Frederick Chopin, as a Man and Musician Part 34

RETURN OF GEORGE SAND AND CHOPIN TO PARIS.--GEORGE SAND IN THE RUE PIGALLE.--CHOPIN IN THE RUE TRONCHET: REMINISCENCES OF BRINLEY RICHARDS AND MOSCHELES.--SOIREES AT LEO'S AND ST. CLOUD.--CHOPIN JOINS MADAME SAND IN THE RUE PIGALLE.--EXTRACTS FROM GEORGE SAND'S CORRESPONDANCE; A LETTER OF MADAME SAND'S TO CHOPIN; BALZAC ANECDOTES.--MADAME SAND AND CHOPIN DO NOT GO TO NOHANT IN 1840.--COMPOSITIONS OF THIS PERIOD.--ABOUT CHOPIN AS A PIANIST.--LETTERS WRITTEN TO FONTANA IN THE SUMMER AND AUTUMN OF 1841.

Although Chopin and George Sand came to Paris towards the end of October, 1839, months pa.s.sed before the latter got into the house which Fontana had taken for her. This we learn from a letter written by her to her friend Gustave Papet, and dated Paris, January, 1840, wherein we read:--

At last I am installed in the Rue Pigalle, 16, only since the last two days, after having fumed, raged, stormed, and sworn at the upholsterers, locksmith, &c., &c. What a long, horrible, unbearable business it is to lodge one's self here!

[FOOTNOTE: In the letter, dated Paris, October, 1839, preceding, in the George Sand "Correspondance," the one from which the above pa.s.sage is extracted, occur the following words: "Je suis enfin installee chez moi a Paris." Where this chez moi was, I do not know.]

How greatly the interiors of George Sand's pavilions in the Rue Pigalle differed from those of Senor Gomez's villa and the cells in the monastery of Valdemosa, may be gathered from Gutmann's description of two of the apartments.

[FOOTNOTE: I do not guarantee the correctness of all the following details, although I found them in a sketch of Gutmann's life inspired by himself ("Der Lieblings-schuler Chopin's", No. 3 of "Schone Geister,"

by Bernhard Stavenow, Bremen, 1879), and which he a.s.sured me was trustworthy. The reasons of my scepticism are--1, Gutmann's imaginative memory and tendency to show himself off to advantage; 2, Stavenow's love of fine writing and a good story; 3, innumerable misstatements that can be indisputably proved by doc.u.ments.]

Regarding the small salon, he gives only the general information that it was quaintly fitted up with antique furniture. But of George Sand's own room, which made a deeper impression upon him, he mentions so many particulars--the brown carpet covering the whole floor, the walls hung with a dark-brown ribbed cloth (Ripsstoff), the fine paintings, the carved furniture of dark oak, the brown velvet seats of the chairs, the large square bed, rising but little above the floor, and covered with a Persian rug (Teppich)--that it is easy to picture to ourselves the tout-ensemble of its appearance. Gutmann tells us that he had an early opportunity of making these observations, for Chopin visited his pupil the very day after his arrival (?), and invited him at once to call on George Sand in order to be introduced to her. When Gutmann presented himself in the small salon above alluded to, he found George Sand seated on an ottoman smoking a cigarette. She received the young man with great cordiality, telling him that his master had often spoken to her of him most lovingly. Chopin entered soon after from an adjoining apartment, and then they all went into the dining-room to have dinner. When they were seated again in the cosy salon, and George Sand had lit another cigarette, the conversation, which had touched on a variety of topics, among the rest on Majorca, turned on art. It was then that the auth.o.r.ess said to her friend: "Chop, Chop, show Gutmann my room that he may see the pictures which Eugene Delacroix painted for me."

Chopin on arriving in Paris had taken up his lodgings in the Rue Tronchet, No. 5, and resumed teaching. One of his pupils there was Brinley Richards, who practised under him one of the books of studies.

Chopin also a.s.sisted the British musician in the publication, by Troupenas, of his first composition, having previously looked over and corrected it. Brinley Richards informed me that Chopin, who played rarely in these lessons, making his corrections and suggestions rather by word of mouth than by example, was very languid, indeed so much so that he looked as if he felt inclined to lie down, and seemed to say: "I wish you would come another time."

About this time, that is in the autumn or early in the winter of 1839, Moscheles came to Paris. We learn from his diary that at Leo's, where he liked best to play, he met for the first time Chopin, who had just returned from the country, and whose acquaintance he was impatient to make. I have already quoted what Moscheles said of Chopin's appearance--namely, that it was exactly like [identificirt mit] his music, both being delicate and dreamy [schwarmerisch]. His remarks on his great contemporary's musical performances are, of course, still more interesting to us.

He played to me at my request, and now for the first time I understand his music, and can also explain to myself the enthusiasm of the ladies. His ad libitum playing, which with the interpreters of his music degenerates into disregard of time, is with him only the most charming originality of execution; the dilettantish harsh modulations which strike me disagreeably when I am playing his compositions no longer shock me, because he glides lightly over them in a fairy-like way with his delicate fingers; his piano is so softly breathed forth that he does not need any strong forte in order to produce the wished-for contrasts; it is for this reason that one does not miss the orchestral-like effects which the German school demands from a pianoforte-player, but allows one's self to be carried away, as by a singer who, little concerned about the accompaniment, entirely follows his feeling. In short, he is an unic.u.m in the world of pianists. He declares that he loves my music very much, and at all events he knows it very well. He played me some studies and his latest work, the "Preludes," and I played him many of my compositions.

In addition to this characterisation of the artist Chopin, Moscheles'

notes afford us also some glimpses of the man. "Chopin was lively, merry, nay, exceedingly comical in his imitations of Pixis, Liszt, and a hunchbacked pianoforte-player." Some days afterwards, when Moscheles saw him at his own house, he found him an altogether different Chopin:--

I called on him according to agreement with Ch. and E., who are also quite enthusiastic about him, and who were particularly struck with the "Prelude" in A flat major in 6/8 time with the ever-recurring pedal A flat. Only the Countess O. [Obreskoff] from St. Petersburg, who adores us artists en bloc, was there, and some gentlemen. Chopin's excellent pupil Gutmann played his master's ma.n.u.script Scherzo in C sharp minor. Chopin himself played his ma.n.u.script Sonata in B flat minor with the Funeral March.

Gutmann relates that Chopin sent for him early in the morning of the day following that on which he paid the above-mentioned visit to George Sand, and said to him:--

Pardon me for disturbing you so early in the morning, but I have just received a note from Moscheles, wherein he expresses his joy at my return to Paris, and announces that he will visit me at five in the afternoon to hear my new compositions.

Now I am unfortunately too weak to play my things to him; so you must play. I am chiefly concerned about this Scherzo.

Gutmann, who did not yet know the work (Op. 39), thereupon sat down at Chopin's piano, and by dint of hard practising managed to play it at the appointed hour from memory, and to the satisfaction of the composer.

Gutmann's account does not tally in several of its details with Moscheles'. As, however, Moscheles does not give us reminiscences, but sober, business-like notes taken down at the time they refer to, and without any attempt at making a nice story, he is the safer authority.

Still, thus much at least we may a.s.sume to be certain:--Gutmann played the Scherzo, Op. 39, on this occasion, and his rendering of it was such as to induce his master to dedicate it to him.

Comte de Perthuis, the adjutant of King Louis Philippe, who had heard Chopin and Moscheles repeatedly play the latter's Sonata in E flat major for four hands, spoke so much and so enthusiastically about it at Court that the royal family, wishing "to have also the great treat," invited the two artists to come to St. Cloud. The day after this soiree Moscheles wrote in his diary:--

Yesterday was a memorable day... at nine o'clock Chopin and I, with Perthuis and his amiable wife, who had called for us, drove out to St. Cloud in the heaviest showers of rain, and felt so much the more comfortable when we entered the brilliant, well-lighted palace. We pa.s.sed through many state- rooms into a salon carre, where the royal family was a.s.sembled en pet.i.t comite. At a round table sat the queen with an elegant work-basket before her (perhaps to embroider a purse for me?); near her were Madame Adelaide, the d.u.c.h.ess of Orleans, and ladies-in-waiting. The n.o.ble ladies were as affable as if we had been old acquaintances...Chopin played first a number of nocturnes and studies, and was admired and petted like a favourite. After I also had played some old and new studies, and been honoured with the same applause, we seated ourselves together at the instrument--he again playing the ba.s.s, which he always insists on doing. The close attention of the little circle during my E flat major Sonata was interrupted only by the exclamations "divine!"

"delicious!" After the Andante the queen whispered to a lady- in-waiting: "Would it not be indiscreet to ask them to play it again?" which naturally was equivalent to a command to repeat it, and so we played it again with increased abandon. In the Finale we gave ourselves up to a musical delirium. Chopin's enthusiasm throughout the whole piece must, I believe, have infected the auditors, who now burst forth into eulogies of us. Chopin played again alone with the same charm, and called forth the same sympathy as before; then I improvised...

[FOOTNOTE: In the "Neue Zeitschrift fur Musik" of November 12, 1839, we read that Chopin improvised on Grisar's "La Folle,"

Moscheles on themes by Mozart. La Folle is a romance the success of which was so great that a wit called it une folie de salon. It had for some years an extraordinary popularity, and made the composer a reputation.]

To show his grat.i.tude, the king sent the two artists valuable presents: to Chopin a gold cup and saucer, to Moscheles a travelling case. "The king," remarked Chopin, "gave Moscheles a travelling case to get the sooner rid of him." The composer was fond of and had a talent for throwing off sharp and witty sayings; but it is most probable that on this occasion the words were prompted solely by the fancy, and that their ill-nature was only apparent. Or must we a.s.sume that the man Moscheles was less congenial to Chopin than the artist? Moscheles was a Jew, and Chopin disliked the Jews. As, however, the tempting opportunity afforded by the nature of the king's present to Moscheles is sufficient to account for Chopin's remark, and no proofs warranting a less creditable explanation are forthcoming, it would be unfair to listen to the suggestions of suspicion.

George Sand tells us in the "Histoire de ma Vie" that Chopin found his rooms in the Rue Tronchet cold and damp, and felt sorely the separation from her. The consequence of this was that the saintly woman, the sister of mercy, took, after some time, pity upon her suffering worshipper, and once more sacrificed herself. Not to misrepresent her account, the only one we have, of this change in the domestic arrangements of the two friends, I shall faithfully transcribe her delicately-worded statements:--

He again began to cough alarmingly, and I saw myself forced either to give in my resignation as nurse, or to pa.s.s my life in impossible journeyings to and fro. He, in order to spare me these, came every day to tell me with a troubled face and a feeble voice that he was wonderfully well. He asked if he might dine with us, and he went away in the evening, shivering in his cab. Seeing how he took to heart his exclusion from our family life, I offered to let to him one of the pavilions, a part of which I could give up to him. He joyfully accepted. He had there his room, received there his friends, and gave there his lessons without incommoding me. Maurice had the room above his; I occupied the other pavilion with my daughter.

Let us see if we cannot get some glimpses of the life in the pavilions of the Rue Pigalle, No. 16. In the first months of 1840, George Sand was busy with preparations for the performance of her drama Cosima, moving heaven and earth to bring about the admission of her friend Madame Dorval into the company of the Theatre-Francais, where her piece, in which she wished this lady to take the princ.i.p.al part, was to be performed. Her son Maurice pa.s.sed his days in the studio of Eugene Delacroix; and Solange gave much time to her lessons, and lost much over her toilet. Of Grzymala we hear that he is always in love with all the beautiful women, and rolls his big eyes at the tall Borgnotte and the little Jacqueline; and that Madame Marliani is always up to her ears in philosophy. This I gathered from George Sand's Correspondance, where, as the reader will see presently, more is to be found.

George Sand to Chopin; Cambrai, August 13, 1840:--

I arrived at noon very tired, for it is 45 and 35 leagues from Paris to this place. We shall relate to you good stories of the bourgeois of Cambrai. They are beaux, they are stupid, they are shopkeepers; they are the sublime of the genre. If the Historical Procession does not console us, we are capable of dying of ennui at the politeness which people show us. We are lodged like princes. But what hosts, what conversations, what dinners! We laugh at them when we are by ourselves, but when we are before the enemy, what a pitiable figure we selves, make! I am no longer desirous to see you come; but I aspire to depart very quickly, and I understand why you do not wish to give concerts. It is not unlikely that Pauline Viardot may not sing the day after to-morrow, for want of a hall. We shall, perhaps, leave a day sooner. I wish I were already far away from the Cambresians, male and female.

Good night! I am going to bed, I am overcome with fatigue.

Love your old woman [votre vieille] as she loves you.

From a letter written two days later to her son, we learn that Madame Viardot after all gave two concerts at Cambrai. But amusing as the letter is, we will pa.s.s it over as not concerning us here. Of another letter (September 20,1840), likewise addressed to her son, I shall quote only one pa.s.sage, although it contains much interesting matter about the friends and visitors of the inmates of the pavilions of the Rue Pigalle, No. 16:--

Balzac came to dine here the day before yesterday. He is quite mad. He has discovered the blue rose, for which the horticultural societies of London and Belgium have promised a reward of 500,000 francs (qui dit, dit-il). He will sell, moreover, every grain at a hundred sous, and for this great botanic production he will lay out only fifty centimes.

Hereupon Rollinat asked him naively:--

"Well, why, then, do you not set about it at once?"

To which Balzac replied:

"Oh! because I have so many other things to do; but I shall set about it one of these days."

Stavenow, in Schone Geister (see foot-note, p. 70), tells an anecdote of Balzac, which may find a place here:--

One day Balzac had invited George Sand, Chopin, and Gutmann to dinner. On that occasion he related to them that the next day he would have to meet a bill of 30,000 francs, but that he had not a sou in his pocket. Gutmann asked what he intended to do?

"Well," replied Balzac, "what shall I do? I wait quietly.

Before to-morrow something unexpected may turn up, and give me the means to pay the sum." Scarcely had he said this when the door bell rang. The servant entered and announced that a gentleman was there who urgently wished to speak with M.

Balzac.

Balzac rose and left the room. After a quarter of an hour he came back in high spirits and said:

"The 30,000 francs are found. My publisher wishes to bring out a new edition of my works, and he offers me just this sum."

George Sand, Chopin, and Gutmann looked at each other with a smile, and thought--"Another one!"

George Sand to her son; Paris, September 4, 1840:--

We have had here great shows of troops. They have fione the gendarme and cuisse the national guardsman. All Paris was in agitation, as if there were to be a revolution. Nothing took place, except that some pa.s.sers-by were knocked down by the police.

There were places in Paris where it was dangerous to pa.s.s, as these gentlemen a.s.sa.s.sinated right and left for the pleasure of getting their hands into practice. Chopin, who will not believe anything, has at last the proof and certainty of it.

Madame Marliani is back. I dined at her house the day before yesterday with the Abbe de Lamennais. Yesterday Leroux dined here. Chopin embraces you a thousand times. He is always qui, qui, qui, me, me, me. Rollinat smokes like a steam-boat.

Solange has been good for two or three days, but yesterday she had a fit of temper [acces de fureur]. It is the Rebouls, the English neighbours, people and dogs, who turn her head.

In the summer of 1840 George Sand did not go to Nohant, and Chopin seems to have pa.s.sed most of, if not all, the time in Paris. From a letter addressed to her half-brother, we learn that the reason of her staying away from her country-seat was a wish to economise:--

If you will guarantee my being able to pa.s.s the summer at Nohant for 4,000 francs, I will go. But I have never been there without spending 1,500 francs per month, and as I do not spend here the half of this, it is neither the love of work, nor that of spending, nor that of glory, which makes me stay...