Chopin : the Man and His Music Part 13

de Flahault. In the key of A minor, its coda ends in A major. Willeby says it is in C major!

The Tarantella is in A flat, and is numbered op. 43. It was published in 1841 (?), and bears no dedication. Composed at Nohant, it is as little Italian as the Bolero is Spanish. Chopin's visit to Italy was of too short a duration to affect him, at least in the style of dance. It is without the necessary ophidian tang, and far inferior to h.e.l.ler and Liszt's efforts in the constricted form. One finds little of the frenzy ascribed to it by Schumann in his review. It breathes of the North, not the South, and ranks far below the A flat Impromptu in geniality and grace.

The C minor Funeral March, composed, according to Fontana, in 1829, sounds like Mendelssohn. The trio has the processional quality of a Parisian funeral cortege. It is modest and in no wise remarkable. The three Ecossaises, published as op. 73, No. 3, are little dances, schottisches, nothing more. No. 2 in G is highly popular in girls'

boarding schools.

The Grand Duo Concertant for 'cello and piano is jointly composed by Chopin and Franchomme on themes from "Robert le Diable." It begins in E and ends in A major, and is without opus number. Schumann thinks "Chopin sketched the whole of it, and that Franchomme said 'Yes' to everything." It is for the salon of 1833, when it was published. It is empty, tiresome and only slightly superior to compositions of the same sort by De Beriot and Osborne. Full of rapid elegancies and shallow pa.s.sage work, this duo is certainly a piece d'occasion--the occasion probably being the need of ready money.

The seventeen Polish songs were composed between 1824 and 1844. In the psychology of the Lied Chopin was not happy. Karasowski writes that many of the songs were lost and some of them are still sung in Poland, their origin being hazy. The Third of May is cited as one of these.

Chopin had a habit of playing songs for his friends, but neglected putting some of them on paper. The collected songs are under the opus head 74. The words are by his friends, Stephen Witwicki, Adam Mickiewicz, Bogdan Zaleski and Sigismond Krasinski. The first in the key of A, the familiar Maiden's Wish, has been brilliantly paraphrased by Liszt. This pretty mazurka is charmingly sung and played by Marcella Sembrich in the singing lesson of "The Barber of Seville." There are several mazurkas in the list. Most of these songs are mediocre.

Poland's Dirge is an exception, and so is Hors.e.m.e.n Before the Battle.

"Was ein junges Madchen liebt" has a short introduction, in which the reminiscence hunter may find a true bit of "Meistersinger" color.

Simple in structure and sentiment, the Chopin lieder seem almost rudimentary compared to essays in this form by Schubert, Schumann, Franz, Brahms and Tschaikowsky.

A word of recommendation may not be amiss here regarding the technical study of Chopin. Kleczynski, in his two books, gives many valuable hints, and Isidor Philipp has published a set of Exercises Quotidiens, made up of specimens in double notes, octaves and pa.s.sages taken from the works. Here skeletonized are the special technical problems. In these Daily Studies, and his edition of the Etudes, are numerous examples dealt with practically. For a study of Chopin's ornaments, Mertke has discussed at length the various editorial procedure in the matter of attacking the trill in single and double notes, also the easiest method of executing the flying scud and vapors of the fioriture. This may be found in No. 179 of the Edition Steingraber.

Philipp's collection is published in Paris by J. Hamelle, and is prefixed by some interesting remarks of Georges Mathias. Chopin's portrait in 1833, after Vigneron, is included.

One composition more is to be considered. In 1837 Chopin contributed the sixth variation of the march from "I Puritani." These variations were published under the t.i.tle: "Hexameron: Morceau de Concert. Grandes Variations de bravoure sur la marche des Puritans de Bellini, composees pour le concert de Madame la Princesse Belgiojoso au benefice des pauvres, par MM. Liszt, Thalberg, Pixis, H. Herz, Czerny et Chopin."

Liszt wrote an orchestral accompaniment, never published. His pupil, Moriz Rosenthal, is the only modern virtuoso who plays the Hexameron in his concerts, and play it he does with overwhelming splendor. Chopin's contribution in E major is in his sentimental, salon mood. Musically, it is the most impressive of this extraordinary mastodonic survival of the "pianistic" past.

The newly published Fugue--or fugato--in A minor, in two voices, is from a ma.n.u.script in the possession of Natalie Janotha, who probably got it from the late Princess Czartoryska, a pupil of the composer. The composition is ineffective, and in spots ugly--particularly in the stretta--and is no doubt an exercise during the working years with Elsner. The fact that in the coda the very suspicious octave pedal-point and trills may be omitted--so the editorial note urns--leads one to suspect that out of a fragment Janotha has evolved, Cuvier-like, an entire composition. Chopin as fugue-maker does not appear in a brilliant light. Is the Polish composer to become a musical Hugh Conway? Why all these disjecta membra of a sketch-book?

In these youthful works may be found the beginnings of the greater Chopin, but not his vast subjugation of the purely technical to the poetic and spiritual. That came later. To the devout Chopinist the first compositions are so many proofs of the joyful, victorious spirit of the man whose spleen and pessimism have been wrongfully compared to Leopardi's and Baudelaire's. Chopin was gay, fairly healthy and bubbling over with a pretty malice. His first period shows this; it also shows how thorough and painful the processes by which he evolved his final style.

XII. THE POLONAISES:--HEROIC HYMNS OF BATTLE.

How is one to reconcile "the want of manliness, moral and intellectual," which Hadow a.s.serts is "the one great limitation of Chopin's province," with the power, splendor and courage of the Polonaises? Here are the cannon buried in flowers of Robert Schumann, here overwhelming evidences of versatility, virility and pa.s.sion.

Chopin blinded his critics and admirers alike; a delicate, puny fellow, he could play the piano on occasion like a devil incarnate. He, too, had his demon as well as Liszt, and only, as Ehlert puts it, "theoretical fear" of this spirit driving him over the cliffs of reason made him curb its antics. After all the couleur de rose portraits and lollipop miniatures made of him by pensive, poetic persons it is not possible to conceive Chopin as being irascible and almost brutal. Yet he was at times even this. "Beethoven was scarce more vehement and irritable," writes Ehlert. And we remember the stories of friends and pupils who have seen this slender, refined Pole wrestling with his wrath as one under the obsession of a fiend. It is no desire to exaggerate this side of his nature that impels this plain writing.

Chopin left compositions that bear witness to his masculine side.

Diminutive in person, bad-temper became him ill; besides, his whole education and tastes were opposed to scenes of violence. So this energy, spleen and raging at fortune found escape in some of his music, became psychical in its manifestations.

But, you may say, this is feminine hysteria, the impotent cries of an unmanly, weak nature. Read the E flat minor, the C minor, the A major, the F sharp minor and the two A flat major Polonaises! Ballades, Scherzi, Studies, Preludes and the great F minor Fantaisie are purposely omitted from this awing scheme. Chopin was weak in physique, but he had the soul of a lion. Allied to the most exquisite poetic sensibilities--one is reminded here of Balzac's "Ce beau genie est moins un musicien qu'une dine qui se rend sensible"--there was another nature, fiery, implacable. He loved Poland, he hated her oppressors.

There is no doubt he idealized his country and her wrongs until the theme grew out of all proportion. Politically the Poles and Celts rub shoulders. Niecks points out that if Chopin was "a flattering idealist as a national poet, as a personal poet he was an uncompromising realist." So in the polonaises we find two distinct groups: in one the objective, martial side predominates, in the other is Chopin the moody, mournful and morose. But in all the Polish element pervades. Barring the mazurkas, these dances are the most Polish of his works.

Appreciation of Chopin's wide diversity of temperament would have sparedthe world the false, silly, distorted portraits of him. He had the warrior in him, even if his mailed fist was seldom used. There are moments when he discards gloves and soft phrases and deals blows that reverberate with formidable clangor.

By all means read Liszt's gorgeous description of the Polonaise.

Originating during the last half of the sixteenth century, it was at first a measured procession of n.o.bles and their womankind to the sound of music. In the court of Henry of Anjou, in 1574, after his election to the Polish throne, the Polonaise was born, and throve in the hardy, warlike atmosphere. It became a dance political, and had words set to it. Thus came the Kosciuszko, the Oginski, the Moniuszko, the Kurpinski, and a long list written by composers with names ending in "ski." It is really a march, a processional dance, grave, moderate, flowing, and by no means stereotyped. Liszt tells of the capricious life infused into its courtly measures by the Polish aristocracy. It is at once the symbol of war and love, a vivid pageant of martial splendor, a weaving, cadenced, voluptuous dance, the pursuit of shy, coquettish woman by the fierce warrior.

The Polonaise is in three-four time, with the accent on the second beat of the bar. In simple binary form--ternary if a trio is added--this dance has feminine endings to all the princ.i.p.al cadences. The rhythmical cast of the ba.s.s is seldom changed. Despite its essentially masculine mould, it is given a feminine t.i.tle; formerly it was called Polonais. Liszt wrote of it:

"In this form the n.o.blest traditional feelings of ancient Poland are represented. The Polonaise is the true and purest type of Polish national character, as in the course of centuries it was developed, partly through the political position of the kingdom toward east and west, partly through an undefinable, peculiar, inborn disposition of the entire race. In the development of the Polonaise everything co-operated which specifically distinguished the nation from others. In the Poles of departed times manly resolution was united with glowing devotion to the object of their love. Their knightly heroism was sanctioned by high-soaring dignity, and even the laws of gallantry and the national costume exerted an influence over the turns of this dance.

The Polonaises are the keystone in the development of this form. They belong to the most beautiful of Chopin inspirations. With their energetic rhythm they electrify, to the point of excited demonstration, even the sleepiest indifferentism. Chopin was born too late, and left his native hearth too early, to be initiated into the original character of the Polonaise as danced through his own observation. But what others imparted to him in regard to it was supplemented by his fancy and his nationality."

Chopin wrote fifteen Polonaises, the authenticity of one in G flat major being doubted by Niecks. This list includes the Polonaise for violoncello and piano, op. 3, and the Polonaise, op. 22, for piano and orchestra. This latter Polonaise is preceded by an andante spianato in G in six-eight time, and unaccompanied. It is a charming, liquid-toned, nocturne-like composition, Chopin in his most suave, his most placid mood: a barcarolle, scarcely a ripple of emotion, disturbs the mirrored calm of this lake. After sixteen bars of a crudely harmonized tutti comes the Polonaise in the widely remote key of E flat; it is brilliant, every note telling, the figuration rich and novel, the movement spirited and flowing. Perhaps it is too long and lacks relief.

The theme on each re-entrance is varied ornamentally. The second theme, in C minor, has a Polish and poetic ring, while the coda is effective.

This opus is vivacious, but not characterized by great depth.

Crystalline, gracious, and refined, the piece is stamped "Paris," the elegant Paris of 1830. Composed in that year and published in July, 1836, it is dedicated to the Baronne D'Est. Chopin introduced it at a Conservatoire concert for the benefit of Habeneck, April 26, 1835.

This, according to Niecks, was the only time he played the Polonaise with orchestral accompaniment. It was practically a novelty to New York when Rafael Joseffy played it here, superlatively well, in 1879.

The orchestral part seems wholly superfluous, for the scoring is not particularly effective, and there is a rumor that Chopin cannot be held responsible for it. Xaver Scharwenka made a new instrumentation that is discreet and extremely well sounding. With excellent tact he has managed the added accompaniment to the introduction, giving some thematic work of the slightest texture to the strings, and in the pretty coda to the wood-wind. A delicately managed allusion is made by the horns to the second theme of the nocturne in G. There are even five faint taps of the triangle, and the idyllic atmosphere is never disturbed. Scharwenka first played this arrangement at a Seidl memorial concert, in Chickering Hall, New York, April, 1898. Yet I cannot truthfully say the Polonaise sounds so characteristic as when played solo.

The C sharp minor Polonaise, op. 26, has had the misfortune of being sentimentalized to death. What can be more "appa.s.sionata" than the opening with its "grand rhythmical swing"? It is usually played by timid persons in a sugar-sweet fashion, although fff stares them in the face. The first three lines are hugely heroic, but the indignation soon melts away, leaving an apathetic humor; after the theme returns and is repeated we get a genuine love motif tender enough in all faith wherewith to woo a princess. On this the Polonaise closes, an odd ending for such a fiery opening.

In no such mood does No. 2 begin. In E flat minor it is variously known as the Siberian, the Revolt Polonaise. It breathes defiance and rancor from the start. What suppressed and threatening rumblings are there!

Volcanic mutterings these:

[Musical score excerpt]

It is a sinister page, and all the more so because of the injunction to open with pianissimo. One wishes that the shrill, high G flat had been written in full chords as the theme suffers from a want of ma.s.siveness.

Then follows a subsidiary, but the princ.i.p.al subject returns relentlessly. The episode in B major gives pause for breathing. It has a hint of Meyerbeer. But again with smothered explosions the Polonaise proper appears, and all ends in gloom and the impotent clanking of chains. It is an awe-provoking work, this terrible Polonaise in E flat minor, op. 26; it was published July, 1836, and is dedicated to M. J.

Dessauer.

Not so the celebrated A major Polonaise, op. 40, Le Militaire. To Rubinstein this seemed a picture of Poland's greatness, as its companion in C minor is of Poland's downfall. Although Karasowski and Kleczynski give to the A flat major Polonaise the honor of suggesting a well-known story, it is really the A major that provoked it--so the Polish portrait painter Kwiatowski informed Niecks. The story runs, that after composing it, Chopin in the dreary watches of the night was surprised--terrified is a better word--by the opening of his door and the entrance of a long train of Polish n.o.bles and ladies, richly robed, who moved slowly by him. Troubled by the ghosts of the past he had raised, the composer, hollow eyed, fled the apartment. All this must have been at Majorca, for op. 40 was composed or finished there.

Ailing, weak and unhappy as he was, Chopin had grit enough to file and polish this brilliant and striking composition into its present shape.

It is the best known and, though the most muscular of his compositions, it is the most played. It is dedicated to J. Fontana, and was published November, 1840. This Polonaise has the festive glitter of Weber.

The C minor Polonaise of the same set is a n.o.ble, troubled composition, large in accents and deeply felt. Can anything be more impressive than this opening?

[Musical score excerpt]

It is indeed Poland's downfall. The Trio in A flat, with its kaleidoscopic modulations, produces an impression of vague unrest and suppressed sorrow. There is loftiness of spirit and daring in it.

What can one say new of the tremendous F sharp minor Polonaise? Willeby calls it noisy! And Stanislaw Przybyszewski--whom Vance Thompson christened a prestidigious noctambulist-has literally stormed over it.

It is barbaric, it is perhaps pathologic, and of it Liszt has said most eloquent things. It is for him a dream poem, the "lurid hour that precedes a hurricane" with a "convulsive shudder at the close." The opening is very impressive, the nerve-pulp being hara.s.sed by the gradually swelling prelude. There is defiant power in the first theme, and the constant reference to it betrays the composer's exasperated mental condition. This tendency to return upon himself, a tormenting introspection, certainly signifies a grave state. But consider the musical weight of the work, the recklessly bold outpourings of a mind almost distraught! There is no greater test for the poet-pianist than the F sharp minor Polonaise. It is profoundly ironical--what else means the introduction of that lovely mazurka, "a flower between two abysses"? This strange dance is ushered in by two of the most enigmatic pages of Chopin. The A major intermezzo, with its booming cannons and reverberating overtones, is not easily defensible on the score of form, yet it unmistakably fits in the picture. The mazurka is full of interrogation and emotional nuanciren. The return of the tempest is not long delayed. It bursts, wanes, and with the coda comes sad yearning, then the savage drama pa.s.ses tremblingly into the night after fluid and wavering affirmations; a roar in F sharp and finally a silence that marks the cessation of an agitating nightmare. No "sabre dance" this, but a confession from the dark depths of a self-tortured soul. Op. 44 was published November, 1841, and is dedicated to Princesse de Beauvau.

There are few editorial differences. In the eighteenth bar from the beginning, Kullak, in the second beat, fills out an octave. Not so in Klindworth nor in the original. At the twentieth bar Klindworth differs from the original as follows. The Chopin text is the upper one:

[Musical score excerpts]

The A flat Polonaise, op. 53, was published December, 1843, and is said by Karasowski to have been composed in 1840, after Chopin's return from Majorca. It is dedicated to A. Leo. This is the one Karasowski calls the story of Chopin's vision of the antique dead in an isolated tower of Madame Sand's chateau at Nohant. We have seen this legend disproved by one who knows. This Polonaise is not as feverish and as exalted as the previous one. It is, as Kleczynski writes, "the type of a war song." Named the Heroique, one hears in it Ehlert's "ring of damascene blade and silver spur." There is imaginative splendor in this thrilling work, with its thunder of horses' hoofs and fierce challengings. What fire, what sword thrusts and smoke and clash of mortal conflict! Here is no psychical presentation, but an objective picture of battle, of concrete contours, and with a cleaving brilliancy that excites the blood to boiling pitch. That Chopin ever played it as intended is incredible; none but the heroes of the keyboard may grasp its dense chordal ma.s.ses, its fiery projectiles of tone. But there is something disturbing, even ghostly, in the strange intermezzo that separates the trio from the polonaise. Both mist and starlight are in it. Yet the work is played too fast, and has been nicknamed the "Drum" Polonaise, losing in majesty and force because of the vanity of virtuosi. The octaves in E major are spun out as if speed were the sole idea of this episode. Follow Kleczynski's advice and do not sacrifice the Polonaise to the octaves. Karl Tausig, so Joseffy and de Lenz a.s.sert, played this Polonaise in an unapproachable manner. Powerful battle tableau as it is, it may still be presented so as not to shock one's sense of the euphonious, of the limitations of the instrument. This work becomes vapid and unheroic when transferred to the orchestra.

The Polonaise-Fantaisie in A flat, op. 61, given to the world September, 1846, is dedicated to Madame A. Veyret. One of three great Polonaises, it is just beginning to be understood, having been derided as amorphous, febrile, of little musical moment, even Liszt declaring that "such pictures possess but little real value to art. ...

Deplorable visions which the artist should admit with extreme circ.u.mspection within the graceful circle of his charmed realm." This was written in the old-fashioned days, when art was aristocratic and excluded the "baser" and more painful emotions. For a generation accustomed to the realism of Richard Strauss, the Fantaisie-Polonaise seems vaporous and idealistic, withal new. It recalls one of those enchanted flasks of the magii from which on opening smoke exhales that gradually shapes itself into fantastic and fearsome figures. This Polonaise at no time exhibits the solidity of its two predecessors; its plasticity defies the imprint of the conventional Polonaise, though we ever feel its rhythms. It may be full of monologues, interspersed cadenzas, improvised preludes and short phrases, as Kullak suggests, yet there is unity in the composition, the units of structure and style. It was music of the future when Chopin composed; it is now music of the present, as much as Richard Wagner's. But the realism is a trifle clouded. Here is the duality of Chopin the suffering man and Chopin the prophet of Poland. Undimmed is his poetic vision--Poland will be free!--undaunted his soul, though oppressed by a suffering body. There are in the work throes of agony blended with the trumpet notes of triumph. And what puzzled our fathers--the shifting lights and shadows, the restless tonalities--are welcome, for at the beginning of this new century the chromatic is king. The ending of this Polonaise is triumphant, recalling in key and climaxing the A flat Ballade. Chopin is still the captain of his soul--and Poland will be free! Are Celt and Slav doomed to follow ever the phosph.o.r.escent lights of patriotism?

Liszt acknowledges the beauty and grandeur of this last Polonaise, which unites the characteristics of superb and original manipulation of the form, the martial and the melancholic.

Opus 71, three posthumous Polonaises, given to the world by Julius Fontana, are in D minor, published in 1827, B flat major, 1828, and F minor, 1829. They are interesting to Chopinists. The influence of Weber, a past master in this form, is felt. Of the three the last in F minor is the strongest, although if Chopin's age is taken into consideration, the first, in D minor, is a feat for a lad of eighteen.

I agree with Niecks that the posthumous Polonaise, without opus number, in G sharp minor, was composed later than 1822--the date given in the Breitkopf & Hartel edition. It is an artistic conception, and in "light winged figuration" far more mature than the Chopin of op. 71. Really a graceful and effective little composition of the florid order, but like his early music without poetic depth. The Warsaw "Echo Musicale," to commemorate the fiftieth anniversary of Chopin's death, published a special number in October, 1899, with the picture of a farmer named Krysiak, born in 1810, the year after the composer. Thereat Finck remarked that it is not a case of survival of the fittest! A fac-simile reproduction of a hitherto unpublished Polonaise in A flat, written at the age of eleven, is also included in this unique number. This tiny dance shows, it is said, the "characteristic physiognomy" of the composer. In reality this polacca is thin, a tentative groping after a form that later was mastered so magnificently by the composer. Here is the way it begins--the autograph is Chopin's:

[Musical score excerpt]

The Alla Polacca for piano and 'cello, op. 3, was composed in 1829, while Chopin was on a visit to Prince Radziwill. It is preceded by an introduction, and is dedicated to Joseph Merk, the 'cellist. Chopin himself p.r.o.nounced it a brilliant salon piece. It is now not even that, for it sounds antiquated and threadbare. The pa.s.sage work at times smacks of Chopin and Weber--a hint of the Mouvement Perpetuel--and the 'cello has the better of the bargain. Evidently written for my lady's chamber.

Two Polonaises remain. One, in B flat minor, was composed in 1826, on the occasion of the composer's departure for Reinerz. A footnote to the edition of this rather elegiac piece tells this. Adieu to Guillaume Kolberg, is the t.i.tle, and the Trio in D flat is accredited to an air of "Gazza Ladra," with a sentimental Au Revoir inscribed. Kleczynski has revised the Gebethner & Wolff edition. The little cadenza in chromatic double notes on the last page is of a certainty Chopin. But the Polonaise in G flat major, published by Schott, is doubtful. It has a shallow ring, a brilliant superficiality that warrants Niecks in stamping it as a possible compilation. There are traces of the master throughout, particularly in the E flat minor Trio, but there are some vile progressions and an air of vulgarity surely not Chopin's. This dance form, since the death of the great composer, has been chiefly developed on the virtuoso side. Beethoven, Schubert, Weber, and even Bach--in his B minor suite for strings and flute--also indulged in this form. Wagner, as a student, wrote a Polonaise for four hands, in D, and in Schumann's Papillons there is a charming specimen. Rubinstein composed a most brilliant and dramatic example in E flat in Le Bal. The Liszt Polonaises, all said and done, are the most remarkable in design and execution since Chopin. But they are more Hungarian than Polish.