Frederick Chopin, as a Man and Musician Part 20

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:--

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 mult.i.tude an inexplicable phenomenon which it looks on in pa.s.sing 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 n.o.body 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 a.s.signs to them a superior rank, &c.

No important events are to be recorded of the season 1833-1834, but that Chopin was making his way is shown by a pa.s.sage from a letter which Orlowski wrote to one of his friends in Poland:--

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.

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 ma.n.u.script 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):--

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.

After the festival the three musicians travelled together to Dusseldorf, where since the preceding October Mendelssohn was settled as musical director. They pa.s.sed 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 pa.s.sed 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.

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.

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."

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 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.

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 circ.u.mstance 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:--

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.

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.

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--

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 pa.s.sionate inspiration.

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--

"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 a.s.sez savant.]

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:--

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.

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.]

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:--

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.

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.

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:--

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.

And now mark the dying fall of this vague report: "Kalkbrenner's Variations on the cavatina 'Di tanti palpiti' were especially applauded."

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:--

The concert for the benefit of the indigent Poles [i.e., indigent Polish refugees] will take place to-morrow, Sat.u.r.day, 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.

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.

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.

In the same notice may also be read the following:--

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.

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 att.i.tude 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.

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:--

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.