, and she is a babbler + and makes the least thing a subject for gossip. Some of her + gossipings have already reached me here in a strange way. You + know how great things sometimes grow out of nothing if they + pass through a mouth with a loose tongue. Much could be said + on this head. + + As to the unlucky Tarantella, you may give it to Troupenas + (that is, to Masset); but, if you think otherwise, send it by + post to Wessel, only insist on his answering at once that he + has received it. The weather has been charming here for the + last few days, but my music—is ugly. Madame Viardot spent a + fortnight here; we occupied ourselves less with music than + with other things. + + Please write to me whatever you like, but write. + + May Johnnie be in good health! + + But remember to write on Troupenas's copy: Hamburg, Schubert; + Wessel, London. + + In a few days I shall send you a letter for Mechetti in + Vienna, to whom I promised to give some compositions. If you + see Dessauer or Schlesinger, ask if it is absolutely necessary + to pay postage for the letters sent to Vienna.—I embrace you, + adieu. + + CHOPIN. +</pre> +<pre xml:space="preserve"> + [8.] + + Nohant, Sunday, 1841. + + What you have done you have done well. Strange world! Masset + is a fool, so also is Pelletan. Masset knew of Pacini's waltz + and that I promised it to the "Gazette" for the Album. I did + not wish to make any advances to him. If he does not wish them + at 600 francs, with London (the price of my USUAL manuscripts + was 300 francs with him)—three times five being fifteen—I + should have to give so much labour for 1,500 francs—that + cannot be. So much the more as I told him when I had the first + conversation with him that it might happen that I could not + let him have my things at this price. For instance, he cannot + expect that I should give him twelve Etudes or a new Methode + de Piano for 300 francs. The Allegro maestoso ["Allegro de + Concert," Op. 46] which I send you to-day I cannot give for + 300 francs, but only for 600 francs, nor the "Fantasia" [Op. + 49], for which I ask 500 francs. Nevertheless, the "Ballade" + [the third, Op. 47], the Nocturnes ["Deux Nocturnes," Op. 48], + and Polonaise [F sharp minor, Op. 44], I shall let him have at + 300 francs, for he has already formerly printed such things. + In one word, for Paris I give these five compositions for + 2,000 francs. If he does not care for them, so much the + better. I say it entre nous—for Schlesinger will most + willingly buy them. But I should not like him to take me for a + man who does not keep his word in an agreement. "Il n'y avait + qu'une convention facile d'honnete homme a honnete homme." + therefore, he should not complain of my terms, for they are + very easy. I want nothing but to come out of this affair + respectably. You know that I do not sell myself. But tell him + further that if I were desirous of taking advantage of him or + of cheating him, I could write fifteen things per year, but + worthless ones, which he would buy at 300 francs and I would + have a better income. Would it be an honest action? + + My dear friend, tell him that I write seldom, and spend but + little. He must not think that I wish to raise the price. But + when you yourself see my manuscript flies, [FOOTNOTE: An + allusion to his small, fine writing.] you will agree with me + that I may ask 600 francs when I was paid 300 francs for the + Tarantella and 500 for the Bolero. + + For God's sake take good care of the manuscripts, do not + squeeze, dirty, or tear them. I know you are not capable of + doing anything of the sort, but I love my WRITTEN TEDIOUSNESS + [NUDY, tediousness; NUTY, notes] so much that I always fear + that something might happen to them. + + To-morrow you will receive the Nocturne, and at the end of the + week the Ballade and Fantasia; I cannot get my writing done + sooner. Each of these things you will transcribe; your copies + will remain in Paris. If copying wearies you, console yourself + with thinking that you are doing it for THE REMISSION OF YOUR + SINS. I should not like to give my little spider-feet to any + copyist who would daub coarsely. Once more I make this + request, for had I again to write these eighteen pages, I + should most certainly go wrong in my mind. + + I send you a letter from Hartel. + + Try to get another valet instead of the one you have. I shall + probably be in Paris during the first days of November. To- + morrow I will write to you again. + + Monday +morning. + + On reading your letter attentively, I see that Masset does not + ask for Paris. Leave this point untouched if you can. Mention + only 3,000 francs pour les deux pays, and 2,000 francs for + Paris itself if he particularly asks about it. Because la + condition des deux pays is still easier, and for me also more + convenient. If he should not want it, it must be because he + seeks an opportunity for breaking with me. In that case, wait + for his answer from London. Write to him openly and frankly, + but always politely, and act cautiously and coolly, but mind, + not to me, for you know how much loves you your... +</pre> +<pre xml:space="preserve"> + [9.] Nohant, 1841. + + My dear friend,—You would be sure to receive my letters and + compositions. You have read the German letters, sealed them, + and done everything I asked you, have you not? As to Wessel, + he is a fool and a cheat. Write him whatever you like, but + tell him that I do not intend to give up my rights to the + Tarantella, as he did not send it back in time. If he + sustained losses by my compositions, it is most likely owing + to the foolish titles he gave them, in spite of my directions. + Were I to listen to the voice of my soul, I would not send him + anything more after these titles. Say as many sharp things to + him as you can. + + [FOOTNOTE: Here are some specimens of the publisher's + ingenious inventiveness:—"Adieu a Varsovie" (Rondeau, Op. 1), + "Hommage a Mozart" (Variations, Op. 2), "La Gaite" + (Introduction et Polonaise, Op. 3), "La Posiana" (Rondeau a la + Mazur, Op. 5), "Murmures de la Seine" (Nocturnes, Op. 9), "Les + Zephirs" (Nocturnes, Op. 15), "Invitation a la Valse" (Valse, + Op. 18), "Souvenir d'Andalousie" (Bolero, Op. 19), "Le banquet + infernal" (Premier Scherzo, Op. 20), "Ballade ohne Worte" + [Ballad without words] (Ballade, Op. 23), "Les Plaintives" + (Nocturnes, Op. 27), "La Meditation" (Deuxieme Scherzo, Op. + 31), "Il lamento e la consolazione" (Nocturnes, Op. 32), "Les + Soupirs" (Nocturnes, Op. 37), and "Les Favorites" (Polonaises, + Op. 40). The mazurkas generally received the title of + "Souvenir de la Pologne."] + + Madame Sand thanks you for the kind words accompanying the + parcel. Give directions that my letters may be delivered to + Pelletan, Rue Pigal [i.e., Pigalle], 16, and impress it very + strongly on the portier. The son of Madame Sand will be in + Paris about the 16th. I shall send you, through him, the MS. + of the Concerto ["Allegro de Concert"] and the Nocturnes [Op. + 46 and 48]. +</pre> + <p> + These letters of the romantic tone-poet to a friend and fellow-artist will + probably take the reader by surprise, nay, may even disillusionise him. + Their matter is indeed very suggestive of a commercial man writing to one + of his agents. Nor is this feature, as the sequel will show, peculiar to + the letters just quoted. Trafficking takes up a very large part of + Chopin's Parisian correspondence; [FOOTNOTE: I indicate by this phrase + comprehensively the whole correspondence since his settling in the French + capital, whether written there or elsewhere.] of the ideal within him that + made him what he was as an artist we catch, if any, only rare glimmerings + and glimpses. + </p> + <p> + <a name="link2HCH0025" id="link2HCH0025"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER XXV. + </h2> + <p> + TWO PUBLIC CONCERTS, ONE IN 1841 AND ANOTHER IN 1842.—CHOPIN'S STYLE + OF PLAYING: TECHNICAL QUALITIES; FAVOURABLE PHYSICAL CONDITIONS; VOLUME OF + TONE; USE OF THE PEDALS; SPIRITUAL QUALITIES; TEMPO RUBATO; INSTRUMENTS.—HIS + MUSICAL SYMPATHIES AND ANTIPATHIES.—OPINIONS ON MUSIC AND MUSICIANS. + </p> + <p> + The concert which Chopin gave in 1841, after several years of retirement, + took place at Pleyel's rooms on Monday, the 26th of April. It was like his + subsequent concerts a semi-public rather than a public one, for the + audience consisted of a select circle of pupils, friends, and partisans + who, as Chopin told Lenz, took the tickets in advance and divided them + among themselves. As most of the pupils belonged to the aristocracy, it + followed as a matter of course that the concert was emphatically what + Liszt calls it, "un concert de fashion." The three chief musical papers of + Paris: the "Gazette Musicale," the "France Musicale," and the "Menestrel" + were unanimous in their high, unqualified praise of the concert-giver, + "the king of the fete, who was overwhelmed with bravos." The pianoforte + performances of Chopin took up by far the greater part of the programme, + which was varied by two arias from Adam's "La Rose de Peronne," sung by + Mdme. Damoreau—Cinti, who was as usual "ravissante de perfection," + and by Ernst's "Elegie," played by the composer himself "in a grand style, + with passionate feeling and a purity worthy of the great masters." + Escudier, the writer of the notice in the "France Musicale," says of + Ernst's playing: "If you wish to hear the violin weep, go and hear Ernst; + he produces such heart-rending, such passionate sounds, that you fear + every moment to see his instrument break to pieces in his hands. It is + difficult to carry farther the expression of sadness, of suffering, and of + despair." + </p> + <p> + To give the reader an idea of the character of the concert, I shall quote + largely from Liszt's notice, in which he not only sets forth the merits of + the artists, but also describes the appearance of the room and the + audience. First, however, I must tell a pretty anecdote of which this + notice reminds me. When Liszt was moving about among the audience during + the intervals of the concert, paying his respects here and there, he came + upon M. Ernest Legouve. The latter told him of his intention to give an + account of the concert in the "Gazette Musicale." Liszt thereupon said + that he had a great wish to write one himself, and M. Legouve, although + reluctantly, gave way. When it came to the ears of Chopin that Liszt was + going to report on the concert, he remarked: "Il me donnera un petit + royaume dans son empire" (He will give me a little kingdom in his empire). + </p> + <p> + [FOOTNOTE: Since I wrote the above, M. Legouve has published his "Soixante + ans de Souvenirs," and in this book gives his version of the story, which, + it is to be hoped, is less incorrect than some other statements of his + relating to Chopin: "He [Chopin] had asked me to write a report of the + concert. Liszt claimed the honour. I hastened to announce this good news + to Chopin, who quietly said to me: "I should have liked better if it had + been you." "What are you thinking of my dear friend! An article by Liszt, + that is a fortunate thing for the public and for you. Trust in his + admiration for your talent. I promise you qu'il vous fera un beau + royaume.'—'Oui, me dit-il en souriant, dans son empire!'""] + </p> + <p> + These few words speak volumes. But here is what Liszt wrote about the + concert in the "Gazette musicale" of May 2, 1841:— + </p> +<pre xml:space="preserve"> + Last Monday, at eight o'clock in the evening, M. Pleyel's + rooms were brilliantly lighted up; numerous carriages brought + incessantly to the foot of a staircase covered with carpet and + perfumed with flowers the most elegant women, the most + fashionable young men, the most celebrated artists, the + richest financiers, the most illustrious noblemen, a whole + elite of society, a whole aristocracy of birth, fortune, + talent, and beauty. + + A grand piano was open on a platform; people crowded round, + eager for the seats nearest it; they prepared to listen, they + composed them-selves, they said to themselves that they must + not lose a chord, a note, an intention, a thought of him who + was going to seat himself there. And people were right in + being thus eager, attentive, and religiously moved, because he + for whom they waited, whom they wished to hear, admire, and + applaud, was not only a clever virtuoso, a pianist expert in + the art of making notes [de faire des notes], not only an + artist of great renown, he was all this and more than all + this, he was Chopin... + + ...If less eclat has gathered round his name, if a less bright + aureole has encircled his head, it is not because he had not in + him perhaps the same depth of feeling as the illustrious author + of "Conrad Wallenrod" and the "Pilgrims," [FOOTNOTE: Adam + Mickiewicz.] but his means of expression were too limited, his + instrument too imperfect; he could not reveal his whole self by + means of a piano. Hence, if we are not mistaken, a dull and + continual suffering, a certain repugnance to reveal himself to + the outer world, a sadness which shrinks out of sight under + apparent gaiety, in short, a whole individuality in the highest + degree remarkable and attractive. + + ...It was only rarely, at very distant intervals, that Chopin + played in public; but what would have been for anyone else an + almost certain cause of oblivion and obscurity was precisely what + assured to him a fame above the caprices of fashion, and kept him + from rivalries, jealousies, and injustice. Chopin, who has taken + no part in the extreme movement which for several years has + thrust one on another and one against another the executive + artists from all quarters of the world, has been constantly + surrounded by faithful adepts, enthusiastic pupils, and warm + friends, all of whom, while guarding him against disagreeable + contests and painful collisions, have not ceased to spread abroad + his works, and with them admiration for his name. Moreover, this + exquisite, altogether lofty, and eminently aristocratic celebrity + has remained unattacked. A complete silence of criticism already + reigns round it, as if posterity were come; and in the brilliant + audience which flocked together to hear the too long silent poet + there was neither reticence nor restriction, unanimous praise was + on the lips of all. + + ...He has known how to give to new thoughts a new form. That + element of wildness and abruptness which belongs to his country + has found its expression in bold dissonances, in strange + harmonies, while the delicacy and grace which belong to his + personality were revealed in a thousand contours, in a thousand + embellishments of an inimitable fancy. + + In Monday's concert Chopin had chosen in preference those of + his works which swerve more from the classical forms. He + played neither concerto, nor sonata, nor fantasia, nor + variations, but preludes, studies, nocturnes, and mazurkas. + Addressing himself to a society rather than to a public, he + could show himself with impunity as he is, an elegiac poet, + profound, chaste, and dreamy. He did not need either to + astonish or to overwhelm, he sought for delicate sympathy + rather than for noisy enthusiasm. Let us say at once that he + had no reason to complain of want of sympathy. From the first + chords there was established a close communication between him + and his audience. Two studies and a ballade were encored, and + had it not been for the fear of adding to the already great + fatigue which betrayed itself on his pale face, people would + have asked for a repetition of the pieces of the programme one + by one... +</pre> + <p> + An account of the concert in La France musicale of May 2, 1841, contained + a general characterisation of Chopin's artistic position with regard to + the public coinciding with that given by Liszt, but the following excerpts + from the other parts of the article may not be unacceptable to the reader:— + </p> +<pre xml:space="preserve"> + We spoke of Schubert because there is no other nature which + has a more complete analogy with him. The one has done for the + piano what the other has done for the voice...Chopin was a + composer from conviction. He composes for himself, and what he + composes he performs for himself...Chopin is the pianist of + sentiment PAR EXCELLENCE. One may say that Chopin is the + creator of a school of pianoforte-playing and of a school of + composition. Indeed, nothing equals the lightness and + sweetness with which the artist preludes on the piano, nothing + again can be placed by the side of his works full of + originality, distinction, and grace. Chopin is an exceptional + pianist who ought not to be, and cannot be, compared with + anyone. +</pre> + <p> + The words with which the critic of the Menestrel closes his remarks, + describe well the nature of the emotions which the artist excited in his + hearers:— + </p> +<pre xml:space="preserve"> + In order to appreciate Chopin rightly, one must love gentle + impressions, and have the feeling for poetry: to hear Chopin + is to read a strophe of Lamartine....Everyone went away full + of sweet joy and deep reverie (recueillement). +</pre> + <p> + The concert, which was beyond a doubt a complete success, must have given + Chopin satisfaction in every respect. At any rate, he faced the public + again before a year had gone by. In the Gazette Musicale of February 20, + 1842, we read that on the following evening, Monday, at Pleyel's rooms, + the haute societe de Paris et tous les artistes s'y donneront rendez-vous. + The programme of the concert was to be as follows:— + </p> +<pre xml:space="preserve"> + 1. Andante suivi de la 3ieme Ballade, par Chopin. + + 2. Felice Donzella, air de Dessauer. + + 3. Suite de Nocturnes, Preludes et Etudes, par Chopin. + + 4. Divers fragments de Handel, chante par Madame Viardot- + Garcia. + + 5. Solo pour Violoncello, par M. Franchomme. + + 6. Nocturne, Preludes, Mazurkas et Impromptu. + + 7. Le Chene et le Roseau, chante par Madame Viardot-Garcia, + accompagne par Chopin. +</pre> + <p> + Maurice Bourges, who a week later reports on the concert, states more + particularly what Chopin played. He mentions three mazurkas in A flat + major, B major, and A minor; three studies in A flat major, F minor, and C + minor; the Ballade in A flat major; four nocturnes, one of which was that + in F sharp minor; a prelude in D flat; and an impromptu in G (G flat + major?). Maurice Bourges's account is not altogether free from strictures. + He finds Chopin's ornamentations always novel, but sometimes mannered + (manierees). He says: "Trop de recherche fine et minutieuse n'est pas + quelquefois sans pretention et san froideur." But on the whole the + critique is very laudatory. "Liszt and Thalberg excite, as is well known, + violent enthusiasm; Chopin also awakens enthusiasm, but of a less + energetic, less noisy nature, precisely because he causes the most + intimate chords of the heart to vibrate." + </p> + <p> + From the report in the "France musicale" we see that the audience was not + less brilliant than that of the first concert:— + </p> +<pre xml:space="preserve"> + ...Chopin has given in Pleyel's hall a charming soiree, a fete + peopled with adorable smiles, delicate and rosy faces, small and + well-formed white hands; a splendid fete where simplicity was + combined with grace and elegance, and where good taste served as + a pedestal to wealth. Those ugly black hats which give to men the + most unsightly appearance possible were very few in number. The + gilded ribbons, the delicate blue gauze, the chaplets of + trembling pearls, the freshest roses and mignonettes, in short, a + thousand medleys of the prettiest and gayest colours were + assembled, and intersected each other in all sorts of ways on the + perfumed heads and snowy shoulders of the most charming women for + whom the princely salons contend. The first success of the seance + was for Madame George Sand. As soon as she appeared with her two + charming daughters [daughter and cousin?], she was the observed + of all observers. Others would have been disturbed by all those + eyes turned on her like so many stars; but George Sand contented + herself with lowering her head and smiling... +</pre> + <p> + This description is so graphic that one seems to see the actual scene, and + imagines one's self one of the audience. It also points out a very + characteristic feature of these concerts—namely, the preponderance + of the fair sex. As regards Chopin's playing, the writer remarks that the + genre of execution which aims at the imitation of orchestral effects suits + neither Chopin's organisation nor his ideas:— + </p> +<pre xml:space="preserve"> + In listening to all these sounds, all these nuances, which + follow each other, intermingle, separate, and reunite to + arrive at one and the same goal, melody, do you not think you + hear little fairy voices sighing under silver bells, or a rain + of pearls falling on crystal tables? The fingers of the + pianist seem to multiply ad infinitum; it does not appear + possible that only two hands can produce effects of rapidity + so precise and so natural... +</pre> + <p> + I shall now try to give the reader a clearer idea of what Chopin's style + of playing was like than any and all of the criticisms and descriptions I + have hitherto quoted can have done. And I do this not only in order to + satisfy a natural curiosity, but also, and more especially, to furnish a + guide for the better understanding and execution of the master's works. + Some, seeing that no music reflects more clearly its author's nature than + that of Chopin, may think that it would be wiser to illustrate the style + of playing by the style of composition, and not the style of composition + by the style of playing. Two reasons determine me to differ from them. Our + musical notation is an inadequate exponent of the conceptions of the great + masters—visible signs cannot express the subtle shades of the + emotional language; and the capabilities of Chopin the composer and of + Chopin the executant were by no means coextensive—we cannot draw + conclusions as to the character of his playing from the character of his + Polonaises in A major (Op. 40) and in A flat (Op. 53), and certain + movements of the Sonata in B flat minor (Op. 35). The information + contained in the following remarks is derived partly from printed + publications, partly from private letters and conversations; nothing is + admitted which does not proceed from Chopin's pupils, friends, and such + persons as have frequently heard him. + </p> + <p> + What struck everyone who had the good fortune to hear Chopin was the fact + that he was a pianist sui generis. Moscheles calls him an unicum; + Mendelssohn describes him as "radically original" (Gruneigentumlich); + Meyerbeer said of him that he knew no pianist, no composer for the piano, + like him; and thus I could go on quoting ad infinitum. A writer in the + "Gazette musicale" (of the year 1835, I think), who, although he places at + the head of his article side by side the names of Liszt, Hiller, Chopin, + and—Bertini, proved himself in the characterisation of these + pianists a man of some insight, remarks of Chopin: "Thought, style, + conception, even the fingering, everything, in fact, appears individual, + but of a communicative, expansive individuality, an individuality of which + superficial organisations alone fail to recognise the magnetic influence." + Chopin's place among the great pianists of the second quarter of this + century has been felicitously characterised by an anonymous contemporary: + Thalberg, he said, is a king, Liszt a prophet, Chopin a poet, Herz an + advocate, Kalkbrenner a minstrel, Madame Pleyel a sibyl, and Doehler a + pianist. + </p> + <p> + But if our investigation is to be profitable, we must proceed + analytically. It will be best to begin with the fundamental technical + qualities. First of all, then, we have to note the suppleness and equality + of Chopin's fingers and the perfect independence of his hands. "The + evenness of his scales and passages in all kinds of touch," writes Mikuli, + "was unsurpassed, nay, prodigious." Gutmann told me that his master's + playing was particularly smooth, and his fingering calculated to attain + this result. A great lady who was present at Chopin's last concert in + Paris (1848), when he played among other works his Valse in D flat (Op. + 64, No. 1), wished to know "le secret de Chopin pour que les gammes + fussent si COULEES sur le piano." Madame Dubois, who related this incident + to me, added that the expression was felicitous, for this "limpidite + delicate" had never been equalled. Such indeed were the lightness, + delicacy, neatness, elegance, and gracefulness of Chopin's playing that + they won for him the name of Ariel of the piano. The reader will remember + how much Chopin admired these qualities in other artists, notably in + Mdlle. Sontag and in Kalkbrenner. + </p> + <p> + So high a degree and so peculiar a kind of excellence was of course + attainable only under exceptionally favourable conditions, physical as + well as mental. The first and chief condition was a suitably formed hand. + Now, no one can look at Chopin's hand, of which there exists a cast, + without perceiving at once its capabilities. It was indeed small, but at + the same time it was thin, light, delicately articulated, and, if I may + say so, highly expressive. Chopin's whole body was extraordinarily + flexible. According to Gutmann, he could, like a clown, throw his legs + over his shoulders. After this we may easily imagine how great must have + been the flexibility of his hands, those members of his body which he had + specially trained all his life. Indeed, the startlingly wide-spread + chords, arpeggios, &c., which constantly occur in his compositions, + and which until he introduced them had been undreamt-of and still are far + from being common, seemed to offer him no difficulty, for he executed them + not only without any visible effort, but even with a pleasing ease and + freedom. Stephen Heller told me that it was a wonderful sight to see one + of those small hands expand and cover a third of the keyboard. It was like + the opening of the mouth of a serpent which is going to swallow a rabbit + whole. In fact, Chopin appeared to be made of caoutchouc. + </p> + <p> + In the criticisms on Chopin's public performances we have met again and + again with the statement that he brought little tone out of the piano. + Now, although it is no doubt true that Chopin could neither subdue to his + sway large audiences nor successfully battle with a full orchestra, it + would be a mistake to infer from this that he was always a weak and + languid player. Stephen Heller, who declared that Chopin's tone was rich, + remembered hearing him play a duet with Moscheles (the latter's duet, of + which Chopin was so fond), and on this occasion the Polish pianist, who + insisted on playing the bass, drowned the treble of his partner, a + virtuoso well known for his vigour and brilliancy. Were we, however, to + form our judgment on this single item of evidence, we should again arrive + at a wrong conclusion. Where musical matters—i.e., matters generally + estimated according to individual taste and momentary impressibility alone—are + concerned, there is safety only in the multitude of witnesses. Let us, + therefore, hear first what Chopin's pupils have got to say on this point, + and then go and inquire further. Gutmann said that Chopin played generally + very quietly, and rarely, indeed hardly ever, fortissimo. The A flat major + Polonaise (Op. 53), for instance, he could not thunder forth in the way we + are accustomed to hear it. As for the famous octave passages which occur + in it, he began them pianissimo and continued thus without much increase + in loudness. And, then, Chopin never thumped. M. Mathias remarks that his + master had extraordinary vigour, but only in flashes. Mikuli's preface to + his edition of the works of Chopin affords more explicit information. We + read there:— + </p> +<pre xml:space="preserve"> + The tone which Chopin brought out of the instrument was + always, especially in the cantabiles, immense (riesengross), + only Field could perhaps in this respect be compared to him. A + manly energy gave to appropriate passages overpowering effect— + energy without roughness (Rohheit); but, on the other hand, + he knew how by delicacy—delicacy without affectation—to + captivate the hearer. +</pre> + <p> + We may summarise these various depositions by saying with Lenz that, being + deficient in physical strength, Chopin put his all in the cantabile style, + in the connections and combinations, in the detail. But two things are + evident, and they ought to be noted: (1) The volume of tone, of pure tone, + which Chopin was capable of producing was by no means inconsiderable; (2) + he had learnt the art of economising his means so as to cover his + shortcomings. This last statement is confirmed by some remarks of + Moscheles which have already been quoted—namely, that Chopin's piano + was breathed forth so softly that he required no vigorous forte to produce + the desired contrasts; and that one did not miss the orchestral effects + which the German school demanded from a pianist, but allowed one's self to + be carried away as by a singer who takes little heed of the accompaniment + and follows his own feelings. + </p> + <p> + In listening to accounts of Chopin's style of playing, we must not leave + out of consideration the time to which they refer. What is true of the + Chopin of 1848 is not true of the Chopin of 1831 nor of 1841. In the last + years of his life he became so weak that sometimes, as Stephen Heller told + me, his playing was hardly audible. He then made use of all sorts of + devices to hide the want of vigour, often modifying the original + conception of his compositions, but always producing beautiful effects. + Thus, to give only one example (for which and much other interesting + information I am indebted to Mr. Charles Halle), Chopin played at his last + concert in Paris (February, 1848) the two forte passages towards the end + of the Barcarole, not as they are printed, but pianissimo and with all + sorts of dynamic finesses. Having possessed himself of the most recondite + mysteries of touch, and mastered as no other pianist had done the subtlest + gradations of tone, he even then, reduced by disease as he was, did not + give the hearer the impression of weakness. At least this is what Mr. Otto + Goldschmidt relates, who likewise was present at this concert. There can + be no doubt that what Chopin aimed at chiefly, or rather, let us say, what + his physical constitution permitted him to aim at, was quality not + quantity of tone. A writer in the "Menestrel" (October 21, 1849) remarks + that for Chopin, who in this was unlike all other pianists, the piano had + always too much tone; and that his constant endeavour was to + SENTIMENTALISE the timbre, his greatest care to avoid everything which + approached the fracas pianistique of the time. + </p> + <p> + Of course, a true artist's touch has besides its mechanical also its + spiritual aspect. With regard to this it is impossible to overlook the + personal element which pervaded and characterised Chopin's touch. M. + Marmontel does not forget to note it in his "Pianistes Celebres." He + writes:— + </p> +<pre xml:space="preserve"> + In the marvellous art of carrying and modulating the tone, in + the expressive, melancholy manner of shading it off, Chopin + was entirely himself. He had quite an individual way of + attacking the keyboard, a supple, mellow touch, sonorous + effects of a vaporous fluidity of which only he knew the + secret. +</pre> + <p> + In connection with Chopin's production of tone, I must not omit to mention + his felicitous utilisation of the loud and soft pedals. It was not till + the time of Liszt, Thalberg, and Chopin that the pedals became a power in + pianoforte-playing. Hummel did not understand their importance, and failed + to take advantage of them. The few indications we find in Beethoven's + works prove that this genius began to see some of the as yet latent + possibilities. Of the virtuosi, + </p> + <p> + Moscheles was the first who made a more extensive and artistic use of the + pedals, although also he employed them sparingly compared with his + above-named younger contemporaries. Every pianist of note has, of course, + his own style of pedalling. Unfortunately, there are no particulars + forthcoming with regard to Chopin's peculiar style; and this is the more + to be regretted as the composer was very careless in his notation of the + pedals. Rubinstein declares that most of the pedal marks in Chopin's + compositions are wrongly placed. If nothing more, we know at least thus + much: "No pianist before him [Chopin] has employed the pedals alternately + or simultaneously with so much tact and ability," and "in making + constantly use of the pedal he obtained des harmonies ravissantes, des + bruissements melodiques qui etonnaient et charmaient." [FOOTNOTE: + Marmontel: "Les Pianistes celebres."] + </p> + <p> + The poetical qualities of Chopin's playingare not so easily defined as the + technical ones. Indeed, if they are definable at all they are so only by + one who, like Liszt, is a poet as well as a great pianist. I shall, + therefore, transcribe from his book some of the most important remarks + bearing on this matter. + </p> + <p> + After saying that Chopin idealised the fugitive poesy inspired by fugitive + apparitions like "La Fee aux Miettes," "Le Lutin d'Argail," &c., to + such an extent as to render its fibres so thin and friable that they + seemed no longer to belong to our nature, but to reveal to us the + indiscreet confidences of the Undines, Titanias, Ariels, Queen Mabs, and + Oberons, Liszt proceeds thus:— + </p> +<pre xml:space="preserve"> + When this kind of inspiration laid hold of Chopin his playing + assumed a distinctive character, whatever the kind of music he + executed might be—dance-music or dreamy music, mazurkas or + nocturnes, preludes or scherzos, waltzes or tarantellas, + studies or ballades. He imprinted on them all one knows not + what nameless colour, what vague appearance, what pulsations + akin to vibration, that had almost no longer anything material + about them, and, like the imponderables, seemed to act on + one's being without passing through the senses. Sometimes one + thought one heard the joyous tripping of some amorously- + teasing Peri; sometimes there were modulations velvety and + iridescent as the robe of a salamander; sometimes one heard + accents of deep despondency, as if souls in torment did not + find the loving prayers necessary for their final deliverance. + At other times there breathed forth from his fingers a despair + so mournful, so inconsolable, that one thought one saw Byron's + Jacopo Foscari come to life again, and contemplated the + extreme dejection of him who, dying of love for his country, + preferred death to exile, being unable to endure the pain of + leaving Venezia la bella! +</pre> + <p> + It is interesting to compare this description with that of another poet, a + poet who sent forth his poetry daintily dressed in verse as well as + carelessly wrapped in prose. Liszt tells us that Chopin had in his + imagination and talent something "qui, par la purete de sa diction, par + ses accointances avec La Fee aux Miettes et Le Lutin d'Argail, par ses + rencon-tres de Seraphine et de Diane, murmurant a son oreille leurs plus + confidentielles plaintes, leurs reves les plus innommes," [FOOTNOTE: The + allusions are to stories by Charles Nodier. According to Sainte-Beuve, "La + Fee aux Miettes" was one of those stories in which the author was + influenced by Hoffmann's creations.] reminded him of Nodier. Now, what + thoughts did Chopin's playing call up in Heine? + </p> +<pre xml:space="preserve"> + Yes, one must admit that Chopin has genius in the full sense + of the word; he is not only a virtuoso, he is also a poet; he + can embody for us the poesy which lives within his soul, he is + a tone-poet, and nothing can be compared to the pleasure which + he gives us when he sits at the piano and improvises. He is + then neither a Pole, nor a Frenchman, nor a German, he reveals + then a higher origin, one perceives then that he comes from + the land of Mozart, Raphael, and Goethe, his true fatherland + is the dream-realm of poesy. When he sits at the piano and + improvises I feel as though a countryman from my beloved + native land were visiting me and telling me the most curious + things which have taken place there during my + absence...Sometimes I should like to interrupt him with + questions: And how is the beautiful little water-nymph who + knows how to fasten her silvery veil so coquettishly round her + green locks? Does the white-bearded sea-god still persecute + her with his foolish, stale love? Are the roses at home still + in their flame-hued pride? Do the trees still sing as + beautifully in the moonlight? +</pre> + <p> + But to return to Liszt. A little farther on than the passage I quoted + above he says:— + </p> +<pre xml:space="preserve"> + In his playing the great artist rendered exquisitely that kind + of agitated trepidation, timid or breathless, which seizes the + heart when one believes one's self in the vicinity of + supernatural beings, in presence of those whom one does not + know either how to divine or to lay hold of, to embrace or to + charm. He always made the melody undulate like a skiff borne + on the bosom of a powerful wave; or he made it move vaguely + like an aerial apparition suddenly sprung up in this tangible + and palpable world. In his writings he at first indicated this + manner which gave so individual an impress to his virtuosity + by the term tempo rubato: stolen, broken time—a measure at + once supple, abrupt, and languid, vacillating like the flame + under the breath which agitates it, like the corn in a field + swayed by the soft pressure of a warm air, like the top of + trees bent hither and thither by a keen breeze. + + But as the term taught nothing to him who knew, said nothing + to him who did not know, understand, and feel, Chopin + afterwards ceased to add this explanation to his music, being + persuaded that if one understood it, it was impossible not to + divine this rule of irregularity. Accordingly, all his + compositions ought to be played with that kind of accented, + rhythmical balancement, that morbidezza, the secret of which + it was difficult to seize if one had not often heard him play. +</pre> + <p> + Let us try if it is not possible to obtain a clearer notion of this + mysterious tempo rubato. Among instrumentalists the "stolen time" was + brought into vogue especially by Chopin and Liszt. But it is not an + invention of theirs or their time. Quanz, the great flutist (see Marpurg: + "Kritische Beitrage." Vol. I.), said that he heard it for the first time + from the celebrated singer Santa Stella Lotti, who was engaged in 1717 at + the Dresden Opera, and died in 1759 at Venice. Above all, however, we have + to keep in mind that the tempo rubato is a genus which comprehends + numerous species. In short, the tempo rubato of Chopin is not that of + Liszt, that of Liszt is not that of Henselt, and so on. As for the general + definitions we find in dictionaries, they can afford us no particular + enlightenment. But help comes to us from elsewhere. Liszt explained + Chopin's tempo rubato in a very poetical and graphic manner to his pupil + the Russian pianist Neilissow:—"Look at these trees!" he said, "the + wind plays in the leaves, stirs up life among them, the tree remains the + same, that is Chopinesque rubato." But how did the composer himself + describe it? From Madame Dubois and other pupils of Chopin we learn that + he was in the habit of saying to them: "Que votre main gauche soit votre + maitre de chapelle et garde toujours la mesure" (Let your left hand be + your conductor and always keep time). According to Lenz Chopin taught + also: "Angenommen, ein Stuck dauert so und so viel Minuten, wenn das Ganze + nur so lange gedauert hat, im Einzelnen kann's anders sein!" (Suppose a + piece lasts so and so many minutes, if only the whole lasts so long, the + differences in the details do not matter). This is somewhat ambiguous + teaching, and seems to be in contradiction to the preceding precept. + Mikuli, another pupil of Chopin's, explains his master's tempo rubato + thus:—"While the singing hand, either irresolutely lingering or as + in passionate speech eagerly anticipating with a certain impatient + vehemence, freed the truth of the musical expression from all rhythmical + fetters, the other, the accompanying hand, continued to play strictly in + time." We get a very lucid description of Chopin's tempo rubato from the + critic of the Athenaeum who after hearing the pianist-composer at a London + matinee in 1848 wrote:—"He makes free use of tempo rubato; leaning + about within his bars more than any player we recollect, but still subject + to a presiding measure such as presently habituates the ear to the + liberties taken." Often, no doubt, people mistook for tempo rubato what in + reality was a suppression or displacement of accent, to which kind of + playing the term is indeed sometimes applied. The reader will remember the + following passage from a criticism in the "Wiener Theaterzeitung" of 1829:—"There + are defects noticeable in the young man's [Chopin's] playing, among which + is perhaps especially to be mentioned the non-observance of the indication + by accent of the commencement of musical phrases." Mr. Halle related to me + an interesting dispute bearing on this matter. The German pianist told + Chopin one day that he played in his mazurkas often 4/4 instead of 3/4 + time. Chopin would not admit it at first, but when Mr. Halle proved his + case by counting to Chopin's playing, the latter admitted the correctness + of the observation, and laughing said that this was national. Lenz reports + a similar dispute between Chopin and Meyerbeer. In short, we may sum up in + Moscheles' words, Chopin's playing did not degenerate into Tactlosigkeit + [lit., timelessness], but it was of the most charming originality. Along + with the above testimony we have, however, to take note of what Berlioz + said on the subject: "Chopin supportait mal le frein de la mesure; il a + pousse beaucoup trap loin, selon moi, l'independance rhythmique." Berlioz + even went so far as to say that "Chopin could not play strictly in time + [ne pouvait pas jouer regulierement]." + </p> + <p> + Indeed, so strange was Chopin's style that when Mr. Charles Halle first + heard him play his compositions he could not imagine how what he heard was + represented by musical signs. But strange as Chopin's style of playing was + he thinks that its peculiarities are generally exaggerated. The Parisians + said of Rubinstein's playing of compositions of Chopin: "Ce n'est pas ca!" + Mr. Halle himself thinks that Rubinstein's rendering of Chopin is clever, + but not Chopinesque. Nor do Von Bulow's readings come near the original. + As for Chopin's pupils, they are even less successful than others in + imitating their master's style. The opinion of one who is so distinguished + a pianist and at the same time was so well acquainted with Chopin as Mr. + Halle is worth having. Hearing Chopin often play his compositions he got + so familiar with that master's music and felt so much in sympathy with it + that the composer liked to have it played by him, and told him that when + he was in the adjoining room he could imagine he was playing himself. + </p> + <p> + But it is time that we got off the shoals on which we have been lying so + long. Well, Lenz shall set us afloat:— + </p> +<pre xml:space="preserve"> + In the undulation of the motion, in that suspension and unrest + [Hangen und Bangen], in the rubato as he understood it, Chopin + was captivating, every note was the outcome of the best taste + in the best sense of the word. If he introduced an + embellishment, which happened only rarely, it was always a + kind of miracle of good taste. Chopin was by his whole nature + unfitted to render Beethoven or Weber, who paint on a large + scale and with a big brush. Chopin was an artist in crayons + [Pastellmaler], but an INCOMPARABLE one! By the side of Liszt + he might pass with honour for that master's well-matched wife + [ebenburtige Frau, i.e., wife of equal rank]. Beethoven's B + flat major Sonata, Op. 106, and Chopin exclude each other. +</pre> + <p> + One day Chopin took Lenz with him to the Baronne Krudner and her friend + the Countess Scheremetjew to whom he had promised to play the variations + of Beethoven's Sonata in A flat major (Op. 26). And how did he play them? + </p> +<pre xml:space="preserve"> + Beautifully [says Lenz], but not so beautifully as his own + things, not enthrallingly [packend], not en relief, not as a + romance increasing in interest from variation to variation. He + whispered it mezza voce, but it was incomparable in the + cantilena, infinitely perfect in the phrasing of the + structure, ideally beautiful, but FEMININE! Beethoven is a man + and never ceases to be one! + + Chopin played on a Pleyel, he made it a point never to give + lessons on another instrument; they were obliged to get a + Pleyel. All were charmed, I also was charmed, but only with + the tone of Chopin, with his touch, with his sweetness and + grace, with the purity of his style. +</pre> + <p> + Chopin's purity of style, self-command, and aristocratic reserve have to + be quite especially noted by us who are accustomed to hear the master's + compositions played wildly, deliriously, ostentatiously. J. B. Cramer's + remarks on Chopin are significant. The master of a bygone age said of the + master of the then flourishing generation:— + </p> +<pre xml:space="preserve"> + I do not understand him, but he plays beautifully and + correctly, oh! very correctly, he does not give way to his + passion like other young men, but I do not understand him. +</pre> + <p> + What one reads and hears of Chopin's playing agrees with the account of + his pupil Mikuli, who remarks that, with all the warmth which Chopin + possessed in so high a degree, his rendering was nevertheless temperate + [massvoll], chaste, nay, aristocratic, and sometimes even severely + reserved. When, on returning home from the above-mentioned visit to the + Russian ladies, Lenz expressed his sincere opinion of Chopin's playing of + Beethoven's variations, the master replied testily: "I indicate + (j'indique); the hearer must complete (parachever) the picture." And when + afterwards, while Chopin was changing his clothes in an adjoining room, + Lenz committed the impertinence of playing Beethoven's theme as he + understood it, the master came in in his shirt-sleeves, sat down beside + him, and at the end of the theme laid his hand on Lenz's shoulder and + said: "I shall tell Liszt of it; this has never happened to me before; but + it is beautiful—well, BUT MUST ONE THEN ALWAYS SPEAK SO PASSIONATELY + (si declamatoirement)?" The italics in the text, not those in parentheses, + are mine. I marked some of Chopin's words thus that they might get the + attention they deserve. "Tell me with whom you associate, and I will tell + you who you are." Parodying this aphorism one might say, not without a + good deal of truth: Tell me what piano you use, and I will tell you what + sort of a pianist you are. Liszt gives us all the desirable information as + to Chopin's predilection in this respect. But Lenz too has, as we have + seen, touched on this point. Liszt writes:— + </p> +<pre xml:space="preserve"> + While Chopin was strong and healthy, as during the first years + of his residence in Paris, he used to play on an Erard piano; + but after his friend Camille Pleyel had made him a present of + one of his splendid instruments, remarkable for their metallic + ring and very light touch, he would play on no other maker's. + + If he was engaged for a soiree at the house of one of his + Polish or French friends, he would often send his own + instrument, if there did not happen to be a Pleyel in the + house. + + Chopin was very partial to [affectionnait] Pleyel's pianos, + particularly on account of their silvery and somewhat veiled + sonority, and of the easy touch which permitted him to draw + from them sounds which one might have believed to belong to + those harmonicas of which romantic Germany has kept the + monopoly, and which her ancient masters constructed so + ingeniously, marrying crystal to water. +</pre> + <p> + Chopin himself said:— + </p> +<pre xml:space="preserve"> + When I am indisposed, I play on one of Erard's pianos and + there I easily find a ready-made tone. But when I feel in the + right mood and strong enough to find my own tone for myself, I + must have one of Pleyel's pianos. +</pre> + <p> + From the fact that Chopin played during his visit to Great Britain in 1848 + at public concerts as well as at private parties on instruments of + Broadwood's, we may conclude that he also appreciated the pianos of this + firm. In a letter dated London, 48, Dover Street, May 6, 1848, he writes + to Gutmann: "Erard a ete charmant, il m'a fait poser un piano. J'ai un de + Broadwood et un de Pleyel, ce qui fait 3, et je ne trouve pas encore le + temps pour les jouer." And in a letter dated Edinburgh, August 6, and + Calder House, August 11, he writes to Franchomme: "I have a Broadwood + piano in my room, and the Pleyel of Miss Stirling in the salon." + </p> + <p> + Here, I think, will be the fittest place to record what I have learnt + regarding Chopin's musical taste and opinions on music and musicians, and + what will perhaps illustrate better than any other part of this book the + character of the man and artist. His opinions of composers and musical + works show that he had in a high degree les vices de ses qualites. The + delicacy of his constitution and the super-refinement of his breeding, + which put within his reach the inimitable beauties of subtlest tenderness + and grace that distinguish his compositions and distinguished his playing, + were disqualifications as well as qualifications. "Every kind of uncouth + roughness [toutes les rudesses sauvages] inspired him with aversion," says + Liszt. "In music as in literature and in every-day life everything which + bordered on melodrama was torture to him." In short, Chopin was an + aristocrat with all the exclusiveness of an aristocrat. + </p> + <p> + The inability of men of genius to appreciate the merit of one or the other + of their great predecessors and more especially of their contemporaries + has often been commented on and wondered at, but I doubt very much whether + a musician could be instanced whose sympathies were narrower than those of + Chopin. Besides being biographically important, the record of the master's + likings and dislikings will teach a useful lesson to the critic and + furnish some curious material for the psychological student. + </p> + <p> + Highest among all the composers, living and dead, Chopin esteemed Mozart. + Him he regarded as "the ideal type, the poet par excellence." It is + related of Chopin—with what truth I do not know—that he never + travelled without having either the score of "Don Giovanni" or that of the + "Requiem" in his portmanteau. Significant, although not founded on fact, + is the story according to which he expressed the wish that the "Requiem" + should be performed at his funeral service. Nothing, however, shows his + love for the great German master more unmistakably and more touchingly + than the words which on his death-bed he addressed to his dear friends the + Princess Czartoryska and M. Franchomme: "You will play Mozart together, + and I shall hear you." And why did Chopin regard Mozart as the ideal type, + the poet par excellence? Liszt answers: "Because Mozart condescended more + rarely than any other composer to cross the steps which separate + refinement from vulgarity." But what no doubt more especially stirred + sympathetic chords in the heart of Chopin, and inspired him with that + loving admiration for the earlier master, was the sweetness, the grace, + and the harmoniousness which in Mozart's works reign supreme and + undisturbed—the unsurpassed and unsurpassable perfect loveliness and + lovely perfection which result from a complete absence of everything that + is harsh, hard, awkward, unhealthy, and eccentric. And yet, says Liszt of + Chopin:— + </p> +<pre xml:space="preserve"> + His sybaritism of purity, his apprehension of what was + commonplace, were such that even in "Don Giovanni," even in + this immortal chef-d'oeuvre, he discovered passages the + presence of which we have heard him regret. His worship of + Mozart was not thereby diminished, but as it were saddened. +</pre> + <p> + The composer who next to Mozart stood highest in Chopin's esteem was Bach. + "It was difficult to say," remarks Mikuli, "which of the two he loved + most." Chopin not only, as has already been mentioned, had works of Bach + on his writing-table at Valdemosa, corrected the Parisian edition for his + own use, and prepared himself for his concerts by playing Bach, but also + set his pupils to study the immortal cantor's suites, partitas, and + preludes and fugues. Madame Dubois told me that at her last meeting with + him (in 1848) he recommended her "de toujours travailler Bach," adding + that that was the best means of making progress. + </p> + <p> + Hummel, Field, and Moscheles were the pianoforte composers who seem to + have given Chopin most satisfaction. Mozart and Bach were his gods, but + these were his friends. Gutmann informed me that Chopin was particularly + fond of Hummel; Liszt writes that Hummel was one of the composers Chopin + played again and again with the greatest pleasure; and from Mikuli we + learn that of Hummel's compositions his master liked best the Fantasia, + the Septet, and the Concertos. Liszt's statement that the Nocturnes of + Field were regarded by Chopin as "insuffisants" seems to me disproved by + unexceptionable evidence. Chopin schooled his pupils most assiduously and + carefully in the Nocturnes as well as in the Concertos of Field, who was, + to use Madame Dubois's words, "an author very sympathetic to him." Mikuli + relates that Chopin had a predilection for Field's A flat Concerto and the + Nocturnes, and that, when playing the latter, he used to improvise the + most charming embellishments. To take liberties with another artist's + works and complain when another artist takes liberties with your own works + is very inconsistent, is it not? But it is also thoroughly human, and + Chopin was not exempt from the common failing. One day when Liszt did with + some composition of Chopin's what the latter was in the habit of doing + with Field's Nocturnes, the enraged composer is said to have told his + friend to play his compositions as they were written or to let them alone. + M. Marmontel writes:— + </p> +<pre xml:space="preserve"> + Either from a profound love of the art or from an excess of + conscience personelle, Chopin could not bear any one to touch + the text of his works. The slightest modification seemed to + him a grave fault which he did not even forgive his intimate + friends, his fervent admirers, Liszt not excepted. I have many + a time, as well as my master, Zimmermann, caused Chopin's + sonatas, concertos, ballades, and allegros to be played as + examination pieces; but restricted as I was to a fragment of + the work, I was pained by the thought of hurting the composer, + who considered these alterations a veritable sacrilege. +</pre> + <p> + This, however, is a digression. Little need be added to what has already + been said in another chapter of the third composer of the group we were + speaking of. Chopin, the reader will remember, told Moscheles that he + loved his music, and Moscheles admitted that he who thus complimented him + was intimately acquainted with it. From Mikuli we learn that Moscheles' + studies were very sympathetic to his master. As to Moscheles' duets, they + were played by Chopin probably more frequently than the works of any other + composer, excepting of course his own works. We hear of his playing them + not only with his pupils, but with Osborne, with Moscheles himself, and + with Liszt, who told me that Chopin was fond of playing with him the duets + of Moscheles and Hummel. + </p> + <p> + Speaking of playing duets reminds me of Schubert, who, Gutmann informed + me, was a favourite of Chopin's. The Viennese master's "Divertissement + hongrois" he admired without reserve. Also the marches and polonaises a + quatre mains he played with his pupils. But his teaching repertoire seems + to have contained, with the exception of the waltzes, none of the works a + deux mains, neither the sonatas, nor the impromptus, nor the "Moments + musicals." This shows that if Schubert was a favourite of Chopin's, he was + so only to a certain extent. Indeed, Chopin even found fault with the + master where he is universally regarded as facile princeps. Liszt remarks:— + </p> +<pre xml:space="preserve"> + In spite of the charm which he recognised in some of + Schubert's melodies, he did not care to hear those whose + contours were too sharp for his ear, where feeling is as it + were denuded, where one feels, so to speak, the flesh + palpitate and the bones crack under the grasp of anguish. A + propos of Schubert, Chopin is reported to have said: "The + sublime is dimmed when it is followed by the common or the + trivial." +</pre> +<pre xml:space="preserve"> +I shall now mention some of those composers with whom Chopin was less +in sympathy. In the case of Weber his approval, however, seems to have +outweighed his censure. At least Mikuli relates that the E minor and +A flat major Sonatas and the "Concertstuck" were among those works for +which his master had a predilection, and Madame Dubois says that he made +his pupils play the Sonatas in C and in A flat major with extreme care. +Now let us hear Lenz:— He could not appreciate Weber; he spoke of +"opera," "unsuitable for the piano" [unklaviermassig]! On the whole, + Chopin was little in sympathy with the GERMAN spirit in music, + although I heard him say: "There is only ONE SCHOOL, the + German!" +</pre> + <p> + Gutmann informed me that he brought the A flat major Sonata with him from + Germany in 1836 or 1837, and that Chopin did not know it then. It is hard + enough to believe that Liszt asked Lenz in 1828 if the composer of the + "Freischutz" had also written for the piano, but Chopin's ignorance in + 1836 is much more startling. Did fame and publications travel so slowly in + the earlier part of the century? Had genius to wait so long for + recognition? If the statement, for the correctness of which Gutmann alone + is responsible, rests on fact and not on some delusion of memory, this + most characteristic work of Weber and one of the most important items of + the pianoforte literature did not reach Chopin, one of the foremost + European pianists, till twenty years after its publication, which took + place in December, 1816. + </p> + <p> + That Chopin had a high opinion of Beethoven may be gathered from a story + which Lenz relates in an article written for the "Berliner Musikzeitung" + (Vol. XXVI). Little Filtsch—the talented young Hungarian who made + Liszt say: "I shall shut my shop when he begins to travel"—having + played to a select company invited by his master the latter's Concerto in + E minor, Chopin was so pleased with his pupil's performance that he went + with him to Schlesinger's music-shop, asked for the score of "Fidelio," + and presented it to him with the words:—"I am in your debt, you have + given me great pleasure to-day, I wrote the concerto in a happy time, + accept, my dear young friend, the great master work! read in it as long as + you live and remember me also sometimes." But Chopin's high opinion of + Beethoven was neither unlimited nor unqualified. His attitude as regards + this master, which Franchomme briefly indicated by saying that his friend + loved Beethoven, but had his dislikes in connection with him, is more + fully explained by Liszt. + </p> +<pre xml:space="preserve"> + However great his admiration for the works of Beethoven might + be, certain parts of them seemed to him too rudely fashioned. + Their structure was too athletic to please him; their wraths + seemed to him too violent [leurs courroux lui semblaient trop + rugissants]. He held that in them passion too closely + approaches cataclysm; the lion's marrow which is found in + every member of his phrases was in his opinion a too + substantial matter, and the seraphic accents, the Raphaelesque + profiles, which appear in the midst of the powerful creations + of this genius, became at times almost painful to him in so + violent a contrast. +</pre> + <p> + I am able to illustrate this most excellent general description by some + examples. Chopin said that Beethoven raised him one moment up to the + heavens and the next moment precipitated him to the earth, nay, into the + very mire. Such a fall Chopin experienced always at the commencement of + the last movement of the C minor Symphony. Gutmann, who informed me of + this, added that pieces such as the first movement of the Moonlight Sonata + (C sharp minor) were most highly appreciated by his master. One day when + Mr. Halle played to Chopin one of the three Sonatas, Op. 31 (I am not sure + which it was), the latter remarked that he had formerly thought the last + movement VULGAR. From this Mr. Halle naturally concluded that Chopin could + not have studied the works of Beethoven thoroughly. This conjecture is + confirmed by what we learn from Lenz, who in 1842 saw a good deal of + Chopin, and thanks to his Boswellian inquisitiveness, persistence, and + forwardness, made himself acquainted with a number of interesting facts. + Lenz and Chopin spoke a great deal about Beethoven after that visit to the + Russian ladies mentioned in a foregoing part of this chapter. They had + never spoken of the great master before. Lenz says of Chopin:— + </p> +<pre xml:space="preserve"> + He did not take a very serious interest in Beethoven; he knew + only his principal compositions, the last works not at all. + This was in the Paris air! People knew the symphonies, the + quartets of the middle period but little, the last ones not at + all. +</pre> + <p> + Chopin, on being told by Lenz that Beethoven had in the F minor Quartet + anticipated Mendelssohn, Schumann, and him; and that the scherzo prepared + the way for his mazurka-fantasias, said: "Bring me this quartet, I do not + know it." According to Mikuli Chopin was a regular frequenter of the + concerts of the Societe des Concerts du Conservatoire and of the Alard, + Franchomme, &c., quartet party. But one of the most distinguished + musicians living in Paris, who knew Chopin's opinion of Beethoven, + suspects that the music was for him not the greatest attraction of the + Conservatoire concerts, that in fact, like most of those who went there, + he considered them a fashionable resort. True or not, the suspicion is + undeniably significant. "But Mendelssohn," the reader will say, "surely + Chopin must have admired and felt in sympathy with this sweet-voiced, + well-mannered musician?" Nothing, however, could be farther from the + truth. Chopin hated Mendelssohn's D minor Trio, and told Halle that that + composer had never written anything better than the first Song without + Words. Franchomme, stating the case mildly, says that Chopin did not care + much for Mendelssohn's music; Gutmann, however, declared stoutly that his + master positively disliked it and thought it COMMON. This word and the + mention of the Trio remind me of a passage in Hiller's "Mendelssohn: + Letters and Recollections," in which the author relates how, when his + friend played to him the D minor Trio after its completion, he was + favourably impressed by the fire, spirit, and flow, in one word, the + masterly character of the work, but had some misgivings about certain + pianoforte passages, especially those based on broken chords, which, + accustomed as he was by his constant intercourse with Liszt and Chopin + during his stay of several years in Paris to the rich passage work of the + new school, appeared to him old-fashioned. Mendelssohn, who in his letters + repeatedly alludes to his sterility in the matter of new pianoforte + passages, allowed himself to be persuaded by Hiller to rewrite the + pianoforte part, and was pleased with the result. It is clear from the + above that if Mendelssohn failed to give Chopin his due, Chopin did more + than apply the jus talionis. + </p> + <p> + Schumann, however, found still less favour in the eyes of Chopin than + Mendelssohn; for whilst among the works which, for instance, Madame + Dubois, who was Chopin's pupil for five years, studied under her master, + Mendelssohn was represented at least by the Songs without Words and the G + minor Concerto, Schumann was conspicuous by his total absence. And let it + be remarked that this was in the last years of Chopin's life, when + Schumann had composed and published almost all his important works for + pianoforte alone and many of his finest works for pianoforte with other + instruments. M. Mathias, Chopin's pupil during the years 1839-1844, wrote + to me: "I think I recollect that he had no great opinion of Schumann. I + remember seeing the "Carnaval," Op. 9, on his table; he did not speak very + highly of it." In 1838, when Stephen Heller was about to leave Augsburg + for Paris, Schumann sent him a copy of his "Carnaval" (published in + September, 1837), to be presented to Chopin. This copy had a title-page + printed in various colours and was most tastefully bound; for Schumann + knew Chopin's love of elegance, and wished to please him. Soon after his + arrival in Paris, Heller called on the Polish musician and found him + sitting for his portrait. On receiving the copy of the "Carnaval" Chopin + said: "How beautifully they get up these things in Germany!" but uttered + not a word about the music. However, we shall see presently what his + opinion of it was. Some time, perhaps some years, after this first meeting + with Chopin, Heller was asked by Schlesinger whether he would advise him + to publish Schumann's "Carnaval." Heller answered that it would be a good + speculation, for although the work would probably not sell well at first, + it was sure to pay in the long run. Thereupon Schlesinger confided to + Heller what Chopin had told him—namely, that the "Carnaval" was not + music at all. The contemplation of this indifference and more than + indifference of a great artist to the creations of one of his most + distinguished contemporaries is saddening, especially if we remember how + devoted Schumann was to Chopin, how he admired him, loved him, upheld him, + and idolised him. Had it not been for Schumann's enthusiastic praise and + valiant defence Chopin's fame would have risen and spread, more slowly in + Germany. + </p> + <p> + "Of virtuoso music of any kind I never saw anything on his desk, nor do I + think anybody else ever did," says Mikuli.. This, although true in the + main, is somewhat too strongly stated. Kalkbrenner, whose "noisy + virtuosities [virtuosites tapageuses] and decorative expressivities + [expressivites decoratives]" Chopin regarded with antipathy, and Thalberg, + whose shallow elegancies and brilliancies he despised, were no doubt + altogether banished from his desk; this, however, seems not to have been + the case with Liszt, who occasionally made his appearance there. Thus + Madame Dubois studied under Chopin Liszt's transcription of Rossini's + "Tarantella" and of the Septet from Donizetti's "Lucia di Lammermoor." But + the compositions of Liszt that had Chopin's approval were very limited in + number. Chopin, who viewed making concessions to bad taste at the cost of + true art and for the sake of success with the greatest indignation, found + his former friend often guilty of this sin. In 1840 Liszt's transcription + of Beethoven's "Adelaide" was published in a supplement to the Gazette + musicale. M. Mathias happened to come to Chopin on the day when the latter + had received the number of the journal which contained the piece in + question, and found his master furious, outre, on account of certain + cadenzas which he considered out of place and out of keeping. + </p> + <p> + We have seen in one of the earlier chapters how little Chopin approved of + Berlioz's matter and manner; some of the ultra-romanticist's antipodes did + not fare much better. As for Halevy, Chopin had no great opinion of him; + Meyerbeer's music he heartily disliked; and, although not insensible to + Auber's French esprit and liveliness, he did not prize this master's works + very highly. Indeed, at the Italian opera-house he found more that was to + his taste than at the French opera-houses. Bellini's music had a + particular charm for Chopin, and he was also an admirer of Rossini. + </p> + <p> + The above notes exemplify and show the truth of Liszt's remark:— + </p> +<pre xml:space="preserve"> + In the great models and the master-works of art Chopin sought + only what corresponded with his nature. What resembled it + pleased him; what differed from it hardly received justice + from him. +</pre> + <p> + <a name="link2HCH0026" id="link2HCH0026"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER XXVI. + </h2> + <p> + 1843-1847. + </p> + <p> + CHOPIN'S PECUNIARY CIRCUMSTANCES, AND BUSINESS EXPERIENCES WITH + PUBLISHERS.—LETTERS TO FRANCHOMME.—PUBLICATIONS FROM 1842-7.—SOJOURNS + AT NOHANT.—LISZT, MATTHEW ARNOLD, GEORGE SAND, CHARLES ROLLINAT, AND + EUGENE DELACROIX ON NOHANT AND LIFE AT NOHANT.—CHOPIN'S MODE OF + COMPOSITION.—CHOPIN AND GEORGE SAND TAKE UP THEIR PARIS QUARTERS IN + THE CITE D'ORLEANS.—THEIR WAY OF LIFE THERE, PARTICULARLY CHOPIN'S, + AS DESCRIBED BY HIS PUPILS LINDSAY SLOPER, MATHIAS, AND MADAME DUBOIS, AND + MORE ESPECIALLY BY LENZ, MADAME SAND HERSELF, AND PROFESSOR ALEXANDER + CHODZKO (DOMESTIC RELATIONS, APARTMENTS, MANNERS, SYMPATHIES, HIS TALENT + FOR MIMICRY, GEORGE SAND'S FRIENDS, AND HER ESTIMATE OF CHOPIN'S + CHARACTER). + </p> + <p> + Chopin's life from 1843 to 1847 was too little eventful to lend itself to + a chronologically progressive narrative. I shall, therefore, begin this + chapter with a number of letters written by the composer during this + period to his friend Franchomme, and then endeavour to describe Chopin's + mode of life, friends, character, &c. + </p> + <p> + The following fascicle of letters, although containing less about the + writer's thoughts, feelings, and doings than we could wish, affords + nevertheless matter of interest. At any rate, much additional light is + thrown on Chopin's pecuniary circumstances and his dealings with his + publishers. + </p> + <p> + Impecuniosity seems to have been a chronic state with the artist and + sometimes to have pressed hard upon him. On one occasion it even made him + write to the father of one of his pupils, and ask for the payment of the + fees for five lessons (100 francs). M. Mathias tells me that the letter is + still in his possession. One would hardly have expected such a proceeding + from a grand seigneur like Chopin, and many will, no doubt, ask, how it + was that a teacher so much sought after, who got 20 francs a lesson, and + besides had an income from his compositions, was reduced to such straits. + The riddle is easily solved. Chopin was open-handed and not much of an + economist: he spent a good deal on pretty trifles, assisted liberally his + needy countrymen, made handsome presents to his friends, and is said to + have had occasionally to pay bills of his likewise often impecunious + lady-love. Moreover, his total income was not so large as may be supposed, + for although he could have as many pupils as he wished, he never taught + more than five hours a day, and lived every year for several months in the + country. And then there is one other point to be taken into consideration: + he often gave his lessons gratis. From Madame Rubio I learned that on one + occasion when she had placed the money for a series of lessons on the + mantel-piece, the master declined to take any of it, with the exception of + a 20-franc piece, for which sum he put her name down on a subscription + list for poor Poles. Lindsay Sloper, too, told me that Chopin declined + payment for the lessons he gave him. + </p> + <p> + Chopin's business experiences were not, for the most part, of a pleasant + nature; this is shown as much by the facts he mentions in his letters as + by the distrust with which he speaks of the publishers. Here are some more + particulars on the same subject. Gutmann says that Chopin on his return + from Majorca asked Schlesinger for better terms. But the publisher, whilst + professing the highest opinion of the composer's merit, regretted that the + sale of the compositions was not such as to allow him to pay more than he + had hitherto done. [FOOTNOTE: Chopin's letters show that Gutmann's + statement is correct. Troupenas was Chopin's publisher for some time after + his return from Majorca.] Stephen Heller remembered hearing that Breitkopf + and Hartel, of Leipzig, wrote to their Paris agent informing him that they + would go on publishing Chopin's compositions, although, considering their + by no means large sale, the terms at which they got them were too high. + Ed. Wolff related to me that one day he drove with his countryman to the + publisher Troupenas, to whom Chopin wished to sell his Sonata (probably + the one in B flat minor). When after his negotiations with the publisher + Chopin was seated again in the carriage, he said in Polish: "The pig, he + offered me 200 francs for my Sonata!" Chopin's relations with England were + even less satisfactory. At a concert at which Filtsch played, Chopin + introduced Stephen Heller to Wessel or to a representative ofthat firm, + but afterwards remarked: "You won't find them pleasant to deal with." + Chopin at any rate did not find them pleasant to deal with. Hearing that + Gutmann was going to London he asked his pupil to call at Wessel's and try + to renew the contract which had expired. The publisher on being applied to + answered that not only would he not renew the contract, but that he would + not even print Chopin's compositions if he got them for nothing. Among the + pieces offered was the Berceuse. With regard to this story of Gutmann's it + has, however, to be stated that, though it may have some foundation of + fact, it is not true as he told it; for Wessel certainly had published the + Berceuse by June 26, 1845, and also published in the course of time the + five following works. Then, however, the connection was broken off by + Wessel. Chopin's grumblings at his English publisher brings before us only + one side of the question. The other side comes in view in the following + piece of information with which Wessel's successor, Mr. Edwin Ashdown, + favoured me:—"In 1847 Mr. Wessel got tired of buying Chopin's works, + which at that time had scarcely any sale, and discontinued the agreement, + his last assignment from Chopin (of Op. 60, 61, and 62) being dated July + 17, 1847." Wessel advertised these works on September 26, 1846. + </p> + <p> + Although in the first of the following letters the day, month, and year + when it was written are not mentioned, and the second and third inform us + only of the day and month, but not of the year, internal evidence shows + that the first four letters form one group and belong to the year 1844. + Chopin places the date sometimes at the head, sometimes at the foot, and + sometimes in the middle of his letters; to give it prominence I shall + place it always at the head, but indicate where he places it in the + middle. + </p> + <p> + Chateau de Nohant, near La Chatre, Indre [August 1, 1844]. + </p> +<pre xml:space="preserve"> + Dearest [Cherissime],—I send you [FOOTNOTE: In addressing + Franchomme Chopin makes use of the pronoun of the second + person singular.] the letter from Schlesinger and another for + him. Read them. He wishes to delay the publication, and I + cannot do so. If he says NO, give my manuscripts to Maho + [FOOTNOTE: See next letter.] so that he may get M. Meissonnier + [FOOTNOTE: A Paris music-publisher. He brought out in the + following year (1845) Chopin's Op. 57, Berceuse, and Op. 58, + Sonate (B minor). The compositions spoken of in this and the + next two letters are Op. 55, Deux Nocturnes, and Op. 56, Trois + Mazurkas.] to take them for the same price, 600 francs, I + believe that he (Schlesinger) will engrave them. They must be + published on the 20th. But you know it is only necessary to + register the title on that day. I ask your pardon for + troubling you with all these things. I love you, and apply to + you as I would to my brother. Embrace your children. My + regards to Madame Franchomme.—Your devoted friend, + + F. Chopin. + + A thousand compliments from Madame Sand. +</pre> +<pre xml:space="preserve"> + Chateau de Nohant, Indre, August 2, 1844. + + Dearest,—I was in great haste yesterday when I wrote to you + to apply at Meissonnier's through Maho IF SCHLESINGER REFUSES + my compositions. I forgot that Henri Lemoine [FOOTNOTE: A + Paris music-publisher.] paid Schlesinger a very high price for + my studies, and that I had rather have Lemoine engrave my + manuscripts than Meissonnier. I give you much trouble, dear + friend, but here is a letter for H. Lemoine, which I send to + you. Read it, and arrange with him. He must either publish the + compositions or register the titles on the 20th of this month + (August); ask from him only 300 francs for each, which makes + 600 francs for the two. Tell him he need not pay me till my + return to Paris if he likes. Give him even the two for 500 + francs if you think it necessary. I had rather do that than + give them to Meissonnier for 600 francs, as I wrote to you + yesterday without reflecting. If you have in the meantime + already arranged something with M., it is a different matter. + If not, do not let them go for less than 1,000 francs. For + Maho, who is the correspondent of Haertel (who pays me well) + might, knowing that I sell my compositions for so little in + Paris, make me lower my price in Germany. I torment you much + with my affairs. It is only in case Schlesinger persists in + his intention not to publish this month. If you think Lemoine + would give 800 francs for the two works, ask them. I do not + mention THE PRICE to him so as to leave you complete freedom. + I have no time to lose before the departure of the mail. I + embrace you, dear brother—write me a line.—Yours devotedly, + + Chopin. + + My regards to Madame. A thousand kisses to your children. +</pre> +<pre xml:space="preserve"> + Nohant, Monday, August 4, 1844. + + Dearest,—I relied indeed on your friendship—therefore the + celerity with which you have arranged the Schlesinger affair + for me does not surprise me at all. I thank you from the + bottom of my heart, and await the moment when I shall be able + to do as much for you. I imagine all is well in your home— + that Madame Franchomme and your dear children are well—and + that you love me as I love you.—Yours devotedly, + + F. CH. + + Madame Sand embraces your dear big darling [fanfan], and sends + you a hearty grasp of the hand. +</pre> +<pre xml:space="preserve"> + Chateau de Nohant, September 20, 1844. + + Dearest,—If I did not write you before, it was because I + thought I should see you again this week in Paris. My + departure being postponed, I send you a line for Schlesinger + so that he may remit to you the price of my last manuscripts, + that is to say, 600 francs (100 of which you will keep for + me). I hope he will do it without making any difficulty about + it—if not, ask him at once for a line in reply (without + getting angry), send it to me, and I shall write immediately + to M. Leo to have the 500 francs you had the kindness to lend + me remitted to you before the end of the month. + + What shall I say? I often think of our last evening spent with + my dear sister. [FOOTNOTE: His sister Louise, who had been on + a visit to him.] How glad she was to hear you! She wrote to me + about it since from Strasburg, and asked me to remember her to + you and Madame Franchomme. I hope you are all well, and that I + shall find you so. Write to me, and love me as I love you. + Your old + + [A scrawl.] + + A thousand compliments to Madame. I embrace your dear + children. A thousand compliments from Madame Sand. +</pre> +<pre xml:space="preserve"> + [Date.] + + I send you also a receipt for Schlesinger which you will give + up to him for the money only. Once more, do not be vexed if he + makes any difficulties. I embrace you. + + C. +</pre> +<pre xml:space="preserve"> + August 30, 1845. + + Very dear friend,—Here are three manuscripts for Brandus, + [FOOTNOTE: Brandus, whose name here appears for the first time + in Chopin's letters, was the successor of Schlesinger.] and + three for Maho, who will remit to you Haertel's price for them + (1,500 francs). Give the manuscripts only at the moment of + payment. Send a note for 500 francs in your next letter, and + keep the rest for me. I give you much trouble, I should like + to spare you it—but—but——. + + Ask Maho not to change the manuscripts destined for Haertel, + because, as I shall not correct the Leipzig proofs, it is + important that my copy should be clear. Also ask Brandus to + send me two proofs, one of which I may keep. + + Now, how are you? and Madame Franchomme and her dear children? + I know you are in the country—(if St. Germain may be called + country)—that ought to do you all infinite good in the fine + weather which we continue to have. Look at my erasures! I + should not end if I were to launch out into a chat with you, + and I have not time to resume my letter, for Eug. Delacroix, + who wishes much to take charge of my message for you, leaves + immediately. He is the most admirable artist possible—I have + spent delightful times with him. He adores Mozart—knows all + his operas by heart. + + Decidedly I am only making blots to-day—pardon me for them. + Au revoir, dear friend, I love you always, and I think of you + every day. + + Give my kind regards to Madame Franchomme, and embrace the + dear children. +</pre> +<pre xml:space="preserve"> + September 22, 1845. + + Very dear friend,—I thank you with all my heart for all your + journeys after Maho, and your letter which I have just + received with the money. The day of the publication seems to + me good, and I have only to ask you again not to let Brandus + fall asleep on my account or over my accounts. +</pre> +<pre xml:space="preserve"> + Nohant, July 8, 1846. + + Very dear friend,—It was not because I did not think of it + that I have not written to you sooner, but because I wished to + send you at the same time my poor manuscripts, which are not + yet finished. In the meantime here is a letter for M. Brandus. + When you deliver it to him, be so kind as to ask him for a + line in reply, which you will have the goodness to send to me; + because if any unforeseen event occurs, I shall have to apply + to Meissonnier, their offers being equal. + + My good friend,—I am doing my utmost to work, but I do not + get on; and if this state of things continues, my new + productions will no longer remind people either of the + WARBLING OF LINNETS [gazouillement des fauvettes] [FOOTNOTE: + This is an allusion to a remark which somebody made on his + compositions.] or even of BROKEN CHINA [porcelaine cassee]. I + must resign myself. + + Write to me. I love you as much as ever. + + A thousand kind regards to Madame Franchomme, and many + compliments from my sister Louise. I embrace your dear + children. +</pre> +<pre xml:space="preserve"> + [Date.] + + Madame Sand begs to be remembered to you and Madame + Franchomme. + + Chateau de Nohant, near La Chatre, September 17, 1846. + + Very dear friend,—I am very sorry that Brandus is away, and + that Maho is not yet in a position to receive the manuscripts + that he has so often asked me for this winter. One must + therefore wait; meanwhile I beg you will be so kind as to go + back AS SOON as you judge it possible, for I should not now + like this to be a long business, having sent my copy to London + at the same time as to you. Do not tell them this—if they are + CLEVER tradesmen [marchands habiles] they may cheat me like + honest people [en honnetes gens]. As this is all my present + fortune I should prefer the affair to turn out differently. + Also have the kindness not to consign my manuscripts to them + without receiving the money agreed upon, and send me + immediately a note for 500 francs in your letter. You will + keep the rest for me till my arrival in Paris, which will take + place probably in the end of October. I thank you a thousand + times, dear friend, for your good heart and friendly offers. + Keep your millions for me till another time—is it not already + too much to dispose of your time as I do? + + [Here follow compliments to and friendly enquiries after + Franchomme's family.] + + Madame Sand sends you a thousand compliments and desires to be + remembered to Madame Franchomme. + + [Date.] + + I shall answer Madame Rubio. [FOOTNOTE: Nee Vera de + Kologriwof, a pupil of Chopin's and teacher of music in Paris; + she married Signor Rubio, an artist, and died in the summer of + 1880 at Florence.] If Mdlle. Stirling [FOOTNOTE: A Scotch lady + and pupil of Chopin's; I shall have to say more about her by- + and-by. Madame Erskine was her elder sister.] is at St. + Germain, do not forget to remember me to her, also to Madame + Erskine. +</pre> + <p> + This will be the proper place to mention the compositions of the years + 1842-47, about the publication of many of which we have read so much in + the above letters. There is no new publication to be recorded in 1842. The + publications of 1843 were: in February—Op. 51, Allegro vivace, + Troisieme Impromptu (G flat major), dedicated to Madame la Comtesse + Esterhazy; in December—Op. 52, Quatrieme Ballade (F minor), + dedicated to Madame la Baronne C. de Rothschild; Op. 53, Huitieme + Polonaise (A flat major), dedicated to Mr. A. Leo; and Op. 54, Scherzo, + No. 4 (E major), dedicated to Mdlle. J. de Caraman. Those of 1844 were: in + August—Op. 55, Deux Nocturnes (F minor and E flat major), dedicated + to Mdlle. J. H. Stirling; and Op. 56, Trois Mazurkas (A minor, A flat + major, and F sharp minor), dedicated to Mdlle. C. Maberly. Those of 1845: + in May—Op. 57, Berceuse (D flat major), dedicated to Mdlle. Elise + Gavard; and in June—Op. 58, Sonate (B minor), dedicated to Madame la + Comtesse E. de Perthuis. Those of 1846: in April—Op. 59, Trois + Mazurkas (A minor, A flat major, and F sharp minor); and in September—Op. + 60, Barcarole (F sharp major), dedicated to Madame la Baronne de + Stockhausen; Op. 61, Polonaise-Fantaisie (A flat major), dedicated to + Madame A. Veyret; and Op. 62, Deux Nocturnes (B major and E major), + dedicated to Mdlle. R. de Konneritz. Those of 1847: in September—Op. + 63, Trois Mazurkas (B major, F minor, and C sharp minor), dedicated to + Madame la Comtesse L. Czosnowska, and Op. 64, Trois Valses (D flat major, + C sharp minor, and A flat major), respectively dedicated to Madame la + Comtesse Delphine Potocka, Madame la Baronne Nathaniel de Rothschild, and + Madame la Baronne Bronicka; and lastly, in October—Op. 65, Sonate (G + minor), pour piano et violoncelle, dedicated to Mr. A. Franchomme. + </p> + <p> + From 1838 to 1846 Chopin passed regularly every year, with the exception + of 1840, three or four months at Nohant. The musical papers announced + Chopin's return to town sometimes at the beginning of October, sometimes + at the beginning of November. In 1844 he must either have made a longer + stay at Nohant than usual or paid it a visit during the winter, for in the + "Gazette musicale" of January 5, 1845, we read: "Chopin has returned to + Paris and brought with him a new grand Sonata and variantes. These two + important works will soon be published." + </p> + <p> + [FOOTNOTE: The new Sonata here mentioned is the one in B minor, Op. 58, + which was published in June, 1845. As to the other item mentioned, I am + somewhat puzzled. Has the word to be taken in its literal sense of + "various readings," i.e., new readings of works already known (the + context, however, does not favour this supposition), or does it refer to + the ever-varying evolutions of the Berceuse, Op. 57. published in May, + 1845, or, lastly, is it simply a misprint?] + </p> + <p> + George Sand generally prolonged her stay at Nohant till pretty far into + the winter, much to the sorrow of her malade ordinaire (thus Chopin used + to style himself), who yearned for her return to Paris. + </p> + <p> + According to Liszt, the country and the vie de chateau pleased Chopin so + much that for the sake of enjoying them he put up with company that did + not please him at all. George Sand has a different story to tell. She + declares that the retired life and the solemnity of the country agreed + neither with Chopin's physical nor with his moral health; that he loved + the country only for a fortnight, after which he bore it only out of + attachment to her; and that he never felt regret on leaving it. Whether + Chopin loved country life or not, whether he liked George Sand's Berry + friends and her guests from elsewhere or not, we may be sure that he + missed Paris and his accustomed Paris society. + </p> + <p> + "Of all the troubles I had not to endure but to contend against, the + sufferings of my malade ordinaire were not the least," says George Sand. + "Chopin always wished for Nohant, and never could bear it." And, speaking + of the later years, when the havoc made in Chopin's constitution by the + inroads of his malady showed itself more and more, she remarks: "Nohant + had become repugnant to him. His return in the spring still filled him + with ecstatic joy for a short time. But as soon as he began to work + everything round him assumed a gloomy aspect." + </p> + <p> + Before we peep into Chopin's room and watch him at work, let us see what + the chateau of Nohant and life there were like. "The railway through the + centre of France went in those days [August, 1846] no further than + Vierzon," [FOOTNOTE: The opening of the extension of the line to + Chateauroux was daily expected at that time.] writes Mr. Matthew Arnold in + an account of a visit paid by him to George Sand:— + </p> +<pre xml:space="preserve"> + From Vierzon to Chateauroux one travelled by an ordinary + diligence, from Chateauroux to La Chatre by a humbler + diligence, from La Chatre to Broussac by the humblest + diligence cf. all. At Broussac diligence ended, and PATACHE + began. Between Chateauroux and La Chatre, a mile or two before + reaching the latter place, the road passes by the village of + Nohant. The chateau of Nohant, in which Madame Sand lived, is + a plain house by the roadside, with a walled garden. Down in + the meadows not far off flows the Indre, bordered by trees. +</pre> + <p> + The Chateau of Nohant is indeed, as Mr. Matthew Arnold says, a plain + house, only the roof with its irregularly distributed dormars and + chimney-stacks of various size giving to it a touch of picturesqueness. On + the other hand, the ground-floor, with its central door flanked on each + side by three windows, and the seven windowed story above, impresses one + with the sense of spaciousness. + </p> + <p> + Liszt, speaking of a three months' stay at Nohant made by himself and his + friend the Comtesse d'Agoult in the summer of 1837—i.e., before the + closer connection of George Sand and Chopin began—relates that the + hostess and her guests spent the days in reading good books, receiving + letters from absent friends, taking long walks on the banks of the Indre, + and in other equally simple occupations and amusements. In the evenings + they assembled on the terrace. There, where the light of the lamps cast + fantastic shadows on the neighbouring trees, they sat listening to the + murmuring of the river and the warbling of the nightingales, and breathing + in the sweet perfume of the lime-trees and the stronger scent of the + larches till the Countess would exclaim: "There you are again dreaming, + you incorrigible artists! Do you not know that the hour for working has + come?" And then George Sand would go and write at the book on which she + was engaged, and Liszt would betake himself to the old scores which he was + studying with a view to discover some of the great masters' secrets. + [FOOTNOTE: Liszt. "Essays and Reisebriefe eines Baccalaureus der + Tonkunst." Vol. II., pp. 146 and 147 of the collected works.] + </p> + <p> + Thus was Nohant in quiet days. But the days at Nohant were by no means + always quiet. For George Sand was most hospitable, kept indeed literally + open house for her friends, and did so regardless of credit and debit. The + following passage from a letter written by her in 1840 from Paris to her + half-brother Hippolyte Chatiron gives us a good idea of the state of + matters:— + </p> +<pre xml:space="preserve"> + If you will guarantee my being able to pass the summer at Nohant + for 4,000 francs, I will go. But I have never been there without + spending 1,500 francs per month, and as I do not spend here the + half of this, it is neither the love of work, nor that of + spending, nor that of GLORY, which makes me stay. I do not know + whether I have been pillaged; but I am at a loss how to avoid it + with my nonchalance, in so vast a house, and so easy a kind of + life as that of Nohant. Here I can see clearly; everything is + done under my eyes as I understand and wish it. At Nohant—let + this remain between us—you know that before I am up a dozen + people have often made themselves at home in the house. What can + I do? Were I to pose as a good manager [econome] they would + accuse me of stinginess; were I to let things go on, I should not + be able to provide for them. Try if you can find a remedy for + this. +</pre> + <p> + In George Sand's letters many glimpses may be caught of the life at + Nohant. To some of them I have already drawn the reader's attention in + preceding chapters; now I shall point out a few more. + </p> +<pre xml:space="preserve"> + George Sand to Madame Marliani; Nohant, August 13, 1841:— + + I have had all my nights absorbed by work and fatigue. I have + passed all my days with Pauline [Viardot] in walking, playing + at billiards, and all this makes me so entirely go out of my + indolent character and lazy habits that, at night, instead of + working quickly, I fall stupidly asleep at every + line....Viardot [Louis Viardot, the husband of Pauline] passes + his days in poaching with my brother and Papet; for the + shooting season has not yet begun, and they brave the laws, + divine and human. Pauline reads with Chopin whole scores at + the piano. She is always good-natured and charming, as you + know her. +</pre> +<pre xml:space="preserve"> + George Sand to Mdlle. Rozieres: Nohant, October 15, 1841:— + + Papet is in the depths of the forests; in "Erymanthe" at + least, hunting the wild boar. Chopin is in Paris, and he has + relapsed, as he says, into his triples croches + [demisemiquavers]. +</pre> +<pre xml:space="preserve"> + George Sand to Mdlle. Rozieres; Nohant, May 9, 1842:— + + Quick to work! Your master, the great Chopin, has forgotten + (that for which he nevertheless cares a great deal) to buy a + beautiful present for Francoise, my faithful servant, whom he + adores, and he is very right. + + He begs of you therefore to send him, IMMEDIATELY, four yards + of lace, two fingers broad at least, within the price of ten + francs a yard; further, a shawl of whatever material you like, + within the price of forty francs....This, then, is the superb + present which your HONOURED MASTER asks you to get for him, + with an eagerness worthy of the ardour which he carries into + his gifts, and of the impatience which he puts into little + things. +</pre> + <p> + Charles Rollinat, a friend of George Sand's, the brother of one of George + Sand's most intimate and valued friends, Francois Rollinat, published in + "Le Temps" (September 1, 1874) a charming "Souvenir de Nohant," which + shows us the the chateau astir with a more numerous company:— + </p> +<pre xml:space="preserve"> + The hospitality there [he writes] was comfortable, and the + freedom absolute. There were guns and dogs for those who loved + hunting, boats and nets for those who loved fishing, a + splendid garden to walk in. Everyone did as he liked. Liszt + and Chopin composed; Pauline Garcia studied her role of the + "Prophete"; the mistress of the house wrote a romance or a + drama; and it was the same with the others. At six o'clock + they assembled again to dine, and did not part company till + two or three o'clock in the morning. + Chopin rarely played. He could only be prevailed upon to play + when he was sure of perfection. Nothing in the world would + have made him consent to play indifferently. Liszt, on the + contrary, played always, well or badly. +</pre> + <p> + [FOOTNOTE: Charles Rollinat, a younger brother of Francois, went + afterwards to Russia, where, according to George Sand (see letter to + Edmond Plauchut, April 8, 1874), he was for twenty-five years "professeur + de musique et haut enseignement, avec une bonne place du gouvernement." He + made a fortune and lost it, retaining only enough to live upon quietly in + Italy. He tried then to supplement his scanty income by literary work + (translations from the Russian). George Sand, recalling the days of long + ago, says: "Il chantait comme on ne chante plus, excepte Pauline + [Viardot-Garcia]!"] + </p> + <p> + Unfortunately, the greater portion of M. Rollinat's so-called Souvenir + consists of "poetry WITHOUT truth." Nevertheless, we will not altogether + ignore his pretty stories. + </p> + <p> + One evening when Liszt played a piece of Chopin's with embellishments of + his own, the composer became impatient and at last, unable to restrain + himself any longer, walked up to Liszt and said with his ENGLISH PHLEGM:— + </p> +<pre xml:space="preserve"> + "I beg of you, my dear friend, if you do me the honour to play + a piece of mine, to play what is written, or to play something + else. It is only Chopin who has the right to alter Chopin." + + "Well! play yourself!" said Liszt, rising from his seat a + little irritated, + + "With pleasure," said Chopin. + + At that moment a moth extinguished the lamp. Chopin would not + have it relighted, and played in the dark. When he had + finished his delighted auditors overwhelmed him with + compliments, and Liszt said: + + "Ah, my friend, you were right! The works of a genius like you + are sacred; it is a profanation to meddle with them. You are a + true poet, and I am only a mountebank." + + Whereupon Chopin replied: "We have each our genre." +</pre> + <p> + M. Rollinat then proceeds to tell his readers that Chopin, believing he + had eclipsed Liszt that evening, boasted of it, and said: "How vexed he + was!" It seems that the author felt that this part of the story put a + dangerously severe strain on the credulity of his readers, for he thinks + it necessary to assure them that these were the ipsissima verba of Chopin. + Well, the words in question came to the ears of Liszt, and he resolved at + once to have his revenge. + </p> + <p> + Five days afterwards the friends were again assembled in the same place + and at the same time. Liszt asked Chopin to play, and had all the lights + put out and all the curtains drawn; but when Chopin was going to the + piano, Liszt whispered something in his ear and sat down in his stead. He + played the same composition which Chopin had played on the previous + occasion, and the audience was again enchanted. At the end of the piece + Liszt struck a match and lighted the candles which stood on the piano. Of + course general stupefaction ensued. + </p> +<pre xml:space="preserve"> + "What do you say to it?" said Liszt to his rival. + "I say what everyone says; I too believed it was Chopin." + "You see," said the virtuoso rising, "that Liszt can be Chopin + when he likes; but could Chopin be Liszt?" +</pre> + <p> + Instead of commenting on the improbability of a generous artist thus + cruelly taunting his sensitive rival, I shall simply say that Liszt had + not the slightest recollection of ever having imitated Chopin's playing in + a darkened room. There may be some minute grains of truth mixed up with + all this chaff of fancy—Chopin's displeasure at the liberties Liszt + took with his compositions was no doubt one of them—but it is + impossible to separate them. + </p> + <p> + M. Rollinat relates also how in 184-, when Chopin, Liszt, the Comtesse + d'Agoult, Pauline Garcia, Eugene Delacroix, the actor Bocage, and other + celebrities were at Nohant, the piano was one moonlit night carried out to + the terrace; how Liszt played the hunting chorus from Weber's Euryanthe, + Chopin some bars from an impromptu he was then composing; how Pauline + Garcia sang Nel cor piu non mi sento, and a niece of George Sand a popular + air; how the echo answered the musicians; and how after the music the + company, which included also a number of friends from the neighbouring + town, had punch and remained together till dawn. But here again M. + Rollinat's veracity is impugned on all sides. Madame Viardot-Garcia + declares that she was never at Nohant when Liszt was there; and Liszt did + not remember having played on the terrace of the chateau. Moreover, seeing + that the first performance of the Prophete took place on April 16, 1849, + is it likely that Madame Pauline Garcia was studying her part before or in + 1846? And unless she did so she could not meet Chopin at Nohant when she + was studying it. + </p> + <p> + M. Rollinat is more trustworthy when he tells us that there was a pretty + theatre and quite an assortment of costumes at the chateau; that the + dramas and comedies played there were improvised by the actors, only the + subject and the division into scenes being given; and that on two pianos, + concealed by curtains, one on the right and one on the left of the stage, + Chopin and Liszt improvised the musical part of the entertainment. All + this is, however, so much better and so much more fully told by George + Sand (in Dernieres Pages: Le Theatre des Marionnettes de Nohant) that we + will take our information from her. It was in the long nights of a winter + that she conceived the plan of these private theatricals in imitation of + the comedia dell' arte—namely, of "pieces the improvised dialogue of + which followed a written sketch posted up behind the scenes." + </p> +<pre xml:space="preserve"> + They resembled the charades which are acted in society and + which are more or less developed according to the ensemble and + the talent of the performers. We had begun with these. By + degrees the word of the charade disappeared and we played + first mad saynetes, then comedies of intrigues and adventures, + and finally dramas of incidents and emotions. The whole thing + began by pantomime, and this was of Chopin's invention; he + occupied the place at the piano and improvised, while the + young people gesticulated scenes and danced comic ballets. I + leave you to imagine whether these now wonderful, now charming + improvisations quickened the brains and made supple the legs + of our performers. He led them as he pleased and made them + pass, according to his fancy, from the droll to the severe, + from the burlesque to the solemn, from the graceful to the + passionate. We improvised costumes in order to play + successively several roles. As soon as the artist saw them + appear, he adapted his theme and his accent in a marvellous + manner to their respective characters. This went on for three + evenings, and then the master, setting out for Paris, left us + thoroughly stirred up, enthusiastic, and determined not to + suffer the spark which had electrified us to be lost. +</pre> + <p> + To get away from the quicksands of Souvenirs—for George Sand's + pages, too, were written more than thirty years after the occurrences she + describes, and not published till 1877—I shall make some extracts + from the contemporaneous correspondence of George Sand's great friend, the + celebrated painter Eugene Delacroix. [FOOTNOTE: Lettres de Eugene + Delacroix (1815 a 1863) recucillies et publiees par M. Philippe Burty. + Paris, 1878.] The reader cannot fail to feel at once the fresh breeze of + reality that issues from these letters, which contain vivid sketches full + of natural beauties and free from affectation and striving after effect:— + </p> +<pre xml:space="preserve"> + Nohant, June 7, 1842. + + ...The place is very pleasant, and the hosts do their utmost to + please me. When we are not assembled to dine, breakfast, play at + billiards, or walk, we are in our rooms, reading, or resting on + our sofas. Now and then there come to you through the window + opening on the garden, whiffs of the music of Chopin, who is + working in his room; this mingles with the song of the + nightingales and the odour of the roses. You see that so far I am + not much to be pitied, and, nevertheless, work must come to give + the grain of salt to all this. This life is too easy, I must + purchase it with a little racking of my brains; and like the + huntsman who eats with more appetite when he has got his skin + torn by bushes, one must strive a little after ideas in order to + feel the charm of doing nothing. +</pre> +<pre xml:space="preserve"> + Nohant, June 14, 1842. + + ...Although I am in every respect most agreeably circumstanced, + both as regards body and mind, for I am in much better health, I + have not been able to prevent myself from thinking of work. How + strange! this work is fatiguing, and yet the species of activity + it gives to the mind is necessary to the body itself. In vain did + I try to get up a passion for billiards, in which I receive a + lesson every day, in vain have I good conversations on all the + subjects that please me, music that I seize on the wing and by + whiffs, I have felt the need of doing something. I have begun a + Sainte-Anne for the parish, and I have already set it agoing. +</pre> +<pre xml:space="preserve"> + Nohant, June 22, 1842. + + ...Pen and ink certainly become more and more repugnant to me. I + have no more than you any event to record. I lead a monastic + life, and as monotonous as it well can be. No event varies the + course of it. We expected Balzac, who has not come, and I am not + sorry. He is a babbler who would have destroyed this harmony of + NONCHALANCE which I am enjoying thoroughly; at intervals a little + painting, billiards, and walking, that is more than is necessary + to fill up the days. There is not even the distraction of + neighbours and friends from the environs; in this part of the + country everyone remains at home and occupies him self with his + oxen and his land. One would become a fossil here in a very short + time. + + I have interminable private interviews with Chopin, whom I + love much, and who is a man of a rare distinction; he is the + most true artist I have met. He is one of the few one can + admire and esteem. Madame Sand suffers frequently from violent + headaches and pains in her eyes, which she tries to master as + much as possible and with much strength of will, so as not to + weary us with what she suffers. + + The greatest event of my stay has been a peasants' ball on the + lawn of the chateau with the best bagpipers of the place. The + people of this part of the country present a remarkable type + of gentleness and good nature; ugliness is rare here, though + beauty is not often seen, but there is not that kind of fever + which is observable in the peasants of the environs of Paris. + All the women have the appearance of those sweet faces one + sees only in the pictures of the old masters. They are all + Saint Annes. +</pre> + <p> + Amidst the affectations, insincerities, and superficialities of Chopin's + social intercourse, Delacroix's friendship—we have already seen that + the musician reciprocated the painter's sentiments—stands out like a + green oasis in a barren desert. When, on October 28, 1849, a few days + after Chopin's death, Delacroix sent a friend a ticket for the funeral + service of the deceased, he speaks of him as "my poor and dear Chopin." + But the sincerity of Delacroix's esteem and the tenderness of his love for + Chopin are most fully revealed in some lines of a letter which he wrote on + January 7, 1861, to Count Czymala [Grzymala]:— + </p> +<pre xml:space="preserve"> + When I have finished [the labours that took up all his time], + I shall let you know, and shall see you again, with the + pleasure I have always had, and with the feelings your kind + letter has reanimated in me. With whom shall I speak of the + incomparable genius whom heaven has envied the earth, and of + whom I dream often, being no longer able to see him in this + world nor to hear his divine harmonies. + + If you see sometimes the charming Princess Marcelline + [Czartoryska], another object of my respect, place at her feet + the homage of a poor man who has not ceased to be full of the + memory of her kindnesses and of admiration for her talent, + another bond of union with the seraph whom we have lost and + who, at this hour, charms the celestial spheres. +</pre> + <p> + The first three of the above extracts from Delacroix's letters enable us + to form a clear idea of what the everyday life at Nohant was like, and + after reading them we can easily imagine that its monotony must have had a + depressing effect on the company-loving Chopin. But the drawback was + counterbalanced by an advantage. At Paris most of Chopin's time was + occupied with teaching and the pleasures of society, at Nohant he could + devote himself undisturbed and undistracted to composition. And there is + more than sufficient evidence to prove that in this respect Chopin + utilised well the quiet and leisure of his rural retirement. + </p> + <p> + Few things excite the curiosity of those who have a taste for art and + literature so much as an artist's or poet's mode of creation. With what + interest, for instance, do we read Schindler's account of how Beethoven + composed his Missa Solemnis—of the master's absolute detachment from + the terrestrial world during the time he was engaged on this work; of his + singing, shouting, and stamping, when he was in the act of giving birth to + the fugue of the Credo! But as regards musicians, we know, generally + speaking, very little on the subject; and had not George Sand left us her + reminiscences, I should not have much to tell the reader about Chopin's + mode of creation. From Gutmann I learned that his master worked long + before he put a composition to paper, but when it was once in writing did + not keep it long in his portfolio. The latter part of this statement is + contradicted by a remark of the better-informed Fontana, who, in the + preface to Chopin's posthumous works, says that the composer, whether from + caprice or nonchalance, had the habit of keeping his manuscripts sometimes + a very long time in his portfolio before giving them to the public. As + George Sand observed the composer with an artist's eye and interest, and + had, of course, better opportunities than anybody else to observe him, her + remarks are particularly valuable. She writes:— + </p> +<pre xml:space="preserve"> + His creation was spontaneous and miraculous. He found it + without seeking it, without foreseeing it. It came on his + piano suddenly, complete, sublime, or it sang in his head + during a walk, and he was impatient to play it to himself. But + then began the most heart-rending labour I ever saw. It was a + series of efforts, of irresolutions, and of frettings to seize + again certain details of the theme he had heard; what he had + conceived as a whole he analysed too much when wishing to + write it, and his regret at not finding it again, in his + opinion, clearly defined, threw him into a kind of despair. He + shut himself up in his room for whole days, weeping, walking, + breaking his pens, repeating and altering a bar a hundred + times, writing and effacing it as many times, and recommencing + the next day with a minute and desperate perseverance. He + spent six weeks over a single page to write it at last as he + had noted it down at the very first. + + I had for a long time been able to make him consent to trust + to this first inspiration. But when he was no longer disposed + to believe me, he reproached me gently with having spoiled him + and with not being severe enough for him. I tried to amuse + him, to take him out for walks. Sometimes, taking away all my + brood in a country char a bancs, I dragged him away in spite + of himself from this agony. I took him to the banks of the + Creuse, and after being for two or three days lost amid + sunshine and rain in frightful roads, we arrived, cheerful and + famished, at some magnificently-situated place where he seemed + to revive. These fatigues knocked him up the first day, but he + slept. The last day he was quite revived, quite rejuvenated in + returning to Nohant, and he found the solution of his work + without too much effort; but it was not always possible to + prevail upon him to leave that piano which was much oftener + his torment than his joy, and by degrees he showed temper when + I disturbed him. I dared not insist. Chopin when angry was + alarming, and as, with me, he always restrained himself, he + seemed almost to choke and die. +</pre> + <p> + A critic remarks in reference to this account that Chopin's mode of + creation does not show genius, but only passion. From which we may + conclude that he would not, like Carlyle, have defined genius as the power + of taking infinite pains. To be sure, the great Scotchman's definition is + inadequate, but nothing is more false than the popular notion that the + great authors throw off their works with the pleasantest ease, that + creation is an act of pure enjoyment. Beethoven's sketch-books tell a + different story; so do also Balzac's proof-sheets and the manuscripts of + Pope's version of the Iliad and Odyssey in the British Museum. Dr. Johnson + speaking of Milton's MSS. observed truly: "Such reliques show how + excellence is acquired." Goethe in writing to Schiller asks him to return + certain books of "Wilhelm Meister" that he may go over them A FEW TIMES + before sending them to the press. And on re-reading one of these books he + cut out one third of its contents. Moreover, if an author writes with + ease, this is not necessarily a proof that he labours little, for he may + finish the work before bringing it to paper. Mozart is a striking + instance. He has himself described his mode of composing—which was a + process of accumulation, agglutination, and crystallisation—in a + letter to a friend. The constitution of the mind determines the mode of + working. Some qualities favour, others obstruct the realisation of a first + conception. Among the former are acuteness and quickness of vision, the + power of grasping complex subjects, and a good memory. But however varied + the mode of creation may be, an almost unvarying characteristic of the + production of really precious and lasting artwork is ungrudging + painstaking, such as we find described in William Hunt's "Talks about + Art":—"If you could see me dig and groan, rub it out and start + again, hate myself and feel dreadfully! The people who do things easily, + their things you look at easily, and give away easily." Lastly and + briefly, it is not the mode of working, but the result of this working + which demonstrates genius. + </p> + <p> + As Chopin disliked the pavilion in the Rue Pigalle, George Sand moved with + her household in 1842 to the quiet, aristocratic-looking Cite (Court or + Square) d'Orleans, where their friend Madame Marliani arranged for them a + vie de famille. To get to the Cite d'Orleans one has to pass through two + gateways—the first leads from the Rue Taitbout (close to the Rue St. + Lazare), into a small out-court with the lodge of the principal concierge; + the second, into the court itself. In the centre is a grass plot with four + flower-beds and a fountain; and between this grass plot and the footpath + which runs along the houses extends a carriage drive. As to the houses + which form the square, they are well and handsomely built, the block + opposite the entrance making even some architectural pretensions. Madame + Sand's, Madame Marliani's, and Chopin's houses, which bore respectively + the numbers 5, 4, and 3, were situated on the right side, the + last-mentioned being just in the first right-hand corner on entering from + the out-court. On account of the predilection shown for it by artists and + literary men as a place of abode, the Court d'Orldans has not inaptly been + called a little Athens. Alexander Dumas was one of the many celebrities + who lived there at one time or other; and Chopin had for neighbours the + famous singer Pauline Viardot-Garcia, the distinguished + pianoforte-professor Zimmermann, and the sculptor Dantan, from whose + famous gallery of caricatures, or rather charges, the composer's portrait + was not absent. Madame Marliani, the friend of George Sand and Chopin, who + has already repeatedly been mentioned in this book, was the wife of Manuel + Marliani, Spanish Consul in Paris, author, [FOOTNOTE: Especially notable + among his political and historical publications in Spanish and French is: + "Histoire politique de l'Espagne moderne suivie d'un apercu sur les + finances." 2 vols. in 8vo (Paris, 1840).] politician, and subsequently + senator. Lenz says that Madame Marliani was a Spanish countess and a fine + lady; and George Sand describes her as good-natured and active, endowed + with a passionate head and maternal heart, but destined to be unhappy + because she wished to make the reality of life yield to the ideal of her + imagination and the exigences of her sensibility. + </p> + <p> + Some excerpts from a letter written by George Sand on November 12, 1842, + to her friend Charles Duvernet, and a passage from Ma Vie will bring scene + and actors vividly before us:— + </p> +<pre xml:space="preserve"> + We also cultivate billiards; I have a pretty little table, + which I hire for twenty francs a month, in my salon, and + thanks to kind friendships we approach Nohant life as much as + is possible in this melancholy Paris. What makes things + country-like also is that I live in the same square as the + family Marliani, Chopin in the next pavilion, so that without + leaving this large well-lighted and sanded Court d'Orleans, we + run in the evening from one to another like good provincial + neighbours. We have even contrived to have only one pot + [marmite], and eat all together at Madame Marliani's, which is + more economical and by far more lively than taking one's meals + at home. It is a kind of phalanstery which amuses us, and + where mutual liberty is much better guaranteed than in that of + the Fourierists... + + Solange is at a boarding-school, and comes out every Saturday + to Monday morning. Maurice has resumed the studio con furia, + and I, I have resumed Consuelo like a dog that is being + whipped; for I have idled on account of my removal and the + fitting up of my apartments... + + Kind regards and shakes of the hand from Viardot, Chopin, and + my children. + + The passge [sic: passage] from Ma Vie, which contains some + repetitions along with a few additional touches, runs as + follows:— She [Madame Marliani] had fine apartments between the + two we [George Sand and Chopin] occupied. We had only a large + planted and sanded and always clean court to cross in order to + meet, sometimes, in her rooms, sometimes in mine, sometimes in + Chopin's when he was inclined to give us some music. We dined + with her at common expense. It was a very good association, + economical like all associations, and enabled one to see society + at Madame Marliani's, my friends more privately in my apartments, + and to take up my work at the hour when it suited me to withdraw. + Chopin rejoiced also at having a fine, isolated salon where he + could go to compose or to dream. But he loved society, and made + little use of his sanctuary except to give lessons in it. +</pre> + <p> + Although George Sand speaks only of a salon, Chopin's official residence, + as we may call it, consisted of several rooms. They were elegantly + furnished and always adorned with flowers—for he loved le luxe and + had the coquetterie des appartements. + </p> + <p> + [FOOTNOTE: When I visited in 1880 M. Kwiatkowski in Paris, he showed me + some Chopin relics: 1, a pastel drawing by Jules Coignet (representing Les + Pyramides d'Egypte), which hung always above the composer's piano; 2, a + little causeuse which Chopin bought with his first Parisian savings; 3, an + embroidered easy-chair worked and presented to him by the Princess + Czartoiyska; and 4, an embroidered cushion worked and presented to him by + Madame de Rothschild. If we keep in mind Chopin's remarks about his + furniture and the papering of his rooms, and add to the above-mentioned + articles those which Karasowski mentions as having been bought by Miss + Stirling after the composer's death, left by her to his mother, and + destroyed by the Russians along with his letters in 1861 when in + possession of his sister Isabella Barcinska—his portrait by Ary + Scheffer, some Sevres porcelain with the inscription "Offert par Louis + Philippe a Frederic Chopin," a fine inlaid box, a present from one of the + Rothschild family, carpets, table-cloths, easy-chairs, &c., worked by + his pupils—we can form some sort of idea of the internal + arrangements of the pianist-composer's rooms.] + </p> + <p> + Nevertheless, they exhibited none of the splendour which was to be found + in the houses of many of the celebrities then living in Paris. "He + observed," remarks Liszt, "on this point as well as in the then so + fashionable elegancies of walking-sticks, pins, studs, and jewels, the + instinctive line of the comme il faut between the too much and the too + little." But Chopin's letters written from Nohant in 1839 to Fontana have + afforded the reader sufficient opportunities to make himself acquainted + with the master's fastidiousness and good taste in matters of furniture + and room decoration, above all, his horror of vulgar gaudiness. + </p> + <p> + Let us try to get some glimpses of Chopin in his new home. Lindsay Sloper, + who—owing, no doubt, to a great extent at least, to the letter of + recommendation from Moscheles which he brought with him—had got + permission from Chopin to come for a lesson as often as he liked at eight + o'clock in the morning, found the master at that hour not in deshabille, + but dressed with the greatest care. Another early pupil, M. Mathias, + always fell in with the daily-attending barber. M. Mathias told me also of + Chopin's habit of leaning with his back against the mantel-piece while he + was chatting at the end of the lesson. It must have been a pretty sight to + see the master in this favourite attitude of his, his coat buttoned up to + the chin (this was his usual style), the most elegant shoes on his small + feet, faultless exquisiteness characterising the whole of his attire, and + his small eyes sparkling with esprit and sometimes with malice. + </p> + <p> + Of all who came in contact with Chopin, however, no one made so much of + his opportunities as Lenz: some of his observations on the pianist have + already been quoted, those on the man and his surroundings deserve + likewise attention. [FOOTNOTE: W. von Lenz: "Die Grossen + Pianoforte-Virtuosen unserer Zeit."] Lenz came to Paris in the summer or + autumn of the year 1842; and as he wished to study Chopin's mazurkas with + the master himself, he awaited impatiently his return from Nohant. At + last, late in October, Lenz heard from Liszt that Chopin had arrived in + town; but Liszt told him also that it was by no means an easy thing to get + lessons from Chopin, that indeed many had journeyed to Paris for the + purpose and failed even to get sight of him. To guard Lenz against such a + mishap, Liszt gave him a card with the words "Laissez passer, Franz Liszt" + on it, and advised him to call on Chopin at two o'clock. The enthusiastic + amateur was not slow in availing himself of his artist friend's card and + advice. But on reaching his destination he was met in the anteroom by a + male servant—"an article of luxury in Paris, a rarissima avis in the + house of an artist," observes Lenz—who informed him that Chopin was + not in town. The visitor, however, was not to be put off in this way, and + insisted that the card should be taken in to Chopin. Fortune favours the + brave. A moment after the servant had left the room the great artist made + his appearance holding the card in his hand: "a young man of middle + height, slim, thin, with a careworn, speaking face and the finest Parisian + tournure." Lenz does not hesitate to declare that he hardly ever met a + person so naturally elegant and winning. But here is what took place at + this interview. + </p> +<pre xml:space="preserve"> + Chopin did not press me to sit down [says Lenz], I stood as + before a reigning sovereign. "What do you wish? a pupil of + Liszt's, an artist?" "A friend of Liszt's. I wish to have the + happiness of making, under your guidance, acquaintance with + your mazurkas, which I regard as a literature. Some of them I + have already studied with Liszt." I felt I had been + imprudent, but it was too late. "Indeed!" replied Chopin, with + a drawl, but in the politest tone, "what do you want me for + then? Please play to me what you have played with Liszt, I + have still a few minutes at my disposal"—he drew from his + fob an elegant, small watch—"I was on the point of going out, + I had told my servant to admit nobody, pardon me!" +</pre> + <p> + Lenz sat down at the piano, tried the gue of it—an expression at + which Chopin, who was leaning languidly on the piano and looking with his + intelligent eyes straight in his visitor's face, smiled—and then + struck up the Mazurka in B flat major. When he came to a passage in which + Liszt had taught him to introduce a volata through two octaves, Chopin + whispered blandly:— + </p> +<pre xml:space="preserve"> + "This TRAIT is not your own; am I right? HE has shown it you— + he must meddle with everything; well! he may do it, he plays + before THOUSANDS, I rarely before ONE. Well, this will do, I + will give you lessons, but only twice a week, I never give + more, it is difficult for me to find three-quarters of an + hour." He again looked at his watch. "What do you read then? + With what do you occupy yourself generally?" This was a + question for which I was well prepared. "George Sand and Jean + Jacques I prefer to all other writers," said I quickly. He + smiled, he was most beautiful at that moment. "Liszt has told + you this. I see, you are initiated, so much the better. Only + be punctual, with me things go by the clock, my house is a + pigeon-house (pigeonnier). I see already we shall become more + intimate, a recommendation from Liszt is worth something, you + are the first pupil whom he has recommended to me; we are + friends, we were comrades." +</pre> + <p> + Lenz had, of course, too imaginative a turn of mind to leave facts in + their native nakedness, but this tendency of his is too apparent to need + pointing out. What betrays him is the wonderful family likeness of his + portraits, a kind of vapid esprit, not distantly related to silliness, + with which the limner endows his unfortunate sitters, Chopin as well as + Liszt and Tausig. Indeed, the portraits compared with the originals are + like Dresden china figures compared with Greek statuary. It seems to me + also very improbable that so perfect a gentleman as Chopin was should + subject a stranger to an examination as to his reading and general + occupation. These questions have very much the appearance of having been + invented by the narrator for the sake of the answers. However, + notwithstanding the many unmistakable embellishments, Lenz's account was + worth quoting, for after all it is not without a basis of fact and truth. + The following reminiscences of the lively Russian councillor, although not + wanting in exaggerations, are less open to objections:— + </p> +<pre xml:space="preserve"> + I always made my appearance long before my hour and waited. + One lady after another came out, one more beautiful than the + other, on one occasion Mdlle. Laure Duperre, the daughter of + the admiral, whom Chopin accompanied to the staircase, she was + the most beautiful of all, and as straight as a palm; to her + Chopin has dedicated two of his most important Nocturnes (in C + minor and F sharp minor, Op. 48); she was at that time his + favourite pupil. In the anteroom I often met little Filtsch, + who, unfortunately, died too young, at the age of thirteen, a + Hungarian and a genius. He knew how to play Chopin! Of Filtsch + Liszt said in my presence at a soiree of the Comtesse + d'Agoult: "When the little one begins to travel, I shall shut + up my shop" (Quand le petit voyagera, je fermerai boutique). I + was jealous of Filtsch, Chopin had eyes only for him. +</pre> + <p> + How high an opinion the master had of this talented pupil appears from his + assertion that the boy played the E minor Concerto better than he himself. + Lenz mentions Filtsch and his playing of the E minor Concerto only in + passing in "Die grossen Pianoforte-Virtuosen unserer Zeit," but devotes to + them more of his leisure in an article which appeared in the Berliner + Musikzeitung (Vol. XXVI.), the amusing gossip of which deserves notice + here on account of the light thrown by some of its details on Chopin's + ways and the company he received in his salon. On one occasion when + Filtsch had given his master particular satisfaction by a tasteful + rendering of the second solo of the first movement of the E minor + Concerto, Chopin said: "You have played this well, my boy (mon garcon), I + must try it myself." Lenz relates that what now followed was + indescribable: the little one (der Kleine) burst into tears, and Chopin, + who indeed had been telling them the story of his artist life, said, as if + speaking to himself, "I have loved it! I have already once played it!" + Then, turning to Filtsch, he spoke these words: "Yours is a beautiful + artist nature (une belle nature d'artiste), you will become a great + artist." Whilst the youthful pianist was studying the Concerto with + Chopin, he was never allowed to play more than one solo at a time, the + work affecting too much the feelings of the composer, who, moreover, + thought that the whole was contained in every one of the solos; and when + he at last got leave to perform the whole, an event for which he prepared + himself by fasting and prayers of the Roman Catholic Church, and by such + reading as was pointed out by his master, practising being forbidden for + the time, Chopin said to him: "As you have now mastered the movement so + well, we will bring it to a hearing." + </p> + <p> + The reader must understand that I do not vouch for the strict correctness + of Lenz's somewhat melodramatic narrative; and having given this warning I + shall, to keep myself free from all responsibility, simply translate the + rest of what is yet to be told:— + </p> +<pre xml:space="preserve"> + Chopin invited a party of ladies, George Sand was one of them, + and was as quiet as a mouse; moreover, she knew nothing of + music. The favoured pupils from the highest aristocracy + appeared with modest demeanour and full of the most profound + devotion, they glided silently, like gold-fishes in a vase, + one after another into the salon, and sat down as far as + possible from the piano, as Chopin liked people to do. Nobody + spoke, Chopin only nodded, and shook hands with one here and + there, not with all of them. The square pianoforte, which + stood in his cabinet, he had placed beside the Pleyel concert + grand in the salon, not without the most painful embarras to + him. The most insignificant trifle affected him; he was a noli + me tangere. He had said once, or rather had thought aloud: "If + I saw a crack more in the ceiling, I should not be able to + bring out a note." Chopin poured the whole dreamy, vaporous + instrumentation of the work into his incomparable + accompaniment. He played without book. I have never heard + anything that could be compared to the first tutti, which he + played alone on the piano. The little one did wonders. The + whole was an impression for all the rest of one's life. After + Chopin had briefly dismissed the ladies (he loved praise + neither for himself nor for others, and only George Sand was + permitted to embrace Filtsch), he said to the latter, his + brother, who always accompanied the little one, and me: "We + have yet to take a walk." It was a command which we received + with the most respectful bow. +</pre> + <p> + The destination of this walk was Schlesinger's music-shop, where Chopin + presented his promising young pupil with the score of Beethoven's + "Fidelio":— + </p> +<pre xml:space="preserve"> + "I am in your debt, you have given me much pleasure to-day. I + wrote the Concerto in happier days. Receive, my dear little + friend, this great master-work; read therein as long as you + live, and remember me also sometimes." The little one was as + if stunned, and kissed Chopin's hand. We were all deeply + moved, Chopin himself was so. He disappeared immediately + through the glass door on a level with the Rue Richelieu, into + which it leads. +</pre> + <p> + A scene of a very different nature which occurred some years later was + described to me by Madame Dubois. This lady, then still Mdlle. O'Meara and + a pupil of Chopin's, had in 1847 played, accompanied on a second piano by + her master, the latter's Concerto in E minor at a party of Madame de + Courbonne's. Madame Girardin, who was among the guests, afterwards wrote + most charmingly and eulogistically about the young girl's beauty and + talent in one of her Lettres parisiennes, which appeared in La Presse and + were subsequently published in a collected form under the title of "Le + Vicomte de Launay." Made curious by Madame Girardin's account, and + probably also by remarks of Chopin and others, George Sand wished to see + the heroine of that much-talked-of letter. Thus it came to pass that one + day when Miss O'Meara was having her lesson, George Sand crossed the + Square d'Orleans and paid Chopin a visit in his apartments. The master + received her with all the grace and amiability he was capable of. Noticing + that her pardessus was bespattered with mud, he seemed to be much vexed, + and the exquisitely-elegant gentleman (l'homme de toutes les elegances ) + began to rub off with his small, white hands the stains which on any other + person would have caused him disgust. And Mdlle. O'Meara, child as she + still was, watched what was going on from the corner of her eye and + thought: "Comme il aime cette femme!" [FOOTNOTE: Madame A. Audley gives an + altogether incorrect account of this incident in her FREDERIC CHOPIN. + Madame Girardin was not one of the actors, and Mdlle. O'Meara did not + think the thoughts attributed to her.] + </p> + <p> + Whenever Chopin's connection with George Sand is mentioned, one hears a + great deal of the misery and nothing or little of the happiness which + accrued to him out of it. The years of tenderness and devotion are slurred + over and her infidelities, growing indifference, and final desertion are + dwelt upon with undue emphasis. Whatever those of Chopin's friends who + were not also George Sand's friends may say, we may be sure that his joys + outweighed his sorrows. Her resoluteness must have been an invaluable + support to so vacillating a character as Chopin's was; and, although their + natures were in many respects discordant, the poetic element of hers + cannot but have found sympathetic chords in his. Every character has many + aspects, but the world is little disposed to see more than one side of + George Sand's—namely, that which is most conspicuous by its defiance + of law and custom, and finds expression in loud declamation and + denunciation. To observe her in one of her more lovable attitudes of mind, + we will transport ourselves from Chopin's to her salon. + </p> + <p> + Louis Enault relates how one evening George Sand, who sometimes thought + aloud when with Chopin—this being her way of chatting—spoke of + the peacefulness of the country and unfolded a picture of the rural + harmonies that had all the charming and negligent grace of a village idyl, + bringing, in fact, her beloved Berry to the fireside of the room in the + Square d'Orleans. + </p> +<pre xml:space="preserve"> + "How well you have spoken!" said Chopin naively. + + "You think so?" she replied. "Well, then, set me to music!" + Hereupon Chopin improvised a veritable pastoral symphony, and + George Sand placing herself beside him and laying her hand + gently on his shoulder said: "Go on, velvet fingers [courage, + doigts de velour]!" +</pre> + <p> + Here is another anecdote of quiet home-life. George Sand had a little dog + which was in the habit of turning round and round in the endeavour to + catch its tail. One evening when it was thus engaged, she said to Chopin: + "If I had your talent, I would compose a pianoforte piece for this dog." + Chopin at once sat down at the piano, and improvised the charming Waltz in + D flat (Op. 64), which hence has obtained the name of Valse du petit + chien. This story is well known among the pupils and friends of the + master, but not always told in exactly the same way. According to another + version, Chopin improvised the waltz when the little dog was playing with + a ball of wool. This variation, however, does not affect the pith of the + story. + </p> + <p> + The following two extracts tell us more about the intimate home-life at + Nohant and in the Court d'Orleans than anything we have as yet met with. + </p> +<pre xml:space="preserve"> + Madame Sand to her son; October 17, 1843:— + + Tell me if Chopin is ill; his letters are short and sad. Take + care of him if he is ailing. Take a little my place. He would + take my place with so much zeal if you were ill. +</pre> +<pre xml:space="preserve"> + Madame Sand to her son; November 16, 1843:— + + If you care for the letter which I have written you about her + [Solange], ask Chopin for it. It was for both of you, and it + has not given him much pleasure. He has taken it amiss, and + yet I did not wish to annoy him, God forbid! We shall all see + each other soon again, and hearty embraces [de bonnes + bigeades] [FOOTNOTE: Biger is in the Berry dialect "to kiss."] + all round shall efface all my sermons. +</pre> + <p> + In another of George Sand's letters to her son—it is dated November + 28, 1843—we read about Chopin's already often-mentioned valet. + Speaking of the foundation of a provincial journal, "L'Eclaireur de + l'Indre," by herself and a number of her friends, and of their being on + the look-out for an editor who would be content with the modest salary of + 2,000 francs, she says:— + </p> +<pre xml:space="preserve"> + This is hardly more than the wages of Chopin's domestic, and + to imagine that for this it is possible to find a man of + talent! First measure of the Committee of Public Safety: we + shall outlaw Chopin if he allows himself to have lackeys + salaried like publicists. +</pre> + <p> + Chopin treated George Sand with the greatest respect and devotion; he was + always aux petits soins with her. It is characteristic of the man and + exemplifies strikingly the delicacy of his taste and feeling that his + demeanour in her house showed in no way the intimate relation in which he + stood to the mistress of it: he seemed to be a guest like any other + occasional visitor. Lenz wishes to make us believe that George Sand's + treatment of Chopin was unworthy of the great artist, but his statements + are emphatically contradicted by Gutmann, who says that her behaviour + towards him was always respectful. If the lively Russian councillor in the + passages I am going to translate describes correctly what he heard and + saw, he must have witnessed an exceptional occurrence; it is, however, + more likely that the bad reception he received from the lady prejudiced + him against her. + </p> + <p> + Lenz relates that one day Chopin took him to the salon of Madame Marliani, + where there was in the evening always a gathering of friends. + </p> +<pre xml:space="preserve"> + George Sand [thus runs his account of his first meeting with + the great novelist] did not say a word when Chopin introduced + me. This was rude. Just for that reason I seated myself beside + her. Chopin fluttered about like a little frightened bird in + its cage, he saw something was going to happen. What had he + not always feared on this terrain? At the first pause in the + conversation, which was led by Madame Sand's friend, Madame + Viardot, the great singer whose acquaintance I was later to + make in St. Petersburg, Chopin put his arm through mine and + led me to the piano. Reader! if you play the piano you will + imagine how I felt! It was an upright or cottage piano [Steh- + oder Stutzflugel] of Pleyel's, which people in Paris regard as + a pianoforte. I played the Invitation in a fragmentary + fashion, Chopin gave me his hand in the most friendly manner, + George Sand did not say a word. I seated myself once more + beside her. I had obviously a purpose. Chopin looked anxiously + at us across the table, on which was burning the inevitable + carcel. + + "Are you not coming sometime to St. Petersburg," said I to + George Sand in the most polite tone, "where you are so much + read, so highly admired?" + + "I shall never lower myself by visiting a country of slaves!" + answered George Sand shortly. + + This was indecorous [unanstandig] after she had been uncivil. + + "After all, you are right NOT to come," I replied in the same + tone; "you might find the door closed! I was thinking of the + Emperor Nicholas." + + George Sand looked at me in astonishment, I plunged boldly + into her large, beautiful, brown, cow-like eyes. Chopin did + not seem displeased, I knew the movements of his head. + + Instead of giving any answer George Sand rose in a theatrical + fashion, and strode in the most manly way through the salon to + the blazing fire. I followed her closely, and seated myself + for the third time beside her, ready for another attack. + + She would be obliged at last to say something. + + George Sand drew an enormously thick Trabucco cigar out of her + apron pocket, and called out "Frederic! un fidibus!" + + This offended me for him, that perfect gentleman, my master; I + understood Liszt's words: "Pauvre Frederic!" in all their + significance. + + Chopin immediately came up with a fidibus. + + As she was sending forth the first terrible cloud of smoke, + George Sand honoured me with a word: + + "In St. Petersburg," she began, "I could not even smoke a + cigar in a drawing-room?" + + "In NO drawing-room have I ever seen anyone smoke a cigar, + Madame," I answered, not without emphasis, with a bow! + + George Sand fixed her eyes sharply upon me—the thrust had + gone home! I looked calmly around me at the good pictures in + the salon, each of which was lighted up by a separate lamp. + Chopin had probably heard nothing; he had returned to the + hostess at the table. + + Pauvre Frederic! How sorry I was for him, the great artist! + The next day the Suisse [hall-porter] in the hotel, Mr. + Armand, said to me: "A gentleman and a lady have been here, I + said you were not at home, you had not said you would receive + visitors; the gentleman left his name, he had no card with + him." I read: Chopin et Madame Sand. After this I quarrelled + for two months with Mr. Armand. +</pre> + <p> + George Sand was probably out of humour on the evening in question; that it + was not her usual manner of receiving visitors may be gathered from what + Chopin said soon after to Lenz when the latter came to him for a lesson. + "George Sand," he said, "called with me on you. What a pity you were not + at home! I regretted it very much. George Sand thought she had been + uncivil to you. You would have seen how amiable she can be. You have + pleased her." + </p> + <p> + Alexander Chodzko, the learned professor of Slavonic literature at the + College de France, told me that he was half-a-dozen times at George Sand's + house. Her apartments were furnished in a style in favour with young men. + First you came into a vestibule where hats, coats, and sticks were left, + then into a large salon with a billiard-table. On the mantel-piece were to + be found the materials requisite for smoking. George Sand set her guests + an example by lighting a cigar. M. Chodzko met there among others the + historian and statesman Guizot, the litterateur Francois, and Madame + Marliani. If Chopin was not present, George Sand would often ask the + servant what he was doing, whether he was working or sleeping, whether he + was in good or bad humour. And when he came in all eyes were directed + towards him. If he happened to be in good humour George Sand would lead + him to the piano, which stood in one of the two smaller apartments + adjoining the salon. These smaller apartments were provided with couches + for those who wished to talk. Chopin began generally to prelude + apathetically and only gradually grew warm, but then his playing was + really grand. If, however, he was not in a playing mood, he was often + asked to give some of his wonderful mimetic imitations. On such occasions + Chopin retired to one of the side-rooms, and when he returned he was + irrecognisable. Professor Chodzko remembers seeing him as Frederick the + Great. + </p> + <p> + Chopin's talent for mimicry, which even such distinguished actors as + Bocage and Madame Dorval regarded with admiration, is alluded to by Balzac + in his novel "Un Homme d'affaires," where he says of one of the characters + that "he is endowed with the same talent for imitating people which + Chopin, the pianist, possesses in so high a degree; he represents a + personage instantly and with astounding truth." Liszt remarks that Chopin + displayed in pantomime an inexhaustible verve drolatique, and often amused + himself with reproducing in comical improvisations the musical formulas + and peculiar ways of certain virtuosos, whose faces and gestures he at the + same time imitated in the most striking manner. These statements are + corroborated by the accounts of innumerable eye and ear-witnesses of such + performances. One of the most illustrative of these accounts is the + following very amusing anecdote. When the Polish musician Nowakowski + [FOOTNOTE: He visited Paris in 1838, 1841, and 1846, partly for the + purpose of making arrangements for the publication of his compositions, + among which are Etudes dedicated to Chopin.] visited Paris, he begged his + countryman to bring him in contact with Kalkbrenner, Liszt, and Pixis. + Chopin, replying that he need not put himself to the trouble of going in + search of these artists if he wished to make their acquaintance, forthwith + sat down at the piano and assumed the attitude, imitated the style of + playing, and mimicked the mien and gestures, first of Liszt and then of + Pixis. Next evening Chopin and Nowakowski went together to the theatre. + The former having left the box during one of the intervals, the latter + looked round after awhile and saw Pixis sitting beside him. Nowakowski, + thinking Chopin was at his favourite game, clapped Pixis familiarly on the + shoulder and said: "Leave off, don't imitate now!" The surprise of Pixis + and the subsequent confusion of Nowakowski may be easily imagined. When + Chopin, who at this moment returned, had been made to understand what had + taken place, he laughed heartily, and with the grace peculiar to him knew + how to make his friend's and his own excuses. One thing in connection with + Chopin's mimicry has to be particularly noted—it is very + characteristic of the man. Chopin, we learn from Liszt, while subjecting + his features to all kinds of metamorphoses and imitating even the ugly and + grotesque, never lost his native grace, "la grimace ne parvenait meme pas + a l'enlaidir." + </p> + <p> + We shall see presently what George Sand has to say about her lover's + imitative talent; first, however, we will make ourselves acquainted with + the friends with whom she especially associated. Besides Pierre Leroux, + Balzac, Pauline Viardot-Garcia, and others who have already been mentioned + in the foregoing chapters, she numbered among her most intimate friends + the Republican politician and historian Louis Blanc, the Republican + litterateur Godefroy Cavaignac, the historian Henri Martin, and the + litterateur Louis Viardot, the husband of Pauline Garcia. + </p> + <p> + [FOOTNOTE: This name reminds me of a passage in Louis Blanc's "Histoire de + la Revolution de 1840" (p. 210 of Fifth Edition. Paris, 1880). "A short + time before his [Godefroy Cavaignac's] end, he was seized by an + extraordinary desire to hear music once more. I knew Chopin. I offered to + go to him, and to bring him with me, if the doctor did not oppose it. The + entreaties thereupon took the character of a supplication. With the + consent, or rather at the urgent prayer, of Madame Cavaignac, I betook + myself to Chopin. Madame George Sand was there. She expressed in a + touching manner the lively interest with which the invalid inspired her; + and Chopin placed himself at my service with much readiness and grace. I + conducted him then into the chamber of the dying man, where there was a + bad piano. The great artist begins...Suddenly he is interrupted by sobs. + Godefroy, in a transport of sensibility which gave him a moment's physical + strength, had quite unexpectedly raised himself in his bed of suffering, + his face bathed in tears. Chopin stopped, much disturbed; Madame + Cavaignac, leaning towards her son, anxiously interrogated him with her + eyes. He made an effort to become self-possessed; he attempted to smile, + and with a feeble voice said, 'Do not be uneasy, mamma, it is nothing; + real childishness...Ah! how beautiful music is, understood thus!' His + thought was—we had no difficulty in divining it—that he would + no longer hear anything like it in this world, but he refrained from + saying so."] + </p> + <p> + Friends not less esteemed by her than these, but with whom she was less + intimate, were the Polish poet Mickiewicz, the famous bass singer + Lablache, the excellent pianist and composer Alkan aine, the Italian + composer and singing-master Soliva (whom we met already in Warsaw), the + philosopher and poet Edgar Quinet, General Guglielmo Pepe + (commander-in-chief of the Neapolitan insurrectionary army in 1820-21), + and likewise the actor Bocage, the litterateur Ferdinand Francois, the + German musician Dessauer, the Spanish politician Mendizabal, the dramatist + and journalist Etienne Arago, [FOOTNOTE: The name of Etienne Arago is + mentioned in "Ma Vie," but it is that of Emmanuel Arago which occurs + frequently in the "Corrcspcndance."] and a number of literary and other + personages of less note, of whom I shall mention only Agricol Perdiguier + and Gilland, the noble artisan and the ecrivain proletaire, as George Sand + calls them. + </p> + <p> + Although some of George Sand's friends were also Chopin's, there can be no + doubt that the society which gathered around her was on the whole not + congenial to him. Some remarks which Liszt makes with regard to George + Sand's salon at Nohant are even more applicable to her salon in Paris. + </p> +<pre xml:space="preserve"> + An author's relations with the representatives of publicity + and his dramatic executants, actors and actresses, and with + those whom he treats with marked attention on account of their + merits or because they please him; the crossing of incidents, + the clash and rebound of the infatuations and disagreements + which result therefrom; were naturally hateful to him [to + Chopin]. For a long time he endeavoured to escape from them by + shutting his eyes, by making up his mind not to see anything. + There happened, however, such things, such catastrophes + [denouements], as, by shocking too much his delicacy, + offending too much his habits of the moral and social comme-il- + faut, ended in rendering his presence at Nohant impossible, + although he seemed at first to have felt more content [plus de + repif] there than elsewhere. +</pre> + <p> + These are, of course, only mere surmises, but Liszt, although often wrong + as to incidents, is, thanks to his penetrative genius, generally right as + to essences. Indeed, if George Sand's surroundings and Chopin's character + and tastes are kept in view nothing seems to be more probable than that + his over-delicate susceptibilities may have occasionally been shocked by + unrestrained vivacity, loud laughter, and perhaps even coarse words; that + his uncompromising idealism may have been disturbed by the discordance of + literary squabbles, intrigues, and business transactions; that his + peaceable, non-speculative, and non-argumentative disposition may have + been vexed and wearied by discussions of political, social, religious, + literary, and artistic problems. Unless his own art was the subject, + Chopin did not take part in discussions. And Liszt tells us that Chopin + not only, like most artists, lacked a generalising mind [esprit + generalisateur], but showed hardly any inclination for aesthetics, of + which he had not even heard much. We may be sure that to Chopin to whom + discussions of any kind were distasteful, those of a circle in which, as + in that of George Sand, democratic and socialistic, theistic and atheistic + views prevailed, were particularly so. For, notwithstanding his bourgeois + birth, his sympathies were with the aristocracy; and notwithstanding his + neglect of ritual observances, his attachment to the Church of Rome + remained unbroken. Chopin does not seem to have concealed his dislike to + George Sand's circle; if he did not give audible expression to it, he made + it sufficiently manifest by seeking other company. That she was aware of + the fact and displeased with it, is evident from what she says of her + lover's social habits in Ma Vie. The following excerpt from that work is + an important biographical contribution; it is written not without + bitterness, but with hardly any exaggeration:— + </p> +<pre xml:space="preserve"> + He was a man of the world par excellence, not of the too + formal and too numerous world, but of the intimate world, of + the salons of twenty persons, of the hour when the crowd goes + away and the habitues crowd round the artist to wrest from him + by amiable importunity his purest inspiration. It was then + only that he exhibited all his genius and all his talent. It + was then also that after having plunged his audience into a + profound recueillement or into a painful sadness, for his + music sometimes discouraged one's soul terribly, especially + when he improvised, he would suddenly, as if to take away the + impression and remembrance of his sorrow from others and from + himself, turn stealthily to a glass, arrange his hair and his + cravat, and show himself suddenly transformed into a + phlegmatic Englishman, into an impertinent old man, into a + sentimental and ridiculous Englishwoman, into a sordid Jew. + The types were always sad, however comical they might be, but + perfectly conceived and so delicately rendered that one could + not grow weary of admiring them. + + All these sublime, charming, or bizarre things that he knew + how to evolve out of himself made him the soul of select + society, and there was literally a contest for his company, + his noble character, his disinterestedness, his self-respect, + his proper pride, enemy of every vanity of bad taste and of + every insolent reclame, the security of intercourse with him, + and the exquisite delicacy of his manners, making him a friend + equally serious and agreeable. + + To tear Chopin away from so many gdteries, to associate him + with a simple, uniform, and constantly studious life, him who + had been brought up on the knees of princesses, was to deprive + him of that which made him live, of a factitious life, it is + true, for, like a painted woman, he laid aside in the evening, + in returning to his home, his verve and his energy, to give + the night to fever and sleeplessness; but of a life which + would have been shorter and more animated than that of the + retirement and of the intimacy restricted to the uniform + circle of a single family. In Paris he visited several salons + every day, or he chose at least every evening a different one + as a milieu. He had thus by turns twenty or thirty salons to + intoxicate or to charm with his presence. +</pre> + <p> + <a name="link2HCH0027" id="link2HCH0027"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER XXVII. + </h2> + <p> + CHOPIN IN HIS SOCIAL RELATIONS: HIS PREDILECTION FOR THE FASHIONABLE SALON + SOCIETY (ACCOUNTS BY MADAME GIRARDIN AND BERLIOZ); HIS NEGLECT OF THE + SOCIETY OF ARTISTS (ARY SCHEFFER, MARMONTEL, HELLER, SCHULHOFF, THE PARIS + CORRESPONDENT OF THE MUSICAL WORLD); APHORISMS BY LISZT ON CHOPIN IN HIS + SOCIAL ASPECT.—CHOPIN'S FRIENDSHIPS.—GEORGE SAND, LISZT, LENZ, + HELLER, MARMONTEL, AND HILLER ON HIS CHARACTER (IRRITABILITY, FITS OF + ANGER—SCENE WITH MEYERBEER—GAIETY AND RAILLERY, LOVE OF + SOCIETY, AND LITTLE TASTE FOR READING, PREDILECTION FOR THINGS POLISH).—HIS + POLISH, GERMAN, ENGLISH, AND RUSSIAN FRIENDS.—THE PARTY MADE FAMOUS + BY LISZT'S ACCOUNT.—HIS INTERCOURSE WITH MUSICIANS (OSBORNE, + BERLIOZ, BAILLOT, CHERUBINI, KALKBRENNER, FONTANA, SOWINSKI, WOLFF, + MEYERBEER, ALKAN, ETC.).—HIS FRIENDSHIP WITH LISZT.—HIS + DISLIKE TO LETTER-WRITING. + </p> + <p> + George Sand, although one of the cleverest of the literary portrayers who + have tried their hand at Chopin, cannot be regarded as one of the most + impartial; but it must be admitted that in describing her deserted lover + as un homme du monde par excellence, non pas du monde trop officiel, trop + nombreux, she says what is confirmed by all who have known him, by his + friends, foes, and those that are neither. Aristocratic society, with + which he was acquainted from his earliest childhood, had always a great + charm for him. When at the beginning of 1833, a little more than two years + after his arrival in Paris, he informed his friend Dziewanowski that he + moved in the highest society—among ambassadors, princes, and + ministers—it is impossible not to see that the fact gives him much + satisfaction. Without going so far as to say with a great contemporary of + Chopin, Stephen Heller, that the higher you go in society the greater is + the ignorance you find, I think that little if any good for either heart + or mind can come from intercourse with that section of the people which + proudly styles itself "society" (le monde). Many individuals that belong + to it possess, no doubt, true nobility, wisdom, and learning, nay, even + the majority may possess one or the other or all of them in some degree, + but these qualities are so out of keeping with the prevailing frivolity + that few have the moral courage to show their better nature. If Chopin + imagined that he was fully understood as an artist by society, he was + sadly mistaken. Liszt and Heller certainly held that he was not fully + understood, and they did not merely surmise or speak from hearsay, for + neither of them was a stranger in that quarter, although the latter + avoided it as much as possible. What society could and did appreciate in + Chopin was his virtuosity, his elegance, and his delicacy. It is not my + intention to attempt an enumeration of Chopin's aristocratic friends and + acquaintances, but in the dedications of his works the curious will find + the most important of them. There, then, we read the names of the Princess + Czartoryska, Countess Plater, Countess Potocka, Princesse de Beauvau, + Countess Appony, Countess Esterhazy, Comte and Comtesse de Perthuis, + Baroness Bronicka, Princess Czernicheff, Princess Souzzo, Countess + Mostowska, Countess Czosnowska, Comtesse de Flahault, Baroness von + Billing, Baron and Baroness von Stockhausen, Countess von Lobau, Mdlle. de + Noailles, &c. And in addition to these we have representatives of the + aristocracy of wealth, Madame C. de Rothschild foremost amongst them. + Whether the banker Leo with whom and his family Chopin was on very + friendly terms may be mentioned in this connection, I do not know. But we + must remember that round many of the above names cluster large families. + The names of the sisters Countess Potocka and Princesse de Beauvau call up + at once that of their mother, Countess Komar. Many of these here + enumerated are repeatedly mentioned in the course of this book, some will + receive particular attention in the next chapter. Now we will try to get a + glimpse of Chopin in society. + </p> + <p> + Madame de Girardin, after having described in one of her "Lettres + parisiennes" (March 7, 1847) [FOOTNOTE: The full title of the work is: "Le + Vicomte de Launay—Lettres parisiennes par Mdme. Emile de Girardin." + (Paris: Michel Levy freres.)] with what success Mdlle. O'Meara accompanied + by her master played his E minor Concerto at a soiree of Madame de + Courbonne, proceeds thus:— + </p> +<pre xml:space="preserve"> + Mdlle. Meara is a pupil of Chopin's. He was there, he was + present at the triumph of his pupil, the anxious audience asked + itself: "Shall we hear him?" + + The fact is that it was for passionate admirers the torment of + Tantalus to see Chopin going about a whole evening in a salon and + not to hear him. The mistress of the house took pity on us; she + was indiscreet, and Chopin played, sang his most delicious songs; + we set to these joyous or sad airs the words which came into our + heads; we followed with our thoughts his melodious caprices. + There were some twenty of us, sincere amateurs, true believers, + and not a note was lost, not an intention was misunderstood; it + was not a concert, it was intimate, serious music such as we + love; he was not a virtuoso who comes and plays the air agreed + upon and then disappears; he was a beautiful talent, monopolised, + worried, tormented, without consideration and scruples, whom one + dared ask for the most beloved airs, and who full of grace and + charity repeated to you the favourite phrase, in order that you + might carry it away correct and pure in your memory, and for a + long time yet feast on it in remembrance. Madame so-and-so said: + "Please, play this pretty nocturne dedicated to Mdlle. + Stirling."—The nocturne which I called the dangerous one.—He + smiled, and played the fatal nocturne. "I," said another lady, + "should like to hear once played by you this mazurka, so sad and + so charming." He smiled again, and played the delicious mazurka. + The most profoundly artful among the ladies sought expedients to + attain their end: "I am practising the grand sonata which + commences with this beautiful funeral march," and "I should like + to know the movement in which the finale ought to be played." He + smiled a little at the stratagem, and played the finale, of the + grand sonata, one of the most magnificent pieces which he has + composed. +</pre> + <p> + Although Madame Girardin's language and opinions are fair specimens of + those prevalent in the beatified regions in which Chopin delighted to + move, we will not follow her rhapsodic eulogy of his playing. That she + cannot be ranked with the connoisseurs is evident from her statement that + the sonata BEGINS with the funeral march, and that the FINALE is one of + the most magnificent creations of the composer. Notwithstanding Madame + Girardin's subsequent remark that Chopin's playing at Madame de + Courbonne's was quite an exception, her letter may mislead the reader into + the belief that the great pianist was easily induced to sit down at the + piano. A more correct idea may be formed of the real state of matters from + a passage in an article by Berlioz (Feuilleton du Journal des Debats, + October 27, 1849) in which the supremacy of style over matter is a little + less absolute than in the lady's elegant chit-chat:— + </p> +<pre xml:space="preserve"> + A small circle of select auditors, whose real desire to hear + him was beyond doubt, could alone determine him to approach + the piano. What emotions he would then call forth! In what + ardent and melancholy reveries he loved to pour out his soul! + It was usually towards midnight that he gave himself up with + the greatest ABANDON, when the big butterflies of the salon + had left, when the political questions of the day had been + discussed at length, when all the scandal-mongers were at the + end of their anecdotes, when all the snares were laid, all the + perfidies consummated, when one was thoroughly tired of prose, + then, obedient to the mute petition of some beautiful, + intelligent eyes, he became a poet, and sang the Ossianic + loves of the heroes of his dreams, their chivalrous joys, and + the sorrows of the absent fatherland, his dear Poland always + ready to conquer and always defeated. But without these + conditions—the exacting of which for his playing all artists + must thank him for—it was useless to solicit him. The + curiosity excited by his fame seemed even to irritate him, and + he shunned as far as possible the nonsympathetic world when + chance had led him into it. I remember a cutting saying which + he let fly one evening at the master of a house where he had + dined. Scarcely had the company taken coffee when the host, + approaching Chopin, told him that his fellow-guests who had + never heard him hoped that he would be so good as to sit down + at the piano and play them some little thing [quelque petite + chose]. Chopin excused himself from the very first in a way + which left not the slightest doubt as to his inclination. But + when the other insisted, in an almost offensive manner, like a + man who knows the worth and the object of the dinner which he + has given, the artist cut the conversation short by saying + with a weak and broken voice and a fit of coughing: "Ah! + sir...I have... eaten so little!" +</pre> + <p> + Chopin's predilection for the fashionable salon society led him to neglect + the society of artists. That he carried the odi profanum vulgus, et arceo + too far cannot for a moment be doubted. For many of those who sought to + have intercourse with him were men of no less nobility of sentiment and + striving than himself. Chopin offended even Ary Scheffer, the great + painter, who admired him and loved him, by promising to spend an evening + with him and again and again disappointing him. Musicians, with a few + exceptions. Chopin seems always to have been careful to keep at a + distance, at least after the first years of his arrival in Paris. This is + regrettable especially in the case of the young men who looked up to him + with veneration and enthusiasm, and whose feelings were cruelly hurt by + the polite but unsympathetic reception he gave them:— + </p> +<pre xml:space="preserve"> + We have had always a profound admiration for Chopin's talent + [writes M. Marmontel], and, let us add, a lively sympathy for + his person. No artist, the intimate disciples not excepted, + has more studied his compositions, and more caused them to be + played, and yet our relations with this great musician have + only been rare and transient. Chopin was surrounded, fawned + upon, closely watched by a small cenacle of enthusiastic + friends, who guarded him against importunate visitors and + admirers of the second order. It was difficult to get access + to him; and it was necessary, as he said himself to that other + great artist whose name is Stephen Heller, to try several + times before one succeeded in meeting him. These trials + ["essais"] being no more to my taste than to Heller's, I could + not belong to that little congregation of faithful ones whose + cult verged on fanaticism. +</pre> + <p> + As to Stephen Heller—who himself told me that he would have liked to + be more with Chopin, but was afraid of being regarded as intrusive—Mr. + Heller thinks that Chopin had an antipathy to him, which considering the + amiable and truly gentlemanly character of this artist seems rather + strange. + </p> + <p> + If the details of Karasowski's account of Chopin's and Schulhoff's first + meeting are correct, the Polish artist was in his aloofness sometimes even + deficient in that common civility which good-breeding and consideration + for the feelings of others demand. Premising that Fetis in telling the + story is less circumstantial and lays the scene of the incident in the + pianoforte-saloon of Pleyel, I shall quote Karasowski's version, as he may + have had direct information from Schulhoff, who since 1855 has lived much + of his time at Dresden, where Karasowski also resides:— + </p> +<pre xml:space="preserve"> + Schulhoff came when quite a young man and as yet completely + unknown to Paris. There he learned that Chopin, who was then + already very ailing and difficult of access, was coming to the + pianoforte-manufactory of Mercier to inspect one of the newly- + invented transposing pianofortes. It was in the year 1844. + Schulhoff seized the opportunity to become personally + acquainted with the master, and made his appearance among the + small party which awaited Chopin. The latter came with an old + friend, a Russian Capellmeister [Soliva?]. Taking advantage of + a propitious moment, Schulhoff got himself introduced by one + of the ladies present. On the latter begging Chopin to allow + Schulhoff to play him something, the renowned master, who was + much bothered by dilettante tormentors, signified, somewhat + displeased, his consent by a slight nod of the head. Schulhoff + seated himself at the pianoforte, while Chopin, with his back + turned to him, was leaning against it. But already during the + short prelude he turned his head attentively towards Schulhoff + who now performed an Allegro brillant en forme de Senate (Op. + I), which he had lately composed. With growing interest Chopin + came nearer and nearer the keyboard and listened to the fine, + poetic playing of the young Bohemian; his pale features grew + animated, and by mien and gesture he showed to all who were + present his lively approbation. When Schulhoff had finished, + Chopin held out his hand to him with the words: "Vous etes un + vrai artiste, un collegue!" Some days after Schulhoff paid the + revered master a visit, and asked him to accept the dedication + of the composition he had played to him. Chopin thanked him in + a heart-winning manner, and said in the presence of several + ladies: "Je suis tres flatte de l'honneur que vous me faites." +</pre> + <p> + The behaviour of Chopin during the latter part of this transaction made, + no doubt, amends for that of the earlier. But the ungracious manner in + which he granted the young musician permission to play to him, and + especially his turning his back to Schulhoff when the latter began to + play, are not excused by the fact that he was often bothered by dilettante + tormentors. + </p> + <p> + The Paris correspondent of the Musical World, writing immediately after + the death of the composer, describes the feeling which existed among the + musicians in the French capital, and also suggests an explanation and + excuse. In the number of the paper bearing date November 10, 1849, we read + as follows:— + </p> +<pre xml:space="preserve"> + Owing to his retired way of living and his habitual reserve, + Chopin had few friends in the profession; and, indeed, spoiled + from his original nature by the caprice of society, he was too + apt to treat his brother-artists with a supercilious hauteur, + which many, his equals, and a few, his superiors, were wont to + stigmatise as insulting. But from want of sympathy with the + man, they overlooked the fact that a pulmonary complaint, + which for years had been gradually wasting him to a shadow, + rendered him little fit for the enjoyments of society and the + relaxations of artistic conviviality. In short, Chopin, in + self-defence, was compelled to live in comparative seclusion, + but we wholly disbelieve that this isolation had its source in + unkindness or egotism. We are the more inclined to this + opinion by the fact that the intimate friends whom he + possessed in the profession (and some of them were pianists) + were as devotedly attached to him as the most romantic of his + aristocratic worshippers. +</pre> + <p> + The reasoning does not seem to me quite conclusive. Would it not have been + possible to live in retirement without drawing upon himself the accusation + of supercilious hauteur? Moreover, as Chopin was strong enough to frequent + fashionable salons, he cannot have been altogether unable to hold + intercourse with his brother-artists. And, lastly, who are the pianist + friends that were as devotedly attached to him as the most romantic of his + aristocratic worshippers? The fact that Chopin became subsequently less + social and more reticent than he had been in his early Paris days, + confined himself to a very limited number of friends and families, and had + relations of an intimate nature with only a very few musicians, cannot, + therefore, be attributable to ill-health alone, although that too had, no + doubt, something to do with it, directly or indirectly. In short, the + allegation that Chopin was "spoiled by the caprice of society," as the + above-quoted correspondent puts it, is not only probable, but even very + likely. Fastidious by nature and education, he became more so, partly in + consequence of his growing physical weakness, and still more through the + influence of the society with which, in the exercise of his profession and + otherwise, he was in constant contact. His pupils and many of his other + admirers, mostly of the female sex and the aristocratic class, accustomed + him to adulation and adoration to such an extent as to make these to be + regarded by him as necessaries of life. Some excerpts from Liszt's book, + which I shall quote here in the form of aphorisms, will help to bring + Chopin, in his social aspect, clearly before the reader's eyes:— + </p> +<pre xml:space="preserve"> + As he did not confound his time, thought, and ways with those + of anyone, the society of women was often more convenient to + him in that it involved fewer subsequent relations. + + He carried into society the uniformity of temper of people + whom no annoyance troubles because they expect no interest. + + His conversation dwelt little on stirring subjects. He glided + over them; as he was not at all lavish of his time, the talk + was easily absorbed by the details of the day. + + He loved the unimportant talk [les causeries sans portee] of + people whom he esteemed; he delighted in the childish + pleasures of young people. He passed readily whole evenings in + playing blind-man's-buff with young girls, in telling them + amusing or funny little stories, in making them laugh the mad + laughter of youth, which it gives even more pleasure to hear + than the singing of the warbler. [FOOTNOTE: This, I think, + must refer to the earlier years of Chopin's residence in + Paris.] + + In his relations and conversations he seemed to take an + interest in what preoccupied the others; he took care not to + draw them out of the circle of their personality inorder to + lead them into his. If he gave up little of his time, he, to + make up for it, reserved to himself nothing of that which he + granted. + + The presence of Chopin was, therefore, always heartily welcome + [fetee]. Not hoping to be understood [devine], disdaining to + speak of himself [de se raconter lui-meme], he occupied + himself so much with everything that was not himself that his + intimate personality remained aloof, unapproached and + unapproachable, under this polite and smooth [glissant] + surface where it was impossible to get a footing. + + He pleased too much to make people reflect. + + He hardly spoke either of love or of friendship. + + He was not exacting like those whose rights and just demands + surpass by far what one would have to offer them. The most + intimate acquaintances did not penetrate to this sacred recess + where, withdrawn from all the rest of his life, dwelt the + secret motive power of his soul: a recess so concealed that + one scarcely suspected its existence. + + Ready to give everything, he did not give himself. +</pre> + <p> + The last dictum and part of the last but one were already quoted by me in + an earlier chapter, but for the sake of completeness, and also because + they form an excellent starting-point for the following additional remarks + on Chopin's friendships, I have repeated them here. First of all, I + venture to make the sweeping assertion that Chopin had among his + non-Polish friends none who could be called intimate in the fullest sense + of the word, none to whom he unbosomed himself as he did to Woyciechowski + and Matuszynski, the friends of his youth, and Grzymala, a friend of a + later time. Long cessation of personal intercourse together with the + diverging development of their characters in totally unlike conditions of + life cannot but have diminished the intimacy with the first named. + [FOOTNOTE: Titus Woyciechowski continued to live on his estate Poturzyn, + in the kingdom of Poland.] With Matuszyriski Chopin remained in close + connection till this friend's death. [FOOTNOTE: Karasowski says in the + first volume of his Polish biography of Chopin that Matuszynski died on + April 20, 1842; and in the second that he died after Chopin's father, but + in the same year—that is, in 1844.] How he opened his whole heart to + Grzymala we shall see in a subsequent chapter. That his friendship with + Fontana was of a less intimate character becomes at once apparent on + comparing Chopin's letters to him with those he wrote to the three other + Polish friends. Of all his connections with non-Poles there seems to be + only one which really deserves the name of friendship, and that is his + connection with Franchomme. Even here, however, he gave much less than he + received. Indeed, we may say—speaking generally, and not only with a + view to Franchomme—that Chopin was more loved than loving. But he + knew well how to conceal his deficiencies in this respect under the + blandness of his manners and the coaxing affectionateness of his language. + There is something really tragic, and comic too, in the fact that every + friend of Chopin's thought that he had more of the composer's love and + confidence than any other friend. Thus, for instance, while Gutmann told + me that Franchomme was not so intimate with Chopin that the latter would + confide any secrets to him, Franchomme made to me a similar statement with + regard to Gutmann. And so we find every friend of Chopin declaring that + every other friend was not so much of a friend as himself. Of Chopin's + procedures in friendship much may be learned from his letters; in them is + to be seen something of his insinuating, cajoling ways, of his endeavours + to make the person addressed believe himself a privileged favourite, and + of his habit of speaking not only ungenerously and unlovingly, but even + unjustly of other persons with whom he was apparently on cordial terms. In + fact, it is only too clear that Chopin spoke differently before the faces + and behind the backs of people. You remember how in his letters to Fontana + he abuses Camille Pleyel in a manner irreconcilable with genuine love and + esteem. Well, to this same Camille Pleyel, of whom he thus falls foul when + he thinks himself in the slightest aggrieved, he addresses on one occasion + the following note. Mark the last sentence:— + </p> +<pre xml:space="preserve"> + Dearest friend [Cherissime],—Here is what Onslow has written + to me. I wished to call on you and tell you, but I feel very + feeble and am going to lie down. I love you always more, if + this is possible [je vous aime toujours plus si c'est + possible]. + + CHOPIN. + + [FOOTNOTE: To the above, unfortunately undated, note, which + was published for the first time in the Menestrel of February + 15, 1885, and reprinted in "Un nid d'autographes," lettres + incites recueillies et annotees par Oscar Comettant (Paris: E. + Dentu), is appended the following P.S.:—"Do not forget, + please, friend Herbeault. Till to-morrow, then; I expect you + both." + + La Mara's Musikerbriefe (Leipzig: Breitkopf and Hartel) + contains likewise a friendly letter of Chopin to Camille + Pleyel. It runs thus: + + "Dearest friend,—I received the other day your piano, and + give you my best thanks. It arrived in good tune, and is + exactly at concert-pitch. As yet I have not played much on it, + for the weather is at present so fine that I am almost always + in the open air. I wish you as pleasant weather for your + holidays. Write me a few words (if you find that you have not + sufficiently exercised your pen in the course of the day). May + you all remain well—and lay me at the feet of your mother and + sister.—Your devoted, "F. CHOPIN." + + The date given by La Mara is "Monday [May 20, 1842], Nohant, + near La Chatre, Indre." This, however, cannot be right, for + the 20th of May in 1842 was a Friday.] +</pre> + <p> + And, again, how atrociously he reviles in the same letters the banker Leo, + who lends him money, often takes charge of his manuscripts, procures + payment for them, and in whose house he has been for years a frequent + visitor. Mr. Ch. Halle informed me that Chopin was on particularly good + terms with the Leos. From Moscheles' diary we learn that the writer made + Chopin's acquaintance at the banker's house. Stephen Heller told me that + he met Chopin several times at Leo's, and that the Polish composer visited + there often, and continued to go there when he had given up going to many + other houses. And from the same informant I learned also that Madame Leo + as well as her husband took a kindly interest in Chopin, showing this, for + instance, by providing him with linen. And yet Leo, this man who does him + all sorts of services, and whose smiling guest he is before and after, is + spoken of by Chopin as if he were the most "despicable wretch imaginable"; + and this for no other reason than that everything has not been done + exactly as he wished it to be done. Unless we assume these revilings to be + no more than explosions of momentary ill-humour, we must find Chopin + convicted of duplicity and ingratitude. In the letters to Fontana there + are also certain remarks about Matuszynski which I do not like. Nor can + they be wholly explained away by saying that they are in part fun and in + part indirect flattery of his correspondent. It would rather seem that + Chopin's undoubtedly real love for Matuszynski was not unmixed with a + certain kind of contempt. And here I must tell the reader that while Poles + have so high an opinion of their nation in comparison with other nations, + and of their countrymen with other countrymen, they have generally a very + mean opinion of each other. Indeed, I never met with a Pole who did not + look down with a self-satisfied smile of pity on any of his + fellow-countrymen, even on his best friend. It seems that their feeling of + individual superiority is as great as that of their national superiority. + Liszt's observations (see Vol. I., p. 259) and those of other writers + (Polish as well as non-Polish) confirm mine, which else might rightly be + supposed to be based on too limited an experience. To return to + Matuszynski, he may have been too ready to advise and censure his friend, + and not practical enough to be actively helpful. After reading the letters + addressed to them one comes to the conclusion that Fontana's and + Franchomme's serviceableness and readiness to serve went for something in + his appreciation of them as friends. At any rate, he did not hesitate to + exploiter them most unconscionably. Taking a general view of the letters + written by him during the last twelve years of his life, one is struck by + the absence of generous judgments and the extreme rareness of sympathetic + sentiments concerning third persons. As this was not the case in his + earlier letters, ill-health and disappointments suggest themselves + naturally as causes of these faults of character and temper. To these + principal causes have, however, to be added his nationality, his + originally delicate constitution, and his cultivation of salon manners and + tastes. His extreme sensitiveness, fastidiousness, and irritability may be + easily understood to derive from one or the other of these conditions. + </p> + <p> + George Sand's Ma Vie throws a good deal of light on Chopin's character; + let us collect a few rays from it:— + </p> +<pre xml:space="preserve"> + He [Chopin] was modest on principle and gentle [doux] by + habit, but he was imperious by instinct, and full of a + legitimate pride that did not know itself. + + He was certainly not made to live long in this world, this + extreme type of an artist. He was devoured by the dream of an + ideal which no practical philosophic or compassionate + tolerance combated. He would never compound with human nature. + He accepted nothing of reality. This was his vice and his + virtue, his grandeur and his misery. Implacable to the least + blemish, he had an immense enthusiasm for the least light, his + excited imagination doing its utmost to see in it a sun. + + He was the same in friendship [as in love], becoming + enthusiastic at first sight, getting disgusted, and correcting + himself [se reprenant] incessantly, living on infatuations + full of charms for those who were the object of them, and on + secret discontents which poisoned his dearest affections. + + Chopin accorded to me, I may say honoured me with, a kind of + friendship which was an exception in his life. He was always + the same to me. + + The friendship of Chopin was never a refuge for me in sadness. + He had enough of his own ills to bear. + + We never addressed a reproach to each other, except once, + which, alas! was the first and the last time. + + But if Chopin was with me devotion, kind attention, grace, + obligingness, and deference in person, he had not for all that + abjured the asperities of his character towards those who were + about me. With them the inequality of his soul, in turn + generous and fantastic, gave itself full course, passing + always from infatuation to aversion, and vice versa. + + Chopin when angry was alarming, and as, with me, he always + restrained himself, he seemed almost to choke and die. +</pre> + <p> + The following extracts from Liszt's book partly corroborate, partly + supplement, the foregoing evidence:— + </p> +<pre xml:space="preserve"> + His imagination was ardent, his feelings rose to violence,— + his physical organisation was feeble and sickly! Who can sound + the sufferings proceeding from this contrast? They must have + been poignant, but he never let them be seen. + + The delicacy of his constitution and of his heart, in imposing + upon him the feminine martyrdom of for ever unavowed tortures, + gave to his destiny some of the traits of feminine destinies. + + He did not exercise a decisive influence on any existence. His + passion never encroached upon any of his desires; he neither + pressed close nor bore down [n'a etreint ni masse] any mind by + the domination of his own. + + However rarely, there were nevertheless instances when we + surprised him profoundly moved. We have seen him turn pale + [palir et blemir] to such a degree as to assume green and + cadaverous tints. But in his intensest emotions he remained + concentrated. He was then, as usually, chary of words about + what he felt; a minute's reflection [recueillement] always hid + the secret of his first impression...This constant control + over the violence of his character reminded one of the + melancholy superiority of certain women who seek their + strength in reticence and isolation, knowing the uselessness + of the explosions of their anger, and having a too jealous + care of the mystery of their passion to betray it + gratuitously. +</pre> + <p> + Chopin, however, did not always control his temper. Heller remembers + seeing him more than once in a passion, and hearing him speak very harshly + to Nowakowski. The following story, which Lenz relates in "Die grossen + Pianoforte-Virtuosen unserer Zeit," is also to the point. + </p> +<pre xml:space="preserve"> + On one occasion Meyerbeer, whom I had not yet seen, entered + Chopin's room when I was getting a lesson. Meyerbeer was not + announced, he was king. I was playing the Mazurka in C (Op. + 33), printed on one page which contains so many hundreds—I + called it the epitaph of the idea [Grabschrift des Begriffs], + so full of distress and sadness is the composition, the + wearied flight of an eagle. + + Meyerbeer had taken a seat, Chopin made me go on. + + "This is two-four time," said Meyerbeer. Chopin denied this, + made me repeat the piece, and beat time aloud with the pencil + on the piano—his eyes were glowing. + + "Two crotchets," repeated Meyerbeer, calmly. + + Only once I saw Chopin angry, it was at this moment. It was + beautiful to see how a light red coloured his pale cheeks. + + "These are three crotchets," he said with a loud voice, he who + spoke always so low + + "Give it me," replied Meyerbeer, "for a ballet in my opera + ("L'Africaine," at that time kept a secret), I shall show it + you then." + + "These are three crotchets," Chopin almost shouted, and played + it himself. He played the mazurka several times, counted + aloud, stamped time with his foot, was beside himself. But all + was of no use, Meyerbeer insisted on TWO crotchets. They + parted very angrily. I found it anything but agreeable to have + been a witness of this angry scene. Chopin disappeared into + his cabinet without taking leave of me. The whole thing lasted + but a few minutes. +</pre> + <p> + Exhibitions of temper like this were no doubt rare, indeed, hardly ever + occurred except in his intercourse with familiars and, more especially, + fellow-countrymen—sometimes also with pupils. In passing I may + remark that Chopin's Polish vocabulary was much less choice than his + French one. As a rule, Chopin's manners were very refined and + aristocratic, Mr. Halle thinks they were too much so. For this refinement + resulted in a uniform amiability which left you quite in the dark as to + the real nature of the man. Many people who made advances to Chopin found + like M. Marmontel—I have this from his own mouth—that he had a + temperament sauvage and was difficult to get at. And all who came near him + learned soon from experience that, as Liszt told Lenz, he was ombrageux. + But while Chopin would treat outsiders with a chilly politeness, he + charmed those who were admitted into his circle both by amiability and + wit. "Usually," says Liszt, "he was lively, his caustic mind unearthed + quickly the ridiculous far below the surface where it strikes all eyes." + And again, "the playfulness of Chopin attacked only the superior keys of + the mind, fond of witticism as he was, recoiling from vulgar joviality, + gross laughter, common merriment, as from those animals more abject than + venomous, the sight of which causes the most nauseous aversion to certain + sensitive and delicate natures." Liszt calls Chopin "a fine connoisseur in + raillery and an ingenious mocker." The testimony of other acquaintances of + Chopin and that of his letters does not allow us to accept as holding good + generally Mr. Halle's experience, who, mentioning also the Polish artist's + wit, said to me that he never heard him utter a sarcasm or use a cutting + expression. + </p> + <p> + Fondness of society is a characteristic trait in Chopin's mental + constitution. Indeed, Hiller told me that his friend could not be without + company. For reading, on the other hand, he did not much care. Alkan + related to me that Chopin did not even read George Sand's works—which + is difficult to believe—and that Pierre Leroux, who liked Chopin and + always brought him his books, might have found them any time afterwards + uncut on the pianist's table, which is not so difficult to believe, as + philosophy and Chopin are contraries. According to what I learned from + Hiller, Chopin took an interest in literature but read very little. To + Heller it seemed that Chopin had no taste for literature, indeed, he made + on him the impression of an uneducated man. Heller, I must tell the reader + parenthetically, was both a great reader and an earnest thinker, over whom + good books had even the power of making him neglect and forget mistress + Musica without regret and with little compunction. But to return to + Chopin. Franchomme excused his friend by saying that teaching and the + claims of society left him no time for reading. But if Chopin neglected + French literature—not to speak of other ancient and modern + literatures—he paid some attention to that of his native country; at + any rate, new publications of Polish books were generally to be found on + his table. The reader will also remember that Chopin, in his letters to + Fontana, alludes twice to books of poetry—one by Mickiewicz which + was sent him to Majorca, the other by Witwicki which he had lost sight of. + </p> + <p> + Indeed, anything Polish had an especial charm and value for Chopin. + Absence from his native country so far from diminishing increased his love + for it. The words with which he is reported to have received the pianist + Mortier de Fontaine, who came to Paris in 1833 and called on him with + letters of introduction, are characteristic in this respect: "It is enough + that you have breathed the air of Warsaw to find a friend and adviser in + me." There is, no doubt, some exaggeration in Liszt's statement that + whoever came to Chopin from Poland, whether with or without letters of + introduction, was sure of a hearty welcome, of being received with open + arms. On the other hand, we may fully believe the same authority when he + says that Chopin often accorded to persons of his own country what he + would not accord to anyone else—namely, the right of disturbing his + habits; that he would sacrifice his time, money, and comfort to people who + were perhaps unknown to him the day before, showing them the sights of the + capital, having them to dine with him, and taking them in the evening to + some theatre. We have already seen that his most intimate friends were + Poles, and this was so in the aristocratic as well as in the + conventionally less-elevated circles. However pleasant his relations with + the Rothschilds may have been—indeed, Franchomme told me that his + friend loved the house of Rothschild and that this house loved him, and + that more especially Madame Nathaniel Rothschild preserved a touching + remembrance of him [FOOTNOTE: Chopin dedicated to Madame la Baronne C. + Rothschild the Waltz, Op. 64, No. 2 (Parisian Edition), and the Ballade, + Op. 52.]—they can have been but of small significance in comparison + with the almost passionate attachment he had to Prince Alexander + Czartoryski and his wife the Princess Marcelline. And if we were to + compare his friendship for any non-Polish gentleman or lady with that + which he felt for the Countess Delphine Potocka, to whom he dedicated two + of his happiest inspirations in two very different genres (the F minor + Concerto, Op. 21, and the D flat major Waltz, Op. 64, No. I), the result + would be again in favour of his compatriot. There were, indeed, some who + thought that he felt more than friendship for this lady; this, however, he + energetically denied. + </p> + <p> + [FOOTNOTE: Of this lady Kwiatkowski said that she took as much trouble and + pride in giving choice musical entertainments as other people did in + giving choice dinners. In Sowinski's Musiciens polonais we read that she + had a beautiful soprano voice and occupied the first place among the + amateur ladies of Paris. "A great friend of the illustrious Chopin, she + gave formerly splendid concerts at her house with the old company of the + Italians, which one shall see no more in Paris. To cite the names of + Rubini, Lablache, Tamburini, Malibran, Grisi, Persiani, is to give the + highest idea of Italian singing. The Countess Potocka sang herself + according to the method of the Italian masters."] + </p> + <p> + But although Chopin was more devoted and more happy in his Polish + friendships, he had beloved as well as loving friends of all nationalities—Germans, + English, and even Russians. That as a good Pole he hated the Russians as a + nation may be taken for granted. Of his feelings and opinions with regard + to his English friends and the English in general, information will be + forthcoming in a subsequent chapter. The Germans Chopin disliked + thoroughly, partly, no doubt, from political reasons, partly perhaps on + account of their inelegance and social awkwardness. Still, of this nation + were some of his best friends, among them Hiller, Gutmann, Albrecht, and + the Hanoverian ambassador Baron von Stockhausen. + </p> + <p> + [FOOTNOTE: Gutmann, in speaking to me of his master's dislike, positively + ascribed it to the second of the above causes. In connection with this we + must, however, not forget that the Germans of to-day differ from the + Germans of fifty years ago as much socially as politically. Nor have the + social characters of their neighbours, the French and the English, + remained the same.] + </p> + <p> + Liszt has given a glowing description of an improvised soiree at Chopin's + lodgings in the Rue de la Chaussee d'Antin—that is, in the years + before the winter in Majorca. At this soiree, we are told, were present + Liszt himself, Heine, Meyerbeer, Nourrit, Hiller, Delacroix, Niemcewicz, + Mickiewicz, George Sand, and the Comtesse d'Agoult. Of course, this is a + poetic licence: these men and women cannot have been at one and the same + time in Chopin's salon. Indeed, Hiller informed me that he knew nothing of + this party, and that, moreover, as long as he was in Paris (up to 1836) + there were hardly ever more numerous gatherings at his friend's lodgings + than of two or three. Liszt's group, however, brings vividly before us one + section of Chopin's social surroundings: it shows us what a poetic + atmosphere he was breathing, amidst what a galaxy of celebrities he was + moving. A glimpse of the real life our artist lived in the early Paris + years this extravagant effort of a luxuriant imagination does not afford. + Such glimpses we got in his letters to Hiller and Franchomme, where we + also met with many friends and acquaintances with less high-sounding + names, some of whom Chopin subsequently lost by removal or death. In + addition to the friends who were then mentioned, I may name here the + Polish poet Stephen Witwicki, the friend of his youth as well as of his + manhood, to whom in 1842 he dedicated his Op. 41, three mazurkas, and + several of whose poems he set to music; and the Polish painter + Kwiatkowski, an acquaintance of a later time, who drew and painted many + portraits of the composer, and more than one of whose pictures was + inspired by compositions of his friend. I have not been able to ascertain + what Chopin's sentiments were with regard to Kwiatkowski, but the latter + must have been a frequent visitor, for after relating to me that the + composer was fond of playing in the dusk, he remarked that he heard him + play thus almost all his works immediately after they were composed. + </p> + <p> + As we have seen in the chapters treating of Chopin's first years in Paris, + there was then a goodly sprinkling of musicians among his associates—I + use the word "associates" advisedly, for many of them could not truly be + called friends. When he was once firmly settled, artistically and + socially, not a few of these early acquaintances lapsed. How much this was + due to the force of circumstances, how much to the choice of Chopin, is + difficult to determine. But we may be sure that his distaste to the + Bohemianism, the free and easy style that obtains among a considerable + portion of the artistic tribe, had at least as much to do with the result + as pressure of engagements. Of the musicians of whom we heard so much in + the first years after his coming to Paris, he remained in close connection + only with one-namely, with Franchomme. Osborne soon disappeared from his + circle. Chopin's intercourse with Berlioz was in after years so rare that + some of their common friends did not even know of its existence. The + loosening of this connection was probably brought about by the departure + of Hiller in 1836 and the quarrel with Liszt some time after, which broke + two links between the sensitive Pole and the fiery Frenchman. The ageing + Baillot and Cherubini died in 1842. Kalkbrenner died but a short time + before Chopin, but the sympathy existing between them was not strong + enough to prevent their drifting apart. Other artists to whom the + new-comer had paid due homage may have been neglected, forgotten, or lost + sight of when success was attained and the blandishments of the salons + were lavished upon him. Strange to say, with all his love for what + belonged to and came from Poland, he kept compatriot musicians at a + distance. Fontana was an exception, but him he cherished, no doubt, as a + friend of his youth in spite of his profession, or, if as a musician at + all, chiefly because of his handiness as a copyist. For Sowinski, who was + already settled in Paris when Chopin arrived there, and who assisted him + at his first concert, he did not care. Consequently they had afterwards + less and less intercourse, which, indeed, in the end may have ceased + altogether. An undated letter given by Count Wodziriski in "Les trois + Romans de Frederic Chopin," no doubt originally written in Polish, brings + the master's feelings towards his compatriot, and also his irritability, + most vividly before the reader. + </p> +<pre xml:space="preserve"> + Here he is! He has just come in to see me—a tall strong + individual who wears moustaches; he sits down at the piano and + improvises, without knowing exactly what. He knocks, strikes, + and crosses his hands, without reason; he demolishes in five + minutes a poor helpless key; he has enormous fingers, made + rather to handle reins and whip somewhere on the confines of + Ukraine. Here you have the portrait of S... who has no other + merit than that of having small moustaches and a good heart. + If I ever thought of imagining what stupidity and charlatanism + in art are, I have now the clearest perception of them. I run + through my room with my ears reddening; I have a mad desire to + throw the door wide open; but one has to spare him, to show + one's self almost affectionate. No, you cannot imagine what it + is: here one sees only his neckties; one does him the honour + of taking him seriously....There remains, therefore, nothing + but to bear him. What exasperates me is his collection of + little songs, compositions in the most vulgar style, without + the least knowledge of the most elementary rules of harmony + and poetry, concluding with quadrille ritornelli, and which he + calls Recueil de Chants Polonais. You know how I wished to + understand, and how I have in part succeeded in understanding, + our national music. Therefore you will judge what pleasure I + experience when, laying hold of a motive of mine here and + there, without taking account of the fact that all the beauty + of a melody depends on the accompaniment, he reproduces it + with the taste of a frequenter of suburban taverns + (guinguettes) and public-houses (cabarets). And one cannot say + anything to him, for he comprehends nothing beyond what he has + taken from you. +</pre> + <p> + Edouard Wolff came to Paris in 1835, provided with a letter of + introduction from Chopin's master Zywny; [FOOTNOTE: See Vol. I., p. 31.] + but, notwithstanding this favourable opening of their acquaintanceship, he + was only for some time on visiting terms with his more distinguished + compatriot. Wolff himself told me that Chopin would never hear one of his + compositions. From any other informant I would not have accepted this + statement as probable, still less as true. [FOOTNOTE: Wolff dedicated in + 1841 his Grand Allegro de Concert pour piano still, Op. 59, a son ami + Chopin; but the latter never repaid him the compliment.] These remarks + about Wolff remind me of another piece of information I got from this + pianist-composer a few months before his death—namely, that Chopin + hated all Jews, Meyerbeer and Halevy among the rest. What Pole does not + hate the Jews? That Chopin was not enamoured of them we have seen in his + letters. But that he hated Meyerbeer is a more than doubtful statement. + Franchomme said to me that Meyerbeer was not a great friend of Chopin's; + but that the latter, though he did not like his music, liked him as a man. + If Lenz reports accurately, Meyerbeer's feelings towards Chopin were, no + doubt, warmer than Chopin's towards Meyerbeer. When after the scene about + the rhythm of a mazurka Chopin had left the room, Lenz introduced himself + to Meyerbeer as a friend of the Counts Wielhorski, of St. Petersburg. On + coming to the door, where a coupe was waiting, the composer offered to + drive him home, and when they were seated said:— + </p> +<pre xml:space="preserve"> + I had not seen Chopin for a long time, I love him very much. I + know no pianist like him, no composer for the piano like him. + The piano lives on nuances and on cantilena; it is an + instrument of intimacy [ein Intimitalsinstrument], I also was + once a pianist, and there was a time when I trained myself to + be a virtuoso. Visit me when you come to Berlin. Are we not + now comrades? When one has met at the house of so great a man, + it was for life. +</pre> + <p> + Kwiatkowski told me a pretty story which se non vero is certainly ben + trovato. When on one occasion Meyerbeer had fallen out with his wife, he + sat down to the piano and played a nocturne or some other composition + which Chopin had sent him. And such was the effect of the music on his + helpmate that she came and kissed him. Thereupon Meyerbeer wrote Chopin a + note telling him of what had taken place, and asking him to come and see + their conjugal happiness. Among the few musicians with whom Chopin had in + later years friendly relations stands out prominently, both by his genius + and the preference shown him, the pianist and composer Alkan aine (Charles + Henri Valentine), who, however, was not so intimate with the Polish + composer as Franchomme, nor on such easy terms of companionship as Hiller + and Liszt had been. The originality of the man and artist, his high aims + and unselfish striving, may well have attracted Chopin; but as an + important point in Alkan's favour must be reckoned the fact that he was + also a friend of George Sand's. Indeed, some of the limitations of + Chopin's intercourse were, no doubt, made on her account. Kwiatkowski told + me that George Sand hated Chopin's Polish friends, and that some of them + were consequently not admitted at all and others only reluctantly. Now + suppose that she disliked also some of the non-Polish friends, musicians + as well as others, would not her influence act in the same way as in the + case of the Poles? + </p> + <p> + But now I must say a few words about Chopin and Liszt's friendship, and + how it came to an end. This connection of the great pianists has been the + subject of much of that sentimental talk of which writers on music and of + musical biography are so fond. This, however, which so often has been + represented as an ideal friendship, was really no friendship at all, but + merely comradeship. Both admired each other sincerely as musicians. If + Chopin did not care much for Liszt's compositions, he had the highest + opinion of him as a pianist. We have seen in the letter of June 20, 1833, + addressed to Hiller and conjointly written by Chopin and Liszt, how + delighted Chopin was with Liszt's manner of playing his studies, and how + he wished to be able to rob him of it. He said on one occasion to his + pupil Mdlle. Kologrivof [FOOTNOTE: Afterwards Madame Rubio.]: "I like my + music when Liszt plays it." No doubt, it was Liszt's book with its + transcendentally-poetic treatment which induced the false notion now + current. Yet whoever keeps his eyes open can read between the lines what + the real state of matters was. The covert sneers at and the + openly-expressed compassion for his comrade's whims, weaknesses, and + deficiencies, tell a tale. Of Chopin's sentiments with regard to Liszt we + have more than sufficient evidence. Mr. Halle, who arrived in Paris at the + end of 1840, was strongly recommended to the banker Mallet. This + gentleman, to give him an opportunity to make the acquaintance of the + Polish pianist, invited both to dinner. On this occasion Mr. Halle asked + Chopin about Liszt, but the reticent answer he got was indicative rather + of dislike than of anything else. When in 1842 Lenz took lessons from + Chopin, the latter defined his relations with Liszt thus: "We are friends, + we were comrades." What he meant by the first half of the statement was, + no doubt: "Now we meet only on terms of polite acquaintanceship." When the + comradeship came to an end I do not know, but I think I do know how it + came to an end. When I asked Liszt about the cause of the termination of + their friendship, he said: "Our lady-loves had quarrelled, and as good + cavaliers we were in duty bound to side with them." [FOOTNOTE: Liszt's + words in describing to me his subsequent relation with Chopin were similar + to those of Chopin to Lenz. He said: "There was a cessation of intimacy, + but no enmity. I left Paris soon after, and never saw him again."] This, + however, was merely a way to get rid of an inconvenient question. + Franchomme explained the mystery to me, and his explanation was confirmed + by what I learned from Madame Rubio. The circumstances are of too delicate + a nature to be set forth in detail. But the long and short of the affair + is that Liszt, accompanied by another person, invaded Chopin's lodgings + during his absence, and made himself quite at home there. The discovery of + traces of the use to which his rooms had been put justly enraged Chopin. + One day, I do not know how long after the occurrence, Liszt asked Madame + Rubio to tell her master that he hoped the past would be forgotten and the + young man's trick (Junggesellenstuck) wiped out. Chopin then said that he + could not forget, and was much better as he was; and further, that Liszt + was not open enough, having always secrets and intrigues, and had written + in some newspapers feuilleton notices unfavourable to him. This last + accusation reminds one at once of the remark he made when he heard that + Liszt intended to write an account of one of his concerts for the Gazette + musicale. I have quoted the words already, but may repeat them here: "Il + me donnera un petit royaume dans son empire" (He will give me a little + kingdom in his empire). In this, as in most sayings of Chopin regarding + Liszt, irritation against the latter is distinctly noticeable. The cause + of this irritation may be manifold, but Liszt's great success as a + concert-player and his own failure in this respect [FOOTNOTE: I speak here + only of his inability to impress large audiences, to move great masses.] + have certainly something to do with it. Liszt, who thought so likewise, + says somewhere in his book that Chopin knew how to forgive nobly. Whether + this was so or not, I do not venture to decide. But I am sure if he + forgave, he never forgot. An offence remained for ever rankling in his + heart and mind. + </p> + <p> + From Chopin's friends to his pupils is but one step, and not even that, + for a great many of his pupils were also his friends; indeed, among them + were some of those who were nearest to his heart, and not a few in whose + society he took a particular delight. Before I speak, however, of his + teaching, I must say a few words about a subject which equally relates to + our artist's friends and pupils, and to them rather than to any other + class of people with whom he had any dealings. + </p> +<pre xml:space="preserve"> + One of his [Chopin's] oddities [writes Liszt] consisted in + abstaining from every exchange of letters, from every sending + of notes; one could have believed that he had made a vow never + to address letters to strangers. It was a curious thing to see + him have recourse to all kinds of expedients to escape from + the necessity of tracing a few lines. Many times he preferred + traversing Paris from one end to the other in order to decline + a dinner or give some slight information, to saving himself + the trouble by means of a little sheet of paper. His + handwriting remained almost unknown to most of his friends. It + is said that he sometimes deviated from this habit in favour + of his fair compatriots settled at Paris, of whom some are in + possession of charming autographs of his, all written in + Polish. This breach of what one might have taken as a rule may + be explained by the pleasure he took in speaking his language, + which he employed in preference, and whose most expressive + idioms he delighted in translating to others. Like the Slaves + generally, he mastered the French language very well; + moreover, owing to his French origin, it had been taught him + with particular care. But he accommodated himself badly to it, + reproaching it with having little sonority and being of a cold + genius. + + [FOOTNOTE: Notwithstanding his French origin, Chopin spoke + French with a foreign accent, some say even with a strong + foreign accent. Of his manner of writing French I spoke when + quoting his letters to Franchomme (see Vol. I., p. 258).] +</pre> + <p> + Liszt's account of Chopin's bizarrerie is in the main correct, although we + have, of course, to make some deduction for exaggeration. In fact, Gutmann + told me that his master sometimes began a letter twenty times, and finally + flung down the pen and said: "I'll go and tell her [or "him," as the case + might be] myself." + </p> + <p> + <a name="link2HCH0028" id="link2HCH0028"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER XXVIII. + </h2> + <p> + CHOPIN AS A TEACHER: HIS SUCCESS OR WANT OF SUCCESS AS SUCH; HIS PUPILS, + AMATEUR AND PROFESSIONAL; METHOD OF TEACHING; AND TEACHING REPERTOIRE. + </p> + <p> + As Chopin rarely played in public and could not make a comfortable living + by his compositions, there remained nothing for him but to teach, which, + indeed, he did till his strength forsook him. But so far from regarding + teaching as a burden, says his pupil Mikuli, he devoted himself to it with + real pleasure. Of course, a teacher can only take pleasure in teaching + when he has pupils of the right sort. This advantage, however, Chopin may + have enjoyed to a greater extent than most masters, for according to all + accounts it was difficult to be received as a pupil—he by no means + gave lessons to anyone who asked for them. As long as he was in fair + health, he taught during the season from four to five hours a day, in + later years only, or almost only, at home. His fee for a lesson was twenty + francs, which were deposited by the pupil on the mantelpiece. + </p> + <p> + Was Chopin a good teacher? His pupils without exception most positively + affirm it. But outsiders ask: How is it, then, that so great a virtuoso + has not trained players who have made the world ring with their fame? Mr. + Halle, whilst pointing out the fact that Chopin's pupils have not + distinguished themselves, did not wish to decide whether this was owing to + a deficiency in the master or to some other cause. Liszt, in speaking to + me on this subject, simply remarked: "Chopin was unfortunate in his pupils—none + of them has become a player of any importance, although some of his noble + pupils played very well." If we compare Liszt's pianistic offspring with + Chopin's, the difference is indeed striking. But here we have to keep in + mind several considerations—Chopin taught for a shorter period than + Liszt; most of his pupils, unlike Liszt's, were amateurs; and he may not + have met with the stuff out of which great virtuosos are made. That Chopin + was unfortunate in his pupils may be proved by the early death of several + very promising ones. Charles Filtsch, born at Hermannstadt, Transylvania + (Hungary), about 1830, of whom Liszt and Lenz spoke so highly (see Chapter + XXVI.), died on May 11, 1845, at Venice, after having in 1843 made a + sensation in London and Vienna, both by the poetical and technical + qualities of his playing. In London "little Filtsch" played at least twice + in public (on June 14 at the St. James's Theatre between two plays, and on + July 4 at a matinee of his own at the Hanover Square Rooms), repeatedly in + private, and had also the honour to appear before the Queen at Buckingham + Palace. J. W. Davison relates in his preface to Chopin's mazurkas and + waltzes (Boosey & Co.) a circumstance which proves the young + virtuoso's musicianship. "Engaged to perform Chopin's second concerto in + public, the orchestral parts not being obtainable, Filtsch, nothing + dismayed, wrote out the whole of them from memory." Another short-lived + great talent was Paul Gunsberg. "This young man," Madame Dubois informed + me, "was endowed with an extraordinary organisation. Chopin had made of + him an admirable executant. He died of consumption, otherwise he would + have become celebrated." I do not know in which year Gunsberg died. He was + still alive on May 11, 1855. For on that day he played with his + fellow-pupil Tellefsen, at a concert given by the latter in Paris, a duet + of Schumann's. A third pupil of Chopin prematurely snatched away by death + was Caroline Hartmann, the daughter of a manufacturer, born at Munster, + near Colmar, in 1808. She came to Paris in 1833, and died the year after—of + love for Chopin, as Edouard Wolff told me. Other authorities, however, + ascribe the sad effect to a less romantic cause. They say that through + persevering study under the direction of Chopin and Liszt she became an + excellent pianist, but that the hard work brought on a chest complaint to + which she succumbed on July 30, 1834. The GAZETTE MUSICALE of August 17, + 1834, which notices her death, describes her as a pupil of Liszt, Chopin, + and Pixis, without commenting on her abilities. Spohr admired her as a + child. But if Chopin has not turned out virtuosos of the calibre of Tausig + and Hans von Bulow, he has nevertheless formed many very clever pianists. + It would serve no purpose except that of satisfying idle curiosity to draw + up a list of all the master's ascertainable pupils. Those who wish, + however, to satisfy this idle curiosity can do so to some extent by + scanning the dedications of Chopin's works, as the names therein to be + found—with a few and mostly obvious exceptions—are those of + pupils. The array of princesses, countesses, &c., will, it is to be + hoped, duly impress the investigator. Let us hear what the illustrious + master Marmontel has to say on this subject:— + </p> +<pre xml:space="preserve"> + Among the pianist-composers who have had the immense advantage + of taking lessons from Chopin, to impregnate themselves with + his style and manner, we must cite Gutmann, Lysberg, and our + dear colleague G. Mathias. The Princesses de Chimay, + Czartoryska, the Countesses Esterhazy, Branicka, Potocka, de + Kalergis, d'Est; Mdlles. Muller and de Noailles were his + cherished disciples [disciples affectionnees]. Madame Dubois, + nee O'Meara, is also one of his favourite pupils [eleves de + predilection], and numbers among those whose talent has best + preserved the characteristic traditions and procedures + [procedes] of the master. +</pre> + <p> + Two of Chopin's amateur and a few more of his professional pupils ought to + be briefly noticed here—first and chiefly of the amateurs, the + Princess Marcelline Czartoryska, who has sometimes played in public for + charitable purposes, and of whom it has often been said that she is the + most faithful transmitter of her master's style. Would the praise which is + generally lavished upon her have been so enthusiastic if the lady had been + a professional pianist instead of a princess? The question is ungracious + in one who has not had the pleasure of hearing her, but not unnaturally + suggests itself. Be this as it may, that she is, or was, a good player, + who as an intimate friend and countrywoman thoroughly entered into the + spirit of her master's music, seems beyond question. + </p> + <p> + [FOOTNOTE: "The Princess Marcelline Czartoryska," wrote Sowinski in 1857 + in the article "Chopin" of his "Musicien polonais," "who has a fine + execution, seems to have inherited Chopin's ways of procedure, especially + in phrasing and accentuation. Lately the Princess performed at Paris with + much success the magnificent F minor Concerto at a concert for the benefit + of the poor." A critic, writing in the Gazette Musicale of March 11, 1855, + of a concert given by the Princess—at which she played an andante + with variations for piano and violoncello by Mozart, a rondo for piano and + orchestra by Mendelssohn, and Chopin's F minor Concerto, being assisted by + Alard as conductor, the violoncellist Franchomme, and the singers Madame + Viardot and M. Fedor—praised especially her rendering of the ADAGIO + in Chopin's Concerto. Lenz was the most enthusiastic admirer of the + Princess I have met with. He calls her (in the Berliner Musikzeitung, Vol. + XXVI) a highly-gifted nature, the best pupil [Schulerin] of Chopin, and + the incarnation of her master's pianoforte style. At a musical party at + the house of the Counts Wilhorski at St. Petersburg, where she performed a + waltz and the Marche funebre by Chopin, her playing made such an + impression that it was thought improper to have any more music on that + evening, the trio of the march having, indeed, moved the auditors to + tears. The Princess told Lenz that on one occasion when Chopin played to + her this trio, she fell on her knees before him and felt unspeakably + happy.] + </p> + <p> + G. Chouquet reminded me not to omit to mention among Chopin's pupils + Madame Peruzzi, the wife of the ambassador of the Duke of Tuscany to the + court of Louis Philippe:— + </p> +<pre xml:space="preserve"> + This virtuosa [wrote to me the late keeper of the Musee of the + Paris Conservatoire] had no less talent than the Princess + Marcelline Czartoryska. I heard her at Florence in 1852, and I + can assure you that she played Chopin's music in the true + style and with all the unpublished traits of the master. She + was of Russian origin. +</pre> + <p> + But enough of amateurs. Mdlle. Friederike Muller, now for many years + married to the Viennese pianoforte-maker J. B. Streicher, is regarded by + many as the most, and is certainly one of the most gifted of Chopin's + favourite pupils. [FOOTNOTE: She played already in public at Vienna in the + fourth decade of this century, which must have been before her coming to + Paris (see Eduard Hanslick, Geschichte des Concertwesens in Wien, p. 326). + Marriage brought the lady's professional career to a close.] That the + composer dedicated to her his Allegro de Concert, Op. 46, may be regarded + as a mark of his love and esteem for her. Carl Mikuli found her assistance + of great importance in the preparation of his edition of Chopin's works, + as she had received lessons from the master for several years, and, + moreover, had had many opportunities of hearing him on other occasions. + The same authority refers to Madame Dubois (nee O'Meara) [FOOTNOTE: A + relation of Edward Barry O'Meara, physician to the first Napoleon at St. + Helena, and author of "Napoleon in Exile."] and to Madame Rubio (NEE Vera + de Kologrivof) as to "two extremely excellent pianists [hochst + ausgezeichnete Pianistinnen] whose talent enjoyed the advantage of the + master's particular care." The latter lady was taught by Chopin from 1842 + to 1849, and in the last years of his life assisted him, as we shall see, + by taking partial charge of some of his pupils. Madame Dubois, who studied + under Kalkbrenner from the age of nine to thirteen, became then a pupil of + Chopin, with whom she remained five years. It was very difficult to obtain + his consent to take another pupil, but the influence of M. Albrecht, a + common friend of her father's and Chopin's, stood her in good stead. + Although I heard her play only one or two of her master's minor pieces, + and under very unfavourable circumstances too—namely, at the end of + the teaching season and in a tropical heat—I may say that her suave + touch, perfect legato, and delicate sentiment seemed to me to bear out the + above-quoted remark of M. Marmontel. Madame Dubois, who is one of the most + highly-esteemed teachers of the piano in Paris, used to play till recently + in public, although less frequently in later than in earlier years. And + here I must extract a passage from Madame Girardin's letter of March 7, + 1847, in Vol. IV. of "Le Vicomte de Launay," where, after describing + Mdlle. O'Meara's beauty, more especially her Irish look—"that + mixture of sadness and serenity, of profound tenderness and shy dignity, + which you never find in the proud and brilliant looks which you admire in + the women of other nations "—she says:— + </p> +<pre xml:space="preserve"> + We heard her a few hours ago; she played in a really superior + way the beautiful Concerto of Chopin in E flat minor [of + course E minor]; she was applauded with enthusiasm. [FOOTNOTE: + Chopin accompanied on a second piano. The occasion was a + soiree at the house of Madame de Courbonne.] All we can say to + give you an idea of Mdlle. O'Meara's playing is that there is + in her playing all that is in her look, and in addition to it + an admirable method, and excellent fingering. Her success has + been complete; in hearing her, statesmen were moved... and the + young ladies, those who are good musicians, forgave her her + prettiness. +</pre> + <p> + As regards Chopin's male pupils, we have to note George Mathias (born at + Paris in 1826), the well-known professor of the piano at the Paris + Conservatoire, [FOOTNOTE: He retired a year or two ago.] and still more + widely-known composer of more than half-a-hundred important works + (sonatas, trios, concertos, symphonic compositions, pianoforte pieces, + songs, &c.), who enjoyed the master's teaching from 1839 to 1844; + Lysberg (1821-1873), whose real name was Charles Samuel Bovy, for many + years professor of the piano at the Conservatoire of his native town, + Geneva, and a very fertile composer of salon pieces for the piano + (composer also of a one-act comic opera, La Fills du Carillonneur), + distinguished by "much poetic feeling, an extremely careful form, an + original colouring, and in which one often seems to see pass a breath of + Weber or Chopin"; [FOOTNOTE: Supplement et Complement to Fetis' Biographie + universelle des Musiciens, published under the direction of Arthur + Pougin.] the Norwegian Thomas Dyke Acland Tellefsen (1823-1874), a teacher + of the piano in Paris and author of an edition of Chopin's works; Carl + Mikuli (born at Czernowitz in 1821), since 1858 artistic director of the + Galician Musical Society (conservatoire, concerts, &c.), and author of + an edition of Chopin's works; and Adolph Gutmann, the master's favourite + pupil par excellence, of whom we must speak somewhat more at length. + Karasowski makes also mention of Casimir Wernik, who died at St. + Petersburg in 1859, and of Gustav Schumann, a teacher of the piano at + Berlin, who, however, was only during the winter of 1840-1841 with the + Polish master. For Englishmen the fact of the late Brinley Richards and + Lindsay Sloper having been pupils of Chopin—the one for a short, the + other for a longer period—will be of special interest. + </p> + <p> + Adolph Gutmann was a boy of fifteen when in 1834 his father brought him to + Paris to place him under Chopin. The latter, however, did not at first + feel inclined to accept the proposed trust; but on hearing the boy play he + conceived so high an idea of his capacities that he agreed to undertake + his artistic education. Chopin seems to have always retained a thorough + belief in his muscular pupil, although some of his great pianist friends + thought this belief nothing but a strange delusion. There are also piquant + anecdotes told by fellow-pupils with the purpose of showing that Chopin + did not care very much for him. For instance, the following: Some one + asked the master how his pupil was getting on, "Oh, he makes very good + chocolate," was the answer. Unfortunately, I cannot speak of Gutmann's + playing from experience, for although I spent eight days with him, it was + on a mountain-top in the Tyrol, where there were no pianos. But Chopin's + belief in Gutmann counts with me for something, and so does Moscheles' + reference to him as Chopin's "excellent pupil"; more valuable, I think, + than either is the evidence of Dr. A. C. Mackenzie, who at my request + visited Gutmann several times in Florence and was favourably impressed by + his playing, in which he noticed especially beauty of tone combined with + power. As far as I can make out Gutmann planned only once, in 1846, a + regular concert-tour, being furnished for it by Chopin with letters of + introduction to the highest personages in Berlin, Warsaw, and St. + Petersburg. Through the intervention of the Countess Rossi (Henriette + Sontag), he was invited to play at a court-concert at Charlottenburg in + celebration of the King's birthday. [FOOTNOTE: His part of the programme + consisted of his master's E minor Concerto (2nd and 3rd movements) and No. + 3 of the first book of studies, and his own tenth study.] But the day + after the concert he was seized with such home-sickness that he returned + forthwith to Paris, where he made his appearance to the great astonishment + of Chopin. The reader may perhaps be interested in what a writer in the + Gazette Musicale said about Chopin's favourite pupil on March 24, 1844:— + </p> +<pre xml:space="preserve"> + M. Gutmann is a pianist with a neat but somewhat cold style of + playing; he has what one calls fingers, and uses them with + much dexterity. His manner of proceeding is rather that of + Thalberg than of the clever professor who has given him + lessons. He afforded pleasure to the lovers of the piano + [amateurs de piano] at the musical SOIREE which he gave last + Monday at M. Erard's. Especially his fantasia on the + "Freischutz" was applauded. +</pre> + <p> + Of course, the expression of any individual opinion is no conclusive + proof. Gutmann was so successful as a teacher and in a way also as a + composer (his compositions, I may say in passing, were not in his master's + but in a light salon style) that at a comparatively early period of his + life he was able to retire from his profession. After travelling for some + time he settled at Florence, where he invented the art, or, at least, + practised the art which he had previously invented, of painting with + oil-colours on satin. He died at Spezzia on October 27, 1882. + </p> + <p> + [FOOTNOTE: The short notice of Gutmann in Fetis' Biographie Universelle + des Musiciens, and those of the followers of this by no means infallible + authority, are very incorrect. Adolfo Gutmann, Riccordi Biografici, by + Giulio Piccini (Firenze: Guiseppe Polverini, 1881), reproduces to a great + extent the information contained in Der Lieblingsschuler Chopin's in + Bernhard Stavenow's Schone Geister (Bremen: Kuhlmann, 1879), both which + publications, eulogistic rather than biographical, were inspired by + Gutmann.] + </p> + <p> + Whatever interest the reader may have taken in this survey of Chopin's + pupils, he is sure to be more deeply interested by the account of the + master's manner and method of teaching. Such an account, which would be + interesting in the case of any remarkable virtuoso who devoted himself to + instruction, is so in a higher degree in that of Chopin: first, because it + may help us to solve the question why so unique a virtuoso did not form a + single eminent concert-player; secondly, because it throws still further + light on his character as a man and artist; and thirdly, because, as + Mikuli thinks may be asserted without exaggeration, "only Chopin's pupils + knew the pianist in the fulness of his unrivalled height." The materials + at my disposal are abundant and not less trustworthy than abundant. My + account is based chiefly on the communications made to me by a number of + the master's pupils—notably, Madame Dubois, Madame Rubio, M. + Mathias, and Gutmann—and on Mikuli's excellent preface to his + edition of Chopin's works. When I have drawn upon other sources, I have + not done so without previous examination and verification. I may add that + I shall use as far as possible the ipsissima verba of my informants:— + </p> +<pre xml:space="preserve"> + As to Chopin's method of teaching [wrote to me M. Mathias], it + was absolutely of the old legato school, of the school of + Clementi and Cramer. Of course, he had enriched it by a great + variety of touch [d'une grande variete dans l'attaque de la + touche]; he obtained a wonderful variety of tone and NUANCES + of tone; in passing I may tell you that he had an + extraordinary vigour, but only by flashes [ce ne pouvait etre + que par eclairs]. +</pre> + <p> + The Polish master, who was so original in many ways, differed from his + confreres even in the way of starting his pupils. With him the normal + position of the hand was not that above the keys c, d, e, f, g (i.e., + above five white keys), but that above the keys e, f sharp, g sharp, a + sharp, b (I.E., above two white keys and three black keys, the latter + lying between the former). The hand had to be thrown lightly on the + keyboard so as to rest on these keys, the object of this being to secure + for it not only an advantageous, but also a graceful position:— + </p> + <p> + [FOOTNOTE: Kleczynski, in Chopin: De l'interpretation de ses oeuvres—Trois + conferences faites a Varsovie, says that he was told by several of the + master's pupils that the latter sometimes held his hands absolutely flat. + When I asked Madame Dubois about the correctness of this statement, she + replied: "I never noticed Chopin holding his hands flat." In short, if + Chopin put his hands at any time in so awkward a position, it was + exceptional; physical exhaustion may have induced him to indulge in such + negligence when the technical structure of the music he was playing + permitted it.] + </p> +<pre xml:space="preserve"> + Chopin [Madame Dubois informed me] made his pupils begin with + the B major scale, very slowly, without stiffness. Suppleness + was his great object. He repeated, without ceasing, during the + lesson: "Easily, easily" [facilement, facilement]. Stiffness + exasperated him. +</pre> + <p> + How much stiffness and jerkiness exasperated him may be judged from what + Madame Zaleska related to M. Kleczynski. A pupil having played somewhat + carelessly the arpeggio at the beginning of the first study (in A flat + major) of the second book of Clementi's Preludes et Exercices, the master + jumped from his chair and exclaimed: "What is that? Has a dog been + barking?" [Qu'est-ce? Est-ce un chien qui vient d'aboyer?] The rudeness of + this exclamation will, no doubt, surprise. But polite as Chopin generally + was, irritation often got the better of him, more especially in later + years when bad health troubled him. Whether he ever went the length of + throwing the music from the desk and breaking chairs, as Karasowski says, + I do not know and have not heard confirmed by any pupil. Madame Rubio, + however, informed me that Chopin was very irritable, and when teaching + amateurs used to have always a packet of pencils about him which, to vent + his anger, he silently broke into bits. Gutmann told me that in the early + stages of his discipleship Chopin sometimes got very angry, and stormed + and raged dreadfully; but immediately was kind and tried to soothe his + pupil when he saw him distressed and weeping. + </p> +<pre xml:space="preserve"> + To be sure [writes Mikuli], Chopin made great demands on the + talent and diligence of the pupil. Consequently, there were + often des lecons orageuses, as it was called in the school + idiom, and many a beautiful eye left the high altar of the + Cite d'Orleans, Rue St. Lazare, bedewed with tears, without, + on that account, ever bearing the dearly-beloved master the + least grudge. For was not the severity which was not easily + satisfied with anything, the feverish vehemence with which the + master wished to raise his disciples to his own stand-point, + the ceaseless repetition of a passage till it was understood, + a guarantee that he had at heart the progress of the pupil? A + holy artistic zeal burnt in him then, every word from his lips + was incentive and inspiring. Single lessons often lasted + literally for hours at a stretch, till exhaustion overcame + master and pupil. +</pre> + <p> + Indeed, the pupils were so far from bearing their master the least grudge + that, to use M. Marmontel's words, they had more for him than admiration: + a veritable idolatry. But it is time that after this excursion—which + hardly calls for an excuse—we return to the more important part of + our subject, the master's method of teaching. + </p> +<pre xml:space="preserve"> + What concerned Chopin most at the commencement of his + instruction [writes Mikuli] was to free the pupil from every + stiffness and convulsive, cramped movement of the hand, and to + give him thus the first condition of a beautiful style of + playing, souplesse (suppleness), and with it independence of + the fingers. He taught indefatigably that the exercises in + question were no mere mechanical ones, but called for the + intelligence and the whole will of the pupil, on which account + twenty and even forty thoughtless repetitions (up to this time + the arcanum of so many schools) do no good at all, still less + the practising during which, according to Kalkbrenner's + advice, one may occupy one's self simultaneously with some + kind of reading(!). + + He feared above all [remarked Madame Dubois to me] the + abrutissement of the pupils. One day he heard me say that I + practised six hours a day. He became quite angry, and forbade + me to practise more than three hours. This was also the advice + of Hummel in his pianoforte school. +</pre> + <p> + To resume Mikuli's narrative:— + </p> +<pre xml:space="preserve"> + Chopin treated very thoroughly the different kinds of touch, + especially the full-toned [tonvolle] legato. + + [FOOTNOTE: Karasowski says that Chopin demanded absolutely + from his pupils that they should practise the exercises, and + especially the scales in major and minor, from piano to + fortissimo, staccato as well as legato, and also with a change + of accent, which was to be now on the second, now on the + third, now on the fourth note. Madame Dubois, on the other + hand, is sure she was never told by her master to play the + scales staccato.] + + "As gymnastic helps he recommended the bending inward and + outward of the wrist, the repeated touch from the wrist, the + extending of the fingers, but all this with the earnest + warning against over-fatigue. He made his pupils play the + scales with a full tone, as connectedly as possible, very + slowly and only gradually advancing to a quicker TEMPO, and + with metronomic evenness. The passing of the thumb under the + other fingers and the passing of the latter over the former + was to be facilitated by a corresponding turning inward of the + hand. The scales with many black keys (B, F sharp, and D flat) + were first studied, and last, as the most difficult, C major. + In the same sequence he took up Clementi's Preludes et + Exercices, a work which for its utility he esteemed very + highly." + + [FOOTNOTE: Kleczynski writes that whatever the degree of + instruction was which Chopin's pupils brought with them, they + had all to play carefully besides the scales the second book + of Clementi's Preludes et Exercices, especially the first in A + flat major.] + + According to Chopin the evenness of the scales (also of the + arpeggios) not merely depended on the utmost equal + strengthening of all fingers by means of five-finger exercises + and on a thumb entirely free at the passing under and over, + but rather on a lateral movement (with the elbow hanging quite + down and always easy) of the hand, not by jerks, but + continuously and evenly flowing, which he tried to illustrate + by the glissando over the keyboard. Of studies he gave after + this a selection of Cramer's Etudes, Clementi's Gradus ad + Parnassum, Moscheles' style-studies for the higher development + (which were very sympathetic to him), and J. S. Bach's suites + and some fugues from Das wohltemperirte Clavier. In a certain + way Field's and his own nocturnes numbered likewise with the + studies, for in them the pupil was—partly by the apprehension + of his explanations, partly by observation and imitation (he + played them to the pupil unweariedly)—to learn to know, love, + and execute the beautiful smooth [gebundene] vocal tone and + the legato. + + [FOOTNOTE: This statement can only be accepted with much + reserve. Whether Chopin played much or little to his pupil + depended, no doubt, largely on the mood and state of health he + was in at the time, perhaps also on his liking or disliking + the pupil. The late Brinley Richards told me that when he had + lessons from Chopin, the latter rarely played to him, making + his corrections and suggestions mostly by word of mouth.] + + With double notes and chords he demanded most strictly + simultaneous striking, breaking was only allowed when it was + indicated by the composer himself; shakes, which he generally + began with the auxiliary note, had not so much to be played + quick as with great evenness the conclusion of the shake + quietly and without precipitation. For the turn (gruppetto) + and the appoggiatura he recommended the great Italian singers + as models. Although he made his pupils play octaves from the + wrist, they must not thereby lose in fulness of tone. +</pre> + <p> + All who have had the good fortune to hear Chopin play agree in declaring + that one of the most distinctive features of his style of execution was + smoothness, and smoothness, as we have seen in the foregoing notes, was + also one of the qualities on which he most strenuously insisted in the + playing of his pupils. The reader will remember Gutmann's statement to me, + mentioned in a previous chapter, that all his master's fingering was + calculated for the attainment of this object. Fingering is the mainspring, + the determining principle, one might almost say the life and soul, of the + pianoforte technique. We shall, therefore, do well to give a moment's + consideration to Chopin's fingering, especially as he was one of the + boldest and most influential revolutionisers of this important department + of the pianistic art. His merits in this as in other respects, his various + claims to priority of invention, are only too often overlooked. As at one + time all ameliorations in the theory and practice of music were ascribed + to Guido of Arezzo, so it is nowadays the fashion to ascribe all + improvements and extensions of the pianoforte technique to Liszt, who more + than any other pianist drew upon himself the admiration of the world, and + who through his pupils continued to make his presence felt even after the + close of his career as a virtuoso. But the cause of this false opinion is + to be sought not so much in the fact that the brilliancy of his artistic + personality threw all his contemporaries into the shade, as in that other + fact, that he gathered up into one web the many threads new and old which + he found floating about during the years of his development. The + difference between Liszt and Chopin lies in this, that the basis of the + former's art is universality, that of the latter's, individuality. Of the + fingering of the one we may say that it is a system, of that of the other + that it is a manner. Probably we have here also touched on the cause of + Liszt's success and Chopin's want of success as a teacher. I called Chopin + a revolutioniser of fingering, and, I think, his full enfranchisement of + the thumb, his breaking-down of all distinctions of rank between the other + fingers, in short, the introduction of a liberty sometimes degenerating + into licence, justifies the expression. That this master's fingering is + occasionally eccentric (presupposing peculiarly flexible hands and a + peculiar course of study) cannot be denied; on the whole, however, it is + not only well adapted for the proper rendering of his compositions, but + also contains valuable contributions to a universal system of fingering. + The following particulars by Mikuli will be read with interest, and cannot + be misunderstood after what has just now been said on the subject:— + </p> +<pre xml:space="preserve"> + In the notation of fingering, especially of that peculiar to + himself, Chopin was not sparing. Here pianoforte-playing owes + him great innovations which, on account of their expedience, + were soon adopted, notwithstanding the horror with which + authorities like Kalkbrenner at first regarded them. Thus, for + instance, Chopin used without hesitation the thumb on the + black keys, passed it even under the little finger (it is + true, with a distinct inward bend of the wrist), if this could + facilitate the execution and give it more repose and evenness. + With one and the same finger he took often two consecutive + keys (and this not only in gliding down from a black to the + next white key) without the least interruption of the sequence + being noticeable. The passing over each other of the longer + fingers without the aid of the thumb (see Etude, No. 2, Op. + 10) he frequently made use of, and not only in passages where + the thumb stationary on a key made this unavoidably necessary. + The fingering of the chromatic thirds based on this (as he + marked it in Etude, No. 5, Op. 25) affords in a much higher + degree than that customary before him the possibility of the + most beautiful legato in the quickest tempo and with a + perfectly quiet hand. +</pre> + <p> + But if with Chopin smoothness was one of the qualities upon which he + insisted strenuously in the playing of his pupils, he was by no means + satisfied with a mere mechanical perfection. He advised his pupils to + undertake betimes thorough theoretical studies, recommending his friend, + the composer and theorist Henri Reber as a teacher. He advised them also + to cultivate ensemble playing—trios, quartets, &c., if + first-class partners could be had, otherwise pianoforte duets. Most + urgent, however, he was in his advice to them to hear good singing, and + even to learn to sing. To Madame Rubio he said: "You must sing if you wish + to play"; and made her take lessons in singing and hear much Italian opera—this + last, the lady remarked, Chopin regarded as positively necessary for a + pianoforte-player. In this advice we recognise Chopin's ideal of + execution: beauty of tone, intelligent phrasing, truthfulness and warmth + of expression. The sounds which he drew from the pianoforte were pure tone + without the least admixture of anything that might be called noise. "He + never thumped," was Gutmann's remark to me. Chopin, according to Mikuli, + repeatedly said that when he heard bad phrasing it appeared to him as if + some one recited, in a language he did not know, a speech laboriously + memorised, not only neglecting to observe the right quantity of the + syllables, but perhaps even making full stops in the middle of words. "The + badly-phrasing pseudo-musician," he thought, "showed that music was not + his mother-tongue, but something foreign, unintelligible to him," and + that, consequently, "like that reciter, he must altogether give up the + idea of producing any effect on the auditor by his rendering." Chopin + hated exaggeration and affectation. His precept was: "Play as you feel." + But he hated the want of feeling as much as false feeling. To a pupil + whose playing gave evidence of nothing but the possession of fingers, he + said emphatically, despairingly: "METTEZ-Y DONc TOUTE VOTRE AME!" (Do put + all your soul into it!) + </p> + <p> + [FOOTNOTE: "In dynamical shading [im nuanciren]," says Mikuli, "he was + exceedingly particular about a gradual increase and decrease of loudness." + Karasowski writes: "Exaggeration in accentuation was hateful to him, for, + in his opinion, it took away the poesy from playing, and gave it a certain + didactic pedantry."] + </p> +<pre xml:space="preserve"> + On declamation, and rendering in general [writes Mikuli], he + gave his pupils invaluable and significant instructions and + hints, but, no doubt, effected more certain results by + repeatedly playing not only single passages, but whole pieces, + and this he did with a conscientiousness and enthusiasm that + perhaps he hardly gave anyone an opportunity of hearing when + he played in a concert-room. Frequently the whole hour passed + without the pupil having played more than a few bars, whilst + Chopin, interrupting and correcting him on a Pleyel cottage + piano (the pupil played always on an excellent grand piano; + and it was enjoined upon him as a duty to practise only on + first-class instruments), presented to him for his admiration + and imitation the life-warm ideal of the highest beauty. +</pre> + <p> + With regard to Chopin's playing to his pupils we must keep in mind what + was said in foot-note 12 on page 184. On another point in the above + quotation one of Madame Dubois's communications to me throws some welcome + light:— + </p> +<pre xml:space="preserve"> + Chopin [she said] had always a cottage piano [pianino] by the + side of the grand piano on which he gave his lessons. It was + marvellous to hear him accompany, no matter what compositions, + from the concertos of Hummel to those of Beethoven. He + performed the role of the orchestra most wonderfully [d'une + facon prodigieuse]. When I played his own concertos, he + accompanied me in this way. +</pre> + <p> + Judging from various reports, Chopin seems to have regarded his Polish + pupils as more apt than those of other nationalities to do full justice to + his compositions. Karasowski relates that when one of Chopin's French + pupils played his compositions and the auditors overwhelmed the performer + with their praise, the master used often to remark that his pupil had done + very well, but that the Polish element and the Polish enthusiasm had been + wanting. Here it is impossible not to be reminded of the contention + between Chopin on the one hand and Liszt and Hiller on the other hand + about the possibility of foreigners comprehending Polish national music + (See Vol. 1., p. 256). After revealing the mystery of Chopin's tempo + rubato, Liszt writes in his book on this master:— + </p> +<pre xml:space="preserve"> + All his compositions have to be played with this sort of + balancement accentue et prosodie, this morbidezza, of which it + was difficult to seize the secret when one had not heard him + often. He seemed desirous to teach this manner to his numerous + pupils, especially to his compatriots, to whom he wished, more + than to others, to communicate the breath of his inspiration. + These [ceux-ci, ou plutot celles-la] seized it with that + aptitude which they have for all matters of sentiment and + poesy. An innate comprehension of his thought permitted them + to follow all the fluctuations of his azure wave. +</pre> + <p> + There is one thing which is worth inquiring into before we close this + chapter, for it may help us to a deeper insight into Chopin's character as + a teacher—I mean his teaching repertoire. Mikuli says that, + carefully arranged according to their difficulty, Chopin placed before his + pupils the following compositions: the concertos and sonatas of Clementi, + Mozart, Bach, Handel, Scarlatti, Dussek, Field, Hummel, Ries, Beethoven; + further, Weber, Moscheles, Mendelssohn, Hiller, Schumann, and his own + works. This enumeration, however, does not agree with accounts from other + equally authentic sources. The pupils of Chopin I have conversed and + corresponded with never studied any Schumann under their master. As to the + cultivation of Beethoven, it was, no doubt, limited. M. Mathias, it is + true, told me that Chopin showed a preference for Clementi (Gradus ad + Parnassum), Bach, Field (of him much was played, notably his concertos), + and naturally for Beethoven, Weber, &c.—Clementi, Bach, and + Field being always the composers most laid under contribution in the case + of debutants. Madame Rubio, on the other hand, confined herself to stating + that Chopin put her through Hummel, Moscheles, and Bach; and did not + mention Beethoven at all. Gutmann's statements concerning his master's + teaching contain some positive evidence with regard to the Beethoven + question. What he said was this: Chopin held that dementi's Gradus ad + Parnassum, Bach's pianoforte fugues, and Hummel's compositions were the + key to pianoforte-playing, and he considered a training in these composers + a fit preparation for his own works. He was particularly fond of Hummel + and his style. Beethoven he seemed to like less. He appreciated such + pieces as the first movement of the Moonlight Sonata (C sharp minor, Op. + 27, No. 2). Schubert was a favourite with him. This, then, is what I + learned from Gutmann. In parenthesis, as it were, I may ask: Is it not + strange that no pupil, with the exception of Mikuli, mentions the name of + Mozart, the composer whom Chopin is said to have so much admired? Thanks + to Madame Dubois, who at my request had the kindness to make out a list of + the works she remembers having studied under Chopin, we shall be able to + form a pretty distinct idea of the master's course of instruction, which, + to be sure, would be modified according to the capacities of his pupils + and the objects they had in view. Well, Madame Dubois says that Chopin + made her begin with the second book of Clementi's Preludes et Exercices, + and that she also studied under him the same composer's Gradus ad + Parnassum and Bach's forty-eight preludes and fugues. Of his high opinion + of the teaching qualities of Bach's compositions we may form an idea from + the recommendation to her at their last meeting—already mentioned in + an earlier chapter—to practise them constantly, "ce sera votre + meilleur moyen de progresser" (this will be your best means to make + progress). The pieces she studied under him included the following ones: + Of Hummel, the Rondo brillant sur un theme russe (Op. 98), La Bella + capricciosa, the Sonata in F sharp minor (Op. 81), the Concertos in A + minor and B minor, and the Septet; of Field, several concertos (the one in + E flat among others) and several nocturnes ("Field" she says, "lui etait + tres sympathique"); of Beethoven, the concertos and several sonatas (the + Moonlight, Op. 27, No. 2; the one with the Funeral March, Op. 26; and the + Appassionata, Op. 57); of Weber, the Sonatas in C and A flat major (Chopin + made his pupils play these two works with extreme care); of Schubert, the + Landler and all the waltzes and some of the duets (the marches, + polonaises, and the Divertissement hongrois, which last piece he admired + sans reserve); of Mendelssohn, only the G minor Concerto and the Songs + without Words; of Liszt, no more than La Tarantelle de Rossini and the + Septet from Lucia ("mais ce genre de musique ne lui allait pas," says my + informant); and of Schumann, NOTHING. + </p> + <p> + Madame Streicher's interesting reminiscences, given in Appendix III., form + a supplement to this chapter. + </p> + <p> + <a name="link2HCH0029" id="link2HCH0029"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER XXIX. + </h2> + <p> + RUPTURE OF THE SAND-CHOPIN CONNECTION.—HER OWN, LISZT'S, AND + KARASOWSKI'S ACCOUNTS.-THE LUCREZIA FLORIANI INCIDENT.—FURTHER + INVESTIGATION OF THE CAUSES OF THE RUPTURE BY THE LIGHT OF LETTERS AND THE + INFORMATION OF GUTMANN, FRANCHOMME, AND MADAME RUBIO.—SUMMING-UP OF + THE EVIDENCE.—CHOPIN'S COMPOSITIONS IN 1847.—GIVES A CONCERT, + HIS LAST IN PARIS (1848): WHAT AND HOW HE PLAYED; THE CHARACTER OF THE + AUDIENCE.—GEORGE SAND AND CHOPIN MEET ONCE MORE.—THE FEBRUARY + REVOLUTION; CHOPIN MAKES UP HIS MIND TO VISIT ENGLAND AND SCOTLAND. + </p> + <p> + WE now come to the catastrophe of Chopin's life, the rupture of his + connection with George Sand. Although there is no lack of narratives in + which the causes, circumstances, and time of this rupture are set forth + with absolute positiveness, it is nevertheless an undeniable fact that we + are not at the present moment, nor, all things well considered, shall be + even in the most distant future, in a position to speak on this subject + otherwise than conjecturally. + </p> + <p> + [FOOTNOTE: Except the letter of George Sand given on p. 75, and the note + of Chopin to George Sand which will be given a little farther on, nothing, + I think, of their correspondence has become public. But even if their + letters were forth-coming, it is more likely than not that they would fail + to clear up the mystery. Here I ought, perhaps, to reproduce the somewhat + improbable story told in the World of December 14, 1887, by the Paris + correspondent who signs himself "Theoc." He writes as follows: "I have + heard that it was by saving her letters to Chopin that M. Alexandre Dumas + won the friendship of George Sand. The anecdote runs thus: When Chopin + died, his sister found amongst his papers some two hundred letters of + Madame Sand, which she took with her to Poland. By chance this lady had + some difficulties at the frontier with the Russian custom-house officials; + her trunks were seized, and the box containing the letters was mislaid and + lost. A few years afterwards, one of the custom-house officials found the + letters and kept them, not knowing the name and the address of the Polish + lady who had lost them. M. Dumas discovered this fact, and during a + journey in Russia he explained to this official how painful it would be if + by some indiscretion these letters of the illustrious novelist ever got + into print. 'Let me restore them to Madame Sand,' said M. Dumas. 'And my + duty?' asked the customs official. 'If anybody ever claims the letters,' + replied M. Dumas, 'I authorise you to say that I stole them.' On this + condition M. Dumas, then a young man, obtained the letters, brought them + back to Paris, and restored them to Madame Sand, whose acquaintance he + thus made. Madame Sand burnt all her letters to Chopin, but she never + forgot the service that M. Dumas had rendered her."] + </p> + <p> + I have done my utmost to elucidate the tragic event which it is impossible + not to regard as one of the most momentous crises in Chopin's life, and + have succeeded in collecting besides the material already known much that + is new; but of what avail is this for coming to a final decision if we + find the depositions hopelessly contradictory, and the witnesses more or + less untrustworthy—self-interest makes George Sand's evidence + suspicious, the instability of memory that of others. Under the + circumstances it seems to me safest to place before the reader the + depositions of the various witnesses—not, however, without comment—and + leave him to form his own conclusions. I shall begin with the account + which George Sand gives in her Ma Vie:— + </p> +<pre xml:space="preserve"> + After the last relapses of the invalid, his mind had become + extremely gloomy, and Maurice, who had hitherto tenderly loved + him, was suddenly wounded by him in an unexpected manner about + a trifling subject. They embraced each other the next moment, + but the grain of sand had fallen into the tranquil lake, and + little by little the pebbles fell there, one after + another...All this was borne; but at last, one day, Maurice, + tired of the pin-pricks, spoke of giving up the game. That + could not be, and should not be. Chopin would not stand my + legitimate and necessary intervention. He bowed his head and + said that I no longer loved him. + + What blasphemy after these eight years of maternal devotion! + But the poor bruised heart was not conscious of its delirium. + I thought that some months passed at a distance and in silence + would heal the wound, and make his friendship again calm and + his memory equitable. But the revolution of February came, and + Paris became momentarily hateful to this mind incapable of + yielding to any commotion in the social form. Free to return + to Poland, or certain to be tolerated there, he had preferred + languishing ten [and some more] years far from his family, + whom he adored, to the pain of seeing his country transformed + and deformed [denature]. He had fled from tyranny, as now he + fled from liberty. + + I saw him again for an instant in March, 1848. I pressed his + trembling and icy hand. I wished to speak to him, he slipped + away. Now it was my turn to say that he no longer loved me. I + spared him this infliction, and entrusted all to the hands of + Providence and the future. + + I was not to see him again. There were bad hearts between us. + There were good ones too who were at a loss what to do. There + were frivolous ones who preferred not to meddle with such + delicate matters; Gutmann was not there. + + I have been told that he had asked for me, regretted me, and + loved me filially up to the very end. It was thought fit to + conceal this from me till then. It was also thought fit to + conceal from him that I was ready to hasten to him. +</pre> + <p> + Liszt's account is noteworthy because it gives us the opinion of a man who + knew the two principal actors in the drama intimately, and had good + opportunities to learn what contemporary society thought about it. Direct + knowledge of the facts, however, Liszt had not, for he was no longer a + friend either of the one or the other of the two parties:— + </p> +<pre xml:space="preserve"> + These commencements, of which Madame de Stael spoke, + [FOOTNOTE: He alludes to her saying: En amour, il n'y a que + des commencemens.] had already for a long time been exhausted + between the Polish artist and the French poet. They had only + survived with the one by a violent effort of respect for the + ideal which he had gilded with its fatal brilliancy; with the + other by a false shame which sophisticated on the pretension + to preserve constancy in fidelity. The time came when this + factitious existence, which succeeded no longer in galvanising + fibres dried up under the eyes of the spiritualistic artist, + seemed to him to surpass what honour permitted him not to + perceive. No one knew what was the cause or the pretext of the + sudden rupture; one saw only that after a violent opposition + to the marriage of the daughter of the house, Chopin abruptly + left Nohant never to return again. +</pre> + <p> + However unreliable Liszt's facts may be, the PHILOSOPHY of his account + shows real insight. Karasowski, on the other hand, has neither facts nor + insight. He speaks with a novelist's confidence and freedom of characters + whom he in no way knows, and about whom he has nothing to tell but the + vaguest and most doubtful of second-hand hearsays:— + </p> +<pre xml:space="preserve"> + The depressed invalid became now to her a burden. At first her + at times sombre mien and her shorter visits in the sick-room + showed him that her sympathy for him was on the decrease; + Chopin felt this painfully, but he said nothing...\The + complaints of Madame Sand that the nursing of the invalid + exhausted her strength, complaints which she often gave + expression to in his presence, hurt him. He entreated her to + leave him alone, to take walks in the fresh air; he implored + her not to give up for his sake her amusements, but to + frequent the theatre, to give parties, &c.; he would be + contented in quietness and solitude if he only knew that she + was happy. At last, when the invalid still failed to think of + a separation from her, she chose a heroic means. +</pre> + <p> + By this heroic means Karasowski understands the publication of George + Sand's novel Lucrezia Floriani (in 1847), concerning which he says the + story goes that "out of refined cruelty the proof-sheets were handed to + him [Chopin] with the request to correct the misprints." Karasowski also + reports as a "fact" that + </p> +<pre xml:space="preserve"> + the children of Madame Sand [who, by the way, were a man of + twenty-three and a woman of eighteen] said to him [Chopin], + pointing to the novel: "M. Chopin, do you know that you are + meant by the Prince Karol?"...In spite of all this the + invalid, and therefore less passionate, artist bore with the + most painful feeling the mortification caused him by the + novel...At the beginning of the year 1847 George Sand brought + about by a violent scene, the innocent cause of which was her + daughter, a complete rupture. To the unjust reproaches which + she made to him, he merely replied: "I shall immediately leave + your house, and wish henceforth no longer to be regarded by + you as living." These words were very welcome to her; she made + no objections, and the very same day the artist left for ever + the house of Madame Sand. But the excitement and the mental + distress connected with it threw him once more on the sick- + bed, and for a long time people seriously feared that he would + soon exchange it for a coffin. +</pre> + <p> + George Sand's view of the Lucrezia Floriani incident must be given in + full. In Ma Vie she writes as follows:— + </p> +<pre xml:space="preserve"> + It has been pretended that in one of my romances I have + painted his [Chopin's] character with a great exactness of + analysis. People were mistaken, because they thought they + recognised some of his traits; and, proceeding by this system, + too convenient to be sure, Liszt himself, in a Life of Chopin, + a little exuberant as regards style, but nevertheless full of + very good things and very beautiful pages, has gone astray in + good faith. I have traced in Prince Karol the character of a + man determined in his nature, exclusive in his sentiments, + exclusive in his exigencies. + + Chopin was not such. Nature does not design like art, however + realistic it may be. She has caprices, inconsequences, + probably not real, but very mysterious. Art only rectifies + these inconsequences because it is too limited to reproduce + them. + + Chopin was a resume of these magnificent inconsequences which + God alone can allow Himself to create, and which have their + particular logic. He was modest on principle, gentle by habit, + but he was imperious by instinct and full of a legitimate + pride which was unconscious of itself. Hence sufferings which + he did not reason and which did not fix themselves on a + determined object. + + Moreover, Prince Karol is not an artist. He is a dreamer, and + nothing more; having no genius, he has not the rights of + genius. He is, therefore, a personage more true than amiable, + and the portrait is so little that of a great artist that + Chopin, in reading the manuscript every day on my writing- + desk, had not the slightest inclination to deceive himself, he + who, nevertheless, was so suspicious. + + And yet afterwards, by reaction, he imagined, I am told, that + this was the case. Enemies, I had such about him who call + themselves his friends; as if embittering a suffering heart + was not murder, enemies made him believe that this romance was + a revelation of his character. At that time his memory was, no + doubt, enfeebled: he had forgotten the book, why did he not + reread it! + + This history is so little ours! It was the very reverse of it + There were between us neither the same raptures [enivrements] + nor the same sufferings. Our history had nothing of a romance; + its foundation was too simple and too serious for us ever to + have had occasion for a quarrel with each other, a propos of + each other. +</pre> + <p> + The arguments advanced by George Sand are anything but convincing; in + fact, her defence is extremely weak. She does not even tell us that she + did not make use of Chopin as a model. That she drew a caricature and not + a portrait will hardly be accepted as an excuse, nay, is sure to be + regarded as the very head and front of her offending. But George Sand had + extraordinarily naive notions on this subject, notions which are not + likely to be shared by many, at least not by many outside the fraternities + of novelists and dramatists. Having mentioned, in speaking of her + grand-uncle the Abbe de Beaumont, that she thought of him when sketching + the portrait of a certain canon in Consuelo, and that she had very much + exaggerated the resemblance to meet the requirements of the romance, she + remarks that portraits traced in this way are no longer portraits, and + that those who feel offended on recognising themselves do an injustice + both to the author and themselves. "Caricature or idealisation," she + writes, "it is no longer the original model, and this model has little + judgment if it thinks it recognises itself, if it becomes angry or vain on + seeing what art or imagination has been able to make of it." This is + turning the tables with a vengeance; and if impudence can silence the + voice of truth and humanity, George Sand has gained her case. In her + account of the Lucrezia Floriani incident George Sand proceeds as usual + when she is attacked and does not find it more convenient simply to + declare that she will not condescend to defend herself—namely, she + envelops the whole matter in a mist of beautiful words and sentiments out + of which issues—and this is the only clearly-distinguishable thing—her + own saintly self in celestial radiance. But notwithstanding all her + arguments and explanations there remains the fact that Liszt and thousands + of others, I one of them, read Lucrezia Floriani and were not a moment in + doubt that Chopin was the prototype of Prince Karol. We will not charge + George Sand with the atrocity of writing the novel for the purpose of + getting rid of Chopin; but we cannot absolve her from the sin of being + regardless of the pain she would inflict on one who once was dear to her, + and who still loved her ardently. Even Miss Thomas, [FOOTNOTE: In George + Sand, a volume of the "Eminent Women Series."] who generally takes George + Sand at her own valuation, and in this case too tries to excuse her, + admits that in Lucrezia Floriani there was enough of reality interwoven to + make the world hasten to identify or confound Chopin with Prince Karol, + that Chopin, the most sensitive of mortals, could not but be pained by the + inferences which would be drawn, that "perhaps if only as a genius he had + the right to be spared such an infliction," and that, therefore, "one must + wish it could have appeared in this light to Madame Sand." This is a mild + way of expressing disapproval of conduct that shows, to say the least, an + inhuman callousness to the susceptibilities of a fellow-being. And to + speak of the irresistible prompting of genius in connection with one who + had her faculties so well under her control is downright mockery. It + would, however, be foolish to expect considerateness for others in one who + needlessly detailed and proclaimed to the world not only the little + foibles but also the drunkenness and consequent idiocy and madness of a + brother whose family was still living. Her practice was, indeed, so much + at variance with her profession that it is preposterous rather to accept + than to doubt her words. George Sand was certainly not the + self-sacrificing woman she pretended to be; for her sacrifices never + outlasted her inclinations, they were, indeed, nothing else than an + abandonment to her desires. And these desires were the directors of her + reason, which, aided by an exuberant imagination, was never at a loss to + justify any act, be it ever so cruel and abject. In short, the chief + characteristic of George Sand's moral constitution was her incapacity of + regarding anything she did otherwise than as right. What I have said is + fully borne out by her Ma Vie and the "Correspondance," which, of course, + can be more easily and safely examined than her deeds and spoken words. + </p> + <p> + And now we will continue our investigations of the causes and + circumstances of the rupture. First I shall quote some passages from + letters written by George Sand, between which will be inserted a note from + Chopin to her. If the reader does not see at once what several of these + quotations have to do with the matter under discussion, he will do so + before long. + </p> +<pre xml:space="preserve"> + Madame Sand to Madame Marliani; Nohant, September 1, 1846:— + + It is exceedingly kind of you to offer me shelter [un gîte]. + We have still our apartments in the Square Saint-Lazare + [Square d'Orleans], and nothing would prevent us from going + there. +</pre> +<pre xml:space="preserve"> + Chopin to Madame Sand; Tuesday 2 1/2 [Paris, December 15, + 1846] + + [FOOTNOTE: The date is that of the postmark. A German + translation of the French original (in the Imperial Public + Library at St. Petersburg) will be found in La Mara's + "Musikerbriefe."]:— + + Mademoiselle de Rozieres has found the piece of cloth in + question (it was in the camail-carton of Mdlle. Augustine), + and I sent it at once last night to Borie, [Victor Borie a + publicist and friend of George Sand] who, as Peter was told, + does not yet leave to-day. Here we have a little sun and + Russian snow. I am glad of this weather for your sake, and + imagine you walking about a great deal. Did Dib dance in last + night's pantomime? May you and yours enjoy good health! + + Your most devoted, + + C. + + For your dear children. + + I am well; but I have not the courage to leave my fireside for + a moment. +</pre> +<pre xml:space="preserve"> + Madame Sand to Madame Marliani; Nohant, May 6, 1847:— + + Solange marries in a fortnight Clesinger, the sculptor, a man + of great talent, who is making much money, and can give her + the brilliant existence which, I believe, is to her taste. He + is very violently in love with her, and he pleases her much. + She was this time as prompt and firm in her determination as + she was hitherto capricious and irresolute. Apparently she has + met with what she dreamt of. May God grant it! + + As regards myself, the young man pleases me also much and + Maurice likewise. He is little civilised at first sight; but + he is full of sacred fire and for some time past, since I + noticed him making advances, I have been studying him without + having the appearance of doing so...He has other qualities + which compensate for all the defects he may have and ought to + have. + + ...Somebody told me of him all the ill that can be said of a man + [on making inquiries George Sand found that Clesinger was a man + "irreproachable in the best sense of the word"]. + + M. Dudevant, whom he has been to see, consents. We do not know + yet where the marriage will take place. Perhaps at Nerac, + [FOOTNOTE: Where M. Dudevant, her whilom husband, resided.] in + order to prevent M. Dudevant from falling asleep in the + eternal to-morrow to the province. +</pre> +<pre xml:space="preserve"> + Madame Sand to Mazzini; Nohant, May 22, 1847:— + + I have just married and, I believe, well married my daughter + to an artist of powerful inspiration and will. I had for her + but one ambition—namely, that she should love and be loved; + my wish is realised. The future is in the hand of God, but I + believe in the duration of this love and this union. +</pre> +<pre xml:space="preserve"> + Madame Sand to Charles Poncy; Nohant, August 9, 1847:— + + My good Maurice is always calm, occupied, and lively. He + sustains and consoles me. Solange is in Paris with her + husband; they are going to travel. Chopin is in Paris also; + his health has not yet permitted him to make the journey; but + he is better. +</pre> + <p> + The following letter, of an earlier date than those from which my last two + excerpts are taken, is more directly concerned with Chopin. + </p> +<pre xml:space="preserve"> + Madame Sand to Gutmann; Nohant, May 12, 1847:— + + Thanks, my good Gutmann, thanks from the bottom of my heart + for the admirable care which you lavish on him [Chopin]. I + know well that it is for him, for yourself, and not for me, + that you act thus, but I do not the less feel the need of + thanking you. It is a great misfortune for me that this + happens at a moment like that in which I find myself. Truly, + this is too much anxiety at one time! I would have gone mad, I + believe, if I had learned the gravity of his illness before + hearing that the danger was past. He does not know that I know + of it, and on account, especially, of the embarras in which he + knows I find myself, he wishes it to be concealed from me. He + wrote to me yesterday as if nothing had taken place, and I + have answered him as if I suspected as yet nothing. Therefore, + do not tell him that I write to you, and that for twenty-four + hours I have suffered terribly. Grzymala writes about you very + kindly a propos of the tenderness with which you have taken my + place by the side of him, and you especially, so that I will + tell you that I know it, and that my heart will keep account + of it seriously and for ever... + + Au revoir, then, soon, my dear child, and receive my maternal + benediction. May it bring you luck as I wish! + + George Sand. + + [FOOTNOTE: This letter, which is not contained in the + "Correspondance," was, as far as I know, first published in + "Die Gegenwart" (Berlin, July 12, 1879)] +</pre> + <p> + If all that George Sand here says is bona fide, the letter proves that the + rupture had not yet taken place. Indeed, Gutmann was of opinion that it + did not take place till 1848, shortly before Chopin's departure for + England, that, in-fact, she, her daughter, and son-in-law were present at + the concert he gave on February 16, 1848. That this, however, was not the + case is shown both by a letter written by George Sand from Nohant on + February 18, 1848, and by another statement of Gutmann's, according to + which one of the causes of the rupture was the marriage of Solange with + Clesinger of which Chopin (foreseeing unhappiness which did not fail to + come, and led to separation) did not approve. Another cause, he thought, + was Chopin's disagreements with Maurice Sand. There were hasty remarks and + sharp retorts between lover and son, and scenes in consequence. Gutmann is + a very unsatisfactory informant, everything he read and heard seemed to + pass through the retort of his imagination and reappear transformed as his + own experience. + </p> + <p> + A more reliable witness is Franchomme, who in a letter to me summed up the + information which he had given me on this subject by word of mouth as + follows:— + </p> +<pre xml:space="preserve"> + Strange to say [chose bizarre], Chopin had a horror of the + figure 7; he would not have taken lodgings in a house which + bore the number 7; he would not have set out on a journey on + the 7th or 17th, &c. It was in 1837 that he formed the liaison + with George Sand; it was in 1847 that the rupture took place; + it was on the 17th October that my dear friend said farewell + to us. The rupture between Chopin and Madame Sand came about + in this way. In June, 1847, Chopin was making ready to start + for Nohant when he received a letter from Madame Sand to the + effect that she had just turned out her daughter and son-in- + law, and that if he received them in his house all would be + over between them [i.e., between George Sand and Chopin]. I + was with Chopin at the time the letter arrived, and he said to + me, "They have only me, and should I close my door upon them? + No, I shall not do it!" and he did not do it, and yet he knew + that this creature whom he adored would not forgive it him. + Poor friend, how I have seen him suffer! +</pre> + <p> + Of the quarrel at Nohant, Franchomme gave the following account:—There + was staying at that time at Nohant a gentleman who treated Madame + Clesinger invariably with rudeness. One day as Clesinger and his wife went + downstairs the person in question passed without taking off his hat. The + sculptor stopped him, and said, "Bid madam a good day"; and when the + gentleman or churl, as the case may be, refused, he gave him a box on the + ear. George Sand, who stood at the top of the stairs, saw it, came down, + and gave in her turn Clesinger a box on the ear. After this she turned her + son-in-law together with his wife out of her house, and wrote the + above-mentioned letter to Chopin. + </p> + <p> + Madame Rubio had also heard of the box on the ear which George Sand gave + Clesinger. According to this informant there were many quarrels between + mother and daughter, the former objecting to the latter's frequent visits + to Chopin, and using this as a pretext to break with him. Gutmann said to + me that Chopin was fond of Solange, though not in love with her. But now + we have again got into the current of gossip, and the sooner we get out of + it the better. + </p> + <p> + Before I draw my conclusions from the evidence I have collected, I must + find room for some extracts from two letters, respectively written on + August 9, 1847, and December 14,1847, to Charles Poncy. The contents of + these extracts will to a great extent be a mystery to the reader, a + mystery to which I cannot furnish the key. Was Solange the chief subject + of George Sand's lamentations? Had Chopin or her brother, or both, to do + with this paroxysm of despair? + </p> + <p> + After saying how she has been overwhelmed by a chain of chagrins, how her + purest intentions have had a fatal issue, how her best actions have been + blamed by men and punished by heaven as crimes, she proceeds:— + </p> +<pre xml:space="preserve"> + And do you think I have reached the end? No, all I have told + you hitherto is nothing, and since my last letter I have + exhausted all the cup of life contains of tribulation. It is + even so bitter and unprecedented that I cannot speak of it, at + least I cannot write it. Even that would give me too much + pain. I will tell you something about it when I see you...I + hoped at least for the old age on which I was entering the + recompense of great sacrifices, of much work, fatigue, and a + whole life of devotion and abnegation. I asked for nothing but + to render happy the objects of my affection. Well, I have been + repaid with ingratitude, and evil has got the upper hand in a + soul which I wished to make the sanctuary and the hearth of + the beautiful and the good. At present I struggle against + myself in order not to let myself die. I wish to accomplish my + task unto the end. May God aid me! I believe in Him and + hope!...Augustine has suffered much, but she has had great + courage and a true feeling of her dignity; and her health, + thank God, has not suffered. + + [FOOTNOTE: Augustine Brault was according to the editor of the + Correspondance a cousin of George Sand's; George Sand herself + calls her in Ma Vie her parent, and tells us in a vague way + how her connection with this young lady gave occasion to + scandalous libels.] +</pre> + <p> + The next quotation is from the letter dated Nohant, December 14, 1847. + Desirez is the wife of Charles Poncy, to whom the letter is addressed. + </p> +<pre xml:space="preserve"> + You have understood, Desirez and you, you whose soul is + delicate because it is ardent, that I passed through the + gravest and most painful phase of my life. I nearly succumbed, + although I had foreseen it for a long time. But you know one + is not always under the pressure of a sinister foresight, + however evident it may be. There are days, weeks, entire + months even, when one lives on illusions, and when one + flatters one's self one is turning aside the blow which + threatens one. At last, the most probable misfortune always + surprises us disarmed and unprepared. In addition to this + development of the unhappy germ, which was going on unnoticed, + there have arisen several very bitter and altogether + unexpected accessory circumstances. The result is that I am + broken in soul and body with chagrin. I believe that this + chagrin is incurable; for the better I succeed in freeing + myself from it for some hours, the more sombre and poignant + does it re-enter into me in the following hours...I have + undertaken a lengthy work [un ouvrage de longue haleine] + entitled Histoire de ma Vie...However, I shall not reveal the + whole of my life...It will be, moreover, a pretty good piece + of business, which will put me on my feet again, and will + relieve me of a part of my anxieties with regard to the future + of Solange, which is rather compromised. +</pre> + <p> + We have, then, the choice of two explanations of the rupture: George + Sand's, that it was caused by the disagreement of Chopin and her son; and + Franchomme's, that it was brought about by Chopin's disregard of George + Sand's injunction not to receive her daughter and son-in-law. I prefer the + latter version, which is reconcilable with George Sand's letters, + confirmed by the testimony of several of Chopin's friends, and given by an + honest, simple-minded man who may be trusted to have told a plain + unvarnished tale. + </p> + <p> + [FOOTNOTE: The contradictions are merely apparent, and disappear if we + consider that George Sand cannot have had any inclination to give to + Gutmann and Poncy an explanation of the real state of matters. Moreover, + when she wrote to the former the rupture had, according to Franchomme, not + yet taken place.] + </p> + <p> + But whatever reason may have been alleged to justify, whatever + circumstance may have been the ostensible cause of the rupture, in reality + it was only a pretext. On this point all agree—Franchomme, Gutmann, + Kwiatkowski, Madame Rubio, Liszt, &c. George Sand was tired of Chopin, + and as he did not leave her voluntarily, the separation had to be forced + upon him. Gutmann thought there was no rupture at all. George Sand went to + Nohant without Chopin, ceased to write to him, and thus the connection + came to an end. Of course, Chopin ought to have left her before she had + recourse to the "heroic means" of kicking him, metaphorically speaking, + out of doors. But the strength of his passion for this woman made him + weak. If a tithe of what is rumoured about George Sand's amorous escapades + is true, a lover who stayed with her for eight years must have found his + capacity of overlooking and forgiving severely tested. We hear on all + sides of the infidelities she permitted herself. A Polish friend of + Chopin's informed me that one day when he was about to enter the + composer's, room to pay him a visit, the married Berrichon female servant + of George Sand came out of it; and Chopin, who was lying ill in bed, told + him afterwards that she had been complaining of her mistress and husband. + Gutmann, who said that Chopin knew of George Sand's occasional + infidelities, pretended to have heard him say when she had left him behind + in Paris: "I would overlook all if only she would allow me to stay with + her at Nohant." I regard these and such like stories, especially the last + one, with suspicion (is it probable that the reticent artist was + communicative on so delicate a subject, and with Gutmann, his pupil and a + much younger man?), but they cannot be ignored, as they are characteristic + of how Chopin's friends viewed his position. And yet, tormented as he must + have been in the days of possession, crushed as he was by the loss, + tempted as he subsequently often felt to curse her and her deceitfulness, + he loved and missed George Sand to the very end—even the day before + his death he said to Franchomme that she had told him he would die in no + other arms but hers (que je ne mourrais que dans ses bras). + </p> + <p> + If George Sand had represented her separation from Chopin as a matter of + convenience, she would have got more sympathy and been able to make out a + better case. + </p> +<pre xml:space="preserve"> + The friendship of Chopin [she writes in Ma Vie] has never been + for me a refuge in sadness. He had quite enough troubles of + his own to bear. Mine would have overwhelmed him; moreover, he + knew them only vaguely and did not understand them at all. He + would have appreciated them from a point of view very + different from mine. +</pre> + <p> + Besides Chopin's illnesses became more frequent, his strength diminished + from day to day, and care and attendance were consequently more than ever + needful. That he was a "detestable patient" has already been said. The + world takes it for granted that the wife or paramour of a man of genius is + in duty bound to sacrifice herself for him. But how does the matter stand + when there is genius on both sides, and self-sacrifice of either party + entails loss to the world? By the way, is it not very selfish and + hypocritical of this world which generally does so little for men of + genius to demand that women shall entirely, self-denyingly devote + themselves to their gifted lovers? Well, both George Sand and Chopin had + to do work worth doing, and if one of them was hampered by the other in + doing it, the dissolution of the union was justified. But perhaps this was + not the reason of the separation. At any rate, George Sand does not + advance such a plea. Still, it would have been unfair not to discuss this + possible point of view. + </p> + <p> + The passage from the letter of George Sand dated September 1, 1846, which + I quoted earlier in this chapter, justifies us, I think, in assuming that, + although she was still keeping on her apartments in the Square d'Orleans, + the phalanstery had ceased to exist. The apartments she gave up probably + sometime in 1847; at any rate, she passed the winter of 1847-8, for the + most part at least, at Nohant; and when after the outbreak of the + revolution of 1848 she came to Paris (between the 9th and 14th of March), + she put up at a hotel garni. Chopin continued to live in his old quarters + in the Square d'Orldans, and, according to Gutmann, was after the + cessation of his connection with George Sand in the habit of dining either + with him (Gutmann) or Grzymala, that is to say, in their company. + </p> + <p> + It is much to be regretted that no letters are forthcoming to tell us of + Chopin's feelings and doings at this time. I can place before the reader + no more than one note, the satisfactory nature of which makes up to some + extent for its brevity. It is addressed to Franchomme; dated Friday, + October 1, 1847; and contains only these few words:— + </p> +<pre xml:space="preserve"> + Dear friend,—I thank you for your good heart, but I am very + RICH this evening. Yours with all my heart. +</pre> + <p> + In this year—i.e., 1847—appeared the three last works which + Chopin published, although among his posthumous compositions there are two + of a later date. The Trois Mazurkas, Op. 63 (dedicated to the Comtesse L. + Czosnowska), and the Trois Valses, Op. 64 (dedicated respectively to + Madame la Comtesse Potocka, Madame la Baronne de Rothschild, and Madame la + Baronne Bronicka), appeared in September, and the Sonata for piano and + violoncello, Op. 65 (dedicated to Franchomme), in October. Now I will say + of these compositions only that the mazurkas and waltzes are not inferior + to his previous works of this kind, and that the sonata is one of his most + strenuous efforts in the larger forms. Mr. Charles Halle remembers going + one evening in 1847 with Stephen Heller to Chopin, who had invited some + friends to let them hear this sonata which he had lately finished. On + arriving at his house they found him rather unwell; he went about the room + bent like a half-opened penknife. The visitors proposed to leave him and + to postpone the performance, but Chopin would not hear of it. He said he + would try. Having once begun, he soon became straight again, warming as he + proceeded. As will be seen from some remarks of Madame Dubois's, which I + shall quote farther on, the sonata did not make an altogether favourable + impression on the auditors. + </p> + <p> + The name of Madame Dubois reminds me of the soiree immortalised by a + letter of Madame Girardin (see the one of March 7, 1847, in Vol. IV. of Le + Vicomte de Launay), and already several times alluded to by me in + preceding chapters. At this soiree Chopin not only performed several of + his pieces, but also accompanied on a second piano his E minor Concerto + which was played by his pupil, the youthful and beautiful Mdlle. Camille + O'Meara. But the musical event par excellence of the period of Chopin's + life with which we are concerned in this chapter is his concert, the last + he gave in Paris, on February 16, 1848. Before I proceed with my account + of it, I must quote a note, enclosing tickets for this concert, which + Chopin wrote at this time to Franchomme. It runs thus: "The best places en + evidence for Madame D., but not for her cook." Madame D. was Madame Paul + Delaroche, the wife of the great painter, and a friend of Franchomme's. + </p> + <p> + But here is a copy of the original programme:— + </p> +<pre xml:space="preserve"> + FIRST PART. + + Trio by Mozart, for piano, violin, and violoncello, + performed by MM. Chopin, Alard, and Franchomme. + + Aria, sung by Mdlle. Antonia Molina di Mondi. + + Nocturne, | + |—composed and performed by M. Chopin. + Barcarole, | + + Air, sung by Mdlle. Antonia Molina di Mondi. + + Etude, | + |—composed and performed by M. Chopin. + Berceuse, | + + SECOND PART. + + Scherzo, Adagio, and Finale of the Sonata in G minor, for + piano and violoncello, composed by M. Chopin, and performed + by the author and M. Franchomme. + + Air nouveau from Robert le Diable, composed by M. Meyerbeer, + sung by M. Roger. + + Preludes, | + | + Mazurkas, |—composed and performed by M. Chopin. + | + Valse, | + + Accompanists:—MM. Aulary and de Garaude. +</pre> + <p> + The report of "M. S." in the Gazette musicale of February 20, 1848, + transports us at once into the midst of the exquisite, perfume-laden + atmosphere of Pleyel's rooms on February 16:— + </p> +<pre xml:space="preserve"> + A concert by the Ariel of pianists is a thing too rare to be + given, like other concerts, by opening both wings of the doors + to whomsoever wishes to enter. For this one a list had been + drawn up: everyone inscribed thereon his name: but everyone + was not sure of obtaining the precious ticket: patronage was + required to be admitted into the holy of holies, to obtain the + favour of depositing one's offering, and yet this offering + amounted to a louis; but who has not a louis to spare whep + Chopin may be heard? + + The outcome of all this naturally was that the fine flower of + the aristocracy of the most distinguished women, the most + elegant toilettes, filled on Wednesday Pleyel's rooms. There + was also the aristocracy of artists and amateurs, happy to + seize in his flight this musical sylph who had promised to let + himself once more and for a few hours be approached, seen, and + heard. + + The sylph kept his word, and with what success, what + enthusiasm! It is easier to tell you of the reception he got, + the transport he excited, than to describe, analyse, divulge, + the mysteries of an execution which was nothing analogous in + our terrestrial regions. If we had in our power the pen which + traced the delicate marvels of Queen Mab, not bigger than an + agate that glitters on the finger of an alderman, of her liny + chariot, of her diaphanous team, only then should we succeed + in giving an idea of a purely ideal talent into which matter + enters hardly at all. Only Chopin can make Chopin understood: + all those who were present at the seance of Wednesday are + convinced of this as well as we. + + The programme announced first a trio of Mozart, which Chopin, + Alard, and Franchomme executed in such a manner that one + despairs of ever hearing it again so well performed. Then + Chopin played studies, preludes, mazurkas, waltzes; he + performed afterwards his beautiful sonata with Franchomme. Do + not ask us how all these masterpieces small and great were + rendered. We said at first we would not attempt to reproduce + these thousands and thousands of nuances of an exceptional + genius having in his service an organisation of the same kind. + We shall only say that the charm did not cease to act a single + instant on the audience, and that it still lasted after the + concert was ended. + + Let us add that Roger, our brilliant tenor, sang with his most + expressive voice the beautiful prayer intercalated in Robert + le Diable by the author himself at the debut of Mario at the + Opera; that Mdlle. Antonia de Mendi [a niece of Pauline + Viardot's; see the spelling of her name in the programme], the + young and beautiful singer, carried off her share of bravos by + her talent full of hope and promise. + + There is a talk of a second concert which Chopin is to give on + the 10th of March, and already more than 600 names are put + down on the new list. In this there is nothing astonishing; + Chopin owed us this recompense, and he well deserves this + eagerness. +</pre> + <p> + As this report, although it enables us to realise the atmosphere, is + otherwise lacking in substance, we must try to get further information + elsewhere. Happily, there is plenty at our disposal. + </p> +<pre xml:space="preserve"> + Before playing the violoncello sonata in public [wrote Madame + Dubois to me], Chopin had tried it before some artists and + intimate friends; the first movement, the masterpiece, was not + understood. It appeared to the hearers obscure, involved by + too many ideas, in short, it had no success. At the last + moment Chopin dared not play the whole sonata before so + worldly and elegant an audience, but confined himself to the + Scherzo, Adagio, and Finale. I shall never forget the manner + in which he executed the Barcarole, that adorable composition; + the Waltz in D flat (la valse au petit chien) was encored + amidst the acclamations of the public. A grande dame who was + present at this concert wished to know Chopin's secret of + making the scales so flowing on the piano [faire les gammes si + coulees stir le piano]. The expression is good, and this + limpidity has never been equalled. +</pre> + <p> + Stephen Heller's remark to me, that Chopin became in his last years so + weak that his playing was sometimes hardly audible, I have already related + in a preceding chapter. There I have also mentioned what Mr. Charles + Halle' told me—namely, that in the latter part of his life Chopin + often played forte passages piano and even pianissimo, that, for instance, + at the concert we are speaking of he played the two forte passages towards + the end of the Barcarole pianissimo and with all sorts of dynamic + finesses. Mr. Otto Goldschmidt, who was present at the concert on February + 16, 1848, gave some interesting recollections of it, after the reading of + a paper on the subject of Chopin, by Mr. G. A. Osborne, at one of the + meetings of the Musical Association (see Proceedings, of the Musical + Association for the year 1879-80):— + </p> +<pre xml:space="preserve"> + He [Chopin] was extremely weak, but still his playing—by + reason of that remarkable quality which he possessed of + gradation in touch—betrayed none of the impress of weakness + which some attributed to piano playing or softness of touch; + and he possessed in a greater degree than any pianoforte- + player he [Mr. Goldschmidt] had ever heard, the faculty of + passing upwards from piano through all gradations of tone...It + was extremely difficult to obtain admission, for Chopin, who + had been truly described as a most sensitive man—which seemed + to be pre-eminently a quality of artistic organisations—not + only had a list submitted to him of those who ought to be + admitted, but he sifted that list, and made a selection from + the selected list; he was, therefore, surrounded by none but + friends and admirers. The room was beautifully decorated with + flowers of all kinds, and he could truly say that even now, at + the distance of thirty years, he had the most vivid + recollection of the concert...The audience was so enraptured + with his [Chopin's] playing that he was called forward again + and again. +</pre> + <p> + In connection with what Mr. Goldschmidt and the writer in the Gazette + musicale say about the difficulty of admission and a sifted list, I have + to record, and I shall do no more than record, Franchomme's denial. "I + really believe," he said to me, "that this is a mere fiction. I saw Chopin + every day; how, then, could I remain ignorant of it?" + </p> + <p> + To complete my account of Chopin's last concert in Paris, I have yet to + add some scraps of information derived from Un nid d'autographes, by Oscar + Comettant, who was present at it, and, moreover, reported on it in Le + Siecle. The memory of the event was brought back to him when on looking + over autographs in the possession of Auguste Wolff, the successor of + Camille Pleyel, he found a ticket for the above described concert. As the + concert so was also the ticket unlike that of any other artist. "Les + lettres d'ecriture anglaise etaient gravees au burin et imprimees en + taille-douce sur de beau papier mi-carton glace, d'un carre long elegant + et distingue." It bore the following words and figures:— + </p> +<pre xml:space="preserve"> + SOIREE DE M. CHOPIN, + DANS L'UN DES SALONS DE MM. PLEYEL ET CIE., + 20, Rue Rochechouart, + Le mercredi 16 fevrier 1848 a 8 heures 1/2. + Rang....Prix 20 francs....Place reservee. +</pre> + <p> + M. Comettant, in contradiction to what has been said by others about + Chopin's physical condition, states that when the latter came on the + platform, he walked upright and without feebleness; his face, though pale, + did not seem greatly altered; and he played as he had always played. But + M. Comettant was told that Chopin, having spent at the concert all his + moral and physical energy, afterwards nearly fainted in the artists' room. + </p> + <p> + In March Chopin and George Sand saw each other once more. We will rest + satisfied with the latter's laconic account of the meeting already quoted: + "Je serrai sa main tremblante et glacee. Je voulu lui parler, il + s'echappa." Karasowski's account of this last meeting is in the feuilleton + style and a worthy pendant to that of the first meeting:— + </p> +<pre xml:space="preserve"> + A month before his departure [he writes], in the last days of + March, Chopin was invited by a lady to whose hospitable house + he had in former times often gone. Some moments he hesitated + whether he should accept this invitation, for he had of late + years less frequented the salons; at last—as if impelled by + an inner voice—he accepted. An hour before he entered the + house of Madame H... +</pre> + <p> + And then follow wonderful conversations, sighs, blushes, tears, a lady + hiding behind an ivy screen, and afterwards advancing with a gliding step, + and whispering with a look full of repentance: "Frederick!" Alas, this was + not the way George Sand met her dismissed lovers. Moreover, let it be + remembered she was at this time not a girl in her teens, but a woman of + nearly forty-four. + </p> + <p> + The outbreak of the revolution on February 22, 1848, upset the + arrangements for the second concert, which was to take place on the 10th + of March, and, along with the desire to seek forgetfulness of the grievous + loss he had sustained in a change of scene, decided him at last to accept + the pressing and unwearied invitations of his Scotch and English friends + to visit Great Britain. On April 2 the Gazette musicale announced that + Chopin would shortly betake himself to London and pass the season there. + And before many weeks had passed he set out upon his journey. But the + history of his doings in the capital and in other parts of the United + Kingdom shall be related in another chapter. + </p> + <p> + <a name="link2HCH0030" id="link2HCH0030"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER XXX. + </h2> + <p> + DIFFERENCE OF STYLE IN CHOPIN'S WORKS.——THEIR CHARACTERISTICS + DISCUSSED, AND POPULAR PREJUDICES CONTROVERTED.——POLISH + NATIONAL MUSIC AND ITS INFLUENCE ON CHOPIN.——CHOPIN A PERSONAL + AS WELL AS NATIONAL TONE-POET.—A REVIEW OF SOME OF HIS LESS PERFECT + COMPOSITIONS AND OF HIS MASTERPIECES: BOLERO; RONDEAU; VARIATIONS; + TARANTELLE; ALLEGRO DE CONCERT; TWO SONATAS FOR PIANOFORTE (OP. 38 AND + 58); SONATA (OP. 65) AND GRAND DUO CONCERTANT FOR PIANOFORTE AND + VIOLONCELLO; FANTAISIE; MAZURKAS; POLONAISES; VALSES; ETUDES; PRELUDES; + SCHERZI; IMPROMPTUS; NOCTURNES; BERCEUSE; BARCAROLE; AND BALLADES——-THE + SONGS.——VARIOUS EDITIONS. + </p> + <p> + Before we inquire into the doings and sufferings of Chopin in England and + Scotland, let us take a general survey of his life-work as a composer. We + may fitly do so now; as at the stage of his career we have reached, his + creative activity had come to a close. The last composition he published, + the G minor Sonata for piano and violoncello, Op. 65, appeared in October, + 1847; and among his posthumous compositions published by Fontana there are + only two of later date—namely, the mazurkas, No. 2 of Op. 67 (G + minor) and No. 4 of Op. 68 (F minor), which came into existence in 1849. + Neither of these compositions can be numbered with the master's best + works, but the latter of them is interesting, because it seems in its + tonal writhings and wailings a picture of the bodily and mental torments + Chopin was at the time enduring. + </p> + <p> + A considerable number of the master's works I have already discussed in + Chapters III., VIII., and XIII. These, if we except the two Concertos, Op. + II and 21 (although they, too, do not rank with his chefs-d'oeuvre), are, + however, for us of greater importance biographically, perhaps also + historically, than otherwise. It is true, we hear now and then of some + virtuoso playing the Variations, Op. 2, or the Fantasia on Polish airs, + Op. 13, nay, we may hear even of the performance of the Trio, Op. 8; but + such occurrences are of the rarest rarity, and, considering how rich + musical literature is in unexceptionable concert-pieces and chamber + compositions, one feels on the whole pleased that these enterprising + soloists and trio-players find neither much encouragement nor many + imitators. While in examining the earlier works, the praise bestowed on + them was often largely mixed with censure, and the admiration felt for + them tempered by dissatisfaction; we shall have little else than pure + praise and admiration for the works that remain to be considered, at least + for the vast majority of them. One thing, however, seems to me needful + before justice can be done to the composer Chopin: certain prejudices + abroad concerning him have to be combated. I shall, therefore, preface my + remarks on particular compositions and groups of compositions by some + general observations. + </p> + <p> + It is sometimes said that there are hardly any traces of a development in + the productions of Chopin, and that in this respect he is unlike all the + other great masters. Such an opinion cannot be the result of a thorough + and comprehensive study of the composer's works. So far from agreeing with + those who hold it, I am tempted to assert that the difference of style + between Chopin's early and latest works (even when juvenile compositions + like the first two Rondos are left out of account) is as great as that + between Beethoven's first and ninth Symphony. It would be easy to classify + the Polish master's works according to three and even four (with the usual + exceptions) successive styles, but I have no taste for this cheap kind of + useless ingenuity. In fact, I shall confine myself to saying that in + Chopin's works there are clearly distinguishable two styles—the + early virtuosic and the later poetic style. The latter is in a certain + sense also virtuosic, but with this difference, that its virtuosity is not + virtuosity for virtuosity's sake. The poetic style which has thrown off + the tinsel showiness of its predecessor does not, however, remain + unchanged, for its texture becomes more and more close, and affords + conclusive evidence of the increasing influence of Johann Sebastian Bach. + Of course, the grand master of fugue does not appear here, as it were, + full life-size, in peruke, knee-breeches, and shoe-buckles, but his + presence in spite of transformation and attenuation is unmistakable. It + is, however, not only in the closeness and complexity of texture that we + notice Chopin's style changing: a striving after greater breadth and + fulness of form are likewise apparent, and, alas! also an increase in + sombreness, the result of deteriorating health. All this the reader will + have to keep in mind when he passes in review the master's works, for I + shall marshal them by groups, not chronologically. + </p> + <p> + Another prejudice, wide-spread, almost universal, is that Chopin's music + is all languor and melancholy, and, consequently, wanting in variety. Now, + there can be no greater error than this belief. As to variety, we should + be obliged to wonder at its infiniteness if he had composed nothing but + the pieces to which are really applicable the epithets dreamy, pensive, + mournful, and despondent. But what vigour, what more than manly vigour, + manifests itself in many of his creations! Think only of the Polonaises in + A major (Op. 40, No. 1) and in A flat major (Op. 53), of many of his + studies, the first three of his ballades, the scherzos, and much besides! + To be sure, a great deal of this vigour is not natural, but the outcome of + despair and maddening passion. Still, it is vigour, and such vigour as is + not often to be met with. And, then, it is not the only kind to be found + in his music. There is also a healthy vigour, which, for instance, in the + A major Polonaise assumes a brilliantly-heroic form. Nor are serene and + even joyous moods so rare that it would be permissible to ignore them. + While thus controverting the so-called vox Dei (are not popular opinions + generally popular prejudices?) and the pseudo-critics who create or follow + it, I have no intention either to deny or conceal the Polish master's + excess of languor and melancholy. I only wish to avoid vulgar + exaggeration, to keep within the bounds of the factual. In art as in life, + in biography as in history, there are not many questions that can be + answered by a plain "yea" or "nay". It was, indeed, with Chopin as has + been said of him, "his heart was sad, his mind was gay. "One day when + Chopin, Liszt, and the Comtesse d'Agoult spent the after-dinner hours + together, the lady, deeply moved by the Polish composer's playing, + ventured to ask him "by what name he called the extraordinary feeling + which he enclosed in his compositions, like unknown ashes in superb urns + of most exquisitely-chiselled alabaster? "He answered her that— + </p> +<pre xml:space="preserve"> + her heart had not deceived her in its melancholy saddening, + for whatever his moments of cheerfulness might be, he never + for all that got rid of a feeling which formed, as it were, + the soil of his heart, and for which he found a name only in + his mother-tongue, no other possessing an equivalent to the + Polish word zal [sadness, pain, sorrow, grief, trouble, + repentance, &c.]. Indeed, he uttered the word repeatedly, as + if his ear had been eager for this sound, which for him + comprised the whole scale of the feelings which is produced by + an intense plaint, from repentance to hatred, blessed or + poisoned fruits of this acrid root. +</pre> + <p> + After a long dissertation on the meaning of the word zal, Liszt, from + whose book this quotation is taken, proceeds thus:— + </p> +<pre xml:space="preserve"> + Yes, truly, the zal colours with a reflection now argent, now + ardent, the whole of Chopin's works. It is not even absent + from his sweetest reveries. These impressions had so much the + more importance in the life of Chopin that they manifested + themselves distinctly in his last works. They little by little + attained a kind of sickly irascibility, reaching the point of + feverish tremulousness. This latter reveals itself in some of + his last writings by a distortion of his thought which one is + sometimes rather pained than surprised to meet. Suffocating + almost under the oppression of his repressed transports of + passion, making no longer use of the art except to rehearse to + himself his own tragedy, he began, after having sung his + feeling, to tear it to pieces. +</pre> + <p> + Read together with my matter-of-fact statements, Liszt's hyperbolical and + circumlocutional poetic prose will not be misunderstood by the reader. The + case may be briefly summed up thus. Zal is not to be found in every one of + Chopin's compositions, but in the greater part of them: sometimes it + appears clearly on the surface, now as a smooth or lightly-rippled flow, + now as a wildly-coursing, fiercely-gushing torrent; sometimes it is dimly + felt only as an undercurrent whose presence not unfrequently becomes + temporarily lost to ear and eye. We must, however, take care not to + overlook that this zal is not exclusively individual, although its width + and intensity are so. + </p> +<pre xml:space="preserve"> + The key-note [of Polish songs] [says the editor and translator + into German of an interesting collection of Folk-songs of the + Poles][FOOTNOTE: Volkslieder der Polen. Gesammelt und + ubersetzt von W. P. (Leipzig,1833).] is melancholy—even in + playful and naive songs something may be heard which reminds + one of the pain of past sorrows; a plaintive sigh, a death- + groan, which seems to accuse the Creator, curses His + existence, and, as Tieck thinks, cries to heaven out of the + dust of annihilation: + + "What sin have I committed?" + + These are the after-throes of whole races; these are the pains + of whole centuries, which in these melodies entwine themselves + in an infinite sigh. One is tempted to call them sentimental, + because they seem to reflect sometimes on their own feeling; + but, on the other hand, they are not so, for the impulse to an + annihilating outpouring of feeling expresses itself too + powerfully for these musical poems to be products of conscious + creativeness. One feels when one hears these songs that the + implacable wheel of fate has only too often rolled over the + terrene happiness of this people, and life has turned to them + only its dark side. Therefore, the dark side is so + conspicuous; therefore, much pain and poetry—unhappiness and + greatness. +</pre> + <p> + The remarks on Polish folk-music lead us naturally to the question of + Chopin's indebtedness to it, which, while in one respect it cannot be too + highly rated, is yet in another respect generally overrated. The opinion + that every peculiarity which distinguishes his music from that of other + masters is to be put to the account of his nationality, and may be traced + in Polish folk-music, is erroneous. But, on the other hand, it is + emphatically true that this same folk-music was to him a potent inspirer + and trainer. Generally speaking, however, Chopin has more of the spirit + than of the form of Polish folk-music. The only two classes of his + compositions where we find also something of the form are his mazurkas and + polonaises; and, what is noteworthy, more in the former, the dance of the + people, than in the latter, the dance of the aristocracy. In Chopin's + mazurkas we meet not only with many of the most characteristic rhythms, + but also with many equally characteristic melodic and harmonic traits of + this chief of all the Polish dances. + </p> + <p> + Polish national music conforms in part to the tonality prevailing in + modern art-music, that is, to our major and minor modes; in part, however, + it reminds one of other tonalities—for instance, of that of the + mediaeval church modes, and of that or those prevalent in the music of the + Hungarians, Wallachians, and other peoples of that quarter. + </p> + <p> + [FOOTNOTE: The strictly diatonic church modes (not to be confounded with + the ancient Greek modes bearing the same names) differ from each other by + the position of the two semitones: the Ionian is like our C major; the + Dorian, Phrygian, Lydian, Mixolydian, Aeolian. &c., are like the + series of natural notes starting respectively from d, c, f, g, a, &c. + The characteristic interval of the Hungarian scale is the augmented second + (a, b, c, d#, e, f, g#, a).] + </p> + <p> + The melodic progression, not always immediate, of an augmented fourth and + major seventh occurs frequently, and that of an augmented second + occasionally. Skips of a third after or before one or more steps of a + second are very common. In connection with these skips of a third may be + mentioned that one meets with melodies evidently based on a scale with a + degree less than our major and minor scales, having in one place a step of + a third instead of a second. [FOOTNOTE: Connoisseurs of Scotch music, on + becoming acquainted with Polish music, will be incited by many traits of + the latter to undertake a comparative study of the two.] The opening and + the closing note stand often to each other in the relation of a second, + sometimes also of a seventh. The numerous peculiarities to be met with in + Polish folkmusic with regard to melodic progression are not likely to be + reducible to one tonality or a simple system of tonalities. Time and + district of origin have much to do with the formal character of the + melodies. And besides political, social, and local influences direct + musical ones—the mediaeval church music, eastern secular music, + &c.—have to be taken into account. Of most Polish melodies it + may be said that they are as capricious as they are piquant. Any attempt + to harmonise them according to our tonal system must end in failure. Many + of them would, indeed, be spoiled by any kind of harmony, being + essentially melodic, not outgrowths of harmony. + </p> + <p> + [FOOTNOTE: To those who wish to study this subject may be recommended + Oskar Kolberg's Piesni Ludu Polskiego (Warsaw, 1857), the best collection + of Polish folk-songs. Charles Lipinski's collection, Piesni Polskie i + Ruskie Luttu Galicyjskiego, although much less interesting, is yet + noteworthy.] + </p> + <p> + To treat, however, this subject adequately, one requires volumes, not + pages; to speak on it authoritatively, one must have studied it more + thoroughly than I have done. The following melodies and snatches of + melodies will to some extent illustrate what I have said, although they + are chosen with a view rather to illustrate Chopin's indebtedness to + Polish folk-music than Polish folk-music itself:— + </p> + <p> + [11 music score excerpts illustrated here] + </p> + <p> + Chopin, while piquantly and daringly varying the tonality prevailing in + art-music, hardly ever departs from it altogether—he keeps at least + in contact with it, however light that contact may be now and then in the + mazurkas. + </p> + <p> + [FOOTNOTE: One of the most decided exceptions is the Mazurka, Op. 24, No. + 2, of which only the A fiat major part adheres frankly to our tonality. + The portion beginning with the twenty-first bar and extending over that + and the next fifteen bars displays, on the other hand, the purest Lydian, + while the other portions, although less definite as regards tonality, keep + in closer touch with the mediaeval church smode [sic: mode] than with our + major and minor.] + </p> + <p> + Further, he adopted only some of the striking peculiarities of the + national music, and added to them others which were individual. These + individual characteristics—those audacities of rhythm, melody, and + harmony (in progressions and modulations, as well as in single chords)—may, + however, be said to have been fathered by the national ones. As to the + predominating chromaticism of his style, it is not to be found in Polish + folk-music; although slight rudiments are discoverable (see Nos. 6-12 of + the musical illustrations). Of course, no one would seek there his + indescribably-exquisite and highly-elaborate workmanship, which alone + enabled him to give expression to the finest shades and most sudden + changes of gentle feelings and turbulent passions. Indeed, as I have + already said, it is rather the national spirit than the form which + manifests itself in Chopin's music. The writer of the article on Polish + music in Mendel's Conversations-Lexikon remarks:— + </p> +<pre xml:space="preserve"> + What Chopin has written remains for all times the highest + ideal of Polish music. Although it would be impossible to + point out in a single bar a vulgar utilisation of a national + theme, or a Slavonic aping of it, there yet hovers over the + whole the spirit of Polish melody, with its chivalrous, proud, + and dreamy accents; yea, even the spirit of the Polish + language is so pregnantly reproduced in the musical diction as + perhaps in no composition of any of his countrymen; unless it + be that Prince Oginski with his polonaises and Dobrzynski in + his happiest moments have approached him. +</pre> + <p> + Liszt, as so often, has also in connection with this aspect of the + composer Chopin some excellent remarks to offer. + </p> +<pre xml:space="preserve"> + He neither applied himself nor exerted himself to write Polish + music; it is possible that he would have been astonished to + hear himself called a Polish musician. + + [FOOTNOTE: Liszt decidedly overshoots here the mark, and does + so in a less degree in the rest of these observations. Did not + Chopin himself say to Hiller that he wished to be to his + countrymen what Uhland was to the Germans? And did he not + write in one of his letters (see p. 168): "You know how I wish + to understand, and how I have in part succeeded in + understanding, our national music"?] + + Nevertheless, he was a national musician par excellence...He + summed up in his imagination, he represented in his talent, a + poetic feeling inherent in his nation and diffused there among + all his contemporaries. Like the true national poets, Chopin + sang, without a fixed design, without a preconceived choice, + what inspiration spontaneously dictated to him; it is thus + that there arose in his music, without solicitation, without + effort, the most idealised form of the emotions which had + animated his childhood, chequered his adolescence, and + embellished his youth...Without making any pretence to it, he + collected into a luminous sheaf sentiments confusedly felt by + all in his country, fragmentarily disseminated in their + hearts, vaguely perceived by some. +</pre> + <p> + George Sand tells us that Chopin's works were the mysterious and vague + expression of his inner life. That they were the expression of his inner + life is indeed a fact which no attentive hearer can fail to discover + without the aid of external evidence. For the composer has hardly written + a bar in which, so to speak, the beating of his heart may not be felt. + Chopin revealed himself only in his music, but there he revealed himself + fully. And was this expression of his inner life really "mysterious and + vague"? I think not! At least, no effusion of words could have made + clearer and more distinct what he expressed. For the communications of + dreams and visions such as he dreamt and saw, of the fluctuating emotional + actualities such as his sensitive heart experienced, musical forms are, no + doubt, less clumsy than verbal and pictorial ones. And if we know + something of his history and that of his nation, we cannot be at a loss to + give names and local habitations to the impalpable, but emotionally and + intellectually-perceptible contents of his music. We have to distinguish + in Chopin the personal and the national tone-poet, the singer of his own + joys and sorrows and that of his country's. But, while distinguishing + these two aspects, we must take care not to regard them as two separate + things. They were a duality the constitutive forces of which alternately + assumed supremacy. The national poet at no time absorbed the personal, the + personal poet at no time disowned the national. His imagination was always + ready to conjure up his native atmosphere, nay, we may even say that, + wherever he might be, he lived in it. The scene of his dreams and visions + lay oftenest in the land of his birth. And what did the national poet + dream and see in these dreams and visions? A past, present, and future + which never existed and never will exist, a Poland and a Polish people + glorified. Reality passed through the refining fires of his love and + genius and reappeared in his music sublimated as beauty and poetry. No + other poet has like Chopin embodied in art the romance of the land and + people of Poland. And, also, no other poet has like him embodied in art + the romance of his own existence. But whereas as a national poet he was a + flattering idealist, he was as a personal poet an uncompromising realist. + </p> + <p> + The masterpieces of Chopin consist of mazurkas, polonaises, waltzes, + etudes, preludes, nocturnes (with which we will class the berceuse and + barcarole), scherzos and impromptus, and ballades. They do not, however, + comprise all his notable compositions. And about these notable + compositions which do not rank with his masterpieces, either because they + are of less significance or otherwise fail to reach the standard of + requisite perfectness, I shall first say a few words. + </p> + <p> + Chopin's Bolero, Op. 19, may be described as a Bolero a la polonaise. It + is livelier in movement and more coquettish in character than the + compositions which he entitles polonaises, but for all that its + physiognomy does not on the whole strike one as particularly Spanish, + certainly not beyond the first section of the Bolero proper and the + seductive strains of the Pililento, the second tempo of the introduction. + And in saying this I am not misled by the points of resemblance in the + rhythmical accompaniment of these dances. Chopin published the Bolero in + 1834, four years before he visited Spain, but one may doubt whether it + would have turned out less Polish if he had composed it subsequently. + Although an excellent imitator in the way of mimicry, he lacked the talent + of imitating musical thought and character; at any rate, there are no + traces of it in his works. The cause of this lack of talent lies, of + course, in the strength of his subjectivism in the first place, and of his + nationalism in the second. I said the Bolero was published four years + before his visit to Spain. But how many years before this visit was it + composed? I think a good many years earlier; for it has so much of his + youthful style about it, and not only of his youthful style, but also of + his youthful character—by which I mean that it is less intensely + poetic. It is not impossible that Chopin was instigated to write it by + hearing the Bolero in Auber's "La Muette de Portici" ("Masaniello"), which + opera was first performed on February 28, 1828. These remarks are thrown + out merely as hints. The second composition which we shall consider will + show how dangerous it is to dogmatise on the strength of internal + evidence. + </p> + <p> + Op. 16, a lightsome Rondeau with a dramatic Introduction, is, like the + Bolero, not without its beauties; but in spite of greater individuality, + ranks, like it, low among the master's works, being patchy, unequal, and + little poetical. + </p> + <p> + If ever Chopin is not Chopin in his music, he is so in his Variations + brillantes (in B flat major) sur le Rondeau favori: "Je vends des + Scapulaires" de Ludovic, de Herold et Halevy, Op. 12. Did we not know that + he must have composed the work about the middle of 1833, we should be + tempted to class it with the works which came into existence when his + individuality was as yet little developed. [FOOTNOTE: The opera Ludovic, + on which Herold was engaged when he died on January 19, 1833, and which + Halevy completed, was produced in Paris on May 16, 1833. From the German + publishers of Chopin's Op. 12 I learned that it appeared in November, + 1833. In the Gazette musicale of January 26, 1834, may be read a review of + it.] But knowing what we do, we can only wonder at the strange phenomenon. + It is as if Chopin had here thrown overboard the Polish part of his natal + inheritance and given himself up unrestrainedly and voluptuously to the + French part. Besides various diatonic runs of an inessential and purely + ornamental character, there is in the finale actually a plain and + full-toned C flat major scale. What other work of the composer could be + pointed out exhibiting the like feature? Of course, Chopin is as little + successful in entirely hiding his serpentining and chromaticising tendency + as Mephistopheles in hiding the limp arising from his cloven foot. Still, + these fallings out of the role are rare and transient, and, on the whole, + Chopin presents himself as a perfect homme du monde who knows how to say + the most insignificant trifles with the most exquisite grace imaginable. + There can. be nothing more amusing than the contemporary critical opinions + regarding this work, nothing more amusing than to see the at other times + censorious Philistines unwrinkle their brows, relax generally the + sternness of their features, and welcome, as it were, the return of the + prodigal son. We wiser critics of to-day, who, of course, think very + differently about this matter, can, nevertheless, enjoy and heartily + applaud the prettiness and elegance of the simple first variation, the + playful tripping second, the schwarmerische melodious third, the merry + swinging fourth, and the brilliant finale. + </p> + <p> + From Chopin's letters we see that the publication of the Tarantelle, Op. + 43, which took place in the latter part of 1841, was attended with + difficulties and annoyances. [FOOTNOTE: Herr Schuberth, of Leipzig, + informed me that a honorarium of 500 francs was paid to Chopin for this + work on July 1, 1841. The French publisher deposited the work at the + library of the Conservatoire in October, 1841.] What these difficulties + and annoyances were, is, however, only in part ascertainable. To turn from + the publication to the composition itself, I may say that it is full of + life, indeed, spirited in every respect, in movement and in boldness of + harmonic and melodic conception. The Tarantelle is a translation from + Italian into Polish, a transmutation of Rossini into Chopin, a Neapolitan + scene painted with opaque colours, the south without its transparent sky, + balmy air, and general brightness. That this composition was inspired by + impressions received from Rossini's Tarantella, and not from impressions + received in Italy (of which, as has already been related, he had a short + glimpse in 1839), is evident. A comparison of Chopin's Op. 43 with Liszt's + glowing and intoxicating transcription of Rossini's composition may be + recommended as a study equally pleasant and instructive. Although not an + enthusiastic admirer of Chopin's Tarantelle, I protest in the interest of + the composer and for justice's sake against Schumann's dictum: "Nobody can + call that beautiful music; but we pardon the master his wild fantasies, + for once he may let us see also the dark sides of his inner life." + </p> + <p> + The Allegro de Concert, Op. 46, which was published in November, 1841, + although written for the pianoforte alone, contains, nevertheless, + passages which are more distinctly orchestral than anything Chopin ever + wrote for the orchestra. The form resembles somewhat that of the concerto. + In the first section, which occupies the place of the opening tutti, we + cannot fail to distinguish the entrances of single instruments, groups of + instruments, and the full orchestra. The soloist starts in the + eighty-seventh bar, and in the following commences a cadenza. With the a + tempo comes the first subject (A major), and the passage-work which brings + up the rear leads to the second subject (E major), which had already + appeared in the first section in A major. The first subject, if I may + dignify the matter in question with that designation, does not recur + again, nor was it introduced by the tutti. The central and principal + thought is what I called the second subject. The second section concludes + with brilliant passage-work in E major, the time—honoured shake + rousing the drowsy orchestra from its sweet repose. The hint is not lost, + and the orchestra, in the disguise of the pianoforte, attends to its duty + right vigorously. With the poco rit. the soloist sets to work again, and + in the next bar takes up the principal subject in A minor. After that we + have once more brilliant passage-work, closing this time in A major, and + then a final tutti. The Allegro de Concert gives rise to all sorts of + surmises. Was it written first for the pianoforte and orchestra, as + Schumann suspects? Or may we make even a bolder guess, and suppose that + the composer, at a more advanced age, worked up into this Allegro de + Concert a sketch for the first movement of a concerto conceived in his + younger days? Have we, perhaps, here a fragment or fragments of the + Concerto for two pianos which Chopin, in a letter written at Vienna on + December 21, 1830, said he would play in public with his friend Nidecki, + if he succeeded in writing it to his satisfaction? And is there any + significance in the fact that Chopin, when (probably in the summer of + 1841) sending the manuscript of this work to Fontana, calls it a Concerto? + Be this as it may, the principal subject and some of the passage-work + remind one of the time of the concertos; other things, again, belong + undoubtedly to a later period. The tutti and solo parts are unmistakable, + so different is the treatment of the pianoforte: in the former the style + has the heaviness of an arrangement, in the latter it has Chopin's usual + airiness. The work, as a whole, is unsatisfactory, nay, almost + indigestible. The subjects are neither striking nor important. Of the + passage-work, that which follows the second subject contains the most + interesting matter. Piquant traits and all sorts of fragmentary beauties + are scattered here and there over the movement. But after we have + considered all, we must confess that this opus adds little or nothing to + the value of our Chopin inheritance. + </p> + <p> + [FOOTNOTE: In justice to the composer I must here quote a criticism which + since I wrote the above appeared in the Athenaum (January 21, 1888):—"The + last-named work [the Allegro de Concert, Op. 46] is not often heard, and + is generally regarded as one of Chopin's least interesting and least + characteristic pieces. Let us hasten to say that these impressions are + distinctly wrong; the executive difficulties of the work are extremely + great, and a mere mastery of them is far from all that is needed. When M. + de Pachmann commenced to play it was quickly evident that his reading + would be most remarkable, and in the end it amounted to an astounding + revelation. That which seemed dry and involved became under his fingers + instinct with beauty and feeling; the musicians and amateurs present + listened as if spellbound, and opinion was unanimous that the performance + was nothing short of an artistic creation. For the sake of the composer, + if not for his own reputation, the pianist should repeat it, not once, but + many times." Notwithstanding this decided judgment of a weighty authority—for + such everyone will, without hesitation, acknowledge the critic in question + to be—I am unable, after once more examining the work, to alter my + previously formed opinion.] + </p> + <p> + As a further confirmation of the supposed origin of the Allegro de + Concert, I may mention the arrangement of it for piano and orchestra (also + for two pianos) by Jean Louis Nicode. + </p> + <p> + [FOOTNOTE: Nicode has done his work well so far as he kept close to the + text of Chopin; but his insertion of a working-out section of more than + seventy bars is not justifiable, and, moreover, though making the work + more like an orthodox first movement of a concerto, does not enhance its + beauty and artistic value.] + </p> + <p> + To the Sonata in B flat minor, Op. 35 (published in May, 1840), this most + powerful of Chopin's works in the larger forms, Liszt's remark, "Plus de + volonte que d'inspiration," is hardly applicable, although he used the + expression in speaking of Chopin's concertos and sonatas in general; for + there is no lack of inspiration here, nor are there traces of painful, + unrewarded effort. Each of the four pieces of which the sonata consists is + full of vigour, originality, and interest. But whether they can be called + a sonata is another question. Schumann, in his playful manner, speaks of + caprice and wantonness, and insinuates that Chopin bound together four of + his maddest children, and entitled them sonata, in order that he might + perhaps under this name smuggle them in where otherwise they would not + penetrate. Of course, this is a fancy of Schumann's. Still, one cannot + help wondering whether the composer from the first intended to write a + sonata and obtained this result—amphora coepit institui; currente + rota cur urceus exit?—or whether these four movements got into + existence without any predestination, and were afterwards put under one + cover. [FOOTNOTE: At any rate, the march was finished before the rest of + the work. See the quotation from one of Chopin's letters farther on.] With + all Schumann's admiration for Chopin and praise of this sonata, it appears + to me that he does not give Chopin his due. There is something gigantic in + the work which, although it does not elevate and ennoble, being for the + most part a purposeless fuming, impresses one powerfully. The first + movement begins with four bars grave, a groan full of pain; then the + composer, in restless, breathless haste, is driven by his feelings onward, + ever onward, till he comes to the lovely, peaceful second subject (in D + flat major, a real contrast this time), which grows by-and-by more + passionate, and in the concluding portion of the first part transcends the + limits of propriety—VIDE those ugly dissonances. The connection of + the close of the first part with the repetition of this and the beginning + of the second part by means of the chord of the dominant seventh in A flat + and that in D flat with the suspended sixth, is noteworthy. The strange + second section, in which the first subject is worked out, has the + appearance rather of an improvisation than of a composition. After this a + few bars in 6/4 time, fiercely wild (stretto) at first, but gradually + subsiding, lead to the repeat in B flat major of the second subject—the + first subject does not appear again in its original form. To the close, + which is like that of the corresponding section in the first part (6/4), + is added a coda (2/2) introducing the characteristic motive of the first + subject. In the scherzo, the grandest movement and the climax of the + sonata, the gloom and the threatening power which rise to a higher and + higher pitch become quite weird and fear-inspiring; it affects one like + lowering clouds, rolling of thunder, and howling and whistling of the wind—to + the latter, for instance, the chromatic successions of chords of the sixth + may not inappropriately be likened. The piu lento is certainly one of the + most scherzo-like thoughts in Chopin's scherzos—so light and joyful, + yet a volcano is murmuring under this serenity. The return of this piu + lento, after the repeat of the first section, is very fine and + beneficently refreshing, like nature after a storm. The Marche funebre + ranks among Chopin's best-known and most highly-appreciated pieces. Liszt + mentions it with particular distinction, and grows justly eloquent over + it. I do not altogether understand Schumann's objection: "It is still more + gloomy than the scherzo," he says, "and contains even much that is + repulsive; in its place an adagio, perhaps in D flat, would have had an + incomparably finer effect." Out of the dull, stupefied brooding, which is + the fundamental mood of the first section, there rises once and again + (bars 7 and 8, and 11 and 12) a pitiable wailing, and then an outburst of + passionate appealing (the forte passage in D flat major), followed by a + sinking helplessness (the two bars with the shakes in the bass), + accompanied by moans and deep breathings. The two parts of the second + section are a rapturous gaze into the beatific regions of a beyond, a + vision of reunion of what for the time is severed. The last movement may + be counted among the curiosities of composition—a presto in B flat + minor of seventy-five bars, an endless series of triplets from beginning + to end in octaves. It calls up in one's mind the solitude and dreariness + of a desert. "The last movement is more like mockery than music," says + Schumann, but adds, truly and wisely— + </p> +<pre xml:space="preserve"> + and yet one confesses to one's self that also out of this + unmelodious and joyless movement a peculiar dismal spirit + breathes upon us, who keeps down with a strong hand that which + would revolt, so that we obey, as if we were charmed, without + murmuring, but also without praising, for that is no music. + Thus the sonata concludes, as it began, enigmatically, like a + sphinx with a mocking smile. +</pre> + <p> + J. W. Davison, in the preface to an edition of Chopin's mazurkas, relates + that Mendelssohn, on being questioned about the finale of one of Chopin's + sonatas (I think it must have been the one before us), said briefly and + bitterly, "Oh, I abhor it!" H. Barbedette remarks in his "Chopin," a + criticism without insight and originality, of this finale, "C'est Lazare + grattant de ses ongles la pierre de son tombeau et tombant epuise de + fatigue, de faim et de desespoir." And now let the reader recall the words + which Chopin wrote from Nohant to Fontana in the summer of 1839:— + </p> +<pre xml:space="preserve"> + I am composing here a Sonata in B flat minor, in which will be + the funeral march which you have already. There is an Allegro, + then a Scherzo, in E flat minor, the March, and a short Finale + of about three pages. The left hand unisono with the right + hand are gossiping after the March [ogaduja po Marszu]. +</pre> + <p> + The meaning of which somewhat obscure interpretation seems to be, that + after the burial the good neighbours took to discussing the merits of the + departed, not without a spice of backbiting. + </p> + <p> + The Sonata in B minor, Op. 58, the second of Chopin's notable pianoforte + sonatas (the third if we take into account the unpalatable Op. 4), made + its appearance five years later, in June, 1845. Unity is as little + discernible in this sonata as in its predecessor. The four movements of + which the work consists are rather affiliated than cognate; nay, this may + be said even of many parts of the movements. The first movement by far + surpasses the other three in importance: indeed, the wealth of beautiful + and interesting matter which is here heaped up—for it is rather an + unsifted accumulation than an artistic presentation and evolution—would + have sufficed many a composer for several movements. The ideas are very + unequal and their course very jerky till we come to the second subject (D + major), which swells out into a broad stream of impassioned melody. + Farther on the matter becomes again jerky and mosaic-like. While the close + of the first part is very fine, the beginning of the second is a + comfortless waste. Things mend with the re-entrance of the subsidiary part + of the second subject (now in D flat major), which, after being dwelt upon + for some time and varied, disappears, and is followed by a repetition of + portions of the first subject, the whole second subject (in B major), and + the closing period, which is prolonged by a coda to make the close more + emphatic and satisfying. A light and graceful quaver figure winds with now + rippling, now waving motion through the first and third sections of the + scherzo; in the contrasting second section, with the sustained + accompaniment and the melody in one of the middle parts, the entrance of + the bright A major, after the gloom of the preceding bars, is very + effective. The third movement has the character of a nocturne, and as such + cannot fail to be admired. In the visionary dreaming of the long middle + section we imagine the composer with dilated eyes and rapture in his look—it + is rather a reverie than a composition. The finale surrounds us with an + emotional atmosphere somewhat akin to that of the first movement, but more + agitated. After eight bold introductory bars with piercing dissonances + begins the first subject, which, with its rhythmically + differently-accompanied repetition, is the most important constituent of + the movement. The rest, although finely polished, is somewhat + insignificant. In short, this is the old story, plus de volonte que + d'inspiration, that is to say, inspiration of the right sort. And also, + plus de volonte que de savoir-faire. + </p> + <p> + There is one work of Chopin's to which Liszt's dictum, plus de volnte que + d'inspiratio, applies in all, and even more than all its force. I allude + to the Sonata (in G minor) for piano and violoncello, Op. 65 (published in + September, 1847), in which hardly anything else but effort, painful + effort, manifests itself. The first and last movements are immense + wildernesses with only here and there a small flower. The middle + movements, a Scherzo and an Andante, do not rise to the dignity of a + sonata, and, moreover, lack distinction, especially the slow movement, a + nocturne-like dialogue between the two instruments. As to the beauties—such + as the first subject of the first movement (at the entrance of the + violoncello), the opening bars of the Scherzo, part of the ANDANTE, &c.—they + are merely beginnings, springs that lose themselves soon in a sandy waste. + Hence I have not the heart to controvert Moscheles who, in his diary, says + some cutting things about this work: "In composition Chopin proves that he + has only isolated happy thoughts which he does not know how to work up + into a rounded whole. In the just published sonata with violoncello I find + often passages which sound as if someone were preluding on the piano and + knocked at all the keys to learn whether euphony was at home." [FOOTNOTE: + Aus Moscheles' Leben; Vol. II., p. 171.] An entry of the year 1850 runs as + follows: "But a trial of patience of another kind is imposed on me by + Chopin's Violoncello Sonata, which I am arranging for four hands. To me it + is a tangled forest, through which now and then penetrates a gleam of the + sun." [FOOTNOTE: Ibid., Vol. II., p. 216.] To take up after the + last-discussed work a composition like the Grand Duo Concertant for piano + and violoncello, on themes from "Robert le Diable," by Chopin and A. + Franchomme, is quite a relief, although it is really of no artistic + importance. Schumann is right when he says of this DUO, which saw the + light of publicity (without OPUS number) in 1833:14 [FOOTNOTE: The first + performance of Meyerbeer's "Robert le Diable" took place at the Paris + Opera on November 21, 1831.] "A piece for a SALON where behind the + shoulders of counts and countesses now and then rises the head of a + celebrated artist." And he may also be right when he says:— + </p> +<pre xml:space="preserve"> + It seems to me that Chopin sketched the whole of it, and that + Franchomme said "yes" to everything; for what Chopin touches + takes his form and spirit, and in this minor salon-style he + expresses himself with grace and distinction, compared with + which all the gentility of other brilliant composers together + with all their elegance vanish into thin air. +</pre> + <p> + The mention of the DUO is somewhat out of place here, but the Sonata, Op. + 65, in which the violoncello is employed, naturally suggested it. + </p> + <p> + We have only one more work to consider before we come to the groups of + masterpieces in the smaller forms above enumerated. But this last work is + one of Chopin's best compositions, and in its way no less a masterpiece + than these. Unfettered by the scheme of a definite form such as the sonata + or concerto, the composer develops in the Fantaisie, Op. 49 (published in + November, 1841), his thought with masterly freedom. There is an + enthralling weirdness about this work, a weirdness made up of force of + passion and an indescribable fantastic waywardness. Nothing more common + than the name of Fantasia, here we have the thing! The music falls on our + ears like the insuppressible outpouring of a being stirred to its heart's + core, and full of immeasurable love and longing. Who would suspect the + composer's fragility and sickliness in this work? Does it not rather + suggest a Titan in commotion? There was a time when I spoke of the + Fantasia in a less complimentary tone, now I bow down my head regretfully + and exclaim peccavi. The disposition of the composition may be thus + briefly indicated. A tempo di marcia opens the Fantasia—it forms the + porch of the edifice. The dreamy triplet passages of the poco a poco piu + mosso are comparable to galleries that connect the various blocks of + buildings. The principal subject, or accumulation of themes, recurs again + and again in different keys, whilst other subjects appear only once or + twice between the repetitions of the principal subject. + </p> + <p> + The mazurkas of Chopin are a literature in themselves, said Lenz, and + there is some truth in his saying. They may, indeed, be called a + literature in themselves for two reasons—first, because of their + originality, which makes them things sui generis; and secondly, because of + the poetical and musical wealth of their contents. Chopin, as I have + already said, is most national in the mazurkas and polonaises, for the + former of which he draws not only inspiration, but even rhythmic, melodic, + and harmonic motives from his country's folk-music. Liszt told me, in a + conversation I had with him, that he did not care much for Chopin's + mazurkas. "One often meets in them with bars which might just as well be + in another place." But he added, "And yet as Chopin puts them, perhaps + nobody else could have put them." And mark, those are the words of one who + also told me that when he sometimes played half-an-hour for his amusement, + he liked to resort to Chopin. Moscheles, I suspect, had especially the + mazurkas in his mind when, in 1833, [FOOTNOTE: At this time the published + compositions of Chopin were, of course, not numerous, but they included + the first two books of Mazurkas, Op. 6 and 7.] he said of the Polish + master's compositions that he found "much charm in their originality and + national colouring," and that "his thoughts and through them the fingers + stumbled over certain hard, inartistic modulations." Startling + progressions, unreconciled contrasts, and abrupt changes of mood are + characteristic of Slavonic music and expressive of the Slavonic character. + Whether they ought to be called inartistic or not, we will leave time to + decide, if it has not done so already; the Russian and other Slavonic + composers, who are now coming more and more to the front, seem to be + little in doubt as to their legitimacy. I neither regard Chopin's mazurkas + as his most artistic achievements nor recommend their capriciousness and + fragmentariness for general imitation. But if we view them from the right + stand-point, which is not that of classicism, we cannot help admiring + them. The musical idiom which the composer uses in these, notwithstanding + their capriciousness and fragmentariness, exquisitely-finished miniatures, + has a truly delightful piquancy. Yet delightful as their language is, the + mazurkas have a far higher claim to our admiration. They are poems—social + poems, poems of private life, in distinction from the polonaises, which + are political poems. Although Chopin's mazurkas and polonaises are no less + individual than the other compositions of this most subjective of + subjective poets, they incorporate, nevertheless, a good deal of the + poetry of which the national dances of those names are the expression or + vehicle. And let it be noted, in Poland so-called civilisation did not do + its work so fast and effectually as in Western Europe; there dancing had + not yet become in Chopin's days a merely formal and conventional affair, a + matter of sinew and muscle. + </p> + <p> + It is, therefore, advisable that we should make ourselves acquainted with + the principal Polish dances; such an acquaintance, moreover, will not only + help us to interpret aright Chopin's mazurkas and polonaises, but also to + gain a deeper insight into his ways of feeling and seeing generally. Now + the reader will become aware that the long disquisitions on Poland and the + Poles at the commencement of this biography were not superfluous + accessories. For completeness' sake I shall preface the description of the + mazurka by a short one of the krakowiak, the third of the triad of + principal Polish dances. The informants on whom I shall chiefly rely when + I am not guided by my own observations are the musician Sowinski and the + poet Brodzinski, both Poles: + </p> +<pre xml:space="preserve"> + The krakowiak [says Albert Sowinski in chant polonais] bubbles + over with esprit and gaiety; its name indicates its origin. It + is the delight of the salons, and especially of the huts. The + Cracovians dance it in a very agitated and expressive manner, + singing at the same time words made for the occasion of which + they multiply the stanzas and which they often improvise. + These words are of an easy gaiety which remind one strangely + of the rather loose [semi-grivoises] songs so popular in + France; others again are connected with the glorious epochs of + history, with the sweet or sad memories which it calls up, and + are a faithful expression of the character and manners of the + nation. +</pre> + <p> + Casimir Brodzinski describes the dance as follows:— + </p> +<pre xml:space="preserve"> + The krakowiak resembles in its figures a simplified polonaise; + it represents, compared with the latter, a less advanced + social state. The boldest and strongest takes the position of + leader and conducts the dance; he sings, the others join in + chorus; he dances, they imitate him. Often also the krakowiak + represents, in a kind of little ballet, the simple course of a + love-affair: one sees a couple of young people place + themselves before the orchestra; the young man looks proud, + presumptuous, preoccupied with his costume and beauty. Before + long he becomes meditative, and seeks inspiration to improvise + verses which the cries of his companions ask for, and which + the time beaten by them provoke, as well as the manoeuvre of + the young girl, who is impatient to dance. Arriving before the + orchestra after making a round, the dancer generally takes the + liberty of singing a refrain which makes the young girl blush; + she runs away, and it is in pursuing her that the young man + displays all his agility. At the last round it is the young + man who pretends to run away from his partner; she tries to + seize his arm, after which they dance together until the + ritornello puts an end to their pleasure. +</pre> + <p> + As a technical supplement to the above, I may say that this lively dance + is in 2/4 time, and like other Polish dances has the rhythmical + peculiarity of having frequently the accent on a usually unaccented part + of the bar, especially at the end of a section or a phrase, for instance, + on the second quaver of the second and the fourth bar, thus:— + </p> + <p> + [Here, the author illustrates with a rhythm diagram consisting of a line + of notes divided in measures: 1/8 1/16 1/16 1/8 1/8 | 1/8 1/4 1/8 | 1/8 + 1/16 1/16 1/8 1/8 | 1/8 1/4 dot] + </p> + <p> + Chopin has only once been inspired by the krakowiak—namely, in his + Op. 14, entitled Krakowiak, Grand Rondeau de Concert, a composition which + was discussed in Chapter VIII. Thus much of the krakowiak; now to the more + interesting second of the triad. + </p> +<pre xml:space="preserve"> + The mazurek [or mazurka], whose name comes from Mazovia, one + of our finest provinces, is the most characteristic dance-tune + —it is the model of all our new tunes. One distinguishes, + however, these latter easily from the ancient ones on account + of their less original and less cantabile form. There are two + kinds of mazureks: one, of which the first portion is always + in minor and the second in major, has a romance-like + colouring, it is made to be sung, in Polish one says "to be + heard" (do sludninin); the other serves as an accompaniment to + a dance, of which the figures are multiplied passes and + coiuluiles. Its movement is in time, and yet less quick than + the waltz. The motive is in dotted notes, which must be + executed with energy and warmth, but not without a certain + dignity. +</pre> + <p> + Now the mazurka is generally written in 3/4-time; Chopin's are all written + thus. The dotted rhythmical motive alluded to by Sowinski is this, or + similar to this— + </p> + <p> + [Another rhythm diagram: 1/8 dot 1/16 1/4 1/4 | 1/8 dot 1/16 1/2] + </p> + <p> + But the dotted notes are by no means de rigueur. As motives like the + following— + </p> + <p> + [Another rhythm diagram: 1/4 1/2 | 1/8 1/8 1/4 1/4 | triplet 1/4 1/4 | + triple 1/8 1/8 1/8 1/8] + </p> + <p> + are of frequent occurrence, I would propose a more comprehensive + definition—namely, that the first part of the bar consists mostly of + quicker notes than the latter part. But even this more comprehensive + definition does not comprehend all; it is a rule which has many + exceptions. [FOOTNOTE: See the musical illustrations on pp. 217-218.] Le + Sowinski mentions only one classification of mazurkas. Several others, + however, exist. First, according to the district from which they derive—mazurkas + of Kujavia, of Podlachia, of Lublin, &c.; or, secondly, according to + their character, or to the purpose or occasion for which they were + composed: wedding, village, historical, martial, and political mazurkas. + And now let us hear what the poet Brodzinski has to say about the nature + of this dance:— The mazurek in its primitive form and as the common + people dance is only a kind of krakowiak, only less lively and less + sautillant. The agile Cracovians and the mountaineers of the Carpathians + call the mazurek danced by the inhabitants of the plain but a dwarfed + krakowiak. The proximity of the Germans, or rather the sojourn of the + German troops, has caused the true character of the mazurek among the + people to be lost; this dance hap become a kind of awkward waltz. + </p> +<pre xml:space="preserve"> + With the people of the capital the real dances of the country + are disfigured not only by the influx of foreigners, but + especially also by the unfortunate employment of barrel- + organs....It is this instrument which crushes among the people + the practice of music, and takes the means of subsistence from + the village fiddler, who becomes more and more rare since + every tavern-keeper, in buying a barrel-organ, easily puts an + end to all competition. We see already more and more disappear + from our country sides these sweet songs and improvised + refrains which the rustic minstrels remembered and repeated, + and the truly national music gives way, alas! to the themes + borrowed from the operas most in vogue. + + The mazurek, thus degenerated among the people, has been + adopted by the upper classes who, in preserving the national + allures, perfected it to the extent of rendering it, beyond + doubt, one of the most graceful dances in Europe. This dance + has much resemblance with the French quadrille, according to + what is analogous in the characters of the two nations; in + seeing these two dances one might say that a French woman + dances only to please, and that a Polish woman pleases by + abandoning herself to a kind of maiden gaiety—the graces + which she displays come rather from nature than from art. A + French female dancer recalls the ideal of Greek statues; a + Polish female dancer has something which recalls the + shepherdesses created by the imagination of the poets; if the + former charms us, the latter attaches us. + + As modern dances lend themselves especially to the triumph of + the women, because the costume of the men is so little + favourable, it is noteworthy that the mazurek forms here an + exception; for a young man, and especially a young Pole, + remarkable by a certain amiable boldness, becomes soon the + soul and hero of this dance. A light and in some sort pastoral + dress for the women, and the Polish military costume so + advantageous for the men, add to the charm of the picture + which the mazurek presents to the eye of the painter. This + dance permits to the whole body the most lively and varied + movements, leaves the shoulders full liberty to bend with that + ABANDON which, accompanied by a joyous laisser-aller and a + certain movement of the foot striking the floor, is + exceedingly graceful. + + One finds often a magic effect in the animated enthusiasm + which characterises the different movements of the head—now + proudly erect, now tenderly sunk on the bosom, now lightly + inclined towards the shoulder, and always depicting in large + traits the abundance of life and joy, shaded with simple, + graceful, and delicate sentiments. Seeing in the mazurek the + female dancer almost carried away in the arms and on the + shoulders of her cavalier, abandoning herself entirely to his + guidance, one thinks one sees two beings intoxicated with + happiness and flying towards the celestial regions. The female + dancer, lightly dressed, scarcely skimming the earth with her + dainty foot, holding on by the hand of her partner, in the + twinkling of an eye carried away by several others, and then, + like lightning, precipitating herself again into the arms of + the first, offers the image of the most happy and delightful + creature. The music of the mazurek is altogether national and + original; through its gaiety breathes usually something of + melancholy—one might say that it is destined to direct the + steps of lovers, whose passing sorrows are not without charm. +</pre> + <p> + Chopin himself published forty-one mazurkas of his composition in eleven + sets of four, five, or three numbers—Op. 6, Quatre Mazurkas, and Op. + 7, Cinq Mazurkas, in December, 1832; Op. 17, Quatre Mazurkas, in May, + 1834; Op. 24, Quatre Mazurkas, in November, 1835; Op. 30, Quatre + Maazurkas, in December, 1837; Op. 33, Quatre Mazurkas, in October, 1838; + Op. 41, Quatre Mazurkas, in December, 1840; Op. 50, Trois Mazurkas, in + November, 1841; Op, 56, Trois Mazurkas, in August, 1844; Op. 59, Trois + Mazurkas, in April, 1846; and Op. 63, Trois Mazurkas, in September, 1847. + In the posthumous works published by Fontana there are two more sets, each + of four numbers, and respectively marked as Op. 67 and 68. Lastly, several + other mazurkas composed by or attributed to Chopin have been published + without any opus number. Two mazurkas, both in A minor, although very + feeble compositions, are included in the editions by Klindworth and + Mikuli. The Breitkopf and Hartel edition, which includes only one of these + two mazurkas, comprises further a mazurka in G major and one in B flat + major of 1825, one in D major of 1829-30, a remodelling of the same of + 1832—these have already been discussed—and a somewhat more + interesting one in C major of 1833. Of one of the two mazurkas in A minor, + a poor thing and for the most part little Chopinesque, only the dedication + (a son ami Rmile Gaillard) is known, but not the date of composition. The + other (the one not included in Breitkopf and Hartel's, No. 50 of Mikuli's + and Klindworth's edition) appeared first as No. 2 of Noire Temps, a + publication by Schott's Sohne. On inquiry I learned that Notre Temps was + the general title of a series of 12 pieces by Czerny, Chopin, Kalliwoda, + Rosenhain, Thalberg, Kalkbrenner, Mendelssohn, Bertini, Wolff, Kontski, + Osborne, and Herz, which appeared in 1842 or 1843 as a Christmas Album. + [FOONOTE: I find, however, that Chopin's Mazurka was already separately + announced as "Notre Temps, No. 2," in the Monatsberichte of February, + 1842.] Whether a Mazurka elegante by Fr, Chopin, advertised in La France + Musicale of April 6, 1845, as en vente au Bureau de musique, 29, Place de + la Bourse, is identical with one of the above-enumerated mazurkas I have + not been able to discover. In the Klindworth edition [FOOTNOTE: That is to + say, in the original Russian, not in the English (Augener and Co.'s) + edition; and there only by the desire of the publishers and against the + better judgment of the editor.] is also to be found a very un-Chopinesque + Mazurka in F sharp major, previously published by J. P. Gotthard, in + Vienna, the authorship of which Mr. E. Pauer has shown to belong to + Charles Mayer. + </p> + <p> + [FOOTNOTE: In an article, entitled Musical Plagiarism in the Monthly + Musical Record of July 1, 1882 (where also the mazurka in question is + reprinted), we read as follows:—"In 1877 Mr. E. Pauer, whilst + preparing a comprehensive guide through the entire literature of the + piano, looked through many thousand pieces for that instrument published + by German firms, and came across a mazurka by Charles Mayer, published by + Pietro Mechetti (afterwards C. A. Spinal, and entitled Souvenirs de la + Pologne. A few weeks later a mazurka, a posthumous work of F. Chopin, + published by J. Gotthard, came into his hands. At first, although the + piece 'struck him as being an old acquaintance,' he could not fix the time + when and the place where he had heard it; but at last the Mayer mazurka + mentioned above returned to his remembrance, and on comparing the two, he + found that they were one and the same piece. From the appearance of the + title-page and the size of the notes, Mr. Pauer, who has had considerable + experience in these matters, concluded that the Mayer copy must have been + published between the years 1840 and 1845, and wrote to Mr. Gotthard + pointing out the similarity of Chopin's posthumous work, and asking how he + came into possession of the Chopin manuscript. Mr. Gotthard replied,'that + he had bought the mazurka as Chopin's autograph from a Polish countess, + who, being in sad distress, parted, though with the greatest sorrow, with + the composition of her illustrious compatriot.' Mr. Pauer naturally + concludes that Mr. Gotthard had been deceived, that the manuscript was not + a genuine autograph, and 'that the honour of having composed the mazurka + in question belongs to Charles Mayer.' Mr. Pauer further adds: 'It is not + likely that C. Mayer, even if Chopin had made him a present of this + mazurka, would have published it during Chopin's lifetime as a work of his + own, or have sold or given it to the Polish countess. It is much more + likely that Mayer's mazurka was copied in the style of Chopin's + handwriting, and after Mayer's death in 1862 sold as Chopin's autograph to + Mr. Gotthard.'"] + </p> + <p> + Surveying the mazurkas in their totality, we cannot but notice that there + is a marked difference between those up to and those above Op. 41. In the + later ones we look in vain for the beautes sauvages which charm us in the + earlier ones—they strike us rather by their propriety of manner and + scholarly elaboration; in short, they have more of reflective composition + and less of spontaneous effusion about them. This, however, must not be + taken too literally. There are exceptions, partial and total. The "native + wood-notes wild" make themselves often heard, only they are almost as + often stifled in the close air of the study. Strange to say, the last opus + (63) of mazurkas published by Chopin has again something of the early + freshness and poetry. Schumann spoke truly when he said that some poetical + trait, something new, was to be found in every one of Chopin's mazurkas. + They are indeed teeming with interesting matter. Looked at from the + musician's point of view, how much do we not see that is novel and + strange, and beautiful and fascinating withal? Sharp dissonances, + chromatic passing notes, suspensions and anticipations, displacements of + accent, progressions of perfect fifths (the horror of schoolmen), + [FOOTNOTE: See especially the passage near the close of Op. 30, No. 4, + where there are four bars of simultaneous consecutive fifths and + sevenths.] sudden turns and unexpected digressions that are so + unaccountable, so out of the line of logical sequence, that one's + following the composer is beset with difficulties, marked rhythm picture + to us the graceful motions of the dancers, and suggest the clashing of the + spurs and the striking of heels against the ground. The second mazurka + might be called "the request." All the arts of persuasion are tried, from + the pathetic to the playful, and a vein of longing, not unmixed with + sadness, runs through the whole, or rather forms the basis of it. The + tender commencement of the second part is followed, as it were, by the + several times repeated questions—Yes? No? (Bright sunshine? Dark + clouds?) But there comes no answer, and the poor wretch has to begin anew. + A helpless, questioning uncertainty and indecision characterise the third + mazurka. For a while the composer gives way (at the beginning of the + second part) to anger, and speaks in a defiant tone; but, as if perceiving + the unprofitableness of it, returns soon to his first strain. + Syncopations, suspensions, and chromatic passing notes form here the + composer's chief stock in trade, displacement of everything in melody, + harmony, and rhythm is the rule. Nobody did anything like this before + Chopin, and, as far as I know, nobody has given to the world an equally + minute and distinct representation of the same intimate emotional + experiences. My last remarks hold good with the fourth mazurka, which is + bleak and joyless till, with the entrance of A major, a fairer prospect + opens. But those jarring tones that strike in wake the dreamer pitilessly. + The commencement of the mazurka, as well as the close on the chord of the + sixth, the chromatic glidings of the harmonies, the strange twirls and + skips, give a weird character to this piece. + </p> + <p> + The origin of the polonaise (Taniec Polski, Polish dance), like that of + the, no doubt, older mazurka, is lost in the dim past. For much credit can + hardly be given to the popular belief that it developed out of the + measured procession, to the sound of music, of the nobles and their + ladies, which is said to have first taken place in 1574, the year after + his election to the Polish throne, when Henry of Anjou received the + grandees of his realm. The ancient polonaises were without words, and thus + they were still in the time of King Sobieski (1674-96). Under the + subsequent kings of the house of Saxony, however, they were often adapted + to words or words were adapted to them. Celebrated polonaises of political + significance are: the Polonaise of the 3rd of May, adapted to words + relative to the promulgation of the famous constitution of the 3rd of May, + 1791; the Kosciuszko Polonaise, with words adapted to already existing + music, dedicated to the great patriot and general when, in 1792, the + nation rose in defence of the constitution; the Oginski Polonaise, also + called the Swan's song and the Partition of Poland, a composition without + words, of the year 1793 (at the time of the second partition), by Prince + Michael Cleophas Oginski. Among the Polish composers of the second half of + the last century and the beginning of the present whose polonaises enjoyed + in their day, and partly enjoy still, a high reputation, are especially + notable Kozlowski, Kamienski, Elsner, Deszczynski, Bracicki, Wanski, + Prince Oginski, Kurpinski, and Dobrzynski. Outside Poland the polonaise, + both as an instrumental and vocal composition, both as an independent + piece and part of larger works, had during the same period quite an + extraordinary popularity. Whether we examine the productions of the + classics or those of the inferior virtuosic and drawing-room composers, + [FOOTNOTE: I should have added "operatic composers."] everywhere we find + specimens of the polonaise. Pre-eminence among the most successful foreign + cultivators of this Polish dance has, however, been accorded to Spohr and + Weber. I said just now "this dance," but, strictly speaking, the + polonaise, which has been called a marche dansante, is not so much a dance + as a figured walk, or procession, full of gravity and a certain courtly + etiquette. As to the music of the polonaise, it is in 3/4 time, and of a + moderate movement (rather slow than quick). The flowing and more or less + florid melody has rhythmically a tendency to lean on the second crotchet + and even on the second quaver of the bar (see illustration No. 1, a and + b), and generally concludes each of its parts with one of certain + stereotyped formulas of a similar rhythmical cast (see illustration No. 2, + a, b, c, and d). The usual accompaniment consists of a bass note at the + beginning of the bar followed, except at the cadences, by five quavers, of + which the first may be divided into semiquavers. Chopin, however, + emancipated himself more and more from these conventionalities in his + later poetic polonaises. + </p> + <p> + [Two music score excerpts here, labeled No. 1 and No. 2] + </p> +<pre xml:space="preserve"> + The polonaise [writes Brodzinski] is the only dance which + suits mature age, and is not unbecoming to persons of elevated + rank; it is the dance of kings, heroes, and even old men; it + alone suits the martial dress. It does not breathe any + passion, but seems to be only a triumphal march, an expression + of chivalrous and polite manners. A solemn gravity presides + always at the polonaise, which, perhaps, alone recalls neither + the fire of primitive manners nor the gallantry of more + civilised but more enervated ages. Besides these principal + characteristics, the polonaise bears a singularly national and + historical impress; for its laws recall an aristocratic + republic with a disposition to anarchy, flowing less from the + character of the people than from its particular legislation. + In the olden times the polonaise was a kind of solemn + ceremony. The king, holding by the hand the most distinguished + personage of the assembly, marched at the head of a numerous + train of couples composed of men alone: this dance, made more + effective by the splendour of the chivalrous costumes, was + only, strictly speaking, a triumphal march. + + If a lady was the object of the festival, it was her privilege + to open the march, holding by the hand another lady. All the + others followed until the queen of the ball, having offered + her hand to one of the men standing round the room, induced + the other ladies to follow her example. + + The ordinary polonaise is opened by the most distinguished + person of the gathering, whose privilege it is to conduct the + whole file of the dancers or to break it up. This is called in + Polish rey wodzic, figuratively, to be the leader, in some + sort the king (from the Latin rex). To dance at the head was + also called to be the marshal, on account of the privileges of + a marshal at the Diets. The whole of this form is connected + with the memories and customs of raising the militia + (pospolite), or rather of the gathering of the national + assemblies in Poland. Hence, notwithstanding the deference + paid to the leaders, who have the privilege of conducting at + will the chain of dancers, it is allowable, by a singular + practice made into a law, to dethrone a leader every time any + bold person calls out odbiianego, which means retaken by force + or reconquered; he who pronounces this word is supposed to + wish to reconquer the hand of the first lady and the direction + of the dance; it is a kind of act of liberum veto, to which + everyone is obliged to give way. The leader then abandons the + hand of his lady to the new pretender; every cavalier dances + with the lady of the following couple, and it is only the + cavalier of the last couple who finds himself definitively + ousted if he has not the boldness to insist likewise upon his + privilege of equality by demanding odbiianego, and placing + himself at the head. + + But as a privilege of this nature too often employed would + throw the whole ball into complete anarchy, two means are + established to obviate this abuse—namely, the leader makes + use of his right to terminate the polonaise, in imitation of a + king or marshal dissolving a Diet, or else, according to the + predominating wish, all the cavaliers leave the ladies alone + in the middle, who then choose new partners and continue the + dance, excluding the disturbers and discontented, which + recalls the confederations employed for the purpose of making + the will of the majority prevail. + + The polonaise breathes and paints the whole national + character; the music of this dance, while admitting much art, + combines something martial with a sweetness marked by the + simplicity of manners of an agricultural people. Foreigners + have distorted this character of the polonaises; the natives + themselves preserve it less in our day in consequence of the + frequent employment of motives drawn from modern operas. As to + the dance itself, the polonaise has become in our day a kind + of promenade which has little charm for the young, and is but + a scene of etiquette for those of a riper age. Our fathers + danced it with a marvellous ability and a gravity full of + nobleness; the dancer, making gliding steps with energy, but + without skips, and caressing his moustache, varied his + movements by the position of his sabre, of his cap, and of + his tucked-up coat-sleeves, distinctive signs of a free man + and warlike citizen. Whoever has seen a Pole of the old school + dance the polonaise in the national costume will confess + without hesitation that this dance is the triumph of a well- + made man, with a noble and proud tournure, and with an air at + once manly and gay. +</pre> + <p> + After this Brodzinski goes on to describe the way in which the polonaise + used to be danced. But instead of his description I shall quote a not less + true and more picturesque one from the last canto of Mickiewicz's "Pan + Tadeusz":— + </p> +<pre xml:space="preserve"> + It is time to dance the polonaise. The President comes + forward; he lightly throws back the fausses manches of his + overcoat, caresses his moustache, presents his hand to Sophia: + and, by a respectful salute, invites her for the first couple. + Behind them range themselves the other dancers, two and two; + the signal is given, the dance is begun, the President directs + it. + + His red boots move over the green sward, his belt sends forth + flashes of light; he proceeds slowly, as if at random: but in + every one of his steps, in every one of his movements, one can + read the feelings and the thoughts of the dancer. He stops as + if to question his partner; he leans towards her, wishes to + speak to her in an undertone. The lady turns away, does not + listen, blushes. He takes off his cap, and salutes her + respectfully. The lady is not disinclined to look at him, but + persists in being silent. He slackens his pace, seeks to read + in her eyes, and smiles. Happy in her mute answer, he walks + more quickly, looking proudly at his rivals; now he draws his + cap with the heron-feathers forward, now he pushes it back. At + last he puts it on one side and turns up his moustaches. He + withdraws; all envy him, all follow his footsteps. He would + like to disappear with his lady. Sometimes he stops, raises + politely his hand, and begs the dancers to pass by him. + Sometimes he tries to slip dexterously away, changing the + direction. He would like to deceive his companions; but the + troublesome individuals follow him with a nimble step, entwine + him with more and more tightened loops. He becomes angry; lays + his right hand on his sword as if he wished to say: "Woe to + the jealous!" He turns, pride on his countenance, a challenge + in his air, and marches straight on the company, who give way + at his approach, open to him a passage, and soon, by a rapid + evolution, are off again in pursuit of him. + + On all sides one hears the exclamation: "Ah! this is perhaps + the last. Look, young people, perhaps this is the last who + will know how to conduct thus the polonaise!" +</pre> + <p> + Among those of Chopin's compositions which he himself published are, + exclusive of the "Introduction et Polonaise brillante" for piano and + violoncello, Op. 3, eight polonaises—namely: "Grande Polonaise + brillante" (in E flat major), "precedee d'un Andante spianato" (in G + major), "pour le piano avec orchestre," Op. 22; "Deux Polonaises" (in C + sharp minor and E flat minor), Op. 26; "Deux Polonaises" (in A major and C + minor), Op. 40; "Polonaise" (F sharp minor), Op. 44; "Polonaise" (in A + flat major), Op. 53; [FOOTNOTE: This polonaise is called the "eighth" on + the title-page, which, of course, it is only by including the "Polonaise," + Op. 3, for piano and violoncello.] and "Polonaise-Fantaisie" (in A flat + major), Op. 61. The three early polonaises posthumously-published by + Fontana as Op. 71 have already been discussed in Chapter VIII. Other + posthumously-published polonaises—such as the Polonaise in G sharp + minor, to be found in Mikuli's edition, and one in B flat minor of the + year 1826, first published in the supplement of the journal "Echo + Muzyczne"—need not be considered by us. [FOOTNOTE: Both polonaises + are included in the Breitkopf and Hartel edition, where the one in G sharp + minor bears the unlikely date 1822. The internal evidence speaks against + this statement.] + </p> + <p> + Chopin's Polonaises Op. 26, 40, 53, and 61 are pre-eminently political, + they are the composer's expression of his patriotic feelings. It is not + difficult to recognise in them proud memories of past splendours, sad + broodings over present humiliations, bright visions of a future + resurrection. They are full of martial chivalry, of wailing dejection, of + conspiracy and sedition, of glorious victories. The poetically-inferior + Polonaise, Op. 22, on the other hand, while unquestionably Polish in + spirit, is not political. Chopin played this work, which was probably + composed, or at least sketched, in 1830, [FOOTNOTE: See Vol. I., Chapter + xiii., pp. 201, 202.] and certainly published in July, 1836, for the first + time in public at a Paris Conservatoire concert for the benefit of + Habeneck on April 26, 1835; and this was the only occasion on which he + played it with orchestral accompaniments. The introductory Andante (in G + major, and 6/8 time), as the accompanying adjective indicates, is smooth + and even. It makes one think of a lake on a calm, bright summer day. A + boat glides over the pellucid, unruffled surface of the water, by-and-by + halts at a shady spot by the shore, or by the side of some island (3/4 + time), then continues its course (f time), and finally returns to its + moorings (3/4). I can perceive no connection between the Andante and the + following Polonaise (in E flat major) except the factitious one of a + formal and forced transition, with which the orchestra enters on the scene + of action (Allegro molto, 3/4). After sixteen bars of tutti, the + pianoforte commences, unaccompanied, the polonaise. Barring the short and + in no way attractive and remarkable test's, the orchestra plays a very + subordinate and often silent role, being, indeed, hardly missed when the + pianoforte part is played alone. The pronounced bravura character of the + piece would warrant the supposition that it was written expressly for the + concert-room, even if the orchestral accompaniments were not there to + prove the fact. A proud bearing, healthful vigour, and sprightly vivacity + distinguish Chopin on this occasion. But notwithstanding the brave + appearance, one misses his best qualities. This polonaise illustrates not + only the most brilliant, but also the least lovable features of the Polish + character—ostentatiousness and exaggerated rhetoric. In it Chopin is + discovered posturing, dealing in phrases, and coquetting with sentimental + affectations. In short, the composer comes before us as a man of the + world, intent on pleasing, and sure of himself and success. The general + airiness of the style is a particularly-noticeable feature of this piece + of Chopin's virtuosic period. + </p> + <p> + The first bars of the first (in C sharp minor) of the two Polonaises, Op. + 26 (published in July, 1836), fall upon one's ear like a decision of + irresistible, inexorable fate. Indignation flares up for a moment, and + then dies away, leaving behind sufficient strength only for a dull stupor + (beginning of the second part), deprecation, melting tenderness (the E + major in the second part, and the closing bars of the first and second + parts), and declarations of devotion (meno mosso). While the first + polonaise expresses weak timidity, sweet plaintiveness, and a looking for + help from above, the second one (in E flat minor) speaks of physical force + and self-reliance—it is full of conspiracy and sedition. The + ill-suppressed murmurs of discontent, which may be compared to the ominous + growls of a volcano, grow in loudness and intensity, till at last, with a + rush and a wild shriek, there follows an explosion. The thoughts flutter + hither and thither, in anxious, helpless agitation. Then martial sounds + are heard—a secret gathering of a few, which soon grows in number + and in boldness. Now they draw nearer; you distinguish the clatter of + spurs and weapons, the clang of trumpets (D flat major). Revenge and death + are their watchwords, and with sullen determination they stare desolation + in the face (the pedal F with the trebled part above). After an + interesting transition the first section returns. In the meno mosso (B + major) again a martial rhythm is heard; this time, however, the gathering + is not one for revenge and death, but for battle and victory. From the + far-off distance the winds carry the message that tells of freedom and + glory. But what is this (the four bars before the tempo I.)? Alas! the + awakening from a dream. Once more we hear those sombre sounds, the shriek + and explosion, and so on. Of the two Polonaises, Op. 26, the second is the + grander, and the definiteness which distinguishes it from the vague first + shows itself also in the form. + </p> + <p> + A greater contrast than the two Polonaises, Op. 40 (published in November, + 1840), can hardly be imagined. In the first (in A major) the mind of the + composer is fixed on one elating thought—he sees the + gallantly-advancing chivalry of Poland, determination in every look and + gesture; he hears rising above the noise of stamping horses and the clash + of arms their bold challenge scornfully hurled at the enemy. In the second + (in C minor), on the other hand, the mind of the composer turns from one + depressing or exasperating thought to another—he seems to review the + different aspects of his country's unhappy state, its sullen discontent, + fretful agitation, and uncertain hopes. The manly Polonaise in A major, + one of the simplest (not easiest) compositions of Chopin, is the most + popular of his polonaises. The second polonaise, however, although not so + often heard, is the more interesting one, the emotional contents being + more varied, and engaging more our sympathy. Further, the pianoforte, + however fully and effectively employed, cannot do justice to the martial + music of the one, while its capacities are well suited for the rendering + of the less material effect of the other. In conclusion, let me point out + in the C minor Polonaise the chafing agitation of the second part, the + fitful play between light and shade of the trio-like part in A flat major, + and the added wailing voice in the recurring first portion at the end of + the piece. [FOOTNOTE: In connection with the A major Polonaise, see last + paragraph on next page.] + </p> + <p> + If Schiller is right in saying "Ernst ist das Leben, heiter ist die + Kunst," then what we find in the Polonaise (in F sharp minor), Op. 44 + (published in November, 1841), cannot be art. We look in vain for beauty + of melody and harmony; dreary unisons, querulous melodic phrases, + hollow-eyed chords, hard progressions and modulations throughout every + part of the polonaise proper. We receive a pathological rather than + aesthetical impression. Nevertheless, no one can deny the grandeur and + originality that shine through this gloom. The intervening Doppio + movimento, tempo di Mazurka, sends forth soft beneficent rays—reminiscences + of long ago, vague and vanishing, sweet and melancholy. But there is an + end to this as to all such dreams. Those harassing, exasperating gloomy + thoughts (Tempo di Polacca) return. The sharp corners which we round so + pleasantly and beautifully in our reconstructions of the past make + themselves only too soon felt in the things of the present, and cruelly + waken us to reality and its miseries. + </p> + <p> + The Polonaise, Op. 53 (in A flat major; published in December, 1843), is + one of the most stirring compositions of Chopin, manifesting an + overmastering power and consuming fire. But is it really the same Chopin, + is it the composer of the dreamy nocturnes, the elegant waltzes, who here + fumes and frets, struggling with a fierce, suffocating rage (mark the + rushing succession of chords of the sixth, the growling semiquaver + figures, and the crashing dissonances of the sixteen introductory bars), + and then shouts forth, sure of victory, his bold and scornful challenge? + And farther on, in the part of the polonaise where the ostinato semiquaver + figure in octaves for the left hand begins, do we not hear the trampling + of horses, the clatter of arms and spurs, and the sound of trumpets? Do we + not hear—yea, and see too—a high-spirited chivalry approaching + and passing? Only pianoforte giants can do justice to this martial + tone-picture, the physical strength of the composer certainly did not + suffice. + </p> + <p> + The story goes that when Chopin played one of his polonaises in the + night-time, just after finishing its composition, he saw the door open, + and a long train of Polish knights and ladies, dressed in antique + costumes, enter through it and defile past him. This vision filled the + composer with such terror that he fled through the opposite door, and + dared not return to the room the whole night. Karasowski says that the + polonaise in question is the last-mentioned one, in A flat major; but from + M. Kwiatkowski, who depicted the scene three times, [FOOTNOTE: "Le Reve de + Chopin," a water-colour, and two sketches in oils representing, according + to Chopin's indication (d'apres l'avis de Chopin), the polonaise.] learned + that it is the one in A major, No. 1 of Op. 40, dedicated to Fontana. + </p> + <p> + I know of no more affecting composition among all the productions of + Chopin than the "Polonaise-Fantaisie" (in A flat major), Op. 61 (published + in September, 1846). What an unspeakable, unfathomable wretchedness + reveals itself in these sounds! We gaze on a boundless desolation. These + lamentations and cries of despair rend our heart, these strange, troubled + wanderings from thought to thought fill us with intensest pity. There are + thoughts of sweet resignation, but the absence of hope makes them perhaps + the saddest of all. The martial strains, the bold challenges, the shouts + of triumph, which we heard so often in the composer's polonaises, are + silenced. + </p> +<pre xml:space="preserve"> + An elegiac sadness [says Liszt] predominates, intersected by + wild movements, melancholy smiles, unexpected starts, and + intervals of rest full of dread such as those experience who + have been surprised by an ambuscade, who are surrounded on all + sides, for whom there dawns no hope upon the vast horizon, and + to whose brain despair has gone like a deep draught of Cyprian + wine, which gives a more instinctive rapidity to every + gesture, a sharper point to every emotion, causing the mind to + arrive at a pitch of irritability bordering on madness. +</pre> + <p> + Thus, although comprising thoughts that in beauty and grandeur equal—I + would almost say surpass-anything Chopin has written, the work stands, on + account of its pathological contents, outside the sphere of art. + </p> + <p> + Chopin's waltzes, the most popular of his compositions, are not poesie + intime like the greater number of his works. [FOOTNOTE: Op. 34, No. 2, and + Op. 64, No. 2, however, have to be excepted, to some extent at least.] In + them the composer mixes with the world-looks without him rather than + within—and as a man of the world conceals his sorrows and + discontents under smiles and graceful manners. The bright brilliancy and + light pleasantness of the earlier years of his artistic career, which are + almost entirely lost in the later years, rise to the surface in the + waltzes. These waltzes are salon music of the most aristocratic kind. + Schumann makes Florestan say of one of them, and he might have said it of + all, that he would not play it unless one half of the female dancers were + countesses. But the aristocraticalness of Chopin's waltzes is real, not + conventional; their exquisite gracefulness and distinction are natural, + not affected. They are, indeed, dance-poems whose content is the poetry of + waltz-rhythm and movement, and the feelings these indicate and call forth. + In one of his most extravagantly-romantic critical productions Schumann + speaks, in connection with Chopin's Op. 18, "Grande Valse brillante," the + first-published (in June, 1834) of his waltzes, of "Chopin's body and mind + elevating waltz," and its "enveloping the dancer deeper and deeper in its + floods." This language is altogether out of proportion with the thing + spoken of; for Op. 18 differs from the master's best waltzes in being, not + a dance-poem, but simply a dance, although it must be admitted that it is + an exceedingly spirited one, both as regards piquancy and dash. When, + however, we come to Op. 34, "Trois Valses brillantes" (published in + December, 1838), Op. 42, "Valse" (published in July, 1840), and Op. 64, + "Trois Valses" (published in September, 1847), the only other waltzes + published by him, we find ourselves face to face with true dance-poems. + Let us tarry for a moment over Op. 34. How brisk the introductory bars of + the first (in A flat major) of these three waltzes! And what a striking + manifestation of the spirit of that dance all that follows! We feel the + wheeling motions; and where, at the seventeenth bar of the second part, + the quaver figure enters, we think we see the flowing dresses sweeping + round. Again what vigour in the third part, and how coaxingly tender the + fourth! And, lastly, the brilliant conclusion—the quavers + intertwined with triplets! The second waltz (in A minor; Lento) is of + quite another, of a more retired and private, nature, an exception to the + rule. The composer evidently found pleasure in giving way to this + delicious languor, in indulging in these melancholy thoughts full of + sweetest, tenderest loving and longing. But here words will not avail. One + day when Stephen Heller—my informant—was at Schlesinger's + music-shop in Paris, Chopin entered. The latter, hearing Heller ask for + one of his waltzes, inquired of him which of them he liked best. "It is + difficult to say which I like best," replied Heller, "for I like them all; + but if I were pressed for an answer I would probably say the one in A + minor." This gave Chopin much pleasure. "I am glad you do," he said; "it + is also my favourite." And in an exuberance of amiability he invited + Heller to lunch with him, an invitation which was accepted, the two + artists taking the meal together at the Cafe Riche. The third waltz (in F + major; Vivace) shows a character very different from the preceding one. + What a stretching of muscles! What a whirling! Mark the giddy motions of + the melody beginning at bar seventeen! Of this waltz of Chopin's and the + first it is more especially true what Schumann said of all three: "Such + flooding life moves within these waltzes that they seem to have been + improvised in the ball-room." And the words which the same critic applies + to Op. 34 may be applied to all the waltzes Chopin published himself—"They + must please; they are of another stamp than the usual waltzes, and in the + style in which they can only be conceived by Chopin when he looks in a + grandly-artistic way into the dancing crowd, which he elevates by his + playing, thinking of other things than of what is being danced." In the A + flat major waltz which bears the opus number 42, the duple rhythm of the + melody along with the triple one of the accompaniment seems to me + indicative of the loving nestling and tender embracing of the dancing + couples. Then, after the smooth gyrations of the first period, come those + sweeping motions, free and graceful like those of birds, that intervene + again and again between the different portions of the waltz. The D flat + major part bubbles over with joyousness. In the sostenuto, on the other + hand, the composer becomes sentimental, protests, and heaves sighs. But at + the very height of his rising ardour he suddenly plunges back into that + wild, self-surrendering, heaven and earth-forgetting joyousness—a + stroke of genius as delightful as it is clever. If we do not understand by + the name of scherzo a fixed form, but rather a state of mind, we may say + that Chopin's waltzes are his scherzos and not the pieces to which he has + given that name. None of Chopin's waltzes is more popular than the first + of Op. 64 (in D flat major). And no wonder! The life, flow, and oneness + are unique; the charm of the multiform motions is indescribable. That it + has been and why it has been called valse au petit chien need here only be + recalled to the reader's recollection (see Chapter XXVI., p. 142). No. 2 + (in C sharp minor); different as it is, is in its own way nearly as + perfect as No. 1. Tender, love-sick longing cannot be depicted more + truthfully, sweetly, and entrancingly. The excellent No. 3 (in A flat + major), with the exquisite serpentining melodic lines, which play so + important a part in Chopin's waltzes, and other beautiful details, is in a + somewhat trying position beside the other two waltzes. The non-publication + by the composer of the waltzes which have got into print, thanks to the + zeal of his admirers and the avidity of publishers, proves to me that he + was a good judge of his own works. Fontana included in his collection of + posthumous compositions five waltzes—"Deux Valses," Op. 69 (in F + minor, of 1836; in B minor, of 1829);. and "Trois Valses," Op. 70 (in G + flat major, of 1835; in F minor, of 1843; in D flat major, of 1830). There + are further a waltz in E minor and one in E major (of 1829). [FOOTNOTE: + The "Deux Valses melancoliques" (in F minor and B minor), ecrits sur + l'album de Madame la Comtesse P., 1844 (Cracow: J. Wildt), the English + edition of which (London: Edwin Ashdown) is entitled "Une soiree en 1844," + "Deux Valses melancoliques," are Op. 70. No. 2, and Op. 69, No. 2, of the + works of Chopin posthumously published by Fontana.] Some of these waltzes + I discussed already when speaking of the master's early compositions, to + which they belong. The last-mentioned waltz, which the reader will find in + Mikuli's edition (No. 15 of the waltzes), and also in Breitkopf and + Hartel's (No. 22 of the Posthumous works), is a very weak composition; and + of all the waltzes not published by the composer himself it may be said + that what is good in them has been expressed better in others. + </p> + <p> + We have of Chopin 27 studies: Op. 10, "Douze Etudes," published in July, + 1833; Op. 25, "Douze Etudes," published in October, 1837; and "Trois + nouvelles Etudes," which, before being separately published, appeared in + 1840 in the "Methode des Methodes pour le piano" by F. J. Fetis and I. + Moscheles. The dates of their publication, as in the case of many other + works, do not indicate the approximate dates of their composition. + Sowinski tells us, for instance, that Chopin brought the first book of his + studies with him to Paris in 1831. A Polish musician who visited the + French capital in 1834 heard Chopin play the studies contained in Op. 25. + And about the last-mentioned opus we read in a critical notice by + Schumann, who had, no doubt, his information directly from Chopin: "The + studies which have now appeared [that is, those of Op. 25] were almost all + composed at the same time as the others [that is, those of Op. 10] and + only some of them, the greater masterliness of which is noticeable, such + as the first, in A flat major, and the splendid one in C minor [that is, + the twelfth] but lately." Regarding the Trois nouvelles Etudes without + OPUS number we have no similar testimony. But internal evidence seems to + show that these weakest of the master's studies—which, however, are + by no means uninteresting, and certainly very characteristic—may be + regarded more than Op. 25 as the outcome of a gleaning. In two of Chopin's + letters of the year 1829, we meet with announcements of his having + composed studies. On the 20th of October he writes: "I have composed a + study in my own manner"; and on the 14th of November: "I have written some + studies." From Karasowski learn that the master composed the twelfth study + of Op. 10 during his stay in Stuttgart, being inspired by the capture of + Warsaw by the Russians, which took place on September 8, 1831. Whether + looked at from the aesthetical or technical point of view, Chopin's + studies will be seen to be second to those of no composer. Were it not + wrong to speak of anything as absolutely best, their excellences would + induce one to call them unequalled. A striking feature in them compared + with Chopin's other works is their healthy freshness and vigour. Even the + slow, dreamy, and elegiac ones have none of the faintness and sickliness + to be found in not a few of the composer's pieces, especially in several + of the nocturnes. The diversity of character exhibited by these studies is + very great. In some of them the aesthetical, in others the technical + purpose predominates; in a few the two are evenly balanced: in none is + either of them absent. They give a summary of Chopin's ways and means, of + his pianoforte language: chords in extended positions, wide-spread + arpeggios, chromatic progressions (simple, in thirds, and in octaves), + simultaneous combinations of contrasting rhythms, &c—nothing is + wanting. In playing them or hearing them played Chopin's words cannot fail + to recur to one's mind: "I have composed a study in my own manner." + Indeed, the composer's demands on the technique of the executant were so + novel at the time when the studies made their first public appearance that + one does not wonder at poor blind Rellstab being staggered, and venting + his feelings in the following uncouthly-jocular manner: "Those who have + distorted fingers may put them right by practising these studies; but + those who have not, should not play them, at least not without having a + surgeon at hand." In Op. 10 there are three studies especially noteworthy + for their musical beauty. The third (Lento ma non troppo, in E major) and + the sixth (Andante, in E flat minor) may be reckoned among Chopin's + loveliest compositions. They combine classical chasteness of contour with + the fragrance of romanticism. And the twelfth study (Allegro con fuoco, in + C minor), the one composed at Stuttgart after the fall of Warsaw, how + superbly grand! The composer seems to be fuming with rage: the left hand + rushes impetuously along and the right hand strikes in with passionate + ejaculations. With regard to the above-named Lento ma non troppo (Op. 10, + No. 3), Chopin said to Gutmann that he had never in his life written + another such beautiful melody (CHANT); and on one occasion when Gutmann + was studying it the master lifted up his arms with his hands clasped and + exclaimed: "O, my fatherland!" ("O, me patrie!") I share with Schumann the + opinion that the total weight of Op. 10 amounts to more than that of Op. + 25. Like him I regard also Nos. 1 and 12 as the most important items of + the latter collection of studies: No. 1 (Allegro sostenuto, in A flat + major)—a tremulous mist below, a beautiful breezy melody floating + above, and once or twice a more opaque body becoming discernible within + the vaporous element—of which Schumann says that "after listening to + the study one feels as one does after a blissful vision, seen in a dream, + which, already half-awake, one would fain bring back": [FOOTNOTE: See the + whole quotation, Vol. I., p. 310.] and No. 12 (in C minor, Allegro molto + con fuoco), in which the emotions rise not less than the waves of + arpeggios (in both hands) which symbolise them. Stephen Heller's likings + differ from Schumann's. Discussing Chopin's Op. 25 in the Gazette musicale + of February 24, 1839, he says:— + </p> +<pre xml:space="preserve"> + What more do we require to pass one or several evenings in as + perfect a happiness as possible? As for me, I seek in this + collection of poesy (this is the only name appropriate to the + works of Chopin) some favourite pieces which I might fix in my + memory rather than others. Who could retain everything? For + this reason I have in my note book quite particularly marked + the numbers 4, 5, and 7 of the present poems. Of these twelve + much-loved studies (every one of which has a charm of its own) + these three numbers are those I prefer to all the rest. +</pre> + <p> + In connection with the fourth, Heller points out that it reminds him of + the first bar of the Kyrie (rather the Requiem aeternam) of Mozart's + Requiem. And of the seventh study he remarks:— + </p> +<pre xml:space="preserve"> + It engenders the sweetest sadness, the most enviable torments; + and if in playing it one feels one's self insensibly drawn + towards mournful and melancholy ideas, it is a disposition of + the soul which I prefer to all others. Alas! how I love these + sombre and mysterious dreams, and Chopin is the god who + creates them. +</pre> + <p> + This No. 7 (in C sharp minor, lento), a duet between a HE and a SHE, of + whom the former shows himself more talkative and emphatic than the latter, + is, indeed, very sweet, but perhaps, also somewhat tiresomely monotonous, + as such tete-a-tete naturally are to third parties. As a contrast to No. + 7, and in conclusion—leaving several aerial flights and other + charming conceptions undiscussed—I will yet mention the octave + study, No. 10, which is a real pandemonium; for a while holier sounds + intervene, but finally hell prevails. + </p> + <p> + The genesis of the Vingt-quatre Preludes, Op. 28, published in September, + 1839, I have tried to elucidate in the twenty-first chapter. I need, + therefore, not discuss the question here. The indefinite character and + form of the prelude, no doubt, determined the choice of the title which, + however, does not describe the contents of this OPUS. Indeed, no ONE name + could do so. This heterogeneous collection of pieces reminds me of nothing + so much as of an artist's portfolio filled with drawings in all stages of + advancement—finished and unfinished, complete and incomplete + compositions, sketches and mere memoranda, all mixed indiscriminately + together. The finished works were either too small or too slight to be + sent into the world separately, and the right mood for developing, + completing, and giving the last touch to the rest was gone, and could not + be found again. Schumann, after expressing his admiration for these + preludes, as well he might, adds: "This book contains morbid, feverish, + and repellent matter." I do not think that there is much that could justly + be called repellent; but the morbidity and feverishness of a considerable + portion must be admitted. + </p> +<pre xml:space="preserve"> + I described the preludes [writes Schumann] as remarkable. To + confess the truth, I expected they would be executed like the + studies, in the grandest style. Almost the reverse is the + case; they are sketches, commencements of studies, or, if you + will, ruins, single eagle-wings, all strangely mixed together. + But in his fine nonpareil there stands in every piece:— + "Frederick Chopin wrote it." One recognises him by the violent + breathing during the rests. He is, and remains, the proudest + poet-mind of the time. +</pre> + <p> + The almost infinite and infinitely-varied beauties collected in this + treasure-trove denominated Vingt-quatre Preludes could only be done + justice to by a minute analysis, for which, however, there is no room + here. I must content myself with a word or two about a few of them, picked + out at random. No. 4 is a little poem the exquisitely-sweet languid + pensiveness of which defies description. The composer seems to be absorbed + in the narrow sphere of his ego, from which the wide, noisy world is for + the time being shut out. In No. 6 we have, no doubt, the one of which + George Sand said that it occurred to Chopin one evening while rain was + falling, and that it "precipitates the soul into a frightful depression." + [FOOTNOTE: See George Sand's account and description in Chapter XXI., p. + 43.] How wonderfully the contending rhythms of the accompaniment, and the + fitful, jerky course of the melody, depict in No. 8 a state of anxiety and + agitation! The premature conclusion of that bright vivacious thing No. 11 + fills one with regret. Of the beautifully-melodious No. 13, the piu lento + and the peculiar closing bars are especially noteworthy. No. 14 invites a + comparison with the finale of the B flat minor Sonata. In the middle + section (in C sharp minor) of the following number (in D flat major), one + of the larger pieces, rises before one's mind the cloistered court of the + monastery of Valdemosa, and a procession of monks chanting lugubrious + prayers, and carrying in the dark hours of night their departed brother to + his last resting-place. It reminds one of the words of George Sand, that + the monastery was to Chopin full of terrors and phantoms. This C sharp + minor portion of No. 15 affects one like an oppressive dream; the + re-entrance of the opening D flat major, which dispels the dreadful + nightmare, comes upon one with the smiling freshness of dear, familiar + nature—only after these horrors of the imagination can its serene + beauty be fully appreciated. No. 17, another developed piece, strikes one + as akin to Mendelssohn's Songs without Words. I must not omit to mention + No. 21, one of the finest of the collection, with its calming cantilena + and palpitating quaver figure. Besides the set of twenty-four preludes, + Op. 28, Chopin published a single one, Op. 45, which appeared in December, + 1841. This composition deserves its name better than almost anyone of the + twenty-four; still, I would rather call it an improvisata. It seems + unpremeditated, a heedless outpouring when sitting at the piano in a + lonely, dreary hour, perhaps in the twilight. The quaver figure rises + aspiringly, and the sustained parts swell out proudly. The piquant cadenza + forestalls in the progression of diminished chords favourite effects of + some of our more modern composers. The modulation from C sharp minor to D + major and back again (after the cadenza) is very striking and equally + beautiful. + </p> + <p> + It can hardly be said, although Liszt seemed to be of a different opinion, + that Chopin created a new type by his preludes—they are too unlike + each other in form and character. On the other hand, he has done so by his + four scherzos—Op. 20 (in B minor), published in February, 1835; Op. + 31 (B flat minor), published in December, 1837; Op. 39 (C sharp minor), + published in October, 1840; and Op. 54 (in E major), published in + December, 1843. "How is 'gravity' to clothe itself, if 'jest' goes about + in dark veils?" exclaims Schumann. No doubt, scherzo, if we consider the + original meaning of the word, is a misnomer. But are not Beethoven's + scherzos, too, misnamed? To a certain extent they are. But if Beethoven's + scherzos often lack frolicsomeness, they are endowed with humour, whereas + Chopin's have neither the one nor the other. Were it not that we attach, + especially since Mendelssohn's time, the idea of lightness and + light-heartedness to the word capriccio, this would certainly be the more + descriptive name for the things Chopin entitled SCHERZO. But what is the + use of carping at a name? Let us rather look at the things, and thus + employ our time better. Did ever composer begin like Chopin in his Premier + Scherzo, Op. 20? Is this not like a shriek of despair? and what follows, + bewildered efforts of a soul shut in by a wall of circumstances through + which it strives in vain to break? at last sinking down with fatigue, + dreaming a dream of idyllic beauty? but beginning the struggle again as + soon as its strength is recruited? Schumann compared the second SCHERZO, + Op. 31, to a poem of Byron's, "so tender, so bold, as full of love as of + scorn." Indeed, scorn—an element which does not belong to what is + generally understood by either frolicsomeness or humour—plays an + important part in Chopin's scherzos. The very beginning of Op. 31 offers + an example. + </p> + <p> + [FOOTNOTE: "It must be a question [the doubled triplet figure A, B flat, d + flat, in the first bar], taught Chopin, and for him it was never question + enough, never piano enough, never vaulted (tombe) enough, as he said, + never important enough. It must be a charnel-house, he said on one + occasion." (W. von Lenz, in Vol. XXVI. of the Berliner Musikzeitung.)] + </p> + <p> + And then, we do not meet with a phrase of a more cheerful nature which is + not clouded by sadness. Weber—I mention his name intentionally—would, + for instance, in the D flat major portion have concluded the melodic + phrase in diatonic progression and left the harmony pure. Now see what + Chopin does. The con anima has this mark of melancholy still more + distinctly impressed upon it. After the repetition of the capricious, + impulsively-passionate first section (in B flat minor and D flat major) + follows the delicious second, the expression of which is as indescribable + as that of Leonardo da Vinci's "La Gioconda." It is a pondering and + wondering full of longing. In the deep, tender yearning, with the urging + undercurrent of feeling, of the C sharp minor portion, the vague dreaming + of the preceding portion of the section grows into wakefulness, and the + fitful imagination is concentrated on one object. Without continuing the + emotional or entering on a formal analysis of this scherzo, I venture to + say that it is a very important composition, richer and more varied in + emotional incidents than the other works of Chopin which bear the same + name. More than to any one of the master's scherzos, the name capriccio + would be suitable to his third "Scherzo," Op. 39, with its capricious + starts and changes, its rudderless drifting. Peevishness, a fierce + scornfulness, and a fretful agitation, may be heard in these sounds, of + jest and humour there is nothing perceptible. At any rate, the curled lip, + as it were, contradicts the jesting words, and the careless exterior does + not altogether conceal the seething rage within. But with the meno mosso + (D flat major) come pleasanter thoughts. The hymn-like snatches of + sustained melody with the intervening airy interludes are very lovely. + These are the principal features, to describe all the whims is of course + impossible. You may call this work an extravaganza, and point out its + grotesqueness; but you must admit that only by this erratic character of + the form and these spasmodic movements, could be expressed the peculiar + restiveness, fitfulness, and waywardness of thought and feeling that + characterise Chopin's individuality. To these unclassical qualities—for + classical art is above all plastic and self-possessed—combined as + they are with a high degree of refinement and delicacy, his compositions + owe much of their peculiar charm. The absence of scorn distinguishes the + fourth "Scherzo," Op. 54, from the other three; but, like them, although + less closely wrapped, it wears dark veils. The tripping fairy steps which + we find in bars 17-20 and in other places are a new feature in Chopin. As + to the comparative value of the work, it seems to me inferior to its + brothers. The first section is too fragmentary to give altogether + satisfaction. One is hustled from one phrase to another, and they are as + unlike each other as can well be imagined. The beauty of many of the + details, however, must be acknowledged; indeed, the harmonic finesses, the + melodic cunning, and rhythmical piquancy, are too potent to be ignored. + The resting-place and redeeming part of this scherzo is the + sweetly-melodious second section, with its long, smooth, gently and + beautifully-curved lines. Also the return to the repetition of the first + section is very interesting. This scherzo has the appearance of being + laboured, painfully hammered and welded together. But as the poet is born, + not made-which "being born" is not brought about without travail, nor + makes the less desirable a careful bringing-up—so also does a work + of art owe what is best in it to a propitious concurrence of circumstances + in the natal hour. + </p> + <p> + The contents of Chopin's impromptus are of a more pleasing nature than + those of the scherzos. Like the latter they are wayward, but theirs is a + charming, lovable waywardness. The composer's three first impromptus were + published during his lifetime: Op. 29 in December, 1837; Op. 36 in May, + 1840; and Op. 51 in February, 1843. The fourth impromptu + ("Fantaisie-Impromptu"), Op. 66, is a posthumous publication. What name + has been more misapplied than that of impromptu? Again and again we meet + with works thus christened which bear upon them the distinct marks of + painful effort and anxious filing, which maybe said to smell of the + mid-night lamp, and to be dripping with the hard-working artificer's + sweat. How Chopin produced the "Impromptu," Op. 29 (in A flat major), I do + not know. Although an admired improviser, the process of composition was + to him neither easy nor quick. But be this as it may, this impromptu has + quite the air of a spontaneous, unconstrained outpouring. The first + section with its triplets bubbles forth and sparkles like a fountain on + which the sunbeams that steal through the interstices of the overhanging + foliage are playing. The F minor section is sung out clearly and heartily, + with graces beautiful as nature's. The song over, our attention is again + attracted by the harmonious murmuring and the changing lights of the + water. The "Deuxieme Impromptu," Op. 36 (in F sharp major), is, like the + first, a true impromptu, but while the first is a fresh and lusty welling + forth of joy amidst the pleasures of a present reality, this is a dreamy + lingering over thoughts and scenes of the imagination that appear and + vanish like dissolving views. One would wish to have a programme of this + piece. Without such assistance the D major section of the impromptu is + insignificant. We want to see, or at least to know, who the persons that + walk in the procession which the music accompanies are. Some bars in the + second half of this section remind one of Schumann's "Fantasia" in C. + After this section a curious transition leads in again the theme, which + first appeared in F sharp major, in F major, and with a triplet + accompaniment. When F sharp major is once more reached, the theme is still + further varied (melodically), till at last the wondrous, fairy-like phrase + from the first section brings the piece to a conclusion. This impromptu is + inferior to the first, having less pith in it; but its tender sweetness + and euphony cannot be denied. The idle forgetfulness of the more serious + duties and the deep miseries of life in the enjoyment of a dolce far + niente recalls Schubert and the "Fantasia," Op. 78, and other works of + his. In the "Troisieme Impromptu" (in G flat major), Op. 51, the + rhythmical motion and the melodical form of the two parts that serpentine + their lines in opposite directions remind one of the first impromptu (in A + flat), but the characters of these pieces are otherwise very unlike. The + earlier work is distinguished by a brisk freshness; the later one by a + feverish restlessness and faint plaintiveness. After the irresolute + flutter of the relaxing and enervating chromatic progressions and + successions of thirds and sixths, the greater steadiness of the middle + section, more especially the subdued strength and passionate eloquence at + the D flat major, has a good effect. But here, too, the languid, lamenting + chromatic passing and auxiliary notes are not wanting, and the anxious, + breathless accompaniment does not make things more cheerful. In short, the + piece is very fine in its way, but the unrelieved, or at least very + insufficiently relieved, morbidezza is anything but healthy. We may take + note of the plain chord progressions which intervene in the first and last + sections of the impromptu; such progressions are of frequent occurrence in + Chopin's works. Is there not something pleonastic in the title + "Fantaisie-Impromptu?" Whether the reader may think so or not, he will + agree with me that the fourth impromptu (in C sharp minor), Op. 66, is the + most valuable of the compositions published by Fontana; indeed, it has + become one of the favourites of the pianoforte-playing world. Spontaneity + of emotional expression and effective treatment of the pianoforte + distinguish the Fantaisie-Impromptu. In the first section we have the + restless, surging, gushing semiquavers, carrying along with them a + passionate, urging melody, and the simultaneous waving triplet + accompaniment; in the second section, where the motion of the + accompaniment is on the whole preserved, the sonorous, expressive + cantilena in D flat major; the third section repeats the first, which it + supplements with a coda containing a reminiscence of the cantilena of the + second section, which calms the agitation of the semiquavers. According to + Fontana, Chopin composed this piece about 1834. Why did he keep it in his + portfolio? I suspect he missed in it, more especially in the middle + section, that degree of distinction and perfection of detail which alone + satisfied his fastidious taste. + </p> + <p> + Among Chopin's nocturnes some of his most popular works are to be found. + Nay, the most widely-prevailing idea of his character as a man and + musician seems to have been derived from them. But the idea thus formed is + an erroneous one; these dulcet, effeminate compositions illustrate only + one side of the master's character, and by no means the best or most + interesting. Notwithstanding such precious pearls as the two Nocturnes, + Op. 37, and a few others, Chopin shows himself greater both as a man and a + musician in every other class of pieces he has originated and cultivated, + more especially in his polonaises, ballades, and studies. That, however, + there is much to be admired in the class now under consideration will be + seen from the following brief comments on the eighteen nocturnes (leaving + out of account the one of the year 1828 published by Fontana as Op. 72, + No. 1, and already discussed in an earlier chapter) which Chopin gave to + the world—Op. 9, Trois Nocturnes, in January, 1833; Op. 15, Trois + Nocturnes, in January, 1834; Op. 27, Deux Nocturnes, in May, 1836; Op. 32, + Deux Nocturnes, December, 1837; Op. 37, Deux Nocturnes, in May, 1840; Op. + 48, Deux Nocturnes, in November, 1841; Op. 55, Deux Nocturnes, in August, + 1844; and Op. 62, Deux Nocturnes, in September, 1846. Rellstab remarked in + 1833 of the Trois Nocturnes, Op. 9, that Chopin, without borrowing + directly from Field, copied the latter's melody and manner of + accompaniment. There is some truth in this; only the word "copy" is not + the correct one. The younger received from the elder artist the first + impulse to write in this form, and naturally adopted also something of his + manner. On the whole, the similitude is rather generic than specific. Even + the contents of Op. 9 give Chopin a just claim to originality; and the + Field reminiscences which are noticeable in Nos. 1 and 2 (most strikingly + in the commencement of No. 2) of the first set of nocturnes will be looked + for in vain in the subsequent ones. + </p> +<pre xml:space="preserve"> + Where Field smiles [said the above-mentioned critic], Chopin + makes a grinning grimace; where Field sighs, Chopin groans; + where Field shrugs his shoulders, Chopin twists his whole + body; where Field puts some seasoning into the food, Chopin + empties a handful of Cayenne pepper...In short, if one holds + Field's charming romances before a distorting concave mirror, + so that every delicate expression becomes a coarse one, one + gets Chopin's work...We implore Mr. Chopin to return to + nature. +</pre> + <p> + Now, what remains of this statement after subtracting prejudices and + narrow-mindedness? Nothing but that Chopin is more varied and passionate + than Field, and has developed to the utmost some of the means of + expression used by the latter. No. 1 (in B flat minor) of Op. 9 is + pervaded by a voluptuous dreaminess and cloying sweetness: it suggests + twilight, the stillness of night, and thoughts engendered thereby. The + tone of sentiment and the phraseology of No. 2 (in E fiat major) have been + made so common by fashionable salon composers that one cannot help + suspecting that it is not quite a natural tone—not a tone of true + feeling, but of sentimentality. The vulgar do not imitate the true and + noble, but the false and ostentatious. In this piece one breathes + drawing-room air, and ostentation of sentiment and affectation of speech + are native to that place. What, however, the imitations often lack is + present in every tone and motion of the original: eloquence, grace, and + genuine refinement. + </p> + <p> + [FOOTNOTE: Gutmann played the return of the principal subject in a way + very different from that in which it is printed, with a great deal of + ornamentation, and said that Chopin played it always in that way. Also the + cadence at the end of the nocturne (Op. 9, No. 2) had a different form. + But the composer very frequently altered the ornamentions of his pieces or + excogitated alternative readings.] + </p> + <p> + The third is, like the preceding nocturne, exquisite salon music. Little + is said, but that little very prettily. Although the atmosphere is close, + impregnated with musk and other perfumes, there is here no affectation. + The concluding cadenza, that twirling line, reads plainly "Frederic + Chopin." Op. 15 shows a higher degree of independence and poetic power + than Op. 9. The third (in G minor) of these nocturnes is the finest of the + three. The words languido e rubato describe well the wavering pensiveness + of the first portion of the nocturne, which finds its expression in the + indecision of the melodic progressions, harmonies, and modulations. The + second section is marked religiose, and may be characterised as a trustful + prayer, conducive to calm and comfort. The Nocturnes in F major and F + sharp major, Op. 15, are more passionate than the one we just now + considered, at least in the middle sections. The serene, tender Andante in + F major, always sweet, and here and there with touches of delicate + playfulness, is interrupted by thoughts of impetuous defiance, which give + way to sobs and sighs, start up again with equal violence, and at last die + away into the first sweet, tender serenity. The contrast between the + languid dreaming and the fiery upstarting is striking and effective, and + the practical musician, as well as the student of aesthetics, will do well + to examine by what means these various effects are produced. In the second + nocturne, F sharp major, the brightness and warmth of the world without + have penetrated into the world within. The fioriture flit about as lightly + as gossamer threads. The sweetly-sad longing of the first section becomes + more disquieting in the doppio movimento, but the beneficial influence of + the sun never quite loses its power, and after a little there is a relapse + into the calmer mood, with a close like a hazy distance on a summer day. + The second (in D flat major) of Op. 27 was, no doubt, conceived in a more + auspicious moment than the first (in C sharp minor), of which the + extravagantly wide-meshed netting of the accompaniment is the most + noteworthy feature. [FOOTNOTE: In most of the pieces where, as in this + one, the left-hand accompaniment consists of an undulating figure, Chopin + wished it to be played very soft and subdued. This is what Gutmann said.] + As to the one in D flat, nothing can equal the finish and delicacy of + execution, the flow of gentle feeling, lightly rippled by melancholy, and + spreading out here and there in smooth expansiveness. But all this + sweetness enervates; there is poison in it. We should not drink in these + thirds, sixths, &c., without taking an antidote of Bach or Beethoven. + Both the nocturnes of Op. 32 are pretty specimens of Chopin's style of + writing in the tender, calm, and dreamy moods. Of the two (in B major and + A flat major) I prefer the quiet, pellucid first one. It is very simple, + ornaments being very sparingly introduced. The quietness and simplicity + are, however, at last disturbed by an interrupted cadence, sombre sounds + as of a kettle-drum, and a passionate recitative with intervening abrupt + chords. The second nocturne has less originality and pith. Deux Nocturnes + (in G minor and G major), Op. 37, are two of the finest, I am inclined to + say, the two finest, of this class of Chopin's pieces; but they are of + contrasting natures. The first and last sections of the one in G minor are + plaintive and longing, and have a wailing accompaniment; the chord + progressions of the middle section glide along hymn-like. [FOOTNOTE: + Gutmann played this section quicker than the rest, and said that Chopin + forgot to mark the change of movement.] Were it possible to praise one + part more emphatically than another without committing an injustice, I + would speak of the melodic exquisiteness of the first motive. But already + I see other parts rise reproachfully before my repentant conscience. A + beautiful sensuousness distinguishes the nocturne in G major: it is + luscious, soft, rounded, and not without a certain degree of languor. The + successions of thirds and, sixths, the semitone progressions, the rocking + motion, the modulations (note especially those of the first section and + the transition from that to the second), all tend to express the essential + character. The second section in C major reappears in E major, after a + repetition of part of the first section; a few bars of the latter and a + reminiscence of the former conclude the nocturne. But let us not tarry too + long in the treacherous atmosphere of this Capua—it bewitches and + unmans. The two nocturnes (in C minor and F sharp minor) which form Op. 48 + are not of the number of those that occupy foremost places among their + companions. Still, they need not be despised. The melody of the C minor + portion of the first is very expressive, and the second has in the C sharp + minor portion the peculiar Chopinesque flebile dolcezza. In playing these + nocturnes there occurred to me a remark of Schumann's, made when he + reviewed some nocturnes by Count Wielhorski. He said, on that occasion, + that the quicker middle movements which Chopin frequently introduces into + his nocturnes are often weaker than his first conceptions, meaning the + first portions of the nocturnes. Now, although the middle parts in the + present instances are, on the contrary, slower movements, yet the judgment + holds good; at least, with respect to the first nocturne, the middle part + of which has nothing to recommend it but the effective use of a full and + sonorous instrumentation, if I may use this word in speaking of one + instrument. The middle part of the second (f, D flat, Molto piu lento), + however, is much finer; in it we meet again, as we did in some other + nocturnes, with soothing, simple chord progressions. When Gutmann studied + the C sharp minor nocturne with Chopin, the master told him that the + middle section (the Molto piu lento, in D flat major) should be played as + a recitative: "A tyrant commands" (the first two chords), he said, "and + the other asks for mercy." Regarding the first nocturne (in F minor) of + Op. 55, we will note only the flebile dolcezza of the first and the last + section, and the inferiority of the more impassioned middle section. The + second nocturne (in E flat major) differs in form from the other nocturnes + in this, that it has no contrasting second section, the melody flowing + onward from begining to end in a uniform manner. The monotony of the + unrelieved sentimentality does not fail to make itself felt. One is seized + by an ever-increasing longing to get out of this oppressive atmosphere, to + feel the fresh breezes and warm sunshine, to see smiling faces and the + many-coloured dress of Nature, to hear the rustling of leaves, the + murmuring of streams, and voices which have not yet lost the clear, + sonorous ring that joy in the present and hope in the future impart. The + two nocturnes, Op. 62, seem to owe their existence rather to the sweet + habit of activity than to inspiration. At any rate, the tender flutings, + trills, roulades, syncopations, &c., of the first nocturne (in B + major), and the sentimental declarations and confused, monotonous + agitation of the second (in E major), do not interest me sufficiently to + induce me to discuss their merits and demerits. + </p> + <p> + One day Tausig, the great pianoforte-virtuoso, promised W. von Lenz to + play him Chopin's "Barcarolle," Op. 60 (published in September, 1846), + adding, "That is a performance which must not be undertaken before more + than two persons. I shall play you my own self (meinen Menschen). I love + the piece, but take it up only rarely." Lenz, who did not know the + barcarolle, thereupon went to a music-shop and read it through + attentively. The piece, however, did not please him at all; it seemed to + him a long movement in the nocturne-style, a Babel of figuration on a + lightly-laid foundation. But he found that he had made a mistake, and, + after hearing it played by Tausig, confessed that the virtuoso had infused + into the "nine pages of enervating music, of one and the same + long-breathed rhythm (12/8), so much interest, so much motion, and so much + action," that he regretted the long piece was not longer. And now let us + hear what remarks Tausig made with regard to the barcarolle:— + </p> +<pre xml:space="preserve"> + There are two persons concerned in the affair; it is a love- + scene in a discrete gondola; let us say this mise en scene is + the symbol of a lovers' meeting generally. This is expressed + in the thirds and sixths; the dualism of two notes (persons) + is maintained throughout; all is two-voiced, two-souled. In + this modulation here in C sharp major (superscribed dolce + sfogato), there are kiss and embrace! This is evident! When, + after three bars of introduction, the theme, lightly rocking + in the bass solo, enters in the fourth, this theme is + nevertheless made use of throughout the whole fabric only as + an accompaniment, and on this the cantilena in two parts is + laid; we have thus a continuous, tender dialogue. +</pre> + <p> + Both Lenz's first and last impressions were correct. The form of the + barcarolle is that of most of Chopin's nocturnes—consisting of three + sections, of which the third is a modified repetition of the first—only + everything is on a larger scale, and more worked out. Unfortunately, the + contrast of the middle section is not great enough to prevent the length, + in spite of the excellence of the contents, from being felt. Thus we must + also subscribe to the "nine pages of enervating music." Still, the + barcarolle is one of the most important of Chopin's compositions in the + nocturne-style. It has distinctive features which decidedly justify and + make valuable its existence. Local colouring is not wanting. The first + section reminded me of Schumann's saying that Chopin in his melodies leans + sometimes over Germany towards Italy. If properly told, this love-laden + romance cannot fail to produce effect. + </p> + <p> + Of the pieces that bear the name "Berceuse," Chopin's Op. 57 (published in + June, 1845) is the finest, or at least one of the finest and happiest + conceptions. It rests on the harmonic basis of tonic and dominant. The + triad of the tonic and the chord of the dominant seventh divide every bar + between them in a brotherly manner. Only in the twelfth and thirteenth + bars from the end (the whole piece contains seventy) the triad of the + subdominant comes forward, and gives a little breathing time to the triad + of the tonic, the chord of the dominant having already dropped off. Well, + on this basis Chopin builds, or let us rather say, on this rocking + harmonic fluid he sets afloat a charming melody, which is soon joined by a + self-willed second part. Afterwards, this melody is dissolved into all + kinds of fioriture, colorature, and other trickeries, and they are of such + fineness, subtlety, loveliness, and gracefulness, that one is reminded of + Queen Mab, who comes— + </p> +<pre xml:space="preserve"> + In shape no bigger than an agate-stone + On the fore-finger of an alderman. + Drawn with a team of little atomies + Athwart men's noses as they lie asleep; + Her waggon-spokes made of long spinners' legs, + The cover of the wings of grasshoppers; + The traces of the smallest spider's web; + The collars of the moonshine's watery beams; + Her whip of cricket's bone; the lash of film; + Her waggoner a small grey-coated gnat. +</pre> + <p> + [FOOTNOTE: Shakespeare, Romeo and Juliet, I., iv., 59-68] + </p> + <p> + But who does not know the delightful description of the fairy in her + hazel-nut coach, and the amusing story of her frolics and pranks? + By-and-by the nimble motions of the colorature become slower, and finally + glide into the original form of the melody, which, however, already after + the third bar comes to a stand-still, is resumed for a short phrase, then + expires, after a long-drawn chord of the dominant seventh, on the chord of + the tonic, and all is rest and silence. Alexandre Dumas fils speaks in the + "Affaire Clemenceau" of the "Berceuse" as— + </p> +<pre xml:space="preserve"> + this muted music [musique en sourdine] which penetrated little + by little the atmosphere and enveloped us in one and the same + sensation, comparable perhaps to that which follows a Turkish + bath, when all the senses are confounded in a general + apaisement, when the body, harmoniously broken, has no longer + any other wish than rest, and when, the soul, seeing all the + doors of its prison open, goes wherever it lists, but always + towards the Blue, into the dream-land. +</pre> + <p> + None of Chopin's compositions surpass in masterliness of form and beauty + and poetry of contents his ballades. In them he attains, I think, the acme + of his power as an artist. It is much to be regretted that they are only + four in number—Op. 23, published in June, 1836; Op. 38, in + September, 1840; Op. 47, in November, 1841; and Op 52, in December, 1843. + When Schumann reviewed the second ballade he wrote: "Chopin has already + written a piece under the same title, one of his wildest and most + individual compositions." Schumann relates also that the poems of + Mickiewicz incited Chopin to write his ballades, which information he got + from the Polish composer himself. He adds significantly: "A poet, again, + might easily write words to them [Chopin's ballades]. They move the + innermost depth of the soul." Indeed, the "Ballade" (in G minor), Op. 23, + is all over quivering with intensest feeling, full of sighs, sobs, groans, + and passionate ebullitions. The seven introductory bars (Lento) begin + firm, ponderous, and loud, but gradually become looser, lighter, and + softer, terminating with a dissonant chord, which some editors have + thought fit to correct. [FOOTNOTE: For the correctness of the suspected + note we have the testimony of pupils—Gutmann, Mikuli, &c.] Yet + this dissonant E flat may be said to be the emotional key-note of the + whole poem. It is a questioning thought that, like a sudden pain, shoots + through mind and body. And now the story-teller begins his simple but + pathetic tale, heaving every now and then a sigh. After the ritenuto the + matter becomes more affecting; the sighs and groans, yet for a while kept + under restraint, grow louder with the increasing agitation, till at last + the whole being is moved to its very depths. On the uproar of the passions + follows a delicious calm that descends like a heavenly vision (meno mosso, + E flat major). But this does not last, and before long there comes, in the + train of the first theme, an outburst of passion with mighty upheavings + and fearful lulls that presage new eruptions. Thus the ballade rises and + falls on the sea of passion till a mad, reckless rush (presto con fuoco) + brings it to a conclusion. Schumann tells us a rather interesting fact in + his notice of the "Deuxieme Ballade" (in F major), Op. 38. He heard Chopin + play it in Leipzig before its publication, and at that time the passionate + middle parts did not exist, and the piece closed in F major, now it closes + in A minor. Schumann's opinion of this ballade is, that as a work of art + it stands below the first, yet is not less fantastic and geistreich. If + two such wholly dissimilar things can be compared and weighed in this + fashion, Schumann is very likely right; but I rather think they cannot. + The second ballade possesses beauties in no way inferior to those of the + first. What can be finer than the simple strains of the opening section! + They sound as if they had been drawn from the people's storehouse of song. + The entrance of the presto surprises, and seems out of keeping with what + precedes; but what we hear after the return of the tempo primo—the + development of those simple strains, or rather the cogitations on them—justifies + the presence of the presto. The second appearance of the latter leads to + an urging, restless coda in A minor, which closes in the same key and + pianissimo with a few bars of the simple, serene, now veiled, first + strain. The "Troisieme Ballade" (in A flat major), Op. 47, does not equal + its sisters in emotional intensity, at any rate, not in emotional + tumultuousness. On this occasion the composer shows himself in a + fundamentally caressing mood. But the fine gradations, the iridescence of + feeling, mocks at verbal definition. Insinuation and persuasion cannot be + more irresistible, grace and affection more seductive. Over everything in + melody, harmony, and rhythm, there is suffused a most exquisite elegance. + A quiver of excitement runs through the whole piece. The syncopations, + reversions of accent, silences on accented parts of the bar (sighs and + suspended respiration, felicitously expressed), which occur very + frequently in this ballade, give much charm and piquancy to it. As an + example, I may mention the bewitching subject in F major of the second + section. The appearances of this subject in different keys and in a new + guise are also very effective. Indeed, one cannot but be struck with + wonder at the ease, refinement, and success with which Chopin handles here + the form, while in almost every work in the larger forms we find him + floundering lamentably. It would be foolish and presumptuous to pronounce + this or that one of the ballades the finest; but one may safely say that + the fourth (in F minor), Op. 52, is fully worthy of her sisters. The + emotional key-note of the piece is longing sadness, and this key-note is + well preserved throughout; there are no long or distant excursions from + it. The variations of the principal subject are more emphatic restatements + of it: the first is more impressive than the original, the second more + eloquently beseeching than either of them. I resist, though with + difficulty, the temptation to point out in detail the interesting course + of the composer's thoughts, and proceed at once to the coda which, + palpitating and swelling with passion, concludes the fourth and, alas! + last ballade. + </p> + <p> + We have now passed in review not only all the compositions published by + Chopin himself, but also a number of those published without his + authorisation. The publications not brought about by the master himself + were without exception indiscretions; most of them, no doubt, well meant, + but nevertheless regrettable. Whatever Fontana says to the contrary in the + preface to his collection of Chopin's posthumous works, [FOOTNOTE: The + Chopin compositions published by Fontana (in 1855) comprise the Op. 66-74; + the reader will see them enumerated in detail in the list of cur + composer's works at the end of this volume.] the composer unequivocally + expressed the wish that his manuscripts should not be published. Indeed, + no one acquainted with the artistic character of the master, and the + nature of the works published by himself, could for a moment imagine that + the latter would at any time or in any circumstances have given his + consent to the publication of insignificant and imperfect compositions + such as most of those presented to the world by his ill-advised friend + are. Still, besides the "Fantaisie-Impromptu," which one would not like to + have lost, and one or two mazurkas, which cannot but be prized, though + perhaps less for their artistic than their human interest, Fontana's + collection contains an item which, if it adds little value to Chopin's + musical legacy, attracts at least the attention of the lover and student + of his music-namely, Op. 74, Seventeen Polish Songs, composed in the years + 1824-1844, the only vocal compositions of this pianist-composer that have + got into print. The words of most of these songs are by his friend Stephen + Witwicki; others are by Adam Mickiewicz, Bogdan Zaleski, and Sigismond + Krasinski, poets with all of whom he was personally acquainted. As to the + musical settings, they are very unequal: a considerable number of them + decidedly commonplace—Nos. 1, 5, 8, and also 4 and 12 may be + instanced; several, and these belong to the better ones, exceedingly + simple and in the style of folk-songs—No. 2 consists of a phrase of + four bars (accompanied by a pedal bass and the tonic and dominant + harmonies) repeated alternately in G minor and B flat major; and a few + more developed in form and of a more artistic character. In the symphonies + (the preludes, interludes, &c.) of the songs, we meet now and then + with reminiscences from his instrumental pieces. In one or two cases one + notices also pretty tone-painting—for instance, No. 10, "Horseman + before the Battle," and No. 15, "The return Home" (storm). Among the most + noteworthy are: the already-described No. 2; the sweetly-melancholy No. 3; + the artistically more dignified No. 9; the popular No. 13; the weird No. + 15; and the impressive, but, by its terrible monotony, also oppressive No. + 17 ("Poland's Dirge"). The mazurka movement and the augmented fourth + degree of the scale (Nos. 2 and 4) present themselves, apart from the + emotional contents, as the most strikingly-national features of these + songs. Karasowski states that many songs sung by the people in Poland are + attributed to Chopin, chief among them one entitled "The third of May." + </p> + <p> + I must not conclude this chapter without saying something about the + editions of Chopin's works. The original French, German, and English + editions all leave much to be desired in the way of correctness. To begin + with, the composer's manuscripts were very negligently prepared, and of + the German and the English, and even of the French edition, he did not + always see the proofs; and, whether he did or not, he was not likely to be + a good proof-reader, which presupposes a special talent, or rather + disposition. Indeed, that much in the preparation of the manuscripts for + the press and the correction of the proofs was left to his friends and + pupils may be gathered both from his letters and from other sources. "The + first comprehension of the piece," says Schumann, in speaking of the + German edition of the Tarantella, "is, unfortunately, rendered very + difficult by the misprints with which it is really swarming." Those who + assisted Chopin in the work incident to publication—more especially + by copying his autographs—were Fontana, Wolff, Gutmann, and in later + years Mikuli and Tellefsen. + </p> + <p> + Here I may fitly insert a letter written by Chopin to Maurice Schlesinger + on July 22, 1843 (not 1836, as La Mara supposes), which has some bearing + on the subject under discussion. The Impromptu spoken of is the third, Op. + 51, in G flat major:— + </p> +<pre xml:space="preserve"> + Dear friend,—In the Impromptu which you have issued with the + paper [Gazette musicals] of July 9, there is a confusion in + the paging, which makes my composition unintelligible. Though + I cannot at all pretend to taking the pains which our friend + Moscheles bestows on his works, I consider myself, however, + with regard to your subscribers, in duty bound to ask you on + this occasion to insert in your next number an erratum:— + + Page 3—read page 5. + Page 5—read page 3. + + If you are too busy or too lazy to write to me, answer me + through the erratum in the paper, and that shall signify to me + that you, Madame Schlesinger, and your children are all well. + —Yours very truly, July 22, 1843. + F. CHOPIN. +</pre> + <p> + The first complete edition of Chopin's works was, according to Karasowski, + [FOOTNOTE: More recently the same firm brought out the works of Chopin + edited by Jean Kleczynski.] that published in 1864, with the authorisation + of the composer's family, by Gebethner and Wolff, of Warsaw. But the most + important editions—namely, critical editions—are Tellefsen's + (I mention them in chronological order), Klindworth's, Scholtz's, and + Breitkopf and Hartel's. Simon Richault, of Paris, the publisher of the + first-named edition, which appeared in 1860, says in the preface to it + that Tellefsen had in his possession a collection of the works of Chopin + corrected by the composer's own hand. As to the violoncello part of the + Polonaise, it was printed as Franchomme always played it with the + composer. The edition was also to be free from all marks of expression + that were not Chopin's own. Notwithstanding all this, Tellefsen's edition + left much to be desired. + </p> +<pre xml:space="preserve"> + My friend and fellow-pupil, Thomas Tellefsen [writes Mikuli], + who, till Chopin's last breath, had the happiness to be in + uninterrupted intercourse with him, was quite in a position to + bring out correctly his master's works in the complete edition + undertaken by him for Richault. Unfortunately, a serious + illness and his death interrupted this labour, so that + numerous misprints remained uncorrected. + + [FOOTNOTE: Mikuli's spelling of the name is Telefsen, whereas + it is Tellefsen on the Norwegian's edition of Chopin's works, + in all the dictionaries that mention him, and in the + contemporary newspaper notices and advertisements I have come + across.] + + [FOOTNOTE: I do not know how to reconcile this last remark + with the publisher's statement that the edition appeared in + 1860 (it was entered at Stationers' Hall on September 20, + 1860), and Tellefsen's death at Paris in October, 1874.] +</pre> + <p> + Klindworth's edition, the first volume of which appeared in October, 1873, + and the last in March, 1876, at Moscow (P. Jurgenson), in six volumes, is + described on the title-page as "Complete works of Fr. Chopin critically + revised after the original French, German, and Polish editions, carefully + corrected and minutely fingered for pupils." [FOOTNOTE: This edition has + been reprinted by Augener & Co., of London.] The work done by + Klindworth is one of the greatest merit, and has received the highest + commendations of such men as Liszt and Hans von Bulow. Objections that can + be made to it are, that the fingering, although excellent, is not always + Chopinesque; and that the alteration of the rhythmically-indefinite small + notes of the original into rhythmically-definite ones, although + facilitating the execution for learners, counteracts the composer's + intention. Mikuli holds that an appeal to Chopin's manuscripts is of no + use as they are full of slips of the pen—wrong notes and values, + wrong accidentals and clefs, wrong slurs and 8va markings, and omissions + of dots and chord-intervals. The original French, German, and English + editions he regards likewise as unreliable. But of them he gives the + preference to the French editions, as the composer oftener saw proofs of + them. On the other hand, the German editions, which, he thinks, came out + later than the Paris ones, contain subsequently-made changes and + improvements. [FOOTNOTE: Take note, however, in connection with this + remark, of Chopin's letter of August 30, 1845, on pp. 119-120 of this + volume.] Sometimes, no doubt, the Paris edition preceded the German one, + but not as a rule. The reader will remember from the letters that Chopin + was always anxious that his works should appear simultaneously in all + countries, which, of course, was not always practicable. Mikuli based his + edition (Leipzig: Fr. Kistner), the preface to which is dated "Lemberg, + September, 1879," on his own copies, mostly of Parisian editions, copies + which Chopin corrected in the course of his lessons; and on other copies, + with numerous corrections from the hand of the master, which were given + him by the Countess Delphine Potocka. He had also the assistance of + Chopin's pupils the Princess Marcelline Czartoryska and Madame Friederike + Streicher (nee Muller), and also of Madame Dubois and Madame Rubio, and of + the composer's friend Ferdinand Hiller. Mikuli's edition, like + Klindworth's, is fingered, and, as the title-page informs us, "for the + most part according to the author's markings." Hermann Scholtz, who edited + Chopin's works for Peters, of Leipzig, says in the preface (dated + "Dresden, December, 1879") that his critical apparatus consisted of the + original French, German, and English editions, various autographs (the + Preludes, Op. 28; the Scherzo, Op. 54; the Impromptu, Op. 51; the + Nocturnes, Op. 48; the Mazurka, Op. 7, No. 3, and a sketch of the Mazurka, + Op. 30, No. 4), and three volumes of Chopin's compositions with + corrections, additions, and marks of expression by his own hand, belonging + to the master's pupil Madame von Heygendorf (nee von Konneritz). In + addition to these advantages he enjoyed the advice of M. Mathias, another + pupil of Chopin. The critically-revised edition published (March, 1878—January, + 1880) by Breitkopf and Hartel was edited by Woldemar Bargiel, Johannes + Brahms, Auguste Franchomme, Franz Liszt (the Preludes), Carl Reinecke, and + Ernst Rudorff. The prospectus sets forth that the revision was based on + manuscript material (autographs and proofs with the composer's corrections + and additions) and the original French and German editions; and that + Madame Schumann, M. Franchomme, and friends and pupils of the composer had + been helpful with their counsel. Breitkopf and Hartel's edition is the + most complete, containing besides all the pianoforte solo and ensemble + works published by the composer himself, a greater number of posthumous + works (including the songs) than is to be found in any other edition. + Klindworth's is a purely pianoforte edition, and excludes the trio, the + pieces with violoncello, and the songs. The above enumeration, however, + does not exhaust the existing Chopin editions, which, indeed, are almost + innumerable, as in the last decade almost every publisher, at least, + almost every German publisher, has issued one—among others there are + Schuberth's, edited by Alfred Richter, Kahnt's, edited by S. Jadassohn, + and Steingraber's, edited by Ed. Mertke. [FOOTNOTE: Among earlier editions + I may mention the incomplete OEuvres completes, forming Vols. 21-24 of the + Bibliotheque des Pianistes, published by Schonenberger (Paris, 1860).] + Voluminous as the material for a critical edition of Chopin's works is, + its inconclusiveness, which constantly necessitates appeals to the + individual taste and judgment of the editor, precludes the possibility of + an edition that will satisfy all in all cases. Chopin's pupils, who reject + the editing of their master's works by outsiders, do not accept even the + labours of those from among their midst. These reasons have determined me + not to criticise, but simply to describe, the most notable editions. In + speaking of the disputes about the correctness of the various editions, I + cannot help remembering a remark of Mendelssohn's, of which Wenzel told + me. "Mendelssohn said on one occasion in his naive manner: 'In Chopin's + music one really does not know sometimes whether a thing is right or + wrong.'" + </p> + <p> + <a name="link2HCH0031" id="link2HCH0031"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER XXXI. + </h2> + <p> + CHOPIN'S ARRIVAL IN LONDON.—MUSICAL ASPECT OF THE BRITISH METROPOLIS + IN 1848.—CULTIVATION OF CHOPIN'S MUSIC IN ENGLAND.—CHOPIN AT + EVENING PARTIES, &C.—LETTERS GIVING AN ACCOUNT OF HIS DOINGS AND + FEELINGS.—TWO MATINEES MUSICALES GIVEN BY CHOPIN; CRITICISMS ON + THEM.—ANOTHER LETTER.—KINDNESS SHOWN HIM.—CHOPIN STARTS + FOR SCOTLAND.—A LETTER WRITTEN AT EDINBURGH AND CALDER HOUSE.—HIS + SCOTCH FRIENDS AND ACQUAINTANCES.—HIS STAY AT DR. LYSCHINSKl'S.—PLAYS + AT A CONCERT IN MANCHESTER.—RETURNS TO SCOTLAND, AND GIVES A MATINEE + MUSICALE IN GLASGOW AND IN EDINBURGH.—MORE LETTERS FROM SCOTLAND.—BACK + TO LONDON.—OTHER LETTERS.—PLAYS AT A "GRAND POLISH BALL AND + CONCERT" IN THE GUILDHALL.—LAST LETTER FROM LONDON, AND JOURNEY AND + RETURN TO PARIS. + </p> + <p> + CHOPIN arrived in London, according to Mr. A. J. Hipkins, on April 21, + 1848. + </p> + <p> + [FOOTNOTE: The indebtedness of two writers on Chopin to Mr. Hipkins has + already been adverted to in the Preface. But his vivid recollection of + Chopin's visit to London in this year, and of the qualities of his + playing, has been found of great value also in other published notices + dealing with this period. The present writer has to thank Mr. Hipkins, + apart from second-hand obligations, for various suggestions, answers to + inquiries, and reading the proof-sheets of this chapter.] + </p> + <p> + He took up his quarters first at 10, Bentinck Street, but soon removed to + the house indicated in the following letter, written by him to Franchomme + on May 1, 1848:— + </p> +<pre xml:space="preserve"> + Dearest friend,—Here I am, just settled. I have at last a + room—fine and large—where I shall be able to breathe and + play, and the sun visits me to-day for the first time. I feel + less suffocated this morning, but all last week I was good for + nothing. How are you and your wife and the dear children? You + begin at last to become more tranquil, [FOOTNOTE: This, I + think, refers to some loss Franchomme had sustained in his + family] do you not? I have some tiresome visits; my letters of + introduction are not yet delivered. I trifle away my time, and + VOILA. I love you, and once more VOILA. + + Yours with all my heart. + + My kindest regards to Madame Franchomme. + 48, Dover Street. + Write to me, I will write to you also. +</pre> + <p> + Were Chopin now to make his appearance in London, what a stir there would + be in musical society! In 1848 Billet, Osborne, Kalkbrenner, Halle, and + especially Thalberg, who came about the same time across the channel, + caused more curiosity. By the way, England was just then heroically + enduring an artistic invasion such as had never been seen before; not only + from France, but also from Germany and other musical countries arrived day + after day musicians who had found that their occupation was gone on the + Continent, where people could think of nothing but politics and + revolutions. To enumerate all the celebrities then congregated in the + British Metropolis would be beyond my power and the scope of this + publication, but I must at least mention that among them was no less + eminent a creative genius than Berlioz, no less brilliant a vocal star + than Pauline Viardot-Garcia. Of other high-priests and high-priestesses of + the art we shall hear in the sequel. But although Chopin did not set the + Thames on fire, his visit was not altogether ignored by the press. + Especially the Athenaeum (H. F. Chorley) and the Musical World (J. W. + Davison) honoured themselves by the notice they took of the artist. The + former journal not only announced (on April 29) his arrival, but also some + weeks previously (on April 8) his prospective advent, saying: "M. Chopin's + visit is an event for which we most heartily thank the French Republic." + </p> + <p> + In those days, and for a long time after, the appreciation and cultivation + of Chopin's music was in England confined to a select few. Mr. Hipkins + told me that he "had to struggle for years to gain adherents to Chopin's + music, while enduring the good-humoured banter of Sterndale Bennett and J. + W. Davison." The latter—the author of An Essay on the Works of + Frederic Chopin (London, 1843), the first publication of some length on + the subject, and a Preface to, or, to be more precise, a Memoir prefixed + to Boosey & Co.'s The Mazurkas and Valses of F. Chopin—seems to + have in later years changed his early good opinion of the Polish master. + </p> + <p> + [FOOTNOTE: Two suggestions have been made to me in explanation of this + change of opinion: it may have been due to the fear that the rising glory + of Chopin might dim that of Mendelssohn; or Davison may have taken umbrage + at Chopin's conduct in an affair relative to Mendelssohn. I shall not + discuss the probability of these suggestions, but will say a few words + with regard to the last-mentioned matter. My source of information is a + Paris letter in the Musical World of December 4, 1847. After the death of + Mendelssohn some foreign musicians living in Paris proposed to send a + letter of condolence to Mrs. Mendelssohn. One part of the letter ran thus: + "May it be permitted to us, German artists, far from our country, to + offer," &c. The signatures to it were: Rosenhain, Kalkbrenner, + Panofka, Heller, Halle, Pixis, and Wolff. Chopin when applied to for his + signature wrote: "La lettre venant des Allemands, comment voulez-vous que + je m'arroge le droit de la signer?" One would think that no reasonable + being could take exception to Chopin's conduct in this affair, and yet the + writer in the Musical World comments most venomously on it.] + </p> + <p> + The battle fought in the pages of the Musical World in 1841 illustrates + the then state of matters in England. Hostilities commenced on October 28 + with a criticism of the Mazurkas, Op. 41. Of its unparalleled nature the + reader shall judge himself:— + </p> +<pre xml:space="preserve"> + Monsieur Frederic Chopin has, by some means or other which we + cannot divine, obtained an enormous reputation, a reputation + but too often refused to composers of ten times his genius. M. + Chopin is by no means a putter down of commonplaces; but he + is, what by many would be esteemed worse, a dealer in the most + absurd and hyperbolical extravagances. It is a striking satire + on the capability for thought possessed by the musical + profession, that so very crude and limited a writer should be + esteemed, as he is very generally, a profound classical + musician. M. Chopin does not want ideas, but they never extend + beyond eight or sixteen bars at the utmost, and then he is + invariably in nubibus... the works of the composer give us + invariably the idea of an enthusiastic school-boy, whose parts + are by no means on a par with his enthusiasm, who WILL be + original whether he CAN or not. There is a clumsiness about + his harmonies in the midst of their affected strangeness, a + sickliness about his melodies despite their evidently FORCED + unlikeness to familiar phrases, an utter ignorance of design + everywhere apparent in his lengthened works...The entire works + of Chopin present a motley surface of ranting hyperbole and + excruciating cacophony. When he is not THUS singular, he is no + better than Strauss or any other waltz compounder... such as + admire Chopin, and they are legion, will admire these + Mazurkas, which are supereminently Chopin-ical; that do NOT + we. +</pre> + <p> + Wessel and Stapleton, the publishers, protested against this shameful + criticism, defending Chopin and adducing the opinions of numerous + musicians in support of their own. But the valorous editor "ventures to + assure the distinguished critics and the publishers that there will be no + difficulty in pointing out a hundred palpable faults, and an infinitude of + meretricious uglinesses, such as, to real taste and judgment, are + intolerable." Three more letters appeared in the following numbers—two + for (Amateur and Professor) and one against (Inquirer) Chopin; the editor + continuing to insist with as much violence as stupidity that he was right. + It is pleasant to turn from this senseless opposition to the friends and + admirers of the master. Of them we learn something in Davison's Essay on + the Works of F. Chopin, from which I must quote a few passages:— + </p> +<pre xml:space="preserve"> + This Concerto [the E minor] has been made known to the + amateurs of music in England by the artist-like performance of + Messrs. W. H. Holmes, F. B. Jewson, H. B. Richards, R. + Barnett, and other distinguished members of the Royal Academy, + where it is a stock piece...The Concerto [in F minor] has been + made widely known of late by the clever performance of that + true little prodigy Demoiselle Sophie Bohrer....These charming + bagatelles [the Mazurkas] have been made widely known in + England through the instrumentality of Mr. Moscheles, Mr. + Cipriani Potter, Mr. Kiallmark, Madame de Belleville-Oury, Mr. + Henry Field (of Bath), Mr. Werner, and other eminent pianists, + who enthusiastically admire and universally recommend them to + their pupils...To hear one of those eloquent streams of pure + loveliness [the nocturnes] delivered by such pianists as + Edouard Pirkhert, William Holmes, or Henry Field, a pleasure + we frequently enjoyed, is the very transcendency of delight. + + [FOOTNOTE: Information about the above-named pianists may be + found in the musical biographical dictionaries, with three + exceptions-namely, Kiallmark, Werner, and Pirkhert. George + Frederick Kiallmark (b. November 7, 1804; d. December 13, + 1887), a son of the violinist and composer George Kiallmark, + was for many years a leading professor in London. He is said + to have had a thorough appreciation and understanding of + Chopin's genius, and even in his last years played much of + that master's music. He took especial delight in playing + Chopin's Nocturnes, no Sunday ever passed without his family + hearing him play two or three of them.—Louis Werner (whose + real name was Levi) was the son of a wealthy and esteemed + Jewish family living at Clapham. He studied music in London + under Moscheles, and, though not an eminent pianist, was a + good teacher. His amiability assured him a warm welcome in + society.—Eduard Pirkhert died at Vienna, aged 63, on February + 28, 1881. To Mr. Ernst Pauer, who is never appealed to in + vain, I am indebted for the following data as well as for the + subject—matter of my notice on Werner: "Eduard Pirkhert, born + at Graz in 1817, was a pupil of Anton Halm and Carl Czerny. He + was a shy and enormously diligent artist, who, however, on + account of his nervousness, played, like Henselt, rarely in + public. His execution was extraordinary and his tone + beautiful. In 1855 he became professor at the Vienna + Conservatorium." Mr. Pauer never heard him play Chopin.] +</pre> + <p> + After this historical excursus let us take up again the record of our + hero's doings and sufferings in London. + </p> + <p> + Chopin seems to have gone to a great many parties of various kinds, but he + could not always be prevailed upon to give the company a taste of his + artistic quality. Brinley Richards saw him at an evening party at the + house of the politician Milner Gibson, where he did not play, although he + was asked to do so. According to Mr. Hueffer, [FOOTNOTE: Chopin in + Fortnightly Review of September, 1877, reprinted in Musical Studies + (Edinburgh: A. & C. Black, 1880).] he attended, likewise without + playing, an evening party (May 6) at the house of the historian Grote. + Sometimes ill-health prevented him from fulfilling his engagements; this, + for instance, was the case on the occasion of a dinner which Macready is + said to have given in his honour, and to which Thackeray, Mrs. Procter, + Berlioz, and Julius Benedict were invited. On the other hand, Chopin was + heard at the Countess of Blessington's (Gore House, Kensington) and the + Duchess of Sutherland's (Stafford House). On the latter occasion Benedict + played with him a duet of Mozart's. More than thirty years after, Sir + Julius had still a clear recollection of "the great pains Chopin insisted + should be taken in rehearsing it, to make the rendering of it at the + concert as perfect as possible." John Ella heard Chopin play at + Benedict's. Of another of Chopin's private performances in the spring of + 1848 we read in the Supplement du Dictionnaire de la Conversation, where + Fiorentino writes: + </p> +<pre xml:space="preserve"> + We were at most ten or twelve in a homely, comfortable little + salon, equally propitious to conversation and contemplation. + Chopin took the place of Madame Viardot at the piano, and + plunged us into ineffable raptures. I do not know what he + played to us; I do not know how long our ecstasy lasted: we + were no longer on earth; he had transported us into unknown + regions, into a sphere of flame and azure, where the soul, + freed from all corporeal bonds, floats towards the infinite. + This was, alas! the song of the swan. +</pre> + <p> + The sequel will show that the concluding sentence is no more than a + flourish of the pen. Whether Chopin played at Court, as he says in a + letter to Gutmann he expected to do, I have not ascertained. Nor have I + been able to get any information about a dinner which, Karasowski relates, + some forty countrymen of Chopin's got up in his honour when they heard of + his arrival in London. According to this authority the pianist-composer + rose when the proceedings were drawing to an end, and many speeches + extolling him as a musician and patriot had been made, and spoke, if not + these words, to this effect: "My dear countrymen! The proofs of your + attachment and love which you have just given me have truly moved me. I + wish to thank you, but lack the talent of expressing my feelings in words; + I invite you therefore to accompany me to my lodgings and to receive there + my thanks at the piano." The proposal was received with enthusiasm, and + Chopin played to his delighted and insatiable auditors till two o'clock in + the morning. What a crush, these forty or more people in Chopin's + lodgings! However, that is no business of mine. + </p> + <p> + [FOOTNOTE: After reading the above, Mr. Hipkins remarked: "I fancy this + dinner resembled the dinner which will go down to posterity as given by + the Hungarians of London to Liszt in 1886, which was really a private + dinner given by Mrs. Bretherton to fifteen people, of whom her children + and mine were four. NO Hungarians."] + </p> + <p> + The documents—letters and newspaper advertisements and notices—bearing + on this period of Chopin's life are so plentiful that they tell the story + without the help of many additions and explanatory notes. This is + satisfactory, for one grain of fact is more precious than a bushel of + guesses and hearsays. + </p> +<pre xml:space="preserve"> + Chopin to Gutmann; London, 48, Dover Street, Piccadilly, + Saturday, May 6, 1848:— + + Dear friend,—Here I am at last, settled in this whirlpool of + London. It is only a few days since I began to breathe; for it + is only a few days since the sun showed itself. I have seen M. + D'Orsay, and notwithstanding all the delay of my letter he + received me very well. Be so good as to thank the duchess for + me and him. I have not yet made all my calls, for many persons + to whom I have letters of introduction are not yet here. Erard + was charming; he sent me a piano. I have a Broadwood and a + Pleyel, which makes three, and yet I do not find time to play + them. I have many visitors, and my days pass like lightning—I + have not even had a moment to write to Pleyel. Let me know how + you are getting on. In what state of mind are you? How are + your people? With my people things are not going well. I am + much vexed about this. In spite of that I must think of making + a public appearance; a proposal has been made to me to play at + the Philharmonic, [FOOTNOTE: "Chopin, we are told," says the + Musical World of May 27, 1848, "was invited to play at the + Philharmonic, but declined."] but I would rather not. I shall + apparently finish off, after playing at Court before the Queen + [chez la reine], by giving a matinee, limited to a number of + persons, at a private residence [hotel particulier]. I wish + that this would terminate thus. But these projects are only + projects in the air. Write to me a great deal about yourself. + —Yours ever, my old Gut., +</pre> +<pre xml:space="preserve"> + CHOPIN. + + P.S.—I heard the other evening Mdlle. Lind in La Sonnambula. + [FOOTNOTE: Jenny Lind made her first appearance at Her + Majesty's Theatre in the season 1848, on May 4, as Amina, in + La Sonnambula. The Queen was present on that occasion. Pauline + Garcia made her first appearance, likewise as Amina, at Covent + Garden Theatre, on May 9.] It was very fine; I have made her + acquaintance. Madame Viardot also came to see me. She will + make her debuts at the rival theatre [Covent Garden], likewise + in La Sonnambula. All the pianists of Paris are here. Prudent + played his Concerto at the Philharmonic with little success, + for it is necessary to play classical music there. Thalberg is + engaged for twelve concerts at the theatre where Lind is [Her + Majesty's, Haymarket]. Halle is going to play Mendelssohn at + the rival theatre. +</pre> +<pre xml:space="preserve"> + Chopin to his friend Grzymala; Thursday, May 11, 1848:— + + I have just come from the Italian Opera, where Jenny Lind + appeared to-day, for the first time, as Sonnambula, and the + Queen showed herself for the first time to the people after a + long retirement. [FOOTNOTE: Chopin must have begun this letter + on the 4th of May, and dated it later on; for on the 11th of + May Jenny Lind sang in La Figlia del Reggimento, and the + presence of the Queen at the performance is not mentioned in + the newspaper accounts of it. See preceding foot-note.] Both + were, of course, of much interest to me; more especially, + however, Wellington, who, like an old, faithful dog in a + cottage, sat in the box below his crowned mistress. I have + also made Jenny Lind's personal acquaintance: when, a few days + afterwards, I paid her a visit, she received me in the most + amiable manner, and sent me an excellent "stall" for the opera + performance. I was capitally seated and heard excellently. + This Swede is indeed an original from top to toe! She does not + show herself in the ordinary light, but in the magic rays of + an aurora borealis. Her singing is infallibly pure and sure; + but what I admired most was her piano, which has an + indescribable charm. "Your + + FREDERICK. +</pre> + <p> + Of Chopin's visit Jenny Lind-Goldschmidt had to the last years of her life + a most pleasing and vivid recollection. She sang to him Polskas, + [FOOTNOTE: Polskas are dances of Polish origin, popular in Sweden, whose + introduction dates from the time of the union of the crowns of Sweden and + Poland in 1587.] which delighted him greatly. The way Madame Goldschmidt + spoke of Chopin showed unmistakably that he made the best possible + impression upon her, not only as an artist, but also as a man—she + was sure of his goodness, and that he could not but have been right in the + Sand affair, I mean as regards the rupture. She visited him when she went + in the following year (1849) to Paris. + </p> + <p> + In his letter to Gutmann, Chopin speaks of his intention to give a matinee + at a private house. And he more than realised it; for he not only gave + one, but two—the first at the house of Mrs. Sartoris (nee Adelaide + Kemble) and the second at the house of Lord Falmouth. Here are two + advertisements which appeared in the Times. + </p> +<pre xml:space="preserve"> + June 15, 1848:— + + Monsieur Chopin will give a Matinee musicale, at No. 99, Eaton + Place, on Friday, June 23, to commence at 3 o'clock. A limited + number of tickets, one guinea each, with full particulars, at + Cramer, Beale & Co.'s, 201, Regent Street. +</pre> +<pre xml:space="preserve"> + July 3 and 4, 1848:— + + Monsieur Chopin begs to announce that his second Matinee + musicale will take place on Friday next, July 7, at the + residence of the Earl of Falmouth, No. 2, St. James's Square. + To commence at half-past 3. Tickets, limited in number, and + full particulars at Cramer, Beale & Co.'s, 201, Regent Street. +</pre> +<pre xml:space="preserve"> + The Musical World (July 8, 1848) says about these + performances:— + + M. Chopin has lately given two performances of his own + pianoforte music at the residence of Mrs. Sartoris (late Miss + Adelaide Kemble), which seem to have given much pleasure to + his audiences, among whom Mdlle. Lind, who was present at the + first, seems to be the most enthusiastic. We were not present + at either, and, therefore, have nothing to say on the subject. + + [FOOTNOTE: Of course, the above-quoted advertisements prove + the reporter to be wrong in this particular; there was only + one at the house of Mrs. Sartoris.] +</pre> + <p> + From an account of the first matinee in the Athenaeum we learn that Chopin + played nocturnes, etudes, mazurkas, two waltzes, and the Berceuse, but + none of his more developed works, such as sonatas, concertos, scherzos, + and ballades. The critic tries to analyse the master's style of execution—a + "mode" in which "delicacy, picturesqueness, elegance, and humour are + blended so as to produce that rare thing, a new delight"—pointing + out his peculiar fingering, treatment of scale and shake, tempo rubato, + &c. But although the critic speaks no less appreciatively of the + playing than of the compositions, the tenor of the notice of the second + matinee (July 15, 1848) shows that the former left nevertheless something + to be desired. "Monsieur Chopin played better at his second than at his + first matinee—not with more delicacy (that could hardly be), but + with more force and brio." Along with other compositions of his, Chopin + played on this occasion his Scherzo in B flat and his Etude in C sharp + minor. Another attraction of the matinee was the singing of Madame + Viardot-Garcia, "who, besides her inimitable airs with Mdlle. de Mendi, + and her queerly-piquant Mazurkas, gave the Cenerentola rondo, graced with + great brilliancy; and a song by Beethoven, 'Ich denke dein.'" + </p> + <p> + [FOOTNOTE: No doubt, those Mazurkas by Chopin which, adapting to them + Spanish words, she had arranged for voice and piano. Hiller wrote + mostenthusiastically of these arrangements and her performance of them.] + </p> + <p> + Mr. Salaman said, at a meeting of the London Musical Association (April 5, + 1880), in the course of a discussion on the subject of Chopin, that he was + present at the matinee at the house of Mrs. Sartoris, and would never + forget the concert-giver's playing, especially of the waltz in D flat. "I + remember every bar, how he played it, and the appearance of his long, + attenuated fingers during the time he was playing. [FOOTNOTE: Their + thinness may have made them appear long, but they were not really so. See + Appendix III.] He seemed quite exhausted." Mr. Salaman was particularly + struck by the delicacy and refinement of Chopin's touch, and the utmost + exquisiteness of expression. + </p> + <p> + To Chopin, as the reader will see in the letter addressed to Franchomme, + and dated August 6th and 11th, these semi-public performances had only the + one redeeming point—that they procured him much-needed money, + otherwise he regarded them as a great annoyance. And this is not to be + wondered at, if we consider the physical weakness under which he was then + labouring. When Chopin went before these matinees to Broadwood's to try + the pianoforte on which he was to play, he had each time to be carried up + the flight of stairs which led to the piano-room. Chopin had also to be + carried upstairs when he came to a concert which his pupil Lindsay Sloper + gave in this year in the Hanover Square Rooms. But nothing brings his + miserable condition so vividly before us as his own letters. + </p> +<pre xml:space="preserve"> + Chopin to Grzymala, London, July 18, 1848:— + + My best thanks for your kind lines and the accompanying letter + from my people. Heaven be thanked, they are all well; but why + are they concerned about me? I cannot become sadder than I am, + a real joy I have not felt for a long time. Indeed, I feel + nothing at all, I only vegetate, waiting patiently for my end. + Next week I go to Scotland to Lord Torphichen, the brother-in- + law of my Scottish friends, the Misses Stirling, who are + already with him (in the neighbourhood of Edinburgh). He wrote + to me and invited me heartily, as did also Lady Murray, an + influential lady of high rank there, who takes an + extraordinary interest in music, not to mention the many + invitations I have received from various parts of England. But + I cannot wander about from one place to another like a + strolling musician; such a vagabond' life is hateful to me, + and not conducive to my health. I intend to remain in Scotland + till the 29th of August, on which day I go as far as + Manchester, where I am engaged to play in public. I shall play + there twice without orchestra, and receive for this 60 + [pounds]. The Alboni comes also, but all this does not + interest me—I just seat myself at the piano, and begin to + play. I shall stay during this time with rich manufacturers, + with whom also Neukomm [FOOTNOTE: Karasowski has Narkomm, + which is, of course, either a misreading or a misprint, + probably the former, as it is to be found in all editions of + his book.] has stayed. What I shall do next I don't know yet. + If only someone could foretell whether I shall not fall sick + here during the winter..."Your + + FREDERICK. +</pre> + <p> + Had Chopin, when he left Paris, really in view the possibility of settling + in London? There was at the time a rumour of this being the case. The + Athenaeum (April 8, 1848), in the note already adverted to, said:—"M. + Chopin is expected, if not already here—it is even added to remain + in England." But if he embraced the idea at first, he soon began to loosen + his grasp of it, and, before long, abandoned it altogether. In his then + state of health existence would have been a burden anywhere, but it was a + greater one away from his accustomed surroundings. Moreover, English life + to be enjoyable requires a robustness of constitution, sentimental and + intellectual as well as physical, which the delicately-organised artist, + even in his best time, could not boast of. If London and the rest of + Britain was not to the mind of Chopin, it was not for want of good-will + among the people. Chopin's letters show distinctly that kindness was + showered upon him from all sides. And these letters do not by any means + contain a complete roll of those who were serviceable to him. The name of + Frederick Beale, the publisher, for instance, is not to be found there, + and yet he is said, with what truth I do not know, to have attached + himself to the tone-poet. + </p> + <p> + [FOOTNOTE: Mr. Hipkins heard Chopin play at Broadwood's to Beale the + Waltzes in D flat major and C sharp minor (Nos. 1 and 2 of Op. 64), + subsequently published by Cramer, Beale and Co. But why did the publisher + not bring out the whole opus (three waltzes, not two), which had already + been in print in France and Germany for nine or ten months? Was his + attachment to the composer weaker than his attachment to his cash-box?] + </p> + <p> + The attentions of the piano-makers, on the other hand, are duly + remembered. In connection with them I must not forget to record the fact + that Mr. Henry Fowler Broadwood had a concert grand, the first in a + complete iron frame, expressly made for Chopin, who, unfortunately, did + not live to play upon it. + </p> + <p> + [FOOTNOTE: For particulars about the Broadwood pianos used by Chopin in + England and Scotland (and he used there no others at his public concerts + and principal private entertainments), see the List of John Broadwood + & Sons' Exhibits at the International Inventions Exhibition (1885), a + pamphlet full of interesting information concerning the history and + construction of the pianoforte. It is from the pen of A. J. Hipkins.] + </p> + <p> + A name one misses with surprise in Chopin's letters is that of his + Norwegian pupil Tellefsen, who came over from Paris to London, and seems + to have devoted himself to his master. [FOOTNOTE: Tellefsen, says Mr. + Hipkins, was nearly always with Chopin.] Of his ever-watchful ministering + friend Miss Stirling and her relations we shall hear more in the following + letters. + </p> + <p> + Chopin started for Scotland early in August, 1848, for on the 6th August + he writes to Franchomme that he had left London a few days before. + </p> +<pre xml:space="preserve"> + Chopin to Franchomme; Edinburgh, August 6 1848. Calder + House, August 11:— + + Very dear friend,—I do not know what to say. The best, it + seems to me, is not even to attempt to console you for the + loss of your father. I know your grief—time itself assuages + little such sorrows. I left London a few days ago. I made the + journey to Edinburgh (407 miles) in twelve hours. After having + taken a day's rest in Edinburgh, I went to Calder House, + twelve miles from Edinburgh, the mansion of Lord Torphichen, + brother-in-law of Madame Erskine, where I expect to remain + till the end of the month and to rest after my great doings in + London. I gave two matinees, which it appears have given + pleasure, but which, for all that, did not the less bore me. + Without them, however, I do not know how I could have passed + three months in this dear London, with large apartments + (absolutely necessary), carriage, and valet. My health is not + altogether bad, but I become more feeble, and the air here + does not yet agree with me. Miss Stirling was going to write + to you from London, and asks me to beg you to excuse her. The + fact is that these ladies had many preparations to make before + their journey to Scotland, where they intend to remain some + months. There is in Edinburgh a pupil of yours, Mr. Drechsler, + I believe. + + [FOOTNOTE: Louis Drechsler (son of the Dessau violoncellist + Carl Drechsler and uncle of the Edinburgh violoncellist and + conductor Carl Drechsler Hamilton), who came to Edinburgh in + August, 1841, and died there on June 25,1860. From an obituary + notice in a local paper I gather that he studied under + Franchomme in 1845.] + + He came to see me in London; he appeared to me a fine young + fellow, and he loves you much. He plays duets [fait de la + musique] with a great lady of this country, Lady Murray, one + of my sexagenarian pupils in London, to whom I have also + promised a visit in her beautiful mansion. [FOOTNOTE: The wife + of Lord (Sir John Archibald) Murray, I think. At any rate, + this lady was very musical and in the habit of playing with + Louis Drechsler.] But I do not know how I shall do it, for I + have promised to be in Manchester on the 28th of August to + play at a concert for 60 pounds. Neukomm is there, and, + provided that he does not improvise on the same day [et pourvu + qu'il ne m'improvise pas le meme jour], I reckon on earning my + 60 francs [he means, of course, "60 pounds"]. + + [FOOTNOTE: Thinking that this remark had some hidden meaning, + I applied to Franchomme for an explanation; but he wrote to me + as follows: "Chopin trouvait que Neukomm etait un musicien + ennuyeux, et il lui etait desagreable de penser que Neukomm + pourrait improviser dans le concert dans lequel il devrait + jouer."] + + After that I don't know what will become of me. I should like + very much if they were to give me a pension for life for + having composed nothing, not even an air a la Osborne or + Sowinski (both of them excellent friends), the one an + Irishman, the other a compatriot of mine (I am prouder of them + than of the rejected representative Antoine de Kontski— + Frenchman of the north and animal of the south). [FOOTNOTE: + "Frenchmen of the north" used to be a common appellation of + the Poles.] + + After these parentheses, I will tell you truly that I know + [FOOTNOTE: Here probably "not" ought to be added.] what will + become of me in autumn. At any rate, if you get no news from + me do not complain of me, for I think very often of writing to + you. If you see Mdlle. de Rozieres or Grzymala, one or the + other of them will have heard something—if not from me, from + some friends. The park here is very beautiful, the lord of the + manor very excellent, and I am as well as I am permitted to + be. Not one proper musical idea. I am out of my groove; I am + like, for instance, an ass at a masked ball, a chanterelle + [first, i.e., highest string] of a violin on a double bass— + astonished, amazed, lulled to sleep as if I were hearing a + trait [a run or a phrase] of Bodiot [FOOTNOTE: That is, + Charles Nicolas Baudiot (1773-1849), the violoncellist, at one + time professor at the Conservatoire. He published a school and + many compositions for his instrument.] (before the 24th of + February), [FOOTNOTE: The revolution of February 24, 1848.] or + a stroke of the bow of M. Cap [FOOTNOTE: This gentleman was an + amateur player of the violoncello and other stringed + instruments.] (after the June days). [FOOTNOTE: The + insurrection of the Red Republicans on June 23-26, 1848.] I + hope they are still flourishing, for I cannot do without them + in writing. But another real question is, that I hope you have + no friends to deplore in all these terrible affairs. And the + health of Madame Franchomme and of the little children? Write + me a line, and address it to London, care of Mr. Broadwood, + 33, Great Pulteney Street, Golden Square. I have here a + perfect (material) tranquillity, and pretty Scotch airs. I + wish I were able to compose a little, were it only to please + these good ladies—Madame Erskine and Mdlle. Stirling. I have + a Broadwood piano in my room, the Pleyel of Miss Stirling in + my salon. I lack neither paper nor pens. I hope that you also + will compose something, and may God grant that I hear it soon + newly born. I have friends in London who advise me to pass + there the winter.—But I shall listen only to my I do not know + what [mon je ne sais quoi]; or, rather, I shall listen to the + last comer—this comes often to the same thing as weighing + well. Adieu dear, dear friend! My most sincere wishes to + Madame Franchomme for her children. I hope that Rene amuses + himself with his bass, that Cecile works well, and that their + little sister always reads her books. Remember me to Madame + Lasserve, I pray you, and correct my orthography as well as my + French. +</pre> +<pre xml:space="preserve"> + The following words are written along the margin:— + + The people here are ugly, but, it would seem, good. As a + compensation there are charming, apparently mischievous, + cattle, perfect milk, butter, eggs, and tout ce qui s'en suit, + cheese and chickens. +</pre> + <p> + To save the reader from becoming confused by allusions in Chopin's letters + to names of unknown persons and places, I will now say a few words about + the composer's Scotch friends. The Stirlings of Keir, generally regarded + as the principal family of the name, are said to be descended from Walter + de Striveline, Strivelyn, or Strivelyng, Lucas of Strivelyng (1370-1449) + being the first possessor of Keyr. The family was for about two centuries + engaged in the East India and West India trade. Archibald Stirling, the + father of the late baronet, went, as William Fraser relates in The + Stirlings of Keir, like former younger sons, to Jamaica, where he was a + planter for nearly twenty-five years. He succeeded his brother James in + 1831, greatly improved the mansion, and died in 1847. When Chopin visited + Keir it was in the possession of William Stirling, who, in 1865, became + Sir William Stirling-Maxwell (his mother was a daughter of Sir John + Maxwell), and is well-known by his literary works—Annals of the + Artists of Spain (1848), The Cloister Life of the Emperor Charles V. + (1852), Velasquez (1855), &c. He was the uncle of Jane Stirling and + Mrs. Erskine, daughters (the former the youngest daughter) of John + Stirling, of Kippendavie and Kippenross, and friends of Chopin. W. Hanna, + the editor of the Letters of Thomas Erskine of Linlathen, says that Jane + Stirling was a cousin and particular friend of Thomas Erskine. The latter + used in later life to regard her and the Duchess de Broglie as the most + remarkable women he had ever met:— + </p> +<pre xml:space="preserve"> + In her later years she lived much in Paris, and counted among + her friends there Ary Scheffer. In his "Christus Consolator," + this eminent artist has presented in one of the figures his + ideal of female beauty, and was struck on being first + introduced to Miss Stirling to find in her the almost exact + embodiment of that ideal. She was introduced afterwards in + many of his pictures. +</pre> + <p> + In a letter addressed to Mrs. Schwabe, and dated February 14, 1859, we + read about her:— + </p> +<pre xml:space="preserve"> + She was ill for eight weeks, and suffered a great deal...I + know you will feel this deeply, for you could appreciate the + purity and beauty of that stream of love which flowed through + her whole life. I don't think that I ever knew anyone who + seemed more entirely to have given up self, and devoted her + whole being to the good of others. I remember her birth like + yesterday, and I never saw anything in her but what was + lovable from the beginning to the end of her course. +</pre> + <p> + Lindsay Sloper, who lived in Paris from 1841 to 1846, told me that Miss + Stirling, who was likewise staying there, took for some time lessons from + him. As she wished to become a pupil of Chopin, he spoke to his master + about her. Chopin, Lindsay Sloper said, was pleased with her playing, and + soon began to like her. + </p> + <p> + [FOOTNOTE: To the above I must append a cautionary foot-note. In his + account to me Lindsay Sloper made two mistakes which prove that his memory + was not one of the most trustworthy, and suggest even the possibility that + his Miss Stirling was a different person from Chopin's friend. His + mistakes were these: he called Mrs. Erskine, who was with Miss Stirling in + Paris, her aunt instead of her sister; and thought that Miss Stirling was + about eighteen years old when he taught her. The information I shall give + farther on seems to show that she was older rather than younger than + Chopin; indeed, Mr Hipkins is of opinion that she was in 1848 nearer fifty + than forty.] + </p> + <p> + To her the composer dedicated his Deux Nocturnes, Op. 55, which he + published in August, 1844. It was thought that she was in love with + Chopin, and there were rumours of their going to be married. Gutmann + informed me that Chopin said to him one day when he was ill: "They have + married me to Miss Stirling; she might as well marry death." Of Miss Jane + Stirling's elder sister Katherine, who, in 1811, married her cousin James + Erskine, and lost her husband already in 1816, Thomas Erskine says: "She + was an admirable woman, faithful and diligent in all duties, and unwearied + in her efforts to help those who needed her help." Lord Torphichen, at + whose residence (Calder House, twelve miles from Edinburgh) Chopin passed + much of his time in Scotland, was, as we learn from the composer's + letters, a brother-in-law of Miss Stirling and Mrs. Erskine. Johnstone + Castle (twelve miles from Glasgow), where Chopin was also received as a + guest, belonged to the Houston family, friends of the Erskines and + Stirlings, but, I think, no relations. The death of Ludovic Houston, Esq., + in 1862, is alluded to in one of Thomas Erskine's letters. + </p> + <p> + But Chopin, while in Scotland, was not always staying in manors and + castles, now and then he was housed less aristocratically, though perhaps + not less, nay, probably more, comfortably. Such humbler quarters he found + at the house (10, Warriston Crescent) of Dr. Lyschinski, a Pole by birth, + and a refugee, who after studying medicine in Edinburgh practised it there + until a few years ago when he removed to London. For the information which + I am now going to give I am indebted to Mrs. Lyschinski. Among those who + received Chopin at the Edinburgh railway station was Dr. Lyschinski who + addressed him in Polish. The composer put up at an hotel (perhaps the + London Hotel, in St. Andrew's Square). Next day—Miss Paterson, a + neighbour, having placed her carriage at Chopin's disposal—Mrs. + Lyschinski took him out for a drive. He soon got tired of the hotel, in + fact, felt it quite unbearable, and told the doctor, to whom he had at + once taken a fancy, that he could not do without him. Whereupon the latter + said: "Well, then you must come to my house; and as it is rather small, + you must be satisfied with the nursery." So the children were sent to a + friend's house, and the nursery was made into a bedroom for the + illustrious guest, an adjoining bedroom being prepared for his servant + Daniel, an Irish-Frenchman. Unless the above refers to Chopin's return to + Scotland in September, after his visit to Manchester, Mrs. Lyschinski + confuses her reminiscences a little, for, as the last-quoted letter + proves, he tarried, on his first arrival, only one day in Edinburgh. But + the facts, even if not exactly grouped, are, no doubt, otherwise correctly + remembered. Chopin rose very late in the day, and in the morning had soup + in his room. His hair was curled daily by the servant, and his shirts, + boots, and other things were of the neatest—in fact, he was a + petit-maitre, more vain in dress than any woman. The maid-servants found + themselves strictly excluded from his room, however indispensable their + presence might seem to them in the interests of neatness and cleanliness. + Chopin was so weak that Dr. Lyschinski had always to carry him upstairs. + After dinner he sat before the fire, often shivering with cold. Then all + on a sudden he would cross the room, seat himself at the piano, and play + himself warm. He could bear neither dictation nor contradiction: if you + told him to go to the fire, he would go to the other end of the room where + the piano stood. Indeed, he was imperious. He once asked Mrs. Lyschinski + to sing. She declined. At this he was astonished and quite angry. "Doctor, + would you take it amiss if I were to force your wife to do it?" The idea + of a woman refusing him anything seemed to him preposterous. Mrs. + Lyschinski says that Chopin was gallant to all ladies alike, but thinks + that he had no heart. She used to tease him about women, saying, for + instance, that Miss Stirling was a particular friend of his. He replied + that he had no particular friends among the ladies, that he gave to all an + equal share of his attention. "Not even George Sand then," she asked, "is + a particular friend?" "Not even George Sand," was the reply. Had Mrs. + Lyschinski known the real state of matters between Chopin and George Sand, + she certainly would not have asked that question. He, however, by no means + always avoided the mention of his faithless love. Speaking one day of his + thinness he remarked that she used to call him mon cher cadavre. Miss + Stirling was much about Chopin. I may mention by the way that Mrs. + Lyschinski told me that Miss Stirling was much older than Chopin, and her + love for him, although passionate, purely Platonic. Princess Czartoryska + arrived some time after Chopin, and accompanied him, my informant says, + wherever he went. But, as we see from one of his letters, her stay in + Scotland was short. The composer was always on the move. Indeed, Dr. + Lyschinski's was hardly more than a pied-a-terre for him: he never stayed + long, and generally came unexpectedly. A number of places where Chopin was + a guest are mentioned in his letters. Mrs. Lyschinski thinks that he also + visited the Duke of Hamilton. + </p> + <p> + At the end of August and at the end of September and beginning of October, + this idling was interrupted by serious work, and a kind of work which, at + no time to his liking, was particularly irksome in the then state of his + health. + </p> + <p> + The Manchester Guardian of August 19, 1848, contained the following + advertisement:— + </p> +<pre xml:space="preserve"> + Concert Hall.—The Directors beg to announce to the + Subscribers that a Dress Concert has been fixed for Monday, + the 28th of August next, for which the following performers + have already been engaged: Signora Alboni, Signora Corbari, + Signer Salvi, and Mons. Chopin. +</pre> + <p> + From an account of the concert in the same paper (August 30), the writer + of which declares the concert to have been the most brilliant of the + season, we learn that the orchestra, led by Mr. Seymour, played three + overtures—Weber's Ruler of the Spirits, Beethoven's Prometheus, and + Rossini's Barbiere di Siviglia; and that Chopin performed an Andante and + Scherzo, and a Nocturne, Etudes, and the Berceuse of his own composition. + With regard to Chopin we read in this critique:— + </p> +<pre xml:space="preserve"> + With the more instrumental portion of the audience, Mons. + Chopin was perhaps an equal feature of interest with Alboni, + as he was preceded by a high musical reputation. Chopin + appears to be about thirty years of age. [FOOTNOTE: Chopin, + says Mr. Hipkins, had a young look, although much wasted.] He + is very spare in frame, and there is an almost painful air of + feebleness in his appearance and gait. This vanishes when he + seats himself at the instrument, in which he seems for the + time perfectly absorbed. Chopin's music and style of + performance partake of the same leading characteristics— + refinement rather than vigour—subtle elaboration rather than + simple comprehensiveness in composition—an elegant rapid + touch, rather than a firm, nervous grasp of the instrument. + Both his compositions and playing appear to be the perfection + of chamber music—fit to be associated with the most refined + instrumental quartet and quartet playing—but wanting breadth + and obviousness of design, and executive power, to be + effective in a large hall. These are our impressions from + hearing Mons. Chopin for the first time on Monday evening. He + was warmly applauded by many of the most accomplished amateurs + in the town, and he received an encore in his last piece, a + compliment thus accorded to each of the four London artists + who appeared at the concert. +</pre> + <p> + From the criticism of the Manchester Courier and Lancashire General + Advertiser (August 30, 1848), I cull the following remarks:— + </p> +<pre xml:space="preserve"> + We can, with great sincerity, say that he delighted us. Though + we did not discover in him the vigour of Thalberg, yet there + was a chasteness and purity of style, a correctness of + manipulation combined with a brilliance of touch, and delicate + sensibility of expression which we never heard excelled. He + played in the second act [part]... and elicited a rapturous + encore. He did not, however, repeat any part, but treated the + audience with what appeared to be a fragment of great beauty. +</pre> + <p> + Mr. Osborne, in a paper on Chopin read before the London Musical + Association, says:— + </p> +<pre xml:space="preserve"> + On a tour which I made with Alboni, I met Chopin at + Manchester, where he was announced to play at a grand concert + without orchestra. He begged I should not be present. "You, my + dear Osborne," said he, "who have heard me so often in Paris, + remain with those impressions. My playing will be lost in such + a large room, and my compositions will be ineffective. Your + presence at the concert will be painful both to you and me." +</pre> + <p> + Mr. Osborne told his audience further that notwithstanding this appeal he + was present in a remote corner of the room. I may add that although he + could absent himself from the hall for the time Chopin was playing, he + could not absent himself from the concert, for, as the papers tell us, he + acted as accompanist. The impression which Chopin's performance on this + occasion left upon his friend's mind is described in the following few sad + words: "His playing was too delicate to create enthusiasm, and I felt + truly sorry for him." + </p> + <p> + Soon after the concert Chopin returned to Scotland. How many days (between + August 23 and September 7?) he remained in Manchester, I do not know, but + it is well known that while staying there he was the guest of Mr. and Mrs. + Salis Schwabe. To Mrs. Salis Schwabe, a lady noted for her benevolence, + Thomas Erskine addressed the letter concerning Miss Jane Stirling a part + of which I quoted on one of the foregoing pages of this chapter. The + reader remembers, of course, Chopin's prospective allusions to the + Manchester concert in his letters to Franchomme (August 6, 1848) and + Grzymala (July 18, 1848). + </p> + <p> + About a month after the concert at which he played in Manchester, Chopin + gave one of his own in Glasgow. Here is what may be read in the Courier of + September 28 and previous days:— + </p> +<pre xml:space="preserve"> + Monsieur Chopin has the honour to announce that his Matinee + musicals will take place on Wednesday, the 27th September, in + the Merchant Hall, Glasgow. To commence at half-past two + o'clock. Tickets, limited in number, half-a-guinea each, and + full particulars to be had from Mr. Muir Wood, 42, Buchanan + Street. +</pre> + <p> + The net profits of this concert are said to have been 60 pounds. Mr. Muir + Wood relates:— + </p> +<pre xml:space="preserve"> + I was then a comparative stranger in Glasgow, but I was told + that so many private carriages had never been seen at any + concert in the town. In fact, it was the county people who + turned out, with a few of the elite of Glasgow society. Being + a morning concert, the citizens were busy otherwise, and half- + a-guinea was considered too high a sum for their wives and + daughters. +</pre> + <p> + No doubt Chopin's playing and compositions must have been to the good + Glasgow citizens of that day what caviare is to the general. In fact, + Scotland, as regards music, had at that period not yet emerged from its + state of primitive savagery. But if we may believe the learned critic in + the Glasgow Courier, Chopin's matinee was numerously attended, and the + audience, which consisted of "the beauty and fashion, indeed of the very + elite of the West-end," thoroughly enjoyed the playing of the + concert-giver and the singing of Madame Adelasio de Margueritte who + assisted him. I think the reader will be interested by the following + specimen of criticism for more than one reason:— + </p> +<pre xml:space="preserve"> + The performance was certainly of the highest order in point of + musical attainment and artistic skill, and was completely + successful in interesting and delighting everyone present for + an hour and a half. Visited as we now are by the highest + musical talent, by this great player and the other eminent + composer, it must be difficult for each successive candidate + for our patronage and applause to produce in sufficient + quantity that essential element to success—novelty; but M. + Chopin has proved satisfactorily that it is not easy to + estimate the capabilities of the instrument he handles with so + much grace and ingenuity, or limit the skill and power whose + magic touch makes it pour forth its sublime strains to + electrify and delight anew the astonished listener. M. + Chopin's treatment of the pianoforte is peculiar to himself, + and his style blends in beautiful harmony and perfection the + elegant, the picturesque, and the humorous. We cannot at + present descend to practical illustrations in proof of these + observations, but feel persuaded we only express the feelings + of all who attended yesterday when we say that the pianist + produces, without extraordinary effort, not only pleasing, but + new musical delights. Madame Adelasio has a beautiful voice, + which she manages with great ease and occasional brilliancy. + She sang several airs with much taste and great acceptance. We + may mention that all the pieces were rapturously applauded, + and the audience separated with expressions of the highest + gratification. +</pre> + <p> + Clearly this critic was not without judgment, although his literary taste + and skill leave much to be desired. That there were real Chopin + enthusiasts in Glasgow is proved by an effusion, full of praise and + admiration, which the editor received from a correspondent and inserted on + September 30, two days after the above criticism. But, without indulging + our curiosity further, we will now take our leave of Glasgow and Glasgow + critics. + </p> + <p> + On October 4, Chopin gave an evening concert in Edinburgh. Here is the + programme:— + </p> +<pre xml:space="preserve"> + HOPETOUN ROOMS, QUEEN STREET. + MONSIEUR CHOPIN'S SOIREE MUSICALE. + + Programme. + + 1. Andante et Impromptu. + 2. Etudes. + 3. Nocturne et Berceuse. + 4. Grande Valse Brillante. + 5. Andante precede d'un Largo. + 6. Preludes, Ballade, Mazurkas et Valses. + + To commence at half-past eight o'clock. Tickets, + limited to number, half-a-guinea each. To be had, &c. +</pre> + <p> + Mrs. Lyschinski told me that this concert was chiefly attended by the + nobility. Half-a-guinea had never been charged for admission to a concert + (which is probably overstating the case), and Chopin was little known. + Miss Stirling, who was afraid the hall might not be filled, bought fifty + pounds' worth of tickets. The piano on which Chopin played (one sent by + Broadwood, and used in Glasgow as well as in Edinburgh) was afterwards + sold for 30 pounds above the price. Thus, at any rate, runs the legend. + </p> + <p> + In the Edinburgh Courant, which contained on September 30 and on other + days an advertisement similar to the Glasgow one (with the addition of a + programme, consisting, however, only of the 1st, 2nd, 3rd, and 6th items + of the one above given), there appeared on October 7, 1848, a notice of + the concert, a part of which may find a place here:— + </p> +<pre xml:space="preserve"> + This talented pianist gratified his admirers by a performance + on Wednesday evening in the Hopetoun Rooms, where a select and + highly fashionable audience assembled to welcome him on his + first appearance in Edinburgh...Chopin's compositions have + been too long before the musical portion of Europe, and have + been too highly appreciated to require any comment, further + than that they are among the best specimens of classical + excellence in pianoforte music. Of his execution we need say + nothing further than that it is the most finished we have ever + heard. He has neither the ponderosity nor the digital power of + a Mendelssohn, a Thalberg, or Liszt; consequently his + execution would appear less effective in a large room; but as + a chamber pianist he stands unrivalled. Notwithstanding the + amount of musical entertainment already afforded the Edinburgh + public this season, the rooms were filled with an audience + who, by their judicious and well-timed applause, testified + their appreciation of the high talent of Monsieur Chopin. +</pre> + <p> + An Edinburgh correspondent of the Musical World, who signs himself "M.," + confirms (October 14, 1848) the statements of the critic of the Courant. + From this communication we learn that one of the etudes played was in F + minor (probably No. 2 of Op. 25, although there are two others in the same + key—No. 9 of Op. 10 and No. 1 of Trois Etudes without opus number). + The problematical Andante precede d'un Largo was, no doubt, a + juxtaposition of two of his shorter compositions, this title being chosen + to vary the programme. From Mr. Hipkins I learned that at this Chopin + played frequently the slow movement from his Op. 22, Grande Polonaise + preceded d'un Andante Spianato. + </p> + <p> + And now we will let Chopin again speak for himself. + </p> + <p> + Chopin to Grzymala; Keir, Perthshire, Sunday, October 1, 1848:— + </p> +<pre xml:space="preserve"> + No post, no railway, also no carriage (not even for taking the + air), no boat, not a dog to be seen—all desolate, desolate! + My dearest friend,—Just at the moment when I had already + begun to write to you on another sheet, your and my sister's + letters were brought to me. Heaven be thanked that cholera has + hitherto spared them. But why do you not write a word about + yourself? and yet to you corresponding is much easier than to + me; for I have been writing to you daily for a whole week + already—namely, since my return from northern Scotland + (Strachur [FOOTNOTE: A small town, eight miles south of + Inveraray, in Argyleshire.])—without getting done. I know, + indeed, that you have an invalid in Versailles; for Rozaria + [FOOTNOTE: Mdlle. de Rozieres.] wrote to me that you had paid + her a visit, and then in great haste had gone to an invalid in + Versailles. I hope it is not your grandfather or grandchild, + or one of your dear neighbours, the Rochanskis. Here one hears + as yet nothing of cholera, but in London it appears already + here and there. + + With your letter, which I received at Johnstone Castle, and in + which you informed me that you had been with Soli [FOOTNOTE: I + suppose Solange, Madame Clesinger, George Sand's daughter.] at + the Gymnase Theatre, there came at the same time one from + Edinburgh, from Prince Alexander Czartoryski, with the news + that he and his wife had arrived, and that he would be very + glad to see me. Although tired, I at once took the train and + found them still in Edinburgh. Princess Marcelline was as kind + as she always is to me. The intercourse with them reanimated + me, and gave me strength to play in Glasgow, where the whole + haute volee had gathered for my concert. The weather was + magnificent, and the princely family had even come from + Edinburgh with little Marcel, who is growing nicely, and sings + already my compositions, yes, and even corrects when he hears + someone making mistakes. It was on Wednesday afternoon, at 3 + o'clock, and the princely couple did me the kindness to accept + along with me an invitation to a dinner at Johnstone Castle + (by the way, twelve English miles from Glasgow) after the + concert; in this way, then, I passed the whole day with them. + Lord and Lady Murray and the old Lord Torphichen (who had come + a distance of a hundred miles) drove also thither with us, and + the next day all were quite charmed with the amiability of + Princess Marcelline. The princely pair returned to Glasgow, + whence, after a visit to Loch Tamen, [FOOTNOTE: There is no + such loch. Could it possibly be Loch Lomond? Loch Leven seems + to me less likely.] they wished to go back at once to London, + and thence to the Continent. The Prince spoke of you with + sincere kindness. I can very well imagine what your noble soul + must suffer when you see what is now going on in Paris. You + cannot think how I revived, how lively I became that day in + the society of such dear countrymen; but to-day I am again + very depressed. O, this mist! Although, from the window at + which I write, I have before me the most beautiful view of + Stirling Castle—it is the same, as you will remember, which + delighted Robert Bruce—and mountains, lochs, a charming park, + in one word, the view most celebrated for its beauty in + Scotland; I see nothing, except now and then, when the mist + gives way to the sun. The owner of this mansion, whose name is + Stirling, is the uncle of our Scotch ladies, and the head of + the family. I made his acquaintance in London; he is a rich + bachelor, and has a very beautiful picture-gallery, which is + especially distinguished by works of Murillo and other Spanish + masters. He has lately even published a very interesting book + on the Spanish school; he has travelled much (visited also the + East), and is a very intelligent man. All Englishmen of note + who come to Scotland go to him; he has always an open house, + so that there are daily on an average about thirty people at + dinner with him. In this way one has opportunities of seeing + the most different English beauties; lately there was, for + instance, for some days a Mrs. Boston here, but she is already + gone. As to dukes, earls, and lords, one now sees here more of + them than ever, because the Queen has sojourned in Scotland. + Yesterday she passed close by us by rail, as she had to be at + a certain time in London, and there was such a fog on the sea + that she preferred to return from Aberdeen to London by land, + and not (as she had come) by boat—to the great regret of the + navy, which had prepared various festivities for her. It is + said that her consort, Prince Albert, was very much pleased at + this, as he becomes always sea-sick on board, while the Queen, + like a true ruler of the sea, is not inconvenienced by a + voyage. I shall soon have forgotten Polish, speak French like + an Englishman, and English like a Scotchman—in short, like + Jawurek, jumble together five languages. If I do not write to + you a Jeremiad, it is not because you cannot comfort me, but + because you are the only one who knows everything; and if I + once begin to complain, there will be no end to it, and it + will always be in the same key. But it is incorrect when I + say: "always in the same key," for things are getting worse + with me every day. I feel weaker; I cannot compose, not for + want of inclination, but for physical reasons, and because I + am every week in a different place. But what shall I do? At + least, I shall save something for the winter. Invitations I + have in plenty, and cannot even go where I should like, for + instance, to the Duchess of Argyll and Lady Belhaven, as the + season is already too far advanced and too dangerous for my + enfeebled health. I am all the morning unable to do anything, + and when I have dressed myself I feel again so fatigued that I + must rest. After dinner I must sit two hours with the + gentlemen, hear what they say, and see how much they drink. + Meanwhile I feel bored to death. I think of something totally + different, and then go to the drawing-room, where I require + all my strength to revive, for all are anxious to hear me. + Afterwards my good Daniel carries me upstairs to my bedroom, + undresses me, puts me to bed, leaves the candle burning, and + then I am again at liberty to sigh and to dream until morning, + to pass the next day just like the preceding one. When I have + settled down in some measure, I must continue my travels, for + my Scotch ladies do not allow me—to be sure with the best + intentions in the world—any rest. They fetch me to introduce + me to all their relations; they will at last kill me with + their kindness, and I must bear it all out of pure amiability.— + + Your + + FREDERICK. +</pre> + <p> + Chopin to Gutmann; Calder House, October 16, 1848 (twelve miles from + Edinburgh):— + </p> +<pre xml:space="preserve"> + Very dear friend,—What are you doing? How are your people, + your country, your art? you are unjustly severe upon me, for + you know my infirmity in the matter of letter-writing. I have + thought of you much, and on reading the other day that there + was a disturbance at Heidelberg, I tried some thirty rough + draughts [brouillons] in order to send you a line, the end of + them all being to be thrown into the fire. This page will + perhaps reach you and find you happy with your good mother. + Since I had news from you, I have been in Scotland, in this + beautiful country of Walter Scott, with so many memories of + Mary Stuart, the two Charleses, &c. I drag myself from one + lord to another, from one duke to another. I find everywhere, + besides extreme kindness and hospitality without limit, + excellent pianos, beautiful pictures, choice libraries; there + are also hunts, horses, dogs, interminable dinners, and + cellars of which I avail myself less. It is impossible to form + an idea of all the elaborate comfort which reigns in the + English mansions. The Queen having passed this year some weeks + in Scotland, all England followed her, partly out of courtesy, + partly because of the impossibility of going to the disturbed + Continent. Everything here has become doubly splendid, except + the sun, which has done nothing more than usual; moreover, the + winter advances, and I do not know yet what will become of me. + I am writing to you from Lord Torphichen's. In this mansion, + above my apartment, John Knox, the Scotch reformer, dispensed + for the first time the Sacrament. Everything here furnishes + matter for the imagination—a park with hundred-year-old + trees, precipices, walls of the castle in ruins, endless + passages with numberless old ancestors—there is even a + certain Red-cowl which walks there at midnight. I walk there + my incertitude. [II y a meme un certain bonnet rouge, qui s'y + promene a minuit. J'y promene mon incertitude.] + + Cholera is coming; there is fog and spleen in London, and no + president in Paris. It does not matter where I go to cough and + suffocate, I shall always love you. Present my respects to + your mother, and all my wishes for the happiness of you all. + Write me a line to the address: Dr. Lishinsky, [FOOTNOTE: The + letter I shall next place before the reader is addressed by + Chopin to "Dr. Lishinski." In an Edinburgh medical directory + the name appeared as Lyszynski.] 10, Warriston Crescent, + Edinburgh, Scotland.—Yours, with all my heart, +</pre> +<pre xml:space="preserve"> + CHOPIN. + + P.S.—I have played in Edinburgh; the nobility of the + neighbourhood came to hear me; people say the thing went off + well—a little success and money. There were this year in + Scotland Lind, Grisi, Alboni, Mario, Salvi—everybody. +</pre> + <p> + From Chopin's letters may be gathered that he arrived once more in London + at the end of October or beginning of November. + </p> + <p> + Chopin to Dr. Lyschinski; London, November 3, 1848:— + </p> +<pre xml:space="preserve"> + I received yesterday your kind words with the letter from + Heidelberg. I am as perplexed here as when I was with you, and + have the same love in my heart for you as when I was with you. + My respects to your wife and your neighbours. May God bless + you! + + I embrace you cordially. I have seen the Princess + [Czartoryska]; they were inquiring about you most kindly. + + My present abode is 4, St. James's Place. If anything should + come for me, please send it to that address. + + 3rd November, 1848. + + Pray send the enclosed note to Miss Stirling, who, no doubt, + is still at Barnton. + + [FOOTNOTE: In this case, as when writing to Woyciechowski, + Matuszynski, Fontana, Franchomme and Gutmann, Chopin uses in + addressing his correspondent, the pronoun of the second person + singular. Here I may also mention the curious monogram on his + seal: three C's in the form of horns (with mouthpieces and + bells) intertwined.] +</pre> + <p> + The following letter shows in what state of mind and body Chopin was at + the time. + </p> + <p> + Chopin to Grzymala; London, October [should be November] 17-18, 1848:— + </p> +<pre xml:space="preserve"> + My dearest friend,—For the last eighteen days, that is, since + my arrival in London, I have been ill, and had such a severe + cold in my head (with headache, difficult breathing, and all + my bad symptoms) that I did not get out of doors at all. The + physician visits me daily (a homoeopathist of the name of + Mallan, the same whom my Scotch ladies have and who has here a + great reputation, and is married to a niece of Lady + Gainsborough). He has succeeded in restoring me so far that + yesterday I was able to take part in the Polish Concert and + Ball; I went, however, at once home, after I had gone through + my task. The whole night I could not sleep, as I suffered, + besides cough and asthma, from very violent headache. As yet + the mist has not been very bad, so that, in order to breathe a + little fresh air, I can open the windows of my apartments + notwithstanding the keen cold. I live at No. 4, St. James's + Street, see almost every day the excellent Szulczewski, + Broadwood, Mrs. Erskine, who followed me hither with Mr. + Stirling, and especially Prince Alexander [Czartoryski] and + his wife. + + [FOOTNOTE: Charles Francis Szulczewski, son of Charles + Szulczewski, Receiver General for the District of Orlow, born + on January 18, 1814, was educated at the Military School at + Kalisz, served during the War of 1831 in the Corps of + Artillery under General Bem, obtained the Cross of Honour + (virtuti militari) for distinguishing himself at Ostrolenka, + passed the first years of his refugee life in France, and in + 1842 took up his residence in London, where, in 1845, he + became Secretary of the Literary Association of the Friends of + Poland. He was promoted for his services to the rank of Major + in the Polish Legion, which was formed in Turkey under the + command of Ladislas Zamoyski, and after the treaty of Paris + (1856) the English Government appointed him to a post in the + War Office. Major Szulczewski, who died on October 18, 1884, + was an ardent patriot, highly esteemed not only by his + countrymen, but also by all others who came in contact with + him, numbering among his friends the late Lord Dudley Stuart + and the late Earl of Harrowby.] + + Address your letters, please, to Szulczewski. I cannot yet + come to Paris, but I am always considering what is to be done + to return there. Here in these apartments, which for any + healthy man would be good, I cannot remain, although they are + beautifully situated and not dear (four and a half guineas a + week, inclusive of bed, coals, &c.); they are near Lord + Stuart's, [FOOTNOTE: Lord Dudley Cuotts Stuart, a staunch and + generous friend of the Poles.] who has just left me. This + worthy gentleman came to inquire how I felt after last night's + concert. Probably I shall take up my quarters with him, + because he has much larger rooms, in which I can breathe more + freely. En tout cas—inquire, please, whether there are not + somewhere on the Boulevard, in the neighbourhood of the Rue de + la Paix or Rue Royale, apartments to be had on the first etage + with windows towards the south; or, for aught I care, in the + Rue des Mathurin, but not in the Rue Godot or other gloomy, + narrow streets; at any rate, there must be included a room for + the servant. Perhaps Franck's old quarters, which were above + mine, at the excellent Madame Etienne's, in the Square No. 9 + (Cite d'Orleans), are unoccupied; for I know from experience + that I cannot keep on my old ones during the winter. If there + were only on the same story a room for the servant, I should + go again and live with Madame Etienne, but I should not like + to let my Daniel go away, as, should I at any time wish or be + able to return to England, he will be acquainted with + everything. + + Why I bother you with all this I don't know myself; but I must + think of myself, and, therefore, I beg of you, assist me in + this. I have never cursed anyone, but now I am so weary of + life that I am near cursing Lucrezia! [FOOTNOTE: George Sand. + This allusion after what has been said in a previous chapter + about her novel Lucrezia Floriani needs no further + explanation.] But she suffers too, and suffers more because + she grows daily older in wickedness. What a pity about Soli! + [FOOTNOTE: I suppose Solange, Madame Clesinger, George Sand's + daughter.] Alas! everything is going wrong in this world. + Think only that Arago with the eagle on his breast now + represents France!!! Louis Blanc attracts here nobody's + attention. The deputation of the national guard drove + Caussidier out of the Hotel de la Sablonniere (Leicester + Square) from the table d'hote with the exclamation: "Vous + n'etes pas francais!" + + Should you find apartments, let me know at once; but do not + give up the old ones till then.—Your +</pre> + <p> + FREDERICK. + </p> + <p> + The Polish Ball and Concert alluded to in the above letter deserves our + attention, for on that occasion Chopin was heard for the last time in + public, indeed, his performance there may be truly called the swan's song. + </p> + <p> + The following is an advertisement which appeared in the DAILY NEWS of + November 1, 1848:— + </p> +<pre xml:space="preserve"> + Grand Polish Ball and Concert at Guildhall, under Royal and + distinguished patronage, and on a scale of more than usual + magnificence, will take place on Thursday, the 16th of + November, by permission of the Lord Mayor and Corporation of + the City of London; particulars of which will be shortly + announced to the public. + + JAMES R. CARR, HONORARY SECRETARY. +</pre> + <p> + The information given in this advertisement is supplemented in one of + November 15:— + </p> +<pre xml:space="preserve"> + The magnificent decorations used on the Lord Mayor's day are, + by permission, preserved. The concert will comprise the most + eminent vocalists. Tickets (refreshments included), for a lady + and gentleman, 21/-; for a gentleman, 15/-; for a lady, 10/6; + to be had of, &c. +</pre> + <p> + On the 17th of November the TIMES had, of course, an account of the + festivity of the preceding night:— + </p> +<pre xml:space="preserve"> + The patrons and patronesses of this annual or rather perennial + demonstration in favour of foreign claims on domestic charity + assembled last night at Guildhall much in the same way as they + assembled last year and on previous occasions, though + certainly not in such numbers, nor in such quality as some + years ago. The great hall was illuminated and decorated as at + the Lord Mayor's banquet. The appearance was brilliant without + being particularly lively. +</pre> + <p> + Then the dancing, Mr. Adams' excellent band, the refreshment rooms, a few + noble Lords, the Lord Mayor, and some of the civic authorities (who + "diversified the plain misters and mistresses who formed the majority"), + the gay costumes of some Highlanders and Spaniards, and Lord Dudley (the + great lion of the evening)—all these are mentioned, but there is not + a word about Chopin. Of the concert we read only that it "was much the + same as on former anniversaries, and at its conclusion many of the company + departed." We learn, moreover, that the net profit was estimated at less + than on former occasions. + </p> + <p> + The concert for which Chopin, prompted by his patriotism and persuaded by + his friends, lent his assistance, was evidently a subordinate part of the + proceedings in which few took any interest. The newspapers either do not + notice it at all or but very briefly; in any case the great + pianist-composer is ignored. Consequently, very little information is now + to be obtained about this matter. Mr. Lindsay Sloper remembered that + Chopin played among other things the "Etudes" in A flat and F minor (Op. + 25, Nos. 1 & 2). But the best account we have of the concert are some + remarks of one present at it which Mr. Hueffer quotes in his essay on + Chopin in "Musical Studies":— + </p> +<pre xml:space="preserve"> + The people, hot from dancing, who went into the room where he + played, were but little in the humour to pay attention, and + anxious to return to their amusement. He was in the last stage + of exhaustion, and the affair resulted in disappointment. His + playing at such a place was a well-intentioned mistake. +</pre> + <p> + What a sad conclusion to a noble artistic career! + </p> + <p> + Although Chopin was longing for Paris in November, he was still in London + in the following January. + </p> + <p> + Chopin to Grzymaia; London, Tuesday, January, 1849:— + </p> +<pre xml:space="preserve"> + My dearest friend,—To-day I am again lying almost the whole + day, but Thursday I shall leave the to me unbearable London. + The night from Thursday to Friday I shall remain at Boulogne, + and, I hope, go to bed on Friday night in the Place d'Orleans. + To other ailments is now added neuralgia. Please see that the + sheets and pillows are quite dry and cause fir-nuts to be + bought; Madame Etienne is not to spare anything, so that I may + warm myself when I arrive. I have written to Drozewski that he + is to provide carpets and curtains. I shall pay the paper- + hanger Perrichon at once after my arrival. Tell Pleyel to send + me a piano on Thursday; let it be closed and a nosegay of + violets be bought, so that there may be a nice fragrance in + the salon. I should like to find a little poesy in my rooms + and in my bedroom, where I in all probability shall lie down + for a long time. + + Friday evening, then, I expect to be in Paris; a day longer + here, and I shall go mad or die! My Scotch ladies are good, + but so tedious that—God have mercy on us! They have so + attached themselves to me that I cannot easily get rid of + them; only Princess Marcelline [Czartoryska] and her family, + and the excellent Szulczewski keep me alive. Have fires + lighted in all rooms and the dust removed—perhaps I may yet + recover.—Yours ever, + + FREDERICK. +</pre> + <p> + Mr. Niedzwiecki told me that he travelled with Chopin, who was accompanied + by his servant, from London to Paris. + </p> + <p> + [FOOTNOTE: Leonard Niedzwiecki, born in the Kingdom of Poland in 1807, + joined the National Army in 1830, distinguished himself on several + battlefields, came in 1832 as a refugee to England, made there a + livelihood by literary work and acted as honorary librarian of the + Literary Association of the friends of Poland, left about 1845 London for + Paris and became Private Secretary, first to General Count Ladislas + Zamoyski, and after the Count's death to the widowed Countess. M. + Niedzwiecki, who is also librarian of the Polish Library at Paris, now + devotes all his time to historical and philological research.] + </p> + <p> + The three had a compartment to themselves. During the journey the invalid + suffered greatly from frequent attacks of breathlessness. Chopin was + delighted when he saw Boulogne. How hateful England and the English were + to him is shown by the following anecdote. When they had left Boulogne and + Chopin had been for some time looking at the landscape through which they + were passing, he said to Mr. Niedzwiecki: "Do you see the cattle in this + meadow? Ca a plus d'intelligence que les Anglais." Let us not be wroth at + poor Chopin: he was then irritated by his troubles, and always anything + but a cosmopolitan. + </p> + <p> + <a name="link2HCH0032" id="link2HCH0032"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER XXXII. + </h2> + <p> + DETERIORATION OF CHOPIN'S STATE OF HEALTH.—TWO LETTERS.—REMOVES + FROM THE SQUARE D'ORLEANS TO THE RUE CHAILLOT.—PECUNIARY + CIRCUMSTANCES.—A CURIOUS STORY.—REMINISCENCES AND LETTERS + CONNECTED WITH CHOPIN'S STAY IN THE RUE CHAILLOT.—REMOVES TO NO. 12, + PLACE VENDOME.—LAST DAYS, AND DEATH.—FUNERAL.—LAST + RESTING-PLACE.—MONUMENT AND COMMEMORATION IN 1850. + </p> + <p> + The physical condition in which we saw Chopin in the preceding chapter was + not the outcome of a newly-contracted disease, but only an acuter phase of + that old disease from which he had been suffering more or less for at + least twelve years, and which in all probability he inherited from his + father, who like himself died of a chest and heart complaint. [FOOTNOTE: + My authority for this statement is Dr. Lyschinski, who must have got his + information either from Chopin himself or his mother. That Chopin's + youngest sister, Emilia, died of consumption in early life cannot but be + regarded as a significant fact.] Long before Chopin went in search of + health to Majorca, ominous symptoms showed themselves; and when he + returned from the south, he was only partly restored, not cured. + </p> +<pre xml:space="preserve"> + My attachment [writes George Sand in "Ma Vie"] could work this + miracle of making him a little calm and happy, only because + God had approved of it by preserving a little of his health. + He declined, however, visibly, and I knew no longer what + remedies to employ in order to combat the growing irritation + of his nerves. The death of his friend Dr. Matuszynski, then + that of his own father, [FOOTNOTE: Nicholas Chopin died on May + 3, 1844. About Matuszynski's death see page 158.] were to him + two terrible blows. The Catholic dogma throws on death + horrible terrors. Chopin, instead of dreaming for these pure + souls a better world, had only dreadful visions, and I was + obliged to pass very many nights in a room adjoining his, + always ready to rise a hundred times from my work in order to + drive away the spectres of his sleep and wakefulness. The idea + of his own death appeared to him accompanied with all the + superstitious imaginings of Slavonic poetry. As a Pole he + lived under the nightmare of legends. The phantoms called him, + clasped him, and, instead of seeing his father and his friend + smile at him in the ray of faith, he repelled their fleshless + faces from his own and struggled under the grasp of their icy + hands. +</pre> + <p> + But a far more terrible blow than the deaths of his friend and his father + was his desertion by George Sand, and we may be sure that it aggravated + his disease a hundredfold. To be convinced of this we have only to + remember his curse on Lucrezia (see the letter to Grzymala of November + 17-18, 1848). + </p> + <p> + Jules Janin, in an obituary notice, says of Chopin that "he lived ten + years, ten miraculous years, with a breath ready to fly away" (il a vecu + dix ans, dix ans de miracle, d'un souffle pret a s'envoler). Another + writer remarks: "In seeing him [Chopin] so puny, thin, and pale, one + thought for a. long time that he was dying, and then one got accustomed to + the idea that he could live always so." Stephen Heller in chatting to me + about Chopin expressed the same idea in different words: "Chopin was often + reported to have died, so often, indeed, that people would not believe the + news when he was really dead." There was in Chopin for many years, + especially since 1837, a constant flux and reflux of life. To repeat + another remark of Heller's: "Now he was ill, and then again one saw him + walking on the boulevards in a thin coat." A married sister of Gutmann's + remembers that Chopin had already, in 1843-4, to be carried upstairs, when + he visited her mother, who in that year was staying with her children in + Paris; to walk upstairs, even with assistance, would have been impossible + to him. + </p> +<pre xml:space="preserve"> + For a long time [writes M. Charles Gavard] Chopin had been, + moving about with difficulty, and only went out to have + himself carried to a few faithful friends. He visited them by + no means in order that they might share his misery, on the + contrary, he seemed even to forget his troubles, and at sight + of the family life, and in the midst of the demonstrations of + love which he called forth from everyone, he found new impulse + and new strength to live. + + [FOOTNOTE: In a manuscript now before me, containing + reminiscences of the last months of Chopin's life. Karasowski, + at whose disposal the author placed his manuscript, copies + LITERALY, in the twelfth chapter of his Chopin biography, page + after page, without the customary quotation marks.] +</pre> + <p> + Edouard Wolff told me that, in the latter part of Chopin's life, he did + not leave the carriage when he had any business at Schlesinger's + music-shop; a shopman came out to the composer, who kept himself closely + wrapped in his blue mantle. The following reminiscence is, like some of + the preceding ones, somewhat vague with regard to time. Stephen Heller met + Chopin shortly before the latter fell ill. On being asked where he was + going, Chopin replied that he was on his way to buy a new carpet, his old + one having got worn, and then he complained of his legs beginning to + swell. And Stephen Heller saw indeed that there were lumps of swelling. M. + Mathias, describing to me his master as he saw him in 1847, wrote: "It was + a painful spectacle to see Chopin at that time; he was the picture of + exhaustion—the back bent, the head bowed forward—but always + amiable and full of distinction." That Chopin was no longer in a condition + to compose (he published nothing after October, 1847), and that playing in + public was torture to him and an effort beyond his strength, we have + already seen. But this was not all the misery; he was also unable to + teach. Thus all his sources of income were cut off. From Chopin's pupil + Madame Rubio (nee Vera de Kologrivof) I learned that latterly when her + master was ill and could not give many lessons, he sent to her several of + his pupils, among whom was also Miss Stirling, who then came to him only + once a week instead of oftener. But after his return from England Chopin + was no longer able to teach at all. [FOOTNOTE: "When languor [son mal de + langueur] took hold of him," relates Henri Blaze de Bury in "Etudes et + Souvenirs," "Chopin gave his lessons, stretched on a sofa, having within + reach a piano of which he made use for demonstration."] This is what + Franchomme told me, and he, in the last years especially, was intimately + acquainted with Chopin, and knew all about his financial affairs, of which + we shall hear more presently. + </p> + <p> + As we saw from the letter quoted at the end of the last chapter, Chopin + took up his quarters in the Square d'Orleans, No. 9. He, however, did not + find there the recovery of his health, of which he spoke in the concluding + sentences. Indeed, Chopin knew perfectly by that time that the game was + lost. Hope showed herself to him now and then, but very dimly and + doubtfully. Nothing proves the gravity of his illness and his utter + prostration so much as the following letters in which he informs his + Titus, the dearest friend of his youth, that he cannot go and meet him in + Belgium. + </p> + <p> + Chopin to Titus Woyciechowski; Paris, August 20, 1849:— + </p> +<pre xml:space="preserve"> + Square d'Orleans, Rue St. Lazare, No 9. + + My dearest friend,—Nothing but my being so ill as I really am + could prevent me from leaving Paris and hastening to meet you + at Ostend; but I hope that God will permit you to come to me. + The doctors do not permit me to travel. I drink Pyrenean + waters in my own room. But your presence would do me more good + than any kind of medicine.—Yours unto death, + + FREDERICK. +</pre> +<pre xml:space="preserve"> + Paris, September 12, 1849. + + My dear Titus,—I had too little time to see about the permit + for your coming here; [FOOTNOTE: As a Russian subject, + Woyciechowski required a special permission from the Rusian + authorities to visit Paris, which was not readily granted to + Poles.] I cannot go after it myself, for the half of my time I + lie in bed. But I have asked one of my friends, who has very + great influence, to undertake this for me; I shall not hear + anything certain, about it till Saturday. I should have liked + to go by rail to the frontier, as far as Valenciennes, to see + you again; but the doctors do not permit me to leave Paris, + because a few days ago I could not get as far as Ville + d'Avraye, near Versailles, where I have a goddaughter. For the + same reason they do not send me this winter to a warmer + climate. It is, then, illness that retains me; were I only + tolerably well I should certainly have visited you in Belgium. + + Perhaps you may manage to come here. I am not egotistic enough + to ask you to come only on my account; for, as I am ill, you + would have with me weary hours and disappointments, but, + perhaps, also hours of comfort, and of beautiful reminiscences + of our youth, and I wish only that our time together may be a + time of happiness.—Yours ever, + + FREDERICK. +</pre> + <p> + When Chopin wrote the second of the above letters he was staying in a part + of Paris more suitable for summer quarters than the Square d'Orleans—namely, + in the Rue Chaillot, whither he had removed in the end of August. + </p> +<pre xml:space="preserve"> + The Rue Chaillot [writes M. Charles Gavard] was then a very + quiet street, where one thought one's self rather in the + province than in the capital. A large court-yard led to + Chopin's apartments on the second story and with a view of + Paris, which can be seen from the height of Chaillot. +</pre> + <p> + The friends who found these apartments for the invalid composer made him + believe that the rent was only 200 francs. But in reality it was 400 + francs, and a Russian lady, Countess Obreskoff, [FOOTNOTE: Madame Rubio, + differing in this one particular from Franchomme, said that Chopin paid + 100 francs and Countess Obreskoff 200.] paid one half of it. When Chopin + expressed surprise at the lowness of the rent, he was told that lodgings + were cheap in summer. + </p> + <p> + This last story prompts me to say a few words about Chopin's pecuniary + circumstances, and naturally leads me to another story, one more like + romance than reality. Chopin was a bad manager, or rather he was no + manager at all. He spent inconsiderately, and neglecting to adapt his + expenditure to his income, he was again and again under the necessity of + adapting his income to his expenditure. Hence those borrowings of money + from friends, those higglings with and dunnings of publishers, in short, + all those meannesses which were unworthy of so distinguished an artist, + and irreconcilable with his character of grand seigneur. Chopin's income + was more than sufficient to provide him with all reasonable comforts; but + he spent money like a giddy-headed, capricious woman, and unfortunately + for him had not a fond father or husband to pay the debts thus incurred. + Knowing in what an unsatisfactory state his financial affairs were when he + was earning money by teaching and publishing, we can have no difficulty in + imagining into what straits he must have been driven by the absolute + cessation of work and the consequent cessation of income. The little he + had saved in England and Scotland was soon gone, gone unawares; indeed, + the discovery of the fact came to him as a surprise. What was to be done? + Franchomme, his right hand, and his head too, in business and money + matters—and now, of course, more than ever—was at his wits' + end. He discussed the disquieting, threatening problem with some friends + of Chopin, and through one of them the composer's destitution came to the + knowledge of Miss Stirling. She cut the Gordian knot by sending her master + 25,000 francs. [FOOTNOTE: M. Charles Gavard says 20,000 francs.] This + noble gift, however; did not at once reach the hands of Chopin. When + Franchomme, who knew what had been done, visited Chopin a few days + afterwards, the invalid lamented as on previous occasions his + impecuniosity, and in answer to the questions of his astonished friend + stated that he had received nothing. The enquiries which were forthwith + set on foot led to the envelope with the precious enclosure being found + untouched in the clock of the portiere, who intentionally or + unintentionally had omitted to deliver it. The story is told in various + ways, the above is the skeleton of apparently solid facts. I will now make + the reader acquainted with the hitherto unpublished account of Madame + Rubio, who declared solemnly that her version was correct in every detail. + Franchomme's version, as given in Madame Audley's book on Chopin, differs + in several points from that of Madame Rubio; I shall, therefore, reproduce + it for comparison in a foot-note. + </p> + <p> + One day in 1849 Franchomme came to Madame Rubio, and said that something + must be done to get money for Chopin. Madame Rubio thereupon went to Miss + Stirling to acquaint her with the state of matters. When Miss Stirling + heard of Chopin's want of money, she was amazed, and told her visitor that + some time before she had, without the knowledge of anyone, sent Chopin + 25,000 francs in a packet which, in order to conceal the sender, she got + addressed and sealed in a shop. The ladies made enquiries as to the + whereabouts of the money, but without result. A Scotch gentleman, a + novelist (Madame Rubio had forgotten the name at the time she told the + story, but was sure she would recall it, and no doubt would have done so, + had not her sudden death soon after [FOOTNOTE: In the summer of 1880] + intervened), proposed to consult the clairvoyant Alexandre. [FOOTNOTE: + Madame Rubio always called the clairvoyant thus. See another name farther + on.] The latter on being applied to told them that the packet along with a + letter had been delivered to the portiere who had it then in her + possession, but that he could not say more until he got some of her hair. + One evening when the portiere was bathing Chopin's feet, he—who had + in the meantime been communicated with—talked to her about her hair + and asked her to let him cut off one lock. She allowed him to do so, and + thus Alexandre was enabled to say that the money was in the clock in the + portiere's room. Having got this information, they went to the woman and + asked her for the packet. She turned pale, and, drawing it out of the + clock, said that at the time she forgot to give it to Chopin, and when she + remembered it afterwards was afraid to do so. The packet of notes was + unopened. Madame Rubio supposed that the portiere thought Chopin would + soon die and that then she might keep the contents of the parcel. + </p> + <p> + [FOOTNOTE: After relating that an intimate friend of Chopin's told Miss + Stirling of the latter's straitened circumstances, received from her + bank-notes to the amount of 25,000 francs, and handed them enclosed in an + envelope to the master's portiere with the request to deliver the packet + immediately to its address, Madame Audley proceeds with her story (which + Franchomme's death prevented me from verifying) thus: "Here, then, was a + gleam of light in this darkened sky, and the reassured friends breathed + more freely." "But what was my surprise," said M. Franchomme, from whom I + have the story, "when some time after I heard Chopin renew his complaints + and speak of his distress in the most poignant terms. Becoming impatient, + and being quite at a loss as to what was going on," I said at last to him: + "But, my dear friend, you have no cause to torment yourself, you can wait + for the return of your health, you have money now!"—"I, money!" + exclaimed Chopin; "I have nothing."—"How! and these 25,000 francs + which were sent you lately?"—"25,000 francs? Where are they? Who + sent them to me? I have not received a sou!"—"Ah! really, that is + too bad!" Great commotion among the friends. It was evident that the money + given to the portiere had not arrived at its destination; but how to be + assured of this? and what had become of it? Here was a curious enough + fact, as if a little of the marvellous must always be mingled with + Chopin's affairs. Paris at that time possessed a much run-after + clairvoyant, the celebrated Alexis; they thought of going to consult him. + But to get some information it was necessary to put him en rapport, + directly or indirectly, with the person suspected. Now this person was, + naturally, the portiere. By ruse or by address they got hold of a little + scarf that she wore round her neck and placed it in the hands of the + clairvoyant. The latter unhesitatingly declared that the 25,000 francs + were behind the looking-glass in the loge. The friend who had brought them + immediately presented himself to claim them; and our careful portiere, + fearing, no doubt, the consequences of a too prolonged sequestration, drew + the packet from behind the clock and held it out to him, saying: 'Eh bien, + la v'la, vot' lettre!'"] + </p> + <p> + Chopin, however, refused to accept the whole of the 25,000 francs. + According to Madame Rubio, he kept only 1,000 francs, returning the rest + to Miss Stirling, whilst Franchomme, on the other hand, said that his + friend kept 12,000 francs. + </p> + <p> + During Chopin's short stay in the Rue Chaillot, M. Charles Gavard, then a + very young man, in fact, a youth, spent much of his time with the + suffering composer:— + </p> +<pre xml:space="preserve"> + The invalid [he writes] avoided everything that could make me + sad, and, to shorten the hours which we passed together, + generally begged me to take a book out of his library and to + read to him. For the most part he chose some pages out of + Voltaire's Dictionnaire Philosophique. He valued very highly + the finished form of that clear and concise language, and that + so sure judgment on questions of taste. Thus, for instance, I + remember that the article on taste was one of the last I read + to him. +</pre> + <p> + What M. Gavard says of how slowly, in pain, and often in loneliness, the + hours passed for Chopin in the spacious, rooms of his lodgings in the Rue + Chaillot, reminds me of a passage in Hector Berlioz's admirable article on + his friend in the Journal des Debats (October 27, 1849):— + </p> +<pre xml:space="preserve"> + His weakness and his sufferings had become so great that he + could no longer either play the piano or compose; even the + slightest conversation fatigued him in an alarming manner. He + endeavoured generally to make himself understood as far as + possible by signs. Hence the kind of isolation in which he + wished to pass the last months of his life, an isolation which + many people wrongly interpreted—some attributing it to a + scornful pride, others to a melancholic temper, the one as + well as the other equally foreign to the character of this, + charming artist. +</pre> + <p> + During his stay in the Rue Chaillot Chopin wrote the following note and + letter to Franchomme:— + </p> +<pre xml:space="preserve"> + Dear friend,—Send me a little of your Bordeaux. I must take a + little wine to-day, and have none. How distrustful I am! Wrap + up the bottle, and put your seal on it. For these porters! And + I do not know who will take charge of this commission. + + Yours, with all my heart. +</pre> +<pre xml:space="preserve"> + Sunday after your departure, September 17, 1849. + + Dear friend,—I am very sorry that you were not well at Le + Mans. Now, however, you are in Touraine, whose sky will have + been more favourable to you. I am less well rather than + better. MM. Cruveille, Louis, and Blache have had a + consultation, and have come to the conclusion that I ought not + to travel, but only to take lodgings in the south and remain + at Paris. After much seeking, very dear apartments, combining + all the desired conditions, have been found in the Place + Vendome, No. 12. Albrecht has now his offices there. Meara + [FOOTNOTE: This is a very common French equivalent for + O'Meara.] has been of great help to me in the search for the + apartments. In short, I shall see you all next winter—well + housed; my sister remains with me, unless she is urgently + required in her own country. I love you, and that is all I can + tell you, for I am overcome with sleep and weakness. My sister + rejoices at the idea of seeing Madame Franchomme again, and I + also do so most sincerely. This shall be as God wills. Kindest + regards to M. and Madame Forest. How much I should like to be + some days with you! Is Madame de Lauvergeat also at the sea- + side? Do not forget to remember me to her, as well as to M. de + Lauvergeat. Embrace your little ones. Write me a line. Yours + ever. My sister embraces Madame Franchomme. +</pre> + <p> + After a stay of less than six weeks Chopin removed from the Rue Chaillot + to the apartments in No. 12, Place Vendome, which M. Albrecht and Dr. + O'Meara had succeeded in finding for him. About this time Moscheles came + to Paris. Of course he did not fail to inquire after his brother-artist + and call at his house. What Moscheles heard and thought may be gathered + from the following entry in his diary:-"Unfortunately, we heard of + Chopin's critical condition, made ourselves inquiries, and found all the + sad news confirmed. Since he has been laid up thus, his sister has been + with him. Now the days of the poor fellow are numbered, his sufferings + great. Sad lot!" Yes, Chopin's condition had become so hopeless that his + relations had been communicated with, and his sister, Louisa Jedrzejewicz, + [FOOTNOTE: The same sister who visited him in 1844, passed on that + occasion also some time at Nohant, and subsequently is mentioned in a + letter of Chopin's to Franchomme.] accompanied by her husband and + daughter, had lost no time in coming from Poland to Paris. For the comfort + of her presence he was, no doubt, thankful. But he missed and deplored + very much during his last illness the absence of his old, trusted + physician, Dr. Molin, who had died shortly after the composer's return + from England. + </p> + <p> + The accounts of Chopin's last days—even if we confine ourselves to + those given by eye-witnesses—are a mesh of contradictions which it + is impossible to wholly disentangle. I shall do my best, but perhaps the + most I can hope for is to avoid making confusion worse confounded. + </p> + <p> + In the first days of October Chopin was already in such a condition that + unsupported he could not sit upright. His sister and Gutmann did not leave + him for a minute, Chopin holding a hand of the latter almost constantly in + one of his. By the 15th of October the voice of the patient had lost its + sonority. It was on this day that took place the episode which has so + often and variously been described. The Countess Delphine Potocka, between + whom and Chopin existed a warm friendship, and who then happened to be at + Nice, was no sooner informed of her friend's fatal illness than she + hastened to Paris. + </p> +<pre xml:space="preserve"> + When the coming of this dear friend was announced to Chopin + [relates M. Gavard], he exclaimed: "Therefore, then, has God + delayed so long to call me to Him; He wished to vouchsafe me + yet the pleasure of seeing you." Scarcely had she stepped up + to him when he expressed the wish that she should let him hear + once more the voice which he loved so much. When the priest + who prayed beside the bed had granted the request of the dying + man, the piano was moved from the adjoining room, and the + unhappy Countess, mastering her sorrow and suppressing tier + sobs, had to force herself to sing beside the bed where her + friend was exhaling his life. I, for my part, heard nothing; I + do not know what she sang. This scene, this contrast, this + excess of grief had over-powered my-sensibility; I remember + only the moment when the death-rattle of the departing one + interrupted the Countess in the middle of the second piece. + The instrument was quickly removed, and beside the bed + remained only the priest who said the prayers for the dying, + and the kneeling friends around him. +</pre> + <p> + However, the end was not yet come, indeed, was not to come till two days + after. M. Gavard, in saying that he did not hear what the Countess Potocka + sang, acts wisely, for those who pretended to have heard it contradict + each other outright. Liszt and Karasowski, who follows him, say that the + Countess sang the Hymn to the Virgin by Stradella, and a Psalm by + Marcello; on the other hand, Gutmann most positively asserted that she + sang a Psalm by Marcello and an air by Pergolesi; whereas Franchomme + insisted on her having sung an air from Bellini's Beatrice di Tenda, and + that only once, and nothing else. As Liszt was not himself present, and + does not give the authority for his statement, we may set it, and with it + Karasowski's, aside; but the two other statements, made as they were by + two musicians who were ear witnesses, leave us in distressing perplexity + with regard to what really took place, for between them we cannot choose. + Chopin, says M. Gavard, looked forward to his death with serenity. + </p> +<pre xml:space="preserve"> + Some days after his removal to the Place Vendome, Chopin, + sitting upright and leaning on the arm of a friend, remained + silent for a long time and seemed lost in deep meditation. + Suddenly he broke the silence with the words: "Now my death- + struggle begins" [Maintenant j'entre en agonie]. The + physician, who was feeling his pulse, wished to comfort him + with some commonplace words of hope. But Chopin rejoined with + a superiority which admitted of no reply: "God shows man a + rare favour when He reveals to him the moment of the approach + of death; this grace He shows me. Do not disturb me." +</pre> + <p> + M. Gavard relates also that on the 16th October Chopin twice called his + friends that were gathered in his apartments around him. "For everyone he + had a touching word; I, for my part, shall never forget the tender words + he spoke to me." Calling to his side the Princess Czartoryska and Mdlle. + Gavard, [FOOTNOTE: A sister of M. Charles Gavard, the pupil to whom Chopin + dedicated his Berceuse.] he said to them: "You will play together, you + will think of me, and I shall listen to you." And calling to his side + Franchomme, he said to the Princess: "I recommend Franchomme to you, you + will play Mozart together, and I shall listen to you." [FOOTNOTE: The + words are usually reported to have been "Vous jouerez du Mozart en memoire + de moi."] "And," added Franchomme when he told me this, "the Princess has + always been a good friend to me." + </p> + <p> + And George Sand? Chopin, as I have already mentioned, said two days before + his death to Franchomme: "She had said to me that I would die in no arms + but hers" [Elle n'avait dit que je ne mourrais que dans ses bras]. Well, + did she not come and fulfil her promise, or, at least, take leave of her + friend of many years? Here, again, all is contradiction. M. Gavard writes:— + </p> +<pre xml:space="preserve"> + Among the persons who called and were not admitted was a + certain Madame M., who came in the name of George Sand—who + was then much occupied with the impending representation of + one of her dramas—to inquire after Chopin's state of health. + None of us thought it proper to disturb the last moments of + the master by the announcement of this somewhat late + remembrance. +</pre> + <p> + Gutmann, on the other hand, related that George Sand came to the landing + of the staircase and asked him if she might see Chopin; but that he + advised her strongly against it, as it was likely to excite the patient + too much. Gutmann, however, seems to have been by no means sure about this + part of his recollections, for on two occasions he told me that it was + Madame Clesinger (George Sand's daughter, Solange) who asked if it was + advisable for her mother to come. Madame Clesinger, I may say in passing, + was one of those in loving attendance on Chopin, and, as Franchomme told + me, present, like himself, when the pianist-composer breathed his last. + From the above we gather, at least, that it is very uncertain whether + Chopin's desire to see George Sand was frustrated by her heartlessness or + the well-meaning interference of his friends. + </p> + <p> + During this illness of Chopin a great many of his friends and + acquaintances, in fact, too many, pressed forward, ready to be of use, + anxious to learn what was passing. Happily for the dying man's comfort, + most of them were not allowed to enter the room in which he lay. + </p> +<pre xml:space="preserve"> + In the back room [writes M. Gavard] lay the poor sufferer, + tormented by fits of breathlessness, and only sitting in bed + resting in the arms of a friend could he procure air for his + oppressed lungs. It was Gutmann, the strongest among us, who + knew best how to manage the patient, and who mostly thus + supported him. At the head of his bed sat the Princess + Marcelline Czartoryska: she never left him, guessing his most + secret wishes, nursing him like a sister of mercy with a + serene countenance, which did not betray her deep sorrow. + Other friends gave a helping hand or relieved her, everyone + according to his power; but most of them stayed in the two + adjoining rooms. Everyone had assumed a part; everyone helped + as much as he could: one ran to the doctors, to the + apothecary; another introduced the persons asked for; a third + shut the door on the intruders. To be sure, many who had + anything but free entrance came, and called to take leave of + him just as if he were about to start on a journey. This + anteroom of the dying man, where every one of us hopelessly + waited and watched, was like a guard-house or a camp. +</pre> + <p> + M. Gavard probably exaggerates the services of the Princess Czartoryska, + but certainly forgets those of the composer's sister. Liszt, no doubt, + comes nearer the truth when he says that among those who assembled in the + salon adjoining Chopin's bedroom, and in turn came to him and watched his + gestures and looks when he had lost his speech, the Princess Marcelline + Czartoryska was the most assiduous. + </p> +<pre xml:space="preserve"> + She passed every day a couple of hours with the dying man. She + left him at the last only after having prayed for a long time + beside him who had just then fled from this world of illusions + and sorrows.... +</pre> + <p> + After a bad night Chopin felt somewhat better on the morning of the 16th. + By several authorities we are informed that on this day, the day after the + Potocka episode, the artist received the sacrament which a Polish priest + gave him in the presence of many friends. Chopin got worse again in the + evening. While the priest was reading the prayers for the dying, he rested + silently and with his eyes closed upon Gutmann's shoulder; but at the end + of the prayers he opened his eyes wide and said with a loud voice: "Amen." + </p> + <p> + The Polish priest above mentioned was the Abbe Alexander Jelowicki. Liszt + relates that in the absence of the Polish priest who was formerly Chopin's + confessor, the Abbe called on his countryman when he heard of his + condition, although they had not been on good terms for years. Three times + he was sent away by those about Chopin without seeing him. But when he had + succeeded in informing Chopin of his wish to see him, the artist received + him without delay. After that the Abbe became a daily visitor. One day + Chopin told him that he had not confessed for many years, he would do so + now. When the confession was over and the last word of the absolution + spoken, Chopin embraced his confessor with both arms a la polonaise, and + exclaimed: "Thanks! Thanks! Thanks to you I shall not die like a pig." + That is what Liszt tells us he had from Abbe Jelowicki's own lips. In the + account which the latter has himself given of how Chopin was induced by + him to receive the sacrament, induced only after much hesitation, he + writes:— + </p> +<pre xml:space="preserve"> + Then I experienced an inexpressible joy mixed with an + indescribable anguish. How should I receive this precious soul + so as to give it to God? I fell on my knees, and cried to God + with all the energy of my faith: "You alone receive it, O my + God!" And I held out to Chopin the image of the crucified + Saviour, pressing it firmly in his two hands without saying a + word. Then fell from his eyes big tears. "Do you believe?" I + asked him.—"I believe."—"Do you believe as your mother + taught you?"—"As my mother taught me." And, his eyes fixed on + the image of his Saviour, he confessed while shedding torrents + of tears. Then he received the viaticum and the extreme + unction which he asked for himself. After a moment he desired + that the sacristan should be given twenty times more than was + usually given to him. When I told him that this would be far + too much, he replied: "No, no, this is not too much, for what + I have received is priceless." From this moment, by God's + grace, or rather under the hand of God Himself, he became + quite another, and one might almost say he became a saint. On + the same day began the death-struggle, which lasted four days + and four nights. His patience and resignation to the will of + God did not abandon him up to the last minute.... +</pre> + <p> + When Chopin's last moments approached he took "nervous cramps" (this was + Gutmann's expression in speaking of the matter), and the only thing which + seemed to soothe him was Gutmann's clasping his wrists and ankles firmly. + Quite near the end Chopin was induced to drink some wine or water by + Gutmann, who supported him in his arms while holding the glass to his + lips. Chopin drank, and, sinking back, said "Cher ami!" and died. Gutmann + preserved the glass with the marks of Chopin's lips on it till the end of + his life. + </p> + <p> + [FOOTNOTE: In B. Stavenow's sketch already more than once alluded to by + me, we read that Chopin, after having wetted his lips with the water + brought him by Gutmann, raised the latter's hand, kissed it, and with the + words "Cher ami!" breathed his last in the arms of his pupil, whose sorrow + was so great that Count Gryzmala was obliged to lead him out of the room. + Liszt's account is slightly different. "Who is near me?" asked Chopin, + with a scarcely audible voice. He bent his head to kiss the hand of + Gutmann who supported him, giving up his soul in this last proof of + friendship and gratitude. He died as he had lived, loving.] + </p> + <p> + M. Gavard describes the closing hours of Chopin's life as follows:— + </p> +<pre xml:space="preserve"> + The whole evening of the 16th passed in litanies; we gave the + responses, but Chopin remained silent. Only from his difficult + breathing could one perceive that he was still alive. That + evening two doctors examined him. One of them, Dr. Cruveille, + took a candle, and, holding it before Chopin's face, which had + become quite black from suffocation, remarked to us that the + senses had already ceased to act. But when he asked Chopin + whether he suffered, we heard, still quite distinctly, the + answer "No longer" [Plus]. This was the last word I heard from + his lips. He died painlessly between three and four in the + morning [of October 17, 1849]. When I saw him some hours + afterwards, the calm of death had given again to his + countenance the grand character which we find in the mould + taken the same day [by Clesinger], and still more in the + simple pencil sketch which was drawn by the hand of a friend, + M. Kwiatkowski. This picture of Chopin is the one I like best. +</pre> + <p> + Liszt, too, reports that Chopin's face resumed an unwonted youth, purity, + and calm; that his youthful beauty so long eclipsed by suffering + reappeared. Common as the phenomenon is, there can be nothing more + significant, more impressive, more awful, than this throwing-off in death + of the marks of care, hardship, vice, and disease—the corruption of + earthly life; than this return to the innocence, serenity, and loveliness + of a first and better nature; than this foreshadowing of a higher and more + perfect existence. Chopin's love of flowers was not forgotten by those who + had cherished and admired him now when his soul and body were parted. "The + bed on which he lay," relates Liszt, "the whole room, disappeared under + their varied colours; he seemed to repose in a garden." It was a Polish + custom, which is not quite obsolete even now, for the dying to choose for + themselves the garments in which they wished to be dressed before being + laid in the coffin (indeed, some people had their last habiliments + prepared long before the approach of their end); and the pious, more + especially of the female sex, affected conventual vestments, men generally + preferring their official attire. That Chopin chose for his grave-clothes + his dress-suit, his official attire, in which he presented himself to his + audiences in concert-hall and salon, cannot but be regarded as + characteristic of the man, and is perhaps more significant than appears at + first sight. But I ought to have said, it would be if it were true that + Chopin really expressed the wish. M. Kwiatkowski informed me that this was + not so. + </p> + <p> + For some weeks after, from the 18th October onwards, the French press + occupied itself a good deal with the deceased musician. There was not, I + think, a single Paris paper of note which did not bring one or more long + articles or short notes regretting the loss, describing the end, and + estimating the man and artist. But the phenomenal ignorance, exuberance of + imagination, and audacity of statement, manifested by almost every one of + the writers of these articles and notes are sufficient to destroy one's + faith in journalism completely and for ever. Among the offenders were men + of great celebrity, chief among them Theophile Gautier (Feuilleton de la + Presse, November 5, 1849) and Jules Janin (Feuilleton du Journal des + Debuts, October 22, 1849), the latter's performance being absolutely + appalling. Indeed, if we must adjudge to French journalists the palm for + gracefulness and sprightliness, we cannot withhold it from them for + unconscientiousness. Some of the inventions of journalism, I suspect, were + subsequently accepted as facts, in some cases perhaps even assimilated as + items of their experience, by the friends of the deceased, and finally + found their way into AUTHENTIC biography. One of these myths is that + Chopin expressed the wish that Mozart's Requiem should be performed at his + funeral. Berlioz, one of the many journalists who wrote at the time to + this effect, adds (Feuilleton du Journal des Debuts, October 27, 1849) + that "His [Chopin's] worthy pupil received this wish with his last sigh." + Unfortunately for Berlioz and this pretty story, Gutmann told me that + Chopin did not express such a wish; and Franchomme made to me the same + statement. I must, [I must, however, not omit to mention here that M. + Charles Gavard says that Chopin drew up the programme of his funeral, and + asked that on that occasion Mozart's Requiem should be performed.] Also + the story about Chopin's wish to be buried beside Bellini is, according to + the latter authority, a baseless invention. This is also the place to + dispose of the question: What was done with Chopin's MSS.? The reader may + know that the composer is said to have caused all his MSS. to be burnt. + Now, this is not true. From Franchomme I learned that what actually took + place was this. Pleyel asked Chopin what was to be done with the MSS. + Chopin replied that they were to be distributed among his friends, that + none were to be published, and that fragments were to be destroyed. Of the + pianoforte school which Chopin is said to have had the intention to write, + nothing but scraps, if anything, can have been found. + </p> + <p> + M. Gavard pere made the arrangements for the funeral, which, owing to the + extensiveness of the preparations, did not take place till the 30th of + October. Ready assistance was given by M. Daguerry, the curate of the + Madeleine, where the funeral service was to be held; and thanks to him + permission was received for the introduction of female singers into the + church, without whom the performance of Mozart's Requiem would have been + an impossibility. + </p> +<pre xml:space="preserve"> + Numerous equipages [says Eugene Guinot in the Feuilleton du + Siecle of November 4] encumbered last Tuesday the large + avenues of the Madeleine church, and the crowd besieged the + doors of the Temple where one was admitted only on presenting + a letter of invitation. Mourning draperies announced a funeral + ceremony, and in seeing this external pomp, this concourse of + carriages and liveried servants, and this privilege which + permitted only the elect to enter the church, the curious + congregated on the square asked: "Who is the great lord [grand + seigneur] whom they are burying?" As if there were still + grands seigneurs! Within, the gathering was brilliant; the + elite of Parisian society, all the strangers of distinction + which Paris possesses at this moment, were to be found + there... +</pre> + <p> + Many writers complain of the exclusiveness which seems to have presided at + the sending out of invitations. M. Guinot remarks in reference to this + point: + </p> +<pre xml:space="preserve"> + His testamentary executors [executrices] organised this + solemnity magnificently. But, be it from premeditation or from + forgetfulness, they completely neglected to invite to the + ceremony most of the representatives of the musical world. + Members of the Institute, celebrated artists, notable writers, + tried in vain to elude the watch-word [consigne] and penetrate + into the church, where the women were in a very great + majority. Some had come from London, Vienna, and Berlin. +</pre> + <p> + In continuation of my account of the funeral service I shall quote from a + report in the Daily News of November 2, 1849:— + </p> +<pre xml:space="preserve"> + The coffin was under a catafalque which stood in the middle of + the area. The semicircular space behind the steps of the altar + was screened by a drapery of black cloth, which being + festooned towards the middle, gave a partial view of the vocal + and instrumental orchestra, disposed not in the usual form of + a gradual ascent from the front to the back, but only on the + level of the floor.... + + The doors of the church were opened at eleven o'clock, and at + noon (the time fixed for the commencement of the funeral + service) the vast area was filled by an assembly of nearly + three thousand persons, all of whom had received special + invitations, as being entitled from rank, from station in the + world of art and literature, or from friendship for the + lamented deceased, to be present on so solemn and melancholy + an occasion. +</pre> + <p> + A trustworthy account of the whole ceremony, and especially a clear and + full report of the musical part of the service, we find in a letter from + the Paris correspondent of The Musical World (November 10, 1849). I shall + quote some portions of this letter, accompanying them with elucidatory and + supplementary notes:— + </p> +<pre xml:space="preserve"> + The ceremony, which took place on Tuesday (the 30th ult.), at + noon, in the church of the Madeleine, was one of the most + imposing we ever remember to have witnessed. The great door of + the church was hung with black curtains, with the initials of + the deceased, "F. C.," emblazoned in silver. On our entry we + found the vast area of the modern Parthenon entirely crowded. + Nave, aisles, galleries, &c., were alive with human beings who + had come to see the last of Frederick Chopin. Many, perhaps, + had never heard of him before....In the space that separates + the nave from the choir, a lofty mausoleum had been erected, + hung with black and silver drapery, with the initials "F.C." + emblazoned on the pall. At noon the service began. The + orchestra and chorus (both from the Conservatoire, with M. + Girard as conductor and the principal singers (Madame Viardot- + Garcia, Madame Castellan, Signor Lablache, and M. Alexis + Dupont)) were placed at the extreme end of the church, a black + drapery concealing them from view. + + [FOOTNOTE: This statement is confirmed by one in the Gazette + musicals, where we read that the members of the Societe des + Concerts "have made themselves the testamentary executors of + this wish"—namely, to have Mozart's Requiem performed. Madame + Audley, misled, I think, by a dubious phrase of Karasowski's, + that has its origin in a by no means dubious phrase of + Liszt's, says that Meyerbeer conducted (dirigeait l'ensemble). + Liszt speaks of the conducting of the funeral procession.] + + When the service commenced the drapery was partially withdrawn + and exposed the male executants to view, concealing the women, + whose presence, being uncanonical, was being felt, not seen. A + solemn march was then struck up by the band, during the + performance of which the coffin containing the body of the + deceased was slowly carried up the middle of the nave...As + soon as the coffin was placed in the mausoleum, Mozart's + Requiem was begun...The march that accompanied the body to the + mausoleum was Chopin's own composition from his first + pianoforte sonata, instrumented for the orchestra by M. Henri + Reber. + + [FOOTNOTE: Op. 35, the first of those then published, but in + reality his second, Op. 4 being the first. Meyerbeer + afterwards expressed to M. Charles Gavard his surprise that he + had not been asked to do the deceased the homage of scoring + the march.] + + During the ceremony M. Lefebure-Wely, organist of the + Madeleine, performed two of Chopin's preludes [FOOTNOTE: Nos. + 4 and 6, in E and B minor] upon the organ...After the service + M. Wely played a voluntary, introducing themes from Chopin's + compositions, while the crowd dispersed with decorous gravity. + The coffin was then carried from the church, all along the + Boulevards, to the cemetery of Pere-Lachaise-a distance of + three miles at least—Meyerbeer and the other chief mourners, + who held the cords, walking on foot, bareheaded. + + [FOOTNOTE: Liszt writes that Meyerbeer and Prince Adam + Czartoryski conducted the funeral procession, and that Prince + Alexander Czartoryski, Delacroix, Franchomme, and Gutmann were + the pall-bearers. Karasowski mentions the same gentlemen as + pall-bearers; Madame Audley, on the other hand, names + Meyerbeer instead of Gutmann. Lastly, Theophile Gautier + reported in the Feuilleton de la Presse of November 5, 1849, + that MM. Meyerbeer, Eugene Delacroix, Franchomme, and Pleyel + held the cords of the pall. The Gazette musicale mentions + Franchomme, Delacroix, Meyerbeer, and Czartoryski.] + + A vast number of carriages followed... + + [FOOTNOTE: "Un grand nombre de voitures de deuil et de + voitures particulieres," we read in the Gazette musicals, "ont + suivi jusqu'au cimetiere de l'Est, dit du Pere-Lachaise, le + pompeux corbillard qui portait le corps du defunt. L'elite des + artistes de Paris lui a servi de cortege. Plusieurs dames, ses + eleves, en grand deuil, ont suivi le convoi, a pied, jusqu'au + champ de repos, ou l'artiste eminent, convaincu, a eu pour + oraisons funebres des regrets muets, profondement sentis, qui + valent mieux que des discours dans lesquels perce toujours une + vanite d'auteur ou d'orateur"] + + At Pere-Lachaise, in one of the most secluded spots, near the + tombs of Habeneck and Marie Milanollo, the coffin was + deposited in a newly-made grave. The friends and admirers took + a last look, ladies in deep mourning threw garlands and + flowers upon the coffin, and then the gravedigger resumed his + work...The ceremony was performed in silence. +</pre> + <p> + One affecting circumstance escaped the attention of our otherwise so acute + observer—namely, the sprinkling on the coffin, when the latter had + been lowered into the grave, of the Polish earth which, enclosed in a + finely-wrought silver cup, loving friends had nearly nineteen years + before, in the village of Wola, near Warsaw, given to the departing young + and hopeful musician who was never to see his country again. + </p> + <p> + Chopin's surroundings at Pere-Lachaise are most congenial. Indeed, the + neighbourhood forms quite a galaxy of musical talent—close by lie + Cherubini, Bellini, Gretry, Boieldieu, Bocquillon-Wilhem, Louis Duport, + and several of the Erard family; farther away, Ignace Pleyel, Rodolphe + Kreutzer, Pierre Galin, Auguste Panseron, Mehul, and Paer. Some of these, + however, had not yet at that time taken possession of their resting-places + there, and Bellini has since then (September 15, 1876) been removed by his + compatriots, to his birthplace, Catania, in Sicily. + </p> + <p> + Not the whole of Chopin's body, however, was buried at Pere-Lachaise; his + heart was conveyed to his native country and is preserved in the Holy + Cross Church at Warsaw, where at the end of 1879 or beginning of 1880 a + monument was erected, consisting of a marble bust of the composer in a + marble niche. Soon after Chopin's death voluntary contributions were + collected, and a committee under Delacroix's presidence was formed, for + the erection of a monument, the execution of which was entrusted to + Clesinger, the husband of Madame Sand's daughter, Solange. Although the + sculptor's general idea is good—a pedestal bearing on its front a + medallion, and surmounted by a mourning muse with a neglected lyre in her + hand—the realisation leaves much to be desired. This monument was + unveiled in October, 1850, on the anniversary of Chopin's death. + </p> + <p> + [FOOTNOTE: On the pedestal of the monument are to be read besides the + words "A. Frederic Chopin" above the medallion, "Ses amis" under the + medallion, and the name of the sculptor and the year of its production (J. + Clesinger, 1850), the following incorrect biographical data: "Frederic + Chopin, ne en Pologne a Zelazowa Wola pres de Varsovie: Fils d'un emigre + francais, marie a Mile. Krzyzanowska, fille d'un gentilhomme Polonais."] + </p> + <p> + The friends of the composer, as we learn from an account in John Bull + (October 26, 1850), assembled in the little chapel of Pere-Lachaise, and + after a religious service proceeded with the officiating priest at their + head to Chopin's grave. The monument was then unveiled, flowers and + garlands were scattered over and around it, prayers were said, and M. + Wolowski, the deputy, [FOOTNOTE: Louis Francois Michel Raymond Wolowski, + political economist, member of the Academie des Sciences Morales, and + member of the Constituante. A Pole by birth, he became a naturalised + French subject in 1834.] endeavoured to make a speech, but was so much + moved that he could only say a few words. + </p> + <p> + [FOOTNOTE: In the Gazette muticale of October 20, 1850, we read: "Une + messe commemorative a ete dite jeudi dernier [i.e., on the 17th] dans la + chapelle du cimetiere du Pere-Lachaise a la memoire de Frederic Chopin et + pour l'inauguration de son monument funebre."] + </p> + <p> + The Menestrel of November 3, 1850, informed its readers that in the course + of the week (it was on the 30th October at eleven o'clock) an anniversary + mass had been celebrated at the Madeleine in honour of Chopin, at which + from two to three hundred of his friends were present, and that Franchomme + on the violoncello and Lefebure-Wely on the organ had played some of the + departed master's preludes, or, to quote our authority literally, "ont + redit aux assistants emus les preludes si pleins de melancolie de + I'illustre defunt." + </p> + <p> + <a name="link2H_EPIL" id="link2H_EPIL"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + EPILOGUE. + </h2> + <p> + We have followed Chopin from his birthplace, Zelazowa Wola, to Warsaw, + where he passed his childhood and youth, and received his musical as well + as his general education; we have followed him in his holiday sojourns in + the country, and on his more distant journeys to Reinerz, Berlin, and + Vienna; we have followed him when he left his native country and, for + further improvement, settled for a time in the Austrian capital; we have + followed him subsequently to Paris, which thenceforth became his home; and + we have followed him to his various lodgings there and on the journeys and + in the sojourns elsewhere—to 27, Boulevard Poissonniere, to 5 and + 38, Chaussee d'Antin, to Aix-la-Chapelle, Carlsbad, Leipzig, Heidelberg, + Marienbad, and London, to Majorca, to Nohant, to 5, Rue Tronchet, 16, Rue + Pigalle, and 9, Square d'Orleans, to England and Scotland, to 9, Square + d'Orleans once more, Rue Chaillot, and 12, Place Vendome; and, lastly, to + the Pere-Lachaise cemetery. We have considered him as a pupil at the + Warsaw Lyceum and as a student of music under the tuition of Zywny and + Elsner; we have considered him as a son and as a brother, as a lover and + as a friend, as a man of the world and as a man of business; and we have + considered him as a virtuoso, as a teacher, and as a composer. Having done + all this, there remains only one thing for me to do—namely, to + summarise the thousands of details of the foregoing account, and to point + out what this artist was to his and is to our time. But before doing this + I ought perhaps to answer a question which the reader may have asked + himself. Why have I not expressed an opinion on the moral aspect of + Chopin's connection with George Sand? My explanation shall be brief. I + abstained from pronouncing judgment because the incomplete evidence did + not seem to me to warrant my doing so. A full knowledge of all the + conditions and circumstances. I hold to be indispensable if justice is to + be done; the rash and ruthless application of precepts drawn from the + social conventions of the day are not likely to attain that end. Having + done my duty in placing before the reader the ascertainable evidence, I + leave him at liberty to decide on it according to his wisdom and charity. + </p> + <p> + Henri Blaze de Bury describes (in Etudes et Souvenirs) the portrait which + Ary Scheffer painted of Chopin in these words:— + </p> +<pre xml:space="preserve"> + It represents him about this epoch [when "neither physical nor + moral consumption of any kind prevented him from attending + freely to his labours as well as to his pleasures"], slender, + and in a nonchalant attitude, gentlemanlike in the highest + degree: the forehead superb, the hands of a rare distinction, + the eyes small, the nose prominent, but the mouth of an + exquisite fineness and gently closed, as if to keep back a + melody that wishes to escape. +</pre> + <p> + M. Marmontel, with, "his [Chopin's] admirable portrait" by Delacroix + before him, penned the following description:— + </p> +<pre xml:space="preserve"> + This is the Chopin of the last years, ailing, broken by + suffering; the physiognomy already marked by the last seal [le + sceau supreme], the look dreamy, melancholy, floating between + heaven and earth, in the limbos of dream and agony. The + attenuated and lengthened features are strongly accentuated: + the relief stands out boldly, but the lines of the countenance + remain beautiful; the oval of the face, the aquiline nose and + its harmonious curve, give to this sickly physiognomy the + stamp of poetic distinction peculiar to Chopin. +</pre> + <p> + Poetic distinction, exquisite refinement, and a noble bearing are the + characteristics which strike one in all portraits of Chopin, [FOOTNOTE: + See Appendix IV.] and which struck the beholder still more strongly in the + real Chopin, where they were reinforced by the gracefulness of his + movements, and by manners that made people involuntarily treat him as a + prince...[FOOTNOTE: See my description of Chopin, based on the most + reliable information, in Chapter XX.] And pervading and tincturing every + part of the harmonious whole of Chopin's presence there was delicacy, + which was indeed the cardinal factor in the shaping not only of his + outward conformation, but also of his character, life, and art-practice. + Physical delicacy brought with it psychical delicacy, inducing a delicacy + of tastes, habits, and manners, which early and continued intercourse with + the highest aristocracy confirmed and developed. Many of the charming + qualities of the man and artist derive from this delicacy. But it is + likewise the source of some of the deficiencies and weaknesses in the man + and artist. His exclusiveness, for instance, is, no doubt, chargeable to + the superlative sensitiveness which shrank from everything that failed to + satisfy his fastidious, exacting nature, and became more and more morbid + as delicacy, of which it was a concomitant, degenerated into disease. Yet, + notwithstanding the lack of robustness and all it entails, Chopin might + have been moderately happy, perhaps even have continued to enjoy + moderately good health, if body and soul had been well matched. This, + however, was not the case. His thoughts were too big, his passions too + violent, for the frail frame that held them; and the former grew bigger + and more violent as the latter grew frailer and frailer. He could not + realise his aspirations, could not compass his desires, in short, could + not fully assert himself. Here, indeed, we have lit upon the tragic motive + of Chopin's life-drama, and the key to much that otherwise would be + enigmatical, certainly not explicable by delicacy and disease alone. His + salon acquaintances, who saw only the polished outside of the man, knew + nothing of this disparity and discrepancy; and even the select few of his + most intimate friends, from whom he was not always able to conceal the + irritation that gnawed at his heart, hardly more than guessed the true + state of matters. In fact, had not Chopin been an artist, the tale of his + life would have for ever remained a tale untold. But in his art, as an + executant and a composer, he revealed all his strength and weakness, all + his excellences and insufficiencies, all his aspirations and failures, all + his successes and disappointments, all his dreams and realities. + </p> +<pre xml:space="preserve"> + Chopin [wrote Anton Schindler in 1841] [FOOTNOTE: Beethoven in + Paris, p. 71] is the prince of all pianists, poesy itself at + the piano... His playing does not impress by powerfulness of + touch, by fiery brilliancy, for Chopin's physical condition + forbids him every bodily exertion, and spirit and body are + constantly at variance and in reciprocal excitement. The + cardinal virtue of this great master in pianoforte-playing + lies in the perfect truth of the expression of every feeling + within his reach [dessen er sich bemeistern darf], which is + altogether inimitable and might lead to caricature were + imitatior attempted. +</pre> + <p> + Chopin was not a virtuoso in the ordinary sense of the word. His sphere + was the reunion intime, not the mixed crowd of concert audiences. If, + however, human testimony is worth anything, we may take it as proven that + there never was a pianist whose playing exercised a charm equal to that of + Chopin. But, as Liszt has said, it is impossible to make those who have + not heard him understand this subtle, penetrating charm of an ineffable + poesy. If words could give an idea of Chopin's playing, it would be given + by such expressions as "legerete impalpable," "palais aeriens de la Fata + Morgana," "wundersam und marchenhaft," and other similar ones used with + regard to it by men who may safely be accepted as authorities. + </p> + <p> + As a pianist Chopin was sorely restricted by lack of physical vigour, + which obliged him often to merely suggest, and even to leave not a little + wholly unexpressed. His range as a composer was much wider, as its limits + were those of his spirit. Still, Chopin does not number among those + masterminds who gather up and grasp with a strong hand all the + acquisitions of the past and present, and mould them into a new and + glorious synthesis-the highest achievement possible in art, and not to be + accomplished without a liberal share of originality in addition to the + comprehensive power. Chopin, then, is not a compeer of Bach, Handel, + Mozart, and Beethoven. But if he does not stand on their level, he stands + on a level not far below them. And if the inferiority of his intellectual + stamina prevented him from achieving what they achieved, his delicate + sensibility and romantic imagination enabled him to achieve what they were + disqualified from achieving. Of universality there was not a trace in him, + but his individuality is one of the most interesting. The + artistico-historical importance of Chopin lies in his having added new + elements to music, originated means of expression for the communication + and discrimination of moods and emotions, and shades of moods and + emotions, that up to his time had belonged to the realm of the unuttered + and unutterable. Notwithstanding the high estimation in which Chopin is + held, it seems to me that his importance for the development of the art is + not rated at its full value. His influence on composers for the + pianoforte, both as regards style and subject-matter, is generally + understood; but the same cannot be said of his less obvious wider + influence. Indeed, nothing is more common than to overlook his connection + with the main current of musical history altogether, to regard him as a + mere hors d'oeuvre in the musical MENU of the universe. My opinion, on the + contrary, is that among the notable composers who have lived since the + days of Chopin there is not to be found one who has not profited more or + less, consciously or unconsciously, directly or indirectly, by this truly + creative genius. To trace his influence we must transport ourselves back + fifty or sixty years, and see what the state of music then was, what + composers expressed and what means of expression they had at their + disposal. Much that is now familiar, nay, even commonplace, was then a + startling novelty. The appearance of Chopin was so wonderful a phenomenon + that it produced quite an electrical effect upon Schumann. "Come," said + Berlioz to Legouve in the first years of the fourth decade of this + century, "I am going to let you see something which you have never seen, + and someone whom you will never forget." This something and someone was + Chopin. Mendelssohn being questioned about his enthusiasm for one of this + master's preludes replied: "I love it, I cannot tell you how much, or why; + except, perhaps, that it is something which I could never have written at + all." Of course, Chopin's originality was not universally welcomed and + appreciated. Mendelssohn, for instance, was rather repelled than attracted + by it; at any rate, in his letters there are to be found frequent + expressions of antipathy to Chopin's music, which seemed to him" mannered + "(see letter to Moscheles of February 7, 1835). But even the heartless and + brainless critic of the Musical World whose nonsense I quoted in Chapter + XXXI. admits that Chopin was generally esteemed by the "professed + classical musicians," and that the name of the admirers of the master's + compositions was legion. To the early popularity of Chopin's music testify + also the many arrangements for other instruments (the guitar not excepted) + and even for voices (for instance, OEuvres celebres de Chopin, transcrites + a une ou deux voix egales par Luigi Bordese) to which his compositions + were subjected. This popularity was, however, necessarily limited, limited + in extent or intensity. Indeed, popular, in the comprehensive sense of the + word, Chopin's compositions can never become. To understand them fully we + must have something of the author's nature, something of his delicate + sensibility and romantic imagination. To understand him we must, moreover, + know something of his life and country. For, as Balzac truly remarked, + Chopin was less a musician than une ame qui se rend sensible. In short, + his compositions are the "celestial echo of what he had felt, loved, and + suffered"; they are his memoirs, his autobiography, which, like that of + every poet, assumes the form of "Truth and Poetry." + </p> + <p> + <a name="link2H_APPE1" id="link2H_APPE1"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + APPENDICES. + </h2> + <p> + <a name="link2H_APPE2" id="link2H_APPE2"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + APPENDIX I. + </h2> + <h3> + THE GOLDEN AGE OP POLISH MUSIC. + </h3> + <p> + (VOL. I., p. 66.) + </p> + <p> + As yet it is difficult to speak with any degree of certainty of the early + musical history of Poland. Our general histories of music have little or + nothing to say on the matter, and a special history exists neither in the + Polish nor in any other language. The Abbe Joseph Surzynski, who by his + labours is endeavouring to remove the reproach of indifference and + ignorance now lying on his countrymen in this respect, says: [FOOTNOTE: In + the preface to the Monumenta Musices sacra, selected works of the best + composers of classical religious music in Poland, published by him. The + first two parts of this publication, respectively issued in 1885 and 1887, + contain compositions by Thomas Szadek, Nicolas Zielenski, G. G. Gorczycki, + Venceslas, Szamotulski, and Sebastian of Felsztyn.] "The compositions of + our old masters are buried in the archives and libraries—no one + cares to make them known to the public; many Polish musicians, not even + supposing that these compositions exist, are very far from believing that + the authors of these pieces deserve to be ranked with the best composers + of the Roman Catholic Church. Now, in studying these works, we find in the + century of Palestrina and Vittoria among our artists: Marcin ze Lwowa + (Martin Leopolita), Christopher Borek, Thomas Szadek, Venceslas + Szamotulski, and especially Zielenski and Gomolka—distinguished + masters who deserve to be known by the friends of the musical art, either + on account of their altogether national genius, or on account of their + inspiration and the perfection of the forms which manifest themselves in + their compositions." One of the first illustrious names in the history of + music in Poland is the German Henry Finck, the chapel-master of the Polish + Kings, John Albert (1492-1501) and Alexander (1501-1506). From the fact + that this excellent master got his musical education in Poland we may + safely conclude—and it is not the only fact which justifies our + doing so—that in that country already in the fifteenth century good + contrapuntists were to be found. The Abbe Surzynski regards Zielenski as + the best of the early composers, having been impressed both by the + profound religious inspiration and the classical form of his works. Of + Gomolka, who has been called the Polish Palestrina as Sebastian of + Felsztyn the Polish Goudimel, the Abbe remarks: "Among the magnificent + musical works of Martin Leopolita, Szadek, and Zielenski, the compositions + of Gomolka present themselves like miniature water-colours, in which, + nevertheless, every line, every colour, betrays the painter of genius. His + was a talent thoroughly indigenous—his compositions are of great + simplicity; no too complicated combinations of parts, one might even say + that they are homophonous; nevertheless what wealth of thought, what + beauty of harmony, what profoundness of sentiment do we find there! These + simple melodies clothed in pure and truly holy harmonies, written, as + Gomolka said himself, not for the Italians, but for the Poles, who are + happy in their own country, are the best specimens of the national style. + "In speaking of the early Polish church music I must not forget to mention + the famous College of the Roratists, [FOOTNOTE: The duties of these + singers were to sing Rorate masses and Requiem masses for the royal + family. Their name was derived from the opening word of the Introit, + "Rorate coeli."] the Polish Sistine Chapel, attached to the Cracow + Cathedral. It was founded in 1543 and subsisted till 1760. With the + fifteenth of seventeen conductors of the college, Gregor Gorczycki, who + died in 1734, passed away the last of the classical school of Polish + church music. Music was diligently cultivated in the seventeenth century, + especially under the reigns of Sigismund III. (1587-1632), and Wladislaw + IV. (1632-1648); but no purpose would be served by crowding these pages + with unknown names of musicians about whom only scanty information is + available; I may, however, mention the familiar names of three of many + Italian composers who, in the seventeenth century, like many more of their + countrymen, passed a great part of their lives in Poland—namely, + Luca Marenzio, Asprilio Pacelii, and Marco Scacchi. + </p> + <p> + <a name="link2H_APPE3" id="link2H_APPE3"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + APPENDIX II. + </h2> + <h3> + EARLY PERFORMANCES OF CHOPIN'S WORKS IN GERMANY. + </h3> + <p> + (VOL. I., p. 268.) + </p> + <p> + The first performance of a composition by Chopin at the Leipzig Gewandhaus + took place on October 27, 1831. It was his Op. 1, the variations on La ci + darem la mano, which Julius Knorr played at a concert for the benefit of + the Pension-fund of the orchestra, but not so as to give the audience + pleasure—at least, this was the opinion of Schumann, as may be seen + from his letter to Frederick Wieck of January 4, 1832. Chopin relates + already on June 5, 1830, that Emilie Belleville knew his variations by + heart and had played them in Vienna. Clara Wieck was one of the first who + performed Chopin's compositions in public. On September 29, 1833, she + played at a Leipzig Gewandhaus concert the last movement of the E minor + Concerto, and on May 5, 1834, in the same hall at an extra concert, the + whole work and two Etudes. Further information about the introduction and + repetitions of Chopin's compositions at the Leipzig Gewandhaus, is to be + found in the statistical part (p. 13) of Alfred Dorffel's Die + Gewandhausconcerte. + </p> + <p> + <a name="link2H_APPE4" id="link2H_APPE4"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + APPENDIX III. + </h2> + <h3> + MADAME SCHUMANN ON CHOPIN'S VISIT TO LEIPZIG. + </h3> + <p> + (VOL. I., p. 290.) + </p> + <p> + Through a kind communication from Madame Schumann I have learned that + Wenzel's account does not quite agree with her diary. There she finds + written that her father, Friedrich Wieck, felt offended because Chopin, + for whose recognition in Germany he had done so much, had not called upon + him immediately after his arrival. Chopin made his appearance only two + hours before his departure, but then did not find Wieck at home, for he, + to avoid Chopin, had gone out and had also taken his daughter Clara with + him. When Wieck returned an hour later, he found unexpectedly Chopin still + there. Clara had now to play to the visitor. She let him hear Schumann's F + sharp minor Sonata, two Etudes by Chopin, and a movement of a Concerto by + herself. After this Chopin played his E flat major Nocturne. By degrees + Wieck's wrath subsided, and finally he accompanied Chopin to the + post-house, and parted from him in the most friendly mood. + </p> + <p> + <a name="link2H_APPE5" id="link2H_APPE5"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + APPENDIX IV. + </h2> + <h3> + REBECCA DIRICHLET ON CHOPIN AT MARIENBAD. + </h3> + <p> + (VOL. I., p. 309.) + </p> + <p> + When Rebecca Dirichlet came with her husband to Marienbad, she learnt that + Chopin did not show himself, and that his physician and a Polish countess, + who completely monopolised him, did not allow him to play. Having, + however, heard so much of his playing from her brothers, she was, in order + to satisfy her curiosity, even ready to commit the bassesse of presenting + herself as the soeur de Messieurs Paul et Felix Mendelssohn Bartholdy. As + she humorously wrote a few days later: "The bassesse towards Chopin has + been committed and has completely failed. Dirichlet went to him, and said + that a soeur, &c.—only a mazurka—impossible, mal aux + nerfs, mauvais piano—et comment se porte cette chere Madame Hensel, + el Paul est marie? heureux couple, &c.—allez vous promener—the + first and the last time that we do such a thing." + </p> + <p> + <a name="link2H_APPE6" id="link2H_APPE6"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + APPENDIX V. + </h2> + <h3> + PALMA AND VALDEMOSA. + </h3> + <p> + (VOL. II., pp. 22-48.) + </p> + <p> + The Argosy of 1888 contains a series of Letters from Majorca by Charles W. + Wood, illustrated by views of Palma, Valdemosa, and other parts of the + island. The illustrations in the April number comprise a general view of + the monastery of Valdemosa, and views of one of its courts and of the + cloister in which is situated the cell occupied by George Sand and Chopin + in the winter of 1838-1839. The cloister has a groined vault, on one side + the cell doors, and on the other side, opening on the court, doors and + rectangular windows with separate circular windows above them. The letters + have been republished in book form (London: Bentley and Sons). + </p> + <p> + <a name="link2H_APPE7" id="link2H_APPE7"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + APPENDIX VI. + </h2> + <h3> + On Tempo Rubato. + </h3> + <p> + (VOL. II., p. 101.) + </p> + <p> + An earlier practiser of the tempo rubato than the lady mentioned by Quanz + (see Vol. II., p. 101 of this work) was Girolamo Frescobaldi, who speaks + of this manner of musical rendering in the preface to Il primo libra di + Capricci fatti sopra diversi sogetti et Arie in partitura (1624). An + extract from this preface is to be found in A. G. Ritter's Zur Geschichte + des Orgelspiels, Vol. I., p. 34. F. X. Haberl remarks in the preface to + his collection of pieces by Frescobaldi (Leipzig: Breitkopf and Hartel): + "A chief trait of Frescobaldi's genius is the so-called tempo rubato, an + absolute freedom in the employment of a quicker and slower tempo." + </p> + <p> + <a name="link2H_APPE8" id="link2H_APPE8"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + APPENDIX VII. + </h2> + <h3> + CAROLINE HARTMANN. + </h3> + <p> + (VOL. II., p. 171.) + </p> + <p> + On page 175 of this volume I made an allusion to Spohr in connection with + Chopin's pupil Caroline Hartmann. To save the curious reader trouble, I + had better point out that the information is to be found in Spohr's + autobiography under date Munster, near Colmar, March 26, 1816 (German + edition, pp. 245-250; English edition, pp. 229-232). Jacques Hartmann, the + father of Caroline, was a cotton manufacturer and an enthusiastic lover of + music. He had an orchestra consisting of his family and employes. Spohr + calls the father a bassoon-virtuoso; what he says of the daughter will be + seen in the following sentences: "His sister and his daughter play the + pianoforte. The latter, a child eight years old, is the star of the + amateur orchestra. She plays with a dexterity and exactness that are + worthy of admiration. I was still more astonished at her fine ear, with + which (away from the piano) she recognises the intervals of the most + intricate and full dissonant chords which one strikes, and names the notes + of which they consist in their sequence. If the child is well guided, she + is sure to become one day an excellent artist." + </p> + <p> + <a name="link2H_APPE9" id="link2H_APPE9"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + APPENDIX VIII. + </h2> + <h3> + MADAME PERUZZI. + </h3> + <p> + (VOL. II., p. 177.) + </p> + <p> + The reader will be as grateful as I am for the following interesting + communications of Madame Peruzzi (nee Elise Eustaphieve, whose father was + Russian Consul-General to the United States of America) about her + intercourse with Chopin. + </p> + <p> + "I first met Chopin at the house of the American banker, Samuel Welles, in + Paris, where I, like every one present, was enchanted listening to his + mazurkas, waltzes, nocturnes, &c., which he played on a wretched + square piano. I lived as dame en chambre (a very convenient custom for + ladies alone), at a pension, or rather a regular boarding-school, with + rooms to let for ladies. The lady of the house was acquainted with many of + the musical people, and I had a splendid American grand piano which was + placed in the large drawing-room of the establishment, so that I felt + quite at home, and there received Chopin, Liszt, and Herz (Miss Herz, his + sister, gave lessons in the school), and often played four-hand pieces + with them. + </p> + <p> + "My intimacy with Chopin began after my marriage. He often dined with us, + was very fond of my husband, and after dinner we were not at home if any + one else came, but remained at our two pianos (Erard had sent me one), + playing together, and I used to amuse him by picking out of his music + little bits that seemed like questions for him to answer on the other + piano. He lived very near us, so we very often passed mornings at his + house, where he asked me to play with him all Weber's duets. This was + delightful to me, the more so, as he complimented me on my reading and + entering at first sight into the spirit of the music. He made me + acquainted with the beautiful duet of Moscheles, and was the first with + whom I played Hummel's splendid duet. He was a great admirer of Weber. We + frequently had morning concerts with double quartet, and Chopin would very + kindly turn the leaves for me. He was particularly fond of doing so when I + played Hummel's Septet, and was so encouraging. Even when playing to him + his own music, he would approve some little thing not indicated and say, + 'What a good idea of yours that is!' My husband begged him to give me + lessons; but he always refused, and did give them; for I studied so many + things with him, among others his two concertos. The one in E minor I once + played accompanied by himself on a second piano. We passed many pleasant + evenings at Mr. and Madame Leo's house, a very musical one. Madame + Moscheles was a niece of theirs. Chopin was fond of going there, where he + was quite a pet. He always appeared to best advantage among his most + intimate friends. I was one who helped to christen the Berceuse. You ask + me in what years I knew Chopin, 1838 is the date of the manuscript in my + collection which he gave me after I was married, and the last notes of + that little jewel he wrote on the desk of the piano in our presence. He + said it would not be published because they would play it....Then he would + show how they would play it, which was very funny. It came out after his + death, it is a kind of waltz-mazurka [the Valse, Op. 69, No. I], Chopin's + intimate friend, Camille Pleyel, called it the story of a D flat, because + that note comes in constantly. One morning we took Paganini to hear + Chopin, and he was enchanted; they seemed to understand each other so + well. When I knew him he was a sufferer and would only occasionally play + in public, and then place his piano in the middle of Pleyel's room whilst + his admirers were around the piano. His speciality was extreme delicacy, + and his pianissimo extraordinary. Every little note was like a bell, so + clear. His fingers seemed to be without any bones; but he would bring out + certain effects by great elasticity. He got very angry at being accused of + not keeping time; calling his left hand his maitre de chapelle and + allowing his right to wander about ad libitum." + </p> + <p> + <a name="link2H_APPE10" id="link2H_APPE10"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + APPENDIX IX. + </h2> + <p> + MADAME STREICHER'S (nee FRIEDERIKE MULLER) RECOLLECTIONS OF CHOPIN, BASED + ON EXTRACTS FROM HER CAREFULLY-KEPT DIARY OF THE YEARS 1839, 1840, AND + 1841. (VOL. II., p. 177.) + </p> + <p> + In March, 1839, I went to Paris, accompanied by a kind aunt, who was a + highly-cultured musical connoisseur, animated by the wish to get if + possible lessons from Chopin, whose compositions inspired me with + enthusiasm. But he was from home and very ill; indeed, it was feared he + would not return to Paris even in the winter. However, at last, at last, + in October, 1839, he came. I had employed this long time in making myself + acquainted with the musical world in Paris, but the more I heard, nay, + even admired, the more was my intention to wait till Chopin's return + confirmed. And I was quite right. + </p> + <p> + On the 30th of October, 1839, we, my kind aunt and I, went to him. At that + time he lived in Rue Tronchet, No. 5. Anxiously I handed him my letters of + introduction from Vienna, and begged him to take me as a pupil. He said + very politely, but very formally: "You have played with applause at a + matinee at the house of Countess Appony, the wife of the Austrian + ambassador, and will hardly require my instruction." I became afraid, for + I was wise enough to understand he had not the least inclination to accept + me as a pupil. I quickly protested that I knew very well I had still very, + very much to learn. And, I added timidly, I should like to be able to play + his wondrously-beautiful compositions well. "Oh!" he exclaimed, "it would + be sad if people were not in a position to play them well without my + instruction." "I certainly am not able to do so," I replied anxiously. + "Well, play me something," he said. And in a moment his reserve had + vanished. Kindly and indulgently he helped me to overcome my timidity, + moved the piano, inquired whether I were comfortably seated, let me play + till I had become calm, then gently found fault with my stiff wrist, + praised my correct comprehension, and accepted me as a pupil. He arranged + for two lessons a week, then turned in the most amiable way to my aunt, + excusing himself beforehand if he should often be obliged to change the + day and hour of the lesson on account of his delicate health. His servant + would always inform us of this. + </p> + <p> + Alas! he suffered greatly. Feeble, pale, coughing much, he often took + opium drops on sugar and gum-water, rubbed his forehead with eau de + Cologne, and nevertheless he taught with a patience, perseverance, and + zeal which were admirable. His lessons always lasted a full hour, + generally he was so kind as to make them longer. Mikuli says: "A holy + artistic zeal burnt in him then, every word from his lips was incentive + and inspiring. Single lessons often lasted literally for hours at a + stretch, till exhaustion overcame master and pupil." There were for me + also such blessed lessons. Many a Sunday I began at one o'clock to play at + Chopin's, and only at four or five o'clock in the afternoon did he dismiss + us. Then he also played, and how splendidly but not only his own + compositions, also those of other masters, in order to teach the pupil how + they should be performed. One morning he played from memory fourteen + Preludes and Fugues of Bach's, and when I expressed my joyful admiration + at this unparalleled performance, he replied: "Cela ne s'oublie jamais," + and smiling sadly he continued: "Depuis un an je n'ai pas etudie un quart + d'heure de sante, je n'ai pas de force, pas d'energie, j'attends toujours + un peu de sante pour reprendre tout cela, mais... j'attends encore." We + always spoke French together, in spite of his great fondness for the + German language and poetry. It is for this reason that I give his sayings + in the French language, as I heard them from him. In Paris people had made + me afraid, and told me how Chopin caused Clementi, Hummel, Cramer, + Moscheles, Beethoven, and Bach to be studied, but not his own + compositions. This was not the case. To be sure, I had to study with him + the works of the above-mentioned masters, but he also required me to play + to him the new and newest compositions of Hiller, Thalberg, and Liszt, + &c. And already in the first lesson he placed before me his wondrously—beautiful + Preludes and Studies. Indeed, he made me acquainted with many a + composition before it had appeared in print. + </p> + <p> + I heard him often preluding in a wonderfully-beautiful manner. On one + occasion when he was entirely absorbed in his playing, completely detached + from the world, his servant entered softly and laid a letter on the + music-desk. With a cry Chopin left off playing, his hair stood on end—what + I had hitherto regarded as impossible I now saw with my own eyes. But this + lasted only for a moment. + </p> + <p> + His playing was always noble and beautiful, his tones always sang, whether + in full forte, or in the softest piano. He took infinite pains to teach + the pupil this legato, cantabile way of playing. "Il [ou elle] ne sait pas + lier deux notes" was his severest censure. He also required adherence to + the strictest rhythm, hated all lingering and dragging, misplaced rubatos, + as well as exaggerated ritardandos. "Je vous prie de vous asseoir," he + said on such an occasion with gentle mockery. And it is just in this + respect that people make such terrible mistakes in the execution of his + works. In the use of the pedal he had likewise attained the greatest + mastery, was uncommonly strict regarding the misuse of it, and said + repeatedly to the pupil: "The correct employment of it remains a study for + life." + </p> + <p> + When I played with him the study in C major, the first of those he + dedicated to Liszt, he bade me practise it in the mornings very slowly. + "Cette etude vous fera du bien," he said. "Si vous l'etudiez comme je + l'entends, cela elargit la main, et cela vous donne des gammes d'accords, + comme les coups d'archet. Mais souvent malheureusement au lieu d'apprendre + tout cela, elle fait desapprendre." I am quite aware that it is a + generally-prevalent error, even in our day, that one can only play this + study well when one possesses a very large hand. But this is not the case, + only a supple hand is required. + </p> + <p> + Chopin related that in May, 1834, he had taken a trip to Aix-la-Chapelle + with Hiller and Mendelssohn. "Welcomed there in a very friendly manner, + people asked me when I was introduced: 'You are, I suppose, a brother of + the pianist?' I answered in the affirmative, for it amused me, and + described my brother the pianist. 'He is tall, strong, has black hair, a + black moustache, and a very large hand.'" To those who have seen the + slightly-built Chopin and his delicate hand, the joke must have been + exceedingly amusing. + </p> + <p> + On the 20th of April, 1840, Liszt, who had come back to Paris after + extended artistic tours, gave a matinee to an invited audience in Erard's + saloon. He played, as he did always, very brilliantly, and the next + morning I had to give a minute account to Chopin of what and how he had + played. He himself was too unwell to be present. When I spoke of Liszt's + artistic self-control and calmness in overcoming the greatest technical + difficulties, he exclaimed: "Ainsi il parait que mon avis est juste. La + derniere chose c'est la simplicite. Apres avoir epuise toutes les + difficultes, apres avoir joue une immense quantite de notes, et de notes, + c'est la simplicite qui sort avec tout son charme, comme le dernier sceau + de l'art. Quiconque veut arriver de suite a cela n'y parviendra jamais, on + ne peut commencer par la fin. II faut avoir etudie beaucoup, meme + immensement pour atteindre ce but, ce n'est pas une chose facile. II + m'etait impossible," he continued, "d'assister a sa matinee. Avec ma sante + ou ne peut rien faire. Je suis toujours embrouille avec mes affaires, de + maniere que je n'ai pas un moment libre. Que j'envie les gens forts qui + sont d'une sante robuste et qui n'ont rien a faire! Je suis bien fache, je + n'ai pas le temps d'etre malade." + </p> + <p> + When I studied his Trio he drew my attention to some passages which now + displeased him, he would now write them differently. At the end of the + Trio he said: "How vividly do the days when I composed it rise up in my + memory! It was at Posen, in the castle surrounded by vast forests of + Prince Radziwill. A small but very select company was gathered together + there. In the mornings there was hunting, in the evenings music. Ah! and + now," he added sadly, "the Prince, his wife, his son, all, all are dead." + </p> + <p> + At a soiree (Dec. 20, 1840) he made me play the Sonata with the Funeral + March before a large assemblage. On the morning of the same day I had once + more to play over to him the Sonata, but was very nervous. "Why do you + play less well to-day?" he asked. I replied that I was afraid. "Why? I + consider you play it well," he rejoined very gravely, indeed, severely. + "But if you wish to play this evening as nobody played before you, and + nobody will play after you, well then!"...These words restored my + composure. The thought that I played to his satisfaction possessed me also + in the evening; I had the happiness of gaining Chopin's approval and the + applause of the audience. Then he played with me the Andante of his F + minor Concerto, which he accompanied magnificently on the second piano. + The entire assemblage assailed him with the request to perform some more + of his compositions, which he then did to the delight of all. + </p> + <p> + For eighteen months (he did not leave Paris this summer) I was allowed to + enjoy his instruction. How willingly would I have continued my studies + with him longer! But he himself was of opinion that I should now return to + my fatherland, pursue my studies unaided, and play much in public. On + parting he presented me with the two manuscripts of his C sharp major and + E major studies (dedicated to Liszt), and promised to write during his + stay in the country a concert-piece and dedicate it to me. + </p> + <p> + In the end of the year 1844 I went again to Paris, and found Chopin + looking somewhat stronger. At that time his friends hoped for the + restoration of, or at least for a considerable improvement in, his health. + </p> + <p> + The promised concert-piece, Op. 46, had to my inexpressible delight been + published. I played it to him, and he was satisfied with my playing of it; + rejoiced at my successes in Vienna, of which he had been told, exerted + himself with the amiability peculiar to him to make me still better known + to the musical world of Paris. Thus I learned to know Auber, Halevy, + Franchomme, Alkan, and others. But in February, 1845,1 was obliged to + return to Vienna; I had pupils there who were waiting for me. On parting + he spoke of the possibility of coming there for a short time, and I had + quite made up my mind to return for another visit to Paris in eighteen + months, in order again to enjoy his valuable instruction and advice. But + this, to my deepest regret, was not to be. + </p> + <p> + I saw Madame Sand in the year 1841 and again in the year 1845 in a box in + a theatre, and had an opportunity of admiring her beauty. I never spoke to + her. + </p> + <p> + <a name="link2H_APPE11" id="link2H_APPE11"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + APPENDIX X. + </h2> + <h3> + PORTRAITS OF CHOPIN. + </h3> + <p> + A biography is incomplete without some account of the portraits of the + hero or heroine who is the subject of it. M. Mathias regards as the best + portrait of Chopin a lithograph by Engelmann after a drawing by Vigneron, + of 1833, published by Maurice Schlesinger, of Paris. In a letter to me he + writes: "This portrait is marvellous for the absolutely exact idea it + gives of Chopin: the graceful fall of the shoulders, the Polish look, the + charm of the mouth." Continuing, he says: "Another good likeness of + Chopin, but of a later date, between the youthful period and that of his + decay, is Bovy's medallion, which gives a very exact idea of the outlines + of his hair and nose. Beyond these there exists nothing, all is frightful; + for instance, the portrait in Karasowski's book, which has a stupid look." + The portrait here alluded to is a lithographic reproduction of a drawing + by A. Duval. As a rule, the portraits of Chopin most highly prized by his + pupils and acquaintances are those by A. Bovy and T. Kwiatkowski. Madame + Dubois, who likes Bovy's medallion best, and next to it the portraits by + Kwiatkowski, does not care much for Ary Scheffer's portrait of her master, + in whose apartments she had of course frequent opportunities to examine + it. "It had the appearance of a ghost [d'un ombre], and was more pale and + worn than Chopin himself." Of a bust by Clesinger Madame Dubois remarks + that it does not satisfy those who knew Chopin. M. Marmontel writes in a + letter to me that the portrait of Chopin by Delacroix in his possession is + a powerful sketch painted in oil, "reproducing the great artist in the + last period of his life, when he was about to succumb to his chest + disease. My dear friend Felix Barrias has been inspired, or, to be more + exact, has reproduced this beautiful and poetic face in his picture of the + dying Chopin asking the Countess Potocka to sing to him." Gutmann had in + his possession two portraits of his master, both pencil drawings; the one + by Franz Winterhalter, dated May 2, 1847, the other by Albert Graefle, + dated October 19, 1849. The former of these valuable portraits shows + Chopin in his decline, the latter on his death-bed. Both seem good + likenesses, Graefle's drawing having a strong resemblance with Bovy's + medallion. + </p> + <p> + [FOOTNOTE: The authorship alone is sufficient to make a drawing by George + Sand interesting. Madame Dubois says (in a letter written to me) that the + portrait, after a drawing of George Sand, contained in the French edition + of Chopin's posthumous works, published by Fontana, is not at all a good + likeness. Herr Herrmann Scholtz in Dresden has in his possession a + faithful copy of a drawing by George Sand made by a nephew of the + composer, a painter living at Warsaw. Madame Barcinska, the sister of + Chopin, in whose possession the original is, spoke of it as a very good + likeness. This picture, however, is not identical with that mentioned by + Madame Dubois.] + </p> + <p> + The portrait by A. Regulski in Szulc's book can only be regarded as a + libel on Chopin, and ought perhaps also to be regarded as a libel on the + artist. Various portraits in circulation are curiosities rather than helps + to a realisation of the outward appearance of Chopin. Schlesinger, of + Berlin, published a lithograph after a drawing by Maurir; and Schuberth, + of Hamburg, an engraving on steel, and Hofmeister, of Leipzig, a + lithograph, after I don't know what original. Several other portraits need + not be mentioned, as they are not from life, but more or less fancy + portraits based on one or more of the authentic delineations. Bovy's + medallion graces Breitkopf and Hartel's Gesammtausgabe and Thematic + Catalogue of the master's published works. The portrait by Ary Scheffer + may be seen lithographically reproduced by Waldow in the German edition of + Chopin's posthumous works, published by Fontana. A wood-cut after the + drawing by Graefle appeared in 1879 in the German journal Die Gartenlaube. + Prefixed to the first volume of the present biography the reader will find + one of the portraits by Kwiatkowski, an etching after a charming pencil + drawing in my possession, the reproduction of which the artist has kindly + permitted. M. Kwiatkowski has portrayed Chopin frequently, and in many + ways and under various circumstances, alive and dead. Messrs. Novello, + Ewer & Co. have in their possession a clever water-colour drawing by + Kwiatkowski of Chopin on his death-bed. A more elaborate picture by the + same artist represents Chopin on his death-bed surrounded by his sister, + the Princess Marcellince Czartoryska, Grzymala, the Abbe Jelowicki, and + the portrayer. On page 321 of this volume will be found M. Charles + Gavard's opinion of two portrayals of Chopin, respectively by Clesinger + and Kwiatkowski. In conclusion, I recall to the reader's attention what + has been said of the master's appearance and its pictorial and literary + reproductions on pp. 65 and 246 of Vol. I. and pp. 100, 135, and 329 of + Vol. II. + </p> + <p> + REMARKS PRELIMINARY TO THE LIST OF CHOPIN'S WORKS. + </p> + <p> + The original editions were three in number: the German, the French, and + the English (see p. 272). To avoid overcrowding, only the names of the + original German and French publishers will be given in the following list, + with two exceptions, however,—Op. 1 and 5, which were published in + Poland (by Brzezina & Co., of Warsaw) long before they made their + appearance elsewhere. [FOOTNOTE: What is here said, however, does not + apply to Section IV.] Some notes on the publication of the works in + England are included in these preliminary remarks. + </p> + <p> + In the list the publishers will be always placed in the same order—the + German first, and the French second (in the two exceptional cases, Op. 1 + and 5, they will be second and third). The dates with an asterisk and in + parentheses (*) are those at which a copy of the respective works was + deposited at the Paris Bibliotheque du Conservatoire de Musique, the dates + without an asterisk in parentheses are derived from advertisements in + French musical journals; the square brackets [ ] enclose conjectural and + approximate dates and additional information; and lastly, the dates + without parentheses and without brackets were obtained by me direct from + the successors of the original German publishers, and consequently are + more exact and trustworthy than the others. In a few cases where the + copyright changed hands during the composer's lifetime, and where + unacquaintance with this change might give rise to doubts and + difficulties, I have indicated the fact. + </p> + <p> + The publishing firms mentioned in the list are the following:—Maurice + Schlesinger, Brandus &Cie. (the successors of M. Schlesinger), Eugene + Troupenas & Cie., Joseph Meissonnier, Joseph Meissonnier fils H. + Lemoine, Ad. Catelin & Cie. (Editeurs des Compositeurs reunis, Rue + Grange Bateliere, No. 26), Pacini (Antonio Francesco Gaetano), Prilipp + & Cie. (Aquereurs d'une partie du Fond d'lgn. Pleyel & Cie.), S. + Richault (i.e., Charles Simon Richault, to whom succeeded his son + Guillaume Simon, who in his turn was succeeded by his son Leon.—Present + style: Richault et Cie., Successeurs), and Schonenberger, all of + Pans;-Breitkopf & Hartel, Probst-Kistner (since 1836 Friedrich + Kistner), Friedrich Hofmeister, and C. F. Peters, of Leipzig;—Ad. M. + Schlesinger, Stern & Co.( from 1852 J. Friedlander; later on annexed + to Peters, of Leipzig), and Bote and Bock, of Berlin;—Tobias + Haslinger, Carl Haslinger quondam Tobias, and Pietro Mechetti (whose widow + was succeeded by C. A. Spina), of Vienna;—Schuberth & Co., of + Hamburg (now Julius Schuberth, of Leipzig);—B. Schott's Sohne, of + Mainz;—Andr. Brzezina & Co. and Gebethner & Wolff, of + Warsaw;—J. Wildt and W. Chaberski, of Cracow;—and J. + Leitgeber, of Posen. + </p> + <p> + From 1836 onward the course of the publication of Chopin's works in + England can be followed in the advertisement columns of the Musical World. + Almost all the master's works were published in England by Wessel. On + March 8, 1838, Messrs. Wessel advertised Op. 1-32 with the exception of + Op. 4, 11, and 29. This last figure has, no doubt, to be read as 28, as + the Preludes could hardly be in print at that time, and the Impromptu, Op. + 29, was advertised on October 20, 1837, as OP. 28. With regard to Op. 12 + it has to be noted that it represents not the Variations brillantes sur le + Rondo favori "Je vends des Scapulaires," but the Grand Duo concertant for + piano and violoncello, everywhere else published without opus number. The + Studies, Op. 10, were offered to the public "revised with additional + fingering by his pupil I. [sic] Fontana." On November 18, 1841, Wessel and + Stapleton (the latter having come in as a partner in 1839) advertised Op. + 33-43, and subsequently Op. 44-48. On February 22, 1844, they announced + that they had "the sole copyright of the COMPLETE and entire works" of + Chopin. On May 15, 1845, were advertised Op. 57 and 58; on January 17, + 1846, Op. 59; on September 26, 1846, Op. 60, 61, and 62. The partnership + with Stapleton having in 1845 been dissolved, the style of the firm was + now Wessel & Co. Thenceforth other English publishers came forward + with Chopin compositions. On June 3, 1848, Cramer, Beale & Co. + advertised Chopin's "New Valses and Mazurkas for the pianoforte"; and on + the title-pages of the French edition of Op. 63, 64, and 65 I found the + words: "London, Jullien et Cie." But also before this time Wessel seems to + have had competitors; for on the title-page of the French edition of Op. + 22 may be read: "London, Mori et Lavenu," and on September 20, 1838, + Robert Cocks advertised "Five Mazurkas and Three Nocturnes." On September + 23, 1848, however, Wessel & Co. call themselves sole proprietors of + Chopin's works; and on November 24, 1849, they call themselves Publishers + of the Complete Works of Chopin. Information received from Mr. Ashdown, + the present proprietor of the business, one of the two successors (Mr. + Parry retired in 1882) of Christian Rudolph Wessel, who retired in 1860 + and died in 1885, throws some further light on the publication of Chopin's + works in England. We have already seen in a former part of this book (p. + 117) that Wessel discontinued to deal with Chopin after Op. 62. "Cramer, + Beale & Co.," writes Mr. Ashdown, "published the Mazurkas, Op. 63, and + two only of the Waltzes, Op. 64; these, being non-copyright in England, + Mr. Wessel added to his edition, together with the third waltz of Op. 64. + The name of Jullien on the French edition was probably put on in + consequence of negotiations for the sale of English copyright having been + entered upon, but without result." With the exception of Op. 12 and 65, + Wessel published all the works with opus numbers of Chopin that were + printed during the composer's lifetime. Cramer, Addison & Beale + published the Variations, Op. 12; Chappell, the Trois Nouvelles Etudes; R. + Cocks, the posthumous Sonata, Op. 4, and the Variations stir un air + allemand without opus number; and Stanley Lucas, Weber & Co., the + Seventeen Polish Songs, Op. 74. The present editions issued by the + successor of Wessel are either printed from the original plates or + re-engraved (which is the case in about half of the number) from the old + Wessel copies, with here and there a correction. + </p> + <p> + Simultaneous publication was aimed at, as we see from Chopin's letters, + but the dates of the list show that it was rarely attained. The appearance + of the works in France seems to have in most cases preceded that in + Germany; in the case of the Tarantelle, Op. 43, I found the English + edition first advertised (October 28, 1841). Generally there was + approximation if not simultaneity. + </p> + <p> + <a name="link2H_4_0059" id="link2H_4_0059"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + I.—WORKS PUBLISHED WITH OPUS NUMBERS DURING THE COMPOSER'S LIFETIME. + </h2> +<pre xml:space="preserve"> + DATES ORIGINAL + OF GERMAN & FRENCH + PUBLICATION TITLES WITH REFERENCES PUBLISHERS. +</pre> +<pre xml:space="preserve"> + 1825. OP.1. Premier Rondeau [C minor] Brzezina. + pour le piano. Dedie a Mme. de A. M. Schlesinger. + Linde.—Vol. I, pp. 52, 53-54, M. Schlesinger + 55, 112;—Vol. II, p.87 +</pre> +<pre xml:space="preserve"> + [1830, OP.2. La ci darem la mano [B flat T. Haslinger + about March] major] varie pour le piano, avec M. Schlesinger + (September accompagnement d'orchestre. Dedie + 21, 1834.) a Mr. Woyciechowski.—Vol. I., pp. + 53, 62, 95, 96, 97, 99, 100, 101, + 105, 112, 116-118, 120, 163, 241; + Vol. II., p.87, 212 +</pre> +<pre xml:space="preserve"> + [1833 in OP.3. Introduction et Polonaise Mechetti + print.] brillante [C major], pour piano S. Richault + June, 1835) et violincelle Dediee d Mr. Joseph + Merk.—Vol.I., pp. 129, 200-201; + —Vol. II., p. 87. +</pre> +<pre xml:space="preserve"> + Op.4. As this work was published + posthumously, it had to be placed + in Section III. Nevertheless, it + differs from the works with which + it is classed in one important + respect—it was intended for + publication by the composer himself, + who sent it to Vienna in 1828. +</pre> +<pre xml:space="preserve"> + [1827?] Op.5. Rondeau a la Mazur [F major] Brzezina. + May, 1836 pour le piano. Dediee a Mlle. la Hofmeister. + Comtesse Alexandrine de Moriolles. Schonenberger. + —Vol. I., pp. 54-55, 56, 112, 168; + —Vol. II., p.87 +</pre> +<pre xml:space="preserve"> + Dec., 1832 Op.6. Quatre Mazurkas [F sharp minor Probst-Kistner. + (Nov. 23, C Sharp minor, E major, and E flat M. Schlesinger. + 1834.) minor] pour le piano. Dediees a + Mlle. la Comtesse Pauline Plater. + —Vol. I., p. 268;—Vol. II, pp.231- + 232.234-239. +</pre> +<pre xml:space="preserve"> + Dec.1832 Op.7. Cinq Mazurkas [B flat major, Probst-Kistner + (Nov. 23, A minor, F minor, A flat major, and M. Schlesinger. + 1834.) C major] pour le piano. Dediees a + Mr. Johns.—Vol. I., pp.250,268, + 276 (No. 1);—Vol. II, pp. 231-232 + 234-239. +</pre> +<pre xml:space="preserve"> + March, 1833.) Op.8. Premier Trio [G minor] pour Probst-Kistner + (Nov. 23, piano, violon, et violoncelle. M. Schlesinger + 1834.) Dedie a Mr. le Prince Antonine + Radziwill—Vol. I., pp. 62, 88, + 112, 113-115, 268;—Vol. II., p. + 212,342 +</pre> +<pre xml:space="preserve"> + Jan. 1833. Op.9. Trois Nocturnes (B flat Probst-Kistner + (Nov. 23, minor, E flamajor, and B major] M. Schlesinger + 1834.) pour le piano Dedies a Mme. + Camille Pleyel—Vol.l.,268; + —Vol. II., pp.87. 261-63 +</pre> +<pre xml:space="preserve"> + August, 1833. Op.10.Douze Grandes Etudes [C major Probst-Kistner + (July 6,1833.) A minor, E major, C sharp minor M. Schlesinger + G flat major, E flat minor, C [who sold them + major, F major, F minor, A flat afterwards to + major, E flat major, and C minor] Lemoine]. + pour le piano. Dediees a Mr. Fr. + Liszt.—Vol. I., p.201,268; Vol. + II., p. 55 (No. 5), 251-254. +</pre> +<pre xml:space="preserve"> + Sept., 1833 Op.11.Grand Concerto [E minor] pour Probst-Kistner + (July 6, le piano avec orchestre. Dedie a M. Schlesinger + 1833.) Mr. Fr. Kalkbrenner.—Vol. I., pp + 127, 146, 147, 150, 151, 152, 156, + 189, 195, 203-208, 210-212, 233, 240, + 241, 268, 281; Vol. II., pp. 16, 211 +</pre> +<pre xml:space="preserve"> + Nov., 1833 Op.12.Variations brillantes [B flat Breitkopf & Hartel + (Jan.26, major] pour le piano sur le Rondeau M. Schlesinger + 1834) favori de Ludovic de Herold: "Je + vends des Scapulaires." Dediees a + Mlle. Emma Horsford.—Vol.I.,p.268; + Vol. II., p.221. +</pre> +<pre xml:space="preserve"> + May, 1834 Op.13.Grande Fantaisie [A major] sur Probst-Kistner + (April, des airs polonais, pour le piano M. Schlesinger + 1834) avec orchestre. Dediee a Mr. J. + P. Pixis—Vol.I., pp. 112,116. + 118-120,132,152,197,268; Vol. + II., p.212. +</pre> +<pre xml:space="preserve"> + July, 1834. Op.14 Krakowiak, Grand Rondeau de Probst-Kistner + (June, Concert [F major] pour le piano M. Schlesinger + 1834.) avec orchestre. Deidie a Mme. la + Princesse Adam Czartoryska. + Vol.I.,pp.88,96,97,98,99,101, + 102.112,116,118-120,134,268; + Vol. II., 233. +</pre> +<pre xml:space="preserve"> + Jan., 1834 OP. 15. Trois Nocturnes [F major, F Breitkopf & + [Copies sharp major, and G minor] pour le Hartel. + sent to piano. Dedies a Mr. Ferd. Hiller.— + M. Schlesinger. + composer Vol. II., pp. 87, 261, 263 + already in + Dec., + 1833]. + (Jan. + 12,1834.) +</pre> +<pre xml:space="preserve"> + March, OP. 16. Rondeau [E flat major] pour Breitkopf & + 1834. le piano. Dedie a Mlle. Caroline Hartel. + Hartmann.—Vol. I., p. 269; Vol. M. Schlesinger. + II., p. 221. +</pre> +<pre xml:space="preserve"> + May, 1834. OP. 17. Quatre Mazurkas [B flat Breitkopf & + major, E minor, A flat major, and A Hartel. + minor] pour le piano, Dediees a Mme. M. Schlesinger. + Lina Freppa.—Vol. I., p. 268; Vol. + II., 231-232, 234-239. +</pre> +<pre xml:space="preserve"> + July, 1834. OP. 18. Grande Valse [E fiat major] Breitkopf & + (June, pour le piano. Dediee a Mlle. Laura Hartel. + 1834.*) Harsford [thus in all the editions, M. Schlesinger + but should probably be Horsford. See [who sold it + Op. 12.]—Vol. I., pp. 268, 273; afterwards to + Vol. II., 249. Lemoine]. +</pre> +<pre xml:space="preserve"> + March, OP. 20. Premier Scherzo [B minor] Breitkopf & + 1835. pour le piano. Dedie a Mr. Hartel. + (Feb., T.Albrecht.—Vol. I., p. 294; Vol. M. Schlesinger. + 1835.*) II., pp. 27,87, 256-257. +</pre> +<pre xml:space="preserve"> + April, OP. 21. Second Concerto [F minor] Breitkopf and + 1836. pour le piano avec orchestre. Dedie Hartel. + (Aug., a Mme. la Comtesse Delphine Potocka. M. Schlesinger. + 1836.) —Vol. I., pp. 128, 131-132, 134, + 156, 163, 200, 203-210, 212, 241, + 294; II., p. 211. +</pre> +<pre xml:space="preserve"> + Aug., 1836. OP. 22. Grande Polonaise brillante Breitkopf & + (July, [E flat major], precedee d'un Hartel. + 1836.*) Andante spianato, pour le piano avec M. Schlesinger. + orchestre. Dediee a Mme. la Baronne + d'Est.—Vol. I., pp. 201-202, 295; + Vol. II., pp. 239-243, 244. +</pre> +<pre xml:space="preserve"> + June, 1836. OP. 23. Ballade [G minor] pour le Breitkopf & + (July, piano. Dediee a Mr. le Baron de Hartel. + 1836.*) Stockhausen.—Vol. I., pp. 294, 295 M. Schlesinger. + Vol. II., pp. 87, 268-9. +</pre> +<pre xml:space="preserve"> + Nov., 1835. Op. 24 Quatre Mazurkas [G minor, C Breitkopf & + (Jan., major, A flat major, and B flat Hartel. + 1836.) minor]. Dediees a Mr. le Comte de M. Schlesinger. + Perthuis.-Vol. I., pp. 294, + 295; Vol. II., pp. 218 (No. 2), 231- + 2, 234 9. +</pre> +<pre xml:space="preserve"> + Oct., 1837. Op. 25 Douze Etudes [A flat major, F Breitkopf & + (Oct.22, minor, F major, A minor, E minor, G Hartel. + 1837.) sharp minor, C sharp minor, D flat M. Schlesinger + major G flat major, B minor, A minor, [who sold the + & C minor] pour le piano. Dediees & copyright + Mme. la Comtesse d'Agoult.—Vol. I., afterwards to + pp. 276, 295, 310; Vol. II., pp. 15, Lemoine]. + 251-4. + + July, 1836. Op. 26. Deux Polonaises [C sharp Breitkopf & + (July, minor and E flat minor] pour le Hartel. + 1836.*) piano. Dediees a Mr. J. Dessauer.— + M. Schlesinger. + Vol. I., p. 295; Vol. II., pp. 239- + 244; 245-6. +</pre> +<pre xml:space="preserve"> + May, 1836. Op. 27. Deux Nocturnes [C sharp Breitkopf & + (July, minor and D flat major] pour le Hartel. + 1836.*) piano. Dediees a Mme. la Comtesse M. Schlesinger. + d'Appony.-Vol. I., pp. 294, 295; + Vol. II., pp. 87, 261, 263-4. +</pre> +<pre xml:space="preserve"> + Sept., Op. 28. Vingt-quatre Preludes pour Breitkopf & + 1839. le piano. Dediees a son ami Pleyel Hartel. + (Sept., [in the French and in the English Ad. Catelin et + 1839.*) edition; a Mr. J. C. Kessler in the Cie. + German edition. The French edition + appeared in two books and without + opus number].—Vol. II., pp. 20, 24, + 27, 28, 29-30, 30-31, 42-45, 50, 51, + 71, 72, 76, 77, + 254-6. +</pre> +<pre xml:space="preserve"> + Jan., 1838. Op. 29. Impromptu [A flat major] Breitkopf & + (Dec., pour le piano. Dedie a Mile, la Hartel. + 1837.*) Comtesse de Lobau.—Vol. II., pp. M. Schlesinger. + 15, 259. +</pre> +<pre xml:space="preserve"> + Jan., 1838. Op. 30. Quatre Mazurkas [C minor, B Breitkopf & + (Dec., minor, D flat major, and C sharp Hartel. + 1837.*) minor] pour le piano. Dediees a Mme. M. Schlesinger. + la Princesse de Wurtemberg, nee + Princesse Czartoryska.—Vol. II., + pp. 15, 231-2, 234-9. +</pre> +<pre xml:space="preserve"> + Feb., 1838. Op. 31. Deuxieme Scherzo [B flat Breitkopf & + (Dec., minor] pour le piano. Dedie a Mile, Hartel. + 1837.*) la Comtesse Adele de Fursienslein. M. Schlesinger. + —Vol. II., pp. 15, 87, 256, 257. +</pre> +<pre xml:space="preserve"> + (Dec., OP. 32. Deux Nocturnes [B major and A. M. + 1837.*) A flat major] pour le Piano. Dedies Schlesinger. + a Mme. la Baronne de Billing.—Vol. M. Schlesinger. + II., pp. 15, 87, 264. +</pre> +<pre xml:space="preserve"> + Nov., 1838. OP. 33. Quatre Mazurkas [G sharp Breitkopf & + (Nov., minor, D major, C major, and B Hartel. + 1838.) minor] pour le piano. Dediees a M. Schlesinger. + Mlle. la Comtesse Mostowska.—Vol. + II., pp. 15, 231-2, 234-9. +</pre> +<pre xml:space="preserve"> + Dec., 1838. OP. 34. Trois Valses brillantes [A Breitkopf & + (Jan., flat major, A minor, and F major] Hartel. + 1839.*) pour le piano. Dediees [No. 1] a M. Schlesinger. + Mlle. deThun-Hohenstein; [No. 2] a + Mme. G. d'Ivri; [No. 3] d Mile. A. + d'Eichthal.—Vol. I., p. 200 (No. + I); Vol. II., pp. 15, 30; 248, 249. +</pre> +<pre xml:space="preserve"> + May, 1840. OP. 35. Sonate [B flat minor] pour Breitkopf & + (May, le piano.—Vol. II., pp. 45, 62, 72, Hartel. + 1840.*) 77, 94, 225-8. Troupenas et + Cie. +</pre> +<pre xml:space="preserve"> + May, 1840. OP. 36. Deuxieme Impromptu [F sharp Breitkopf & + (May, minor] pour le piano.—Vol. II., pp. Hartel. + 1840.*) 259-60. Troupenas et + Cie. +</pre> +<pre xml:space="preserve"> + May, 1840. OP. 37. Deux Nocturnes [G minor and Breitkopf & + (June, G major] pour le piano.—Vol. II., Hartel. + 1840.*) p. 45, 62, 87, 261, 264. Troupenas et + Cie. +</pre> +<pre xml:space="preserve"> + Sept., OP. 38. Deuxieme Ballade [F major] Breitkopf & + 1840. pour le piano. Dediee a Mr. R. Hartel. + (Sept., Schumann.—Vol. II., pp. 45, 50, 51, Troupenas et + 1840.*) 52,54,77,268,269. Cie. +</pre> +<pre xml:space="preserve"> + Oct., 1840. Op. 39. Troisieme Scherzo [C sharp Breitkopf & + (Dec., minor] pour le piano. Dedie a Mr. A. Hartel. + 1840.*) Gutmann.—Vol. II., pp. 45, 53, 72, Troupenas et + 77, 256, 258. Cie. +</pre> +<pre xml:space="preserve"> + Nov., 1840. Op. 40. Deux Polonaises [A major and Breitkopf & + (Dec., C minor] pour le piano. Dediees a Hartel. + 1840.*) Mr. J. Fontana.—Vol. II., pp. 45, Troupenas et + 50, 51, 52, 54, 77, 87, 94, 213 (No. Cie. + 1), 239-244, 246, 247. +</pre> +<pre xml:space="preserve"> + Dec., 1840. Op. 41. Quatre Mazurkas [C sharp Breitkopf & + (Dec., minor, E minor, B major, and A flat Hartel. + 1840.*) major] pour le piano. Dediees a Mr. Troupenas et + E. Witwicki.—Vol. II., pp. 46 (No. Cie. + 1), 62, 77, 231-2, 234-9. +</pre> +<pre xml:space="preserve"> + July, 1840. Op. 42. Valse [A flat major pour le Breitkopf & + piano,—Vol. II., pp. 77, 86, 248, Hartel. + 249. Pacini. +</pre> +<pre xml:space="preserve"> + (1841. An Op. 43. Tarantella [A flat major] Schuberth & Co. + nounced in pour le piano.—Vol. II., pp. 77, Troupenas et Cie. + Monatsbe- + 82-86, 222. + richte on Jan. + 1,1842. Paid + for by the + publisher on + July 7, 1841.] + (Oct., 1841.*) +</pre> +<pre xml:space="preserve"> + (Nov. 28, Op.44. Polonaise [F sharp minor] Merchetti. + 1841.) pour le piano. Dediee a Mme. la M. Schlesinger. + Princesse Charles de Beauvau.—Vol. + II., pp. 77,80, 81,86,239-244,246. +</pre> +<pre xml:space="preserve"> + (Nov. 28, Op.45. Prelude [C sharp minor] pour Merchetti. + 1841.) piano. Dediee a Mlle. la Prin- + M. Schlesinger. + cesse Elisabeth Czernicheff.—Vol. + II., pp. 77, 80, 81, 256 +</pre> +<pre xml:space="preserve"> + Jan., 1842. Op.46. Allegro de Concert [A major] Breitkopf & Hartel. + (Nov. 28, pour le piano. Dedie a Mlle. F. M. Schlesinger. + 1841) Muller—Vol. I., p. 202; Vol.II., + pp.77, 86, 87, 177, 223-5. +</pre> +<pre xml:space="preserve"> + Jan. 1842 Op.47. Troisieme Ballade [A flat Breitkopf & Hartel. + (Nov. 28, major] pour le piano. Dediee a M. Schlesinger. + 1841) Mlle. P. de Noailles.—Vol.II., + pp.77,87, 92, 268, 269-70. +</pre> +<pre xml:space="preserve"> + Jan., 1842 Op.48. Deux Nocturnes [C minor Breitkopf & Hartel. + (Nov. 28, and F sharp minor] pour le piano. M. Schlesinger. + 1841) Dediees a Mlle. L. Duperre—Vol.II., + pp. 77, 87, 88, 262, 265 +</pre> +<pre xml:space="preserve"> + Jan., 1842 Op.49. Fantaisie [F minor] pour Breitkopf & Hartel. + (Nov. 28, le piano Dediee a Mme. la Princesse M. Schlesinger. + 1841) C. de Souzzo.—Vol. II., pp. 77,87, + 230-1. + + [Sept.,1842. Op.50. Trois Mazurkas [G major, Mechetti. + Announced A flat major, and C charp minor] M. Schlesinger. + in Monats- + pour le piano. Dediees a Mr. Leon + berichte.] Szmitkowski—Vol.II., p.77,231-2, + (Nov.28,1841 234-9. + [not again + advertised + till June 5, + 1842, + although the + preceding + numbers + were.]) +</pre> +<pre xml:space="preserve"> + Feb.,1843. Op. 51. Allegro Vivace. Troisieme Hofmeister. + (July 9, Impromptu [G flat major] pour le M. Schlesinger. + 1843.) piano. Dedie a Mme. la Comtesse + Esterhazy.—Vol.II.,pp.121,260. + + Feb., 1843. Op. 52. Quatrieme Ballade [F minor] Breitkopf & + (Dec. 24, pour le piano. Dediee a Mme. la Hartel. + 1843.) Baronne C. de Rothschild.—Vol. II., M. Schlesinger. + pp. 77, 121, 268, 270. +</pre> +<pre xml:space="preserve"> + Dec., 1843. OP. 53. Huiticmc Polonaise [A flat Breitkopf & + (Dec. 24, major] pour le piano. Dediee a Mr. Hartel. + 1843.) A. Leo.—Vol. II., pp. 77, 94, 97, M. Schlesinger. + 121, 213, 239-244, 247. +</pre> +<pre xml:space="preserve"> + Dec., 1843. Op. 54. Scherzo No. 4 [E major] pour Breitkopf & + (Dec. 24, le piano. Dedie a Mlle. J. de Hartel. + 1843.) Caraman.—Vol. II-, pp. 121, 256, M. Schlesinger. + 258-9. +</pre> +<pre xml:space="preserve"> + Aug. 1844. Op. 55. Deux Nocturnes [F minor and Breitkopf & + (Sept. 22, E flat major] pour le piano. Dedies Hartel. + 1844.) a Mlle. J. W. Stirling.—Vol. II., M. Schlesinger. + p. 118, 121,262, 265-6. +</pre> +<pre xml:space="preserve"> + Aug., 1844. Op. 56. Trois Mazurkas [B major, C Breitkopf & + (Sept. 22, major, and C minor] pour le piano. Hartel. + 1844.) Dediees a Mlle. C. Maberly.—Vol. M. Schlesinger. + II., pp. 118, 121-2, 231-2, 234-9. +</pre> +<pre xml:space="preserve"> + May, 1845. Op. 57. Berceuse [D flat major] pour Breitkopf & + (June, le piano. Dediee & Mlle. Elise Hartel. + 1845.*) Gavard.—Vol. I., p. 119; Vol. II., J. Meissonnier. + pp. 118, 122,267-8. +</pre> +<pre xml:space="preserve"> + June, 1845. Op.58. Sonate [B minor] pour le Breitkopf & Hartel + (June, piano. Dediee a Mme.la Comtesse J. Meissonnier. + 1845*) E. de Perthuis.—Vol. II., pp. + 118, 122, 228-9. +</pre> +<pre xml:space="preserve"> + [Jan., 1846, Op. 59. Trois Mazurkas [A minor, Stern et Cie. + announced A flat major, and F sharp minor] Brandus et Cie. + in Monats- + pour le piano.—Vol.II.,pp. 122, + berichte.] 231-2, 234-9. + (April, + 1846.*) +</pre> +<pre xml:space="preserve"> + Dec., 1846 Op.60 Barcarolle [F sharp major] Breitkopf & Hartel + (Sept., pour le piano. Dediee a Mme. la Brandus et Cie. + 1846) Baronne de Stockhausen-Vol.II, + pp.77, 122 266-7. +</pre> +<pre xml:space="preserve"> + Dec., 1846. Op.61 Polonaise-Fantaisie [A Breitkopf & Hartel + (Sept., flat major] pour le piano. Brandus et Cie. + 1846.*) Dediee a Mme. A.Veyret.— + Vol.II., pp. 122, 239-244, 248 +</pre> +<pre xml:space="preserve"> + Dec., 1846. Op. 62. Deux Nocturnes [B major Breitkopf & Hartel. + (Sept., and E major] pour le piano. Dedies Brandus et Cie. + 1846.*) a Mlle. R. de Konneritz.—Vol. II., + pp. 122, 262, 266. +</pre> +<pre xml:space="preserve"> + Sept., OP. 63. Trois Mazurkas [B major, F Breitkopf & + 1847. minor, and C sharp minor] pour le Hartel. + (Oct. 17, piano. Dediees a. Mme. la Comtesse Brandus et Cie. + 1847) L. Czosnowska.—Vol. II., pp. 122, + 205, 231-2, 234-9. +</pre> +<pre xml:space="preserve"> + Sept., OP. 64. Trois Valses [D flat major, Breitkopf & + 1847. C sharp minor, and A flat major] Hartel. + (Oct. 17, pour le piano. Dediees [No 1] a Mme. Brandus et Cie. + 1847) la Comtesse Potocka; [No. 2] a Mme. + la Baronne de Rothschild; + [No. 3] a Mme. la Baronne Bronicka.— + Vol. II., pp. 95, 122, 142 (No. 1), + 205, 248, 250-1, 387. +</pre> +<pre xml:space="preserve"> + Sept., OP. 65. Sonate [G minor] pour piano Breitkopf & + 1847. et violoncelle. Dediee a Mr. A. Hartel. + (Oct. 17, Franchomme.—Vol. II., pp. 122, 205, Brandus et Cie. + 1847) 206, 207, 211, 229. +</pre> + <p> + <a name="link2H_4_0060" id="link2H_4_0060"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + II.—WORKS PUBLISHED WITHOUT OPUS NUMBERS DURING THE COMPOSER'S + </h2> + <p> + LIFETIME. + </p> +<pre xml:space="preserve"> + [1833, in Grand Duo concertant [E major] pour M. Schlesinger. + print.] piano et violoncelle sur des themes A. M. + (July 6, de Robert le Diable, par F. Chopin Schlesinger. + 1833.) et A. Franchomme.—Vol. II., p. 230. +</pre> +<pre xml:space="preserve"> + Aug. or Trois Nouvelles Etudes [F. minor, A M. Schlesinger. + Sept., 1840 flat major, and D flat major]. Etudes A. M. + [this is de Schlesinger. Perfection de la + the date of Methode des Moscheles et Fetis.—Vol. + the II., p. 252. + appearance + of the + Methode.] +</pre> +<pre xml:space="preserve"> + (July 25, Variation VI. [Largo, E major, C] T. Haslinger. + 1841.) from the Hexameron: Morceau de Troupenas et Cie. + Concert. Grandes Variations de + bravoure sur la Marche des + "Puritains" de Bellini, composees + pour le Concert de Mme. la Princesse + Belgiojoso au benefice des pauvres, + par MM. Liszt, Thalberg, Pixis, H. + Herz, Czerny, and Chopin.—Vol. II., + pp. 14, 15. +</pre> +<pre xml:space="preserve"> + [Feb., 1842, Mazurka [A minor] pour piano, No.2 B. Schott's Sohne. + announced of "Notre Temps."—Vol.II.,p.237 + in Monats-berichte. +</pre> + <p> + <a name="link2H_4_0061" id="link2H_4_0061"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + III.—WORKS PUBLISHED WITH OPUS NUMBERS AFTER THE COMPOSER'S DEATH. + </h2> +<pre xml:space="preserve"> + [May, OP. 4. Sonate [C minor] pour le C. Haslinger. + 1851.] piano. Dediee a Mr. Joseph Elsner. S. Richault. + (May, [This work was already in the hands + 1851.*) of the German publisher, T. Haslinger, + in 1828.]—Vol. I., pp. 62,112,118; + Vol. II., p. 63. +</pre> +<pre xml:space="preserve"> + 1855. OP. 66-74 are the posthumous works A. M. + with opus numbers given to the world Schlesinger. + by Julius Fontana (publies sur fils. J. Meissonnier + manuscrits originaux avec + autorisation de sa famille).—Vol. + II., 270-1. + + OP. 66. Fantaisie-Impromptu [C + sharp minor]. Composed about 1834.— + Vol. II.. p. 261, 271. + + OP. 67. Quatre Mazurkas [G major + (1835), G minor (1849), C major (1835), + and A minor (1846).]—Vol. II., + p. 271. + + OP. 68. Quatre Mazurkas [C major + (1830), A minor (1827), F major (1830), + and F minor (1849).]—Vol. I., pp. + 112, 122 (No. 2). + + OP. 69. Deux Valses [F minor + (1836), and B minor (1829).]— + Vol. I., pp. 112, 122 (No. 2). + + OP. 70. Trois Valses [G flat major + (1835), F minor (1843), and D flat major + (1830).]—Vol. I., pp. 128, 200 + (No. 3). + + Op. 71. Trois Polonaises [D minor + (1827), B flat major (1828), and F minor + (1829).]—Vol. I., pp. 62 (Nos. 1 + and 2), 112, 121 (Nos. 1, 2, and 3), + 129 (No. 3). + + OP. 72. Nocturne [E minor (1827)]; + Marche funebre [C minor (1829)]; + et Trois Ecossaises [D major, G + major, and D flat major (1830)].— + Vol. I., pp. 62, 112, 121 (No. 1); + 112, 123 (No. 2); 202 (No. 3). + + OP. 73. Rondeau [C major] pour deux + pianos (1828).—Vol. I., pp. 62, + 112, 116. + + OP. 74. Seventeen Polish Songs by + Witwicki, Mickiewicz, Zaleski, &c., + for voice with pianoforte + accompaniment. The German translation + by Ferd. Gumbert. [The + English translation of Stanley + Lucas, Weber & Co.'s English + edition is by the Rev. J. + Troutbeck.]—Vol. II., p. 271-272. +</pre> + <p> + <a name="link2H_4_0062" id="link2H_4_0062"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + IV.—WORKS PUBLISHED WITHOUT OPUS NUMBERS AFTER THE COMPOSER'S DEATH. + </h2> +<pre xml:space="preserve"> + [May, Variations [E major] pour le piano C. Haslinger. + 1851.] stir un air allemand. (1824?) S. Richault. + [although not published till 1851, + this composition was already in 1830 + in T. Haslinger's hands).—Vol. I.: + pp. 53, 55, 56. +</pre> +<pre xml:space="preserve"> + Mazurka [G major]. (1825.)—Vol. I., J. Leitgeber. + p. 52; II., 236. Gebethner & + Wolff. + Mazurka [B flat major (1825)].—Vol. + I., p. 52; II., 236. + + Mazurka [D major (1829-30)].—Vol. + I., PP—202-203; II., 236. + + Mazurka [D major (1832.—A + remodelling of the preceding + Mazurka)].—Vol. I., pp. + 202-203; II., 236. +</pre> +<pre xml:space="preserve"> + Mazurka [C major (1833)].—Vol. II., Gebethner & + p. 236. Wolff. +</pre> +<pre xml:space="preserve"> + Mazurka [A minor. Dediee a son ami Bote & Bock. + Emile Gail'ard.—Vol. II, p. 236. +</pre> +<pre xml:space="preserve"> + 1858. Valse [E minor].—Vol. II., p. 251. B. Schott's + Sohne. + Gebethner & + Wolff. +</pre> +<pre xml:space="preserve"> + 1864. Polonaise [G sharp minor]. Dediee B. Schott's + a Mme. Dupont.—Vol. I., p. 52 (see Sohne. + also Corrections and Additions, Vol. Gebethner & + I., p. VIII. Wolff. +</pre> +<pre xml:space="preserve"> + 1872. Polonaise [G flat major]. Nothing B. Schott's + but the composer's autograph could Sohne. + convince one of the genuineness of + this piece. There are here and there + passages which have the Chopin ring, + indeed, seem to be almost bodily + taken from some other of his works, + but there is also a great deal which + it is impossible to imagine to have + come at any time from his pen—the + very opening bars may be instanced. +</pre> +<pre xml:space="preserve"> + Polonaise [B flat minor (1826)].— + Gebethner & + Vol. I., pp. 52-53. Wolff. +</pre> +<pre xml:space="preserve"> + Valse [E major (1829)].— + Vol. I., Gebethner & + pp. 112, 122. Wolff. + W. Chaberski. + + Souvenir de Paganini [A major]. + This piece, which I do not know, is + mentioned in the list of the + master's works given by Karasowski + in the Polish edition of his life of + Chopin. It was published in the + supplement of the Warsaw Echo + Muzyczne, where also the two + preceding pieces first appeared. +</pre> +<pre xml:space="preserve"> + About a Mazurka in F sharp major, + published under Chopin's name by J. + P. Gotthard, of Vienna, see Vol. + II., p. 237; and about Deux Valses + melancoliques (F minor and B minor) + ecrites sur l'Album de Mme. la + Comtesse P. 1844, see Vol. II., p. + 251. +</pre> +<pre xml:space="preserve"> + La Reine des Songes, which appeared + in the Paris Journal de Musique, No. + 8, 1876, is No. 1 of the Seventeen + Polish Songs (transposed to B flat + major) with French words by George + Sand, beginning: + + "Quand la lune se leve + Dans un pale rayon + Elle vient comme un reve, + Comme une vision." + + Besides this song, the letter-press, + taken from George Sand's Histoire de + ma Vie, is accompanied by two + instrumental pieces, extracts from + the last movement of the E minor + Concerto and the Bolero, the latter + being called Chanson de Zingara. +</pre> +<pre xml:space="preserve"> + END OF VOLUME II. +</pre> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> + </p> +<pre xml:space="preserve"> + + + + + +End of the Project Gutenberg EBook of Frederick Chopin as a Man and Musician, by +Frederick Niecks + +*** END OF THIS PROJECT GUTENBERG EBOOK FREDERICK CHOPIN *** + +***** This file should be named 4973-h.htm or 4973-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/4/9/7/4973/ + +Produced by John Mamoun, Charles Franks, David Widger, and +the Online Distributed Proofreading Team + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +http://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, are critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + + +</pre> + </body> +</html> |