Frederick Chopin, As A Man And Musician - free ebook by Frederick Niecks

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Frederick Chopin, As A Man And Musician

Frederick Niecks

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PREFACE TO THE FIRST EDITION

PREFACE TO THE FIRST EDITION

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

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PREFACE TO THE SECOND EDITION.

PREFACE TO THE SECOND EDITION.

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 Leipz

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PREFACE TO THE THIRD EDITION.

PREFACE TO THE THIRD EDITION.

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- centen

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PROEM. POLAND AND THE POLES.

PROEM. POLAND AND THE POLES.

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 nati

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CHAPTER I. 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.

CHAPTER I. 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.

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 t

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CHAPTER II 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.

CHAPTER II 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.

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

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CHAPTER III 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.

CHAPTER III 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.

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, &amp;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 twi

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CHAPTER IV. 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.

CHAPTER IV. 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.

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 gh

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CHAPTER V. MUSIC AND MUSICIANS IN POLAND BEFORE AND IN CHOPIN'S TIME.

CHAPTER V. MUSIC AND MUSICIANS IN POLAND BEFORE AND IN CHOPIN'S TIME.

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

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CHAPTER VI

CHAPTER VI

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. 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 bi

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CHAPTER VII 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.

CHAPTER VII 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.

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 remarkab

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CHAPTER VIII THE WORKS OF CHOPIN'S FIRST PERIOD.

CHAPTER VIII THE WORKS OF CHOPIN'S FIRST PERIOD.

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

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CHAPTER IX. 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.

CHAPTER IX. 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.

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:— 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—alr

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CHAPTER X.

CHAPTER X.

1829-1830. MUSIC IN THE WARSAW SALONS.—MORE ABOUT CHOPIN'S CAUTION.— MUSICAL VISITORS TO THE POLISH CAPITAL: WORLITZER, MDLLE. DE BELLEVILLE, MDLLE. SONTAG, &amp;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. After the turmoil and agitation of the concerts, Chopin resumed the even tenor of his Warsa

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CHAPTER XI. 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.

CHAPTER XI. 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.

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 w

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CHAPTER XII 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.

CHAPTER XII 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.

The allusions to music and musicians lead us naturally to inquire further after Chopin's musical experiences in Vienna. 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 for

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CHAPTER XIII CHOPIN'S PRODUCTIONS FROM THE SPRING OF 1829 TO THEEND OF 1831.— THE CHIEF INFLUENCES THAT HELPED TO FORM HIS STYLE OF COMPOSITION.

CHAPTER XIII CHOPIN'S PRODUCTIONS FROM THE SPRING OF 1829 TO THEEND OF 1831.— THE CHIEF INFLUENCES THAT HELPED TO FORM HIS STYLE OF COMPOSITION.

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 b

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CHAPTER XIV. 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.

CHAPTER XIV. 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.

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? Paris offers anything you may wish [writes Chopin]. You can amuse yourself, mope, laugh, weep, in short, do whatever

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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.

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.

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

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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.

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.

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 Dziewanow

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CHAPTER XVII

CHAPTER XVII

1834-1835. 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 HI

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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.

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.

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 w

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CHAPTER XIX. GEORGE SAND: HER EARLY LIFE (1804—1836); AND HER CHARACTER AS A WOMAN, THINKER, AND LITERARY ARTIST.

CHAPTER XIX. GEORGE SAND: HER EARLY LIFE (1804—1836); AND HER CHARACTER AS A WOMAN, THINKER, AND LITERARY ARTIST.

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 rega

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END OF VOLUME I.

END OF VOLUME I.

Corrected EDITIONS of our etexts get a new NUMBER, fkchp11.txt VERSIONS based on separate sources get new LETTER, fkchp10a.txt More information about this book is at the top of this file. We are now trying to release all our etexts one year in advance of the official release dates, leaving time for better editing. Please be encouraged to tell us about any error or corrections, even years after the official publication date. Most people start at our Web sites at: https://gutenberg.org or http://p

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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.

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.

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-m

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CHAPTER XXI. 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.

CHAPTER XXI. 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.

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, qu

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Chapter XXII. 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.

Chapter XXII. 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.

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 th

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CHAPTER XXIII. JUNE TO OCTOBER, 1839. 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.

CHAPTER XXIII. JUNE TO OCTOBER, 1839. 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.

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, nee

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CHAPTER XXIV.

CHAPTER XXIV.

1839-1842. 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

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CHAPTER XXV. 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.

CHAPTER XXV. 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.

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 wha

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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).

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).

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, &amp;c. The following fascicle of letters, although containing less about the writer's thoughts, feelings, and doings than we could wish, affords nevertheless matter of inter

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CHAPTER XXVII. 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.

CHAPTER XXVII. 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.

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 g

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CHAPTER XXVIII. CHOPIN AS A TEACHER: HIS SUCCESS OR WANT OF SUCCESS AS SUCH; HIS PUPILS, AMATEUR AND PROFESSIONAL; METHOD OF TEACHING; AND TEACHING REPERTOIRE.

CHAPTER XXVIII. CHOPIN AS A TEACHER: HIS SUCCESS OR WANT OF SUCCESS AS SUCH; HIS PUPILS, AMATEUR AND PROFESSIONAL; METHOD OF TEACHING; AND TEACHING REPERTOIRE.

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 accor

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CHAPTER XXIX. 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.

CHAPTER XXIX. 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.

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. [FOOTNOTE: Except the letter of George

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CHAPTER XXX. 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.

CHAPTER XXX. 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.

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 O

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CHAPTER XXXI.

CHAPTER XXXI.

CHOPIN'S ARRIVAL IN LONDON.—MUSICAL ASPECT OF THE BRITISH METROPOLIS IN 1848.—CULTIVATION OF CHOPIN'S MUSIC IN ENGLAND.— CHOPIN AT EVENING PARTIES, &amp;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

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CHAPTER XXXII. 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.

CHAPTER XXXII. 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.

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 Chop

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EPILOGUE.

EPILOGUE.

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 hom

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APPENDICES. APPENDIX I.

APPENDICES. APPENDIX I.

(VOL. I., p. 66.) 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, sel

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APPENDIX II.

APPENDIX II.

(VOL. I., p. 268.) 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 kne

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APPENDIX III.

APPENDIX III.

(VOL. I., p. 290.) 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 hi

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APPENDIX IV.

APPENDIX IV.

(VOL. I., p. 309.) 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: "T

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APPENDIX V.

APPENDIX V.

(VOL. II., pp. 22-48.) 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,

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APPENDIX VI.

APPENDIX VI.

On Tempo Rubato. (VOL. II., p. 101.) 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 F

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APPENDIX VII.

APPENDIX VII.

(VOL. II., p. I7I.) 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

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APPENDIX VIII.

APPENDIX VIII.

(VOL. II., p. 177.) 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. "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, &amp;c., which he played on a wretched square piano. I lived as da

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APPENDIX IX.

APPENDIX IX.

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. I77.) 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. Howeve

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APPENDIX X.

APPENDIX X.

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

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REMARKS PRELIMINARY

REMARKS PRELIMINARY

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 &amp; 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 Eng

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I.—WORKS PUBLISHED WITH OPUS NUMBERS DURING THE COMPOSER'S LIFETIME.

I.—WORKS PUBLISHED WITH OPUS NUMBERS DURING THE COMPOSER'S LIFETIME.

DATES ORIGINAL OF GERMAN &amp; FRENCH PUBLICATION TITLES WITH REFERENCES PUBLISHERS. 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 [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, 1

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II.—WORKS PUBLISHED WITHOUT OPUS NUMBERS DURING THE COMPOSER'S LIFETIME.

II.—WORKS PUBLISHED WITHOUT OPUS NUMBERS DURING THE COMPOSER'S LIFETIME.

[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. 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.] (July 25, Variation VI. [Largo, E ma

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III.—WORKS PUBLISHED WITH OPUS NUMBERS AFTER THE COMPOSER'S DEATH.

III.—WORKS PUBLISHED WITH OPUS NUMBERS AFTER THE COMPOSER'S DEATH.

[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. 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

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IV.—WORKS PUBLISHED WITHOUT OPUS NUMBERS AFTER THE COMPOSER'S DEATH.

IV.—WORKS PUBLISHED WITHOUT OPUS NUMBERS AFTER THE COMPOSER'S DEATH.

[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. Mazurka [G major]. (1825.)—Vol. I., J. Leitgeber. p. 52; II., 236. Gebethner &amp; Wolff. Mazurka [B flat major (1825)].—Vol.

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