Frederick Chopin, as a Man and Musician Part 45

But now I must say a few words about Chopin and Liszt's friendship, and how it came to an end. This connection of the great pianists has been the subject of much of that sentimental talk of which writers on music and of musical biography are so fond. This, however, which so often has been represented as an ideal friendship, was really no friendship at all, but merely comradeship. Both admired each other sincerely as musicians. If Chopin did not care much for Liszt's compositions, he had the highest opinion of him as a pianist. We have seen in the letter of June 20, 1833, addressed to Hiller and conjointly written by Chopin and Liszt, how delighted Chopin was with Liszt's manner of playing his studies, and how he wished to be able to rob him of it. He said on one occasion to his pupil Mdlle. Kologrivof [FOOTNOTE: Afterwards Madame Rubio.]: "I like my music when Liszt plays it." No doubt, it was Liszt's book with its transcendentally-poetic treatment which induced the false notion now current. Yet whoever keeps his eyes open can read between the lines what the real state of matters was. The covert sneers at and the openly-expressed compa.s.sion for his comrade's whims, weaknesses, and deficiencies, tell a tale. Of Chopin's sentiments with regard to Liszt we have more than sufficient evidence. Mr. Halle, who arrived in Paris at the end of 1840, was strongly recommended to the banker Mallet. This gentleman, to give him an opportunity to make the acquaintance of the Polish pianist, invited both to dinner. On this occasion Mr. Halle asked Chopin about Liszt, but the reticent answer he got was indicative rather of dislike than of anything else. When in 1842 Lenz took lessons from Chopin, the latter defined his relations with Liszt thus: "We are friends, we were comrades." What he meant by the first half of the statement was, no doubt: "Now we meet only on terms of polite acquaintanceship." When the comradeship came to an end I do not know, but I think I do know how it came to an end. When I asked Liszt about the cause of the termination of their friendship, he said: "Our lady-loves had quarrelled, and as good cavaliers we were in duty bound to side with them." [FOOTNOTE: Liszt's words in describing to me his subsequent relation with Chopin were similar to those of Chopin to Lenz.

He said: "There was a cessation of intimacy, but no enmity. I left Paris soon after, and never saw him again."] This, however, was merely a way to get rid of an inconvenient question. Franchomme explained the mystery to me, and his explanation was confirmed by what I learned from Madame Rubio. The circ.u.mstances are of too delicate a nature to be set forth in detail. But the long and short of the affair is that Liszt, accompanied by another person, invaded Chopin's lodgings during his absence, and made himself quite at home there. The discovery of traces of the use to which his rooms had been put justly enraged Chopin. One day, I do not know how long after the occurrence, Liszt asked Madame Rubio to tell her master that he hoped the past would be forgotten and the young man's trick (Junggesellenstuck) wiped out. Chopin then said that he could not forget, and was much better as he was; and further, that Liszt was not open enough, having always secrets and intrigues, and had written in some newspapers feuilleton notices unfavourable to him. This last accusation reminds one at once of the remark he made when he heard that Liszt intended to write an account of one of his concerts for the Gazette musicale. I have quoted the words already, but may repeat them here: "Il me donnera un pet.i.t royaume dans son empire" (He will give me a little kingdom in his empire). In this, as in most sayings of Chopin regarding Liszt, irritation against the latter is distinctly noticeable.

The cause of this irritation may be manifold, but Liszt's great success as a concert-player and his own failure in this respect [FOOTNOTE: I speak here only of his inability to impress large audiences, to move great ma.s.ses.] have certainly something to do with it. Liszt, who thought so likewise, says somewhere in his book that Chopin knew how to forgive n.o.bly. Whether this was so or not, I do not venture to decide.

But I am sure if he forgave, he never forgot. An offence remained for ever rankling in his heart and mind.

From Chopin's friends to his pupils is but one step, and not even that, for a great many of his pupils were also his friends; indeed, among them were some of those who were nearest to his heart, and not a few in whose society he took a particular delight. Before I speak, however, of his teaching, I must say a few words about a subject which equally relates to our artist's friends and pupils, and to them rather than to any other cla.s.s of people with whom he had any dealings.

One of his [Chopin's] oddities [writes Liszt] consisted in abstaining from every exchange of letters, from every sending of notes; one could have believed that he had made a vow never to address letters to strangers. It was a curious thing to see him have recourse to all kinds of expedients to escape from the necessity of tracing a few lines. Many times he preferred traversing Paris from one end to the other in order to decline a dinner or give some slight information, to saving himself the trouble by means of a little sheet of paper. His handwriting remained almost unknown to most of his friends. It is said that he sometimes deviated from this habit in favour of his fair compatriots settled at Paris, of whom some are in possession of charming autographs of his, all written in Polish. This breach of what one might have taken as a rule may be explained by the pleasure he took in speaking his language, which he employed in preference, and whose most expressive idioms he delighted in translating to others. Like the Slaves generally, he mastered the French language very well; moreover, owing to his French origin, it had been taught him with particular care. But he accommodated himself badly to it, reproaching it with having little sonority and being of a cold genius.

[FOOTNOTE: Notwithstanding his French origin, Chopin spoke French with a foreign accent, some say even with a strong foreign accent. Of his manner of writing French I spoke when quoting his letters to Franchomme (see Vol. I., p. 258).]

Liszt's account of Chopin's bizarrerie is in the main correct, although we have, of course, to make some deduction for exaggeration. In fact, Gutmann told me that his master sometimes began a letter twenty times, and finally flung down the pen and said: "I'll go and tell her [or "him," as the case might be] myself."

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 according to all accounts it was difficult to be received as a pupil--he by no means gave lessons to anyone who asked for them. As long as he was in fair health, he taught during the season from four to five hours a day, in later years only, or almost only, at home.

His fee for a lesson was twenty francs, which were deposited by the pupil on the mantelpiece.

Was Chopin a good teacher? His pupils without exception most positively affirm it. But outsiders ask: How is it, then, that so great a virtuoso has not trained players who have made the world ring with their fame?

Mr. Halle, whilst pointing out the fact that Chopin's pupils have not distinguished themselves, did not wish to decide whether this was owing to a deficiency in the master or to some other cause. Liszt, in speaking to me on this subject, simply remarked: "Chopin was unfortunate in his pupils--none of them has become a player of any importance, although some of his n.o.ble pupils played very well." If we compare Liszt's pianistic offspring with Chopin's, the difference is indeed striking.

But here we have to keep in mind several considerations--Chopin taught for a shorter period than Liszt; most of his pupils, unlike Liszt's, were amateurs; and he may not have met with the stuff out of which great virtuosos are made. That Chopin was unfortunate in his pupils may be proved by the early death of several very promising ones. Charles Filtsch, born at Hermannstadt, Transylvania (Hungary), about 1830, of whom Liszt and Lenz spoke so highly (see Chapter XXVI.), died on May 11, 1845, at Venice, after having in 1843 made a sensation in London and Vienna, both by the poetical and technical qualities of his playing. In London "little Filtsch" played at least twice in public (on June 14 at the St. James's Theatre between two plays, and on July 4 at a matinee of his own at the Hanover Square Rooms), repeatedly in private, and had also the honour to appear before the Queen at Buckingham Palace. J. W.

Davison relates in his preface to Chopin's mazurkas and waltzes (Boosey & Co.) a circ.u.mstance which proves the young virtuoso's musicianship.

"Engaged to perform Chopin's second concerto in public, the orchestral parts not being obtainable, Filtsch, nothing dismayed, wrote out the whole of them from memory." Another short-lived great talent was Paul Gunsberg. "This young man," Madame Dubois informed me, "was endowed with an extraordinary organisation. Chopin had made of him an admirable executant. He died of consumption, otherwise he would have become celebrated." I do not know in which year Gunsberg died. He was still alive on May 11, 1855. For on that day he played with his fellow-pupil Tellefsen, at a concert given by the latter in Paris, a duet of Schumann's. A third pupil of Chopin prematurely s.n.a.t.c.hed away by death was Caroline Hartmann, the daughter of a manufacturer, born at Munster, near Colmar, in 1808. She came to Paris in 1833, and died the year after--of love for Chopin, as Edouard Wolff told me. Other authorities, however, ascribe the sad effect to a less romantic cause. They say that through persevering study under the direction of Chopin and Liszt she became an excellent pianist, but that the hard work brought on a chest complaint to which she succ.u.mbed on July 30, 1834. The GAZETTE MUSICALE of August 17, 1834, which notices her death, describes her as a pupil of Liszt, Chopin, and Pixis, without commenting on her abilities. Spohr admired her as a child. But if Chopin has not turned out virtuosos of the calibre of Tausig and Hans von Bulow, he has nevertheless formed many very clever pianists. It would serve no purpose except that of satisfying idle curiosity to draw up a list of all the master's ascertainable pupils. Those who wish, however, to satisfy this idle curiosity can do so to some extent by scanning the dedications of Chopin's works, as the names therein to be found--with a few and mostly obvious exceptions--are those of pupils. The array of princesses, countesses, &c., will, it is to be hoped, duly impress the investigator.

Let us hear what the ill.u.s.trious master Marmontel has to say on this subject:--

Among the pianist-composers who have had the immense advantage of taking lessons from Chopin, to impregnate themselves with his style and manner, we must cite Gutmann, Lysberg, and our dear colleague G. Mathias. The Princesses de Chimay, Czartoryska, the Countesses Esterhazy, Branicka, Potocka, de Kalergis, d'Est; Mdlles. Muller and de Noailles were his cherished disciples [disciples affectionnees]. Madame Dubois, nee O'Meara, is also one of his favourite pupils [eleves de predilection], and numbers among those whose talent has best preserved the characteristic traditions and procedures [procedes] of the master.

Two of Chopin's amateur and a few more of his professional pupils ought to be briefly noticed here--first and chiefly of the amateurs, the Princess Marcelline Czartoryska, who has sometimes played in public for charitable purposes, and of whom it has often been said that she is the most faithful transmitter of her master's style. Would the praise which is generally lavished upon her have been so enthusiastic if the lady had been a professional pianist instead of a princess? The question is ungracious in one who has not had the pleasure of hearing her, but not unnaturally suggests itself. Be this as it may, that she is, or was, a good player, who as an intimate friend and countrywoman thoroughly entered into the spirit of her master's music, seems beyond question.

[FOOTNOTE: "The Princess Marcelline Czartoryska," wrote Sowinski in 1857 in the article "Chopin" of his "Musicien polonais," "who has a fine execution, seems to have inherited Chopin's ways of procedure, especially in phrasing and accentuation. Lately the Princess performed at Paris with much success the magnificent F minor Concerto at a concert for the benefit of the poor." A critic, writing in the Gazette Musicale of March 11, 1855, of a concert given by the Princess--at which she played an andante with variations for piano and violoncello by Mozart, a rondo for piano and orchestra by Mendelssohn, and Chopin's F minor Concerto, being a.s.sisted by Alard as conductor, the violoncellist Franchomme, and the singers Madame Viardot and M. Fedor--praised especially her rendering of the ADAGIO in Chopin's Concerto. Lenz was the most enthusiastic admirer of the Princess I have met with. He calls her (in the Berliner Musikzeitung, Vol. XXVI) a highly-gifted nature, the best pupil [Schulerin] of Chopin, and the incarnation of her master's pianoforte style. At a musical party at the house of the Counts Wilhorski at St. Petersburg, where she performed a waltz and the Marche funebre by Chopin, her playing made such an impression that it was thought improper to have any more music on that evening, the trio of the march having, indeed, moved the auditors to tears. The Princess told Lenz that on one occasion when Chopin played to her this trio, she fell on her knees before him and felt unspeakably happy.]

G. Chouquet reminded me not to omit to mention among Chopin's pupils Madame Peruzzi, the wife of the amba.s.sador of the Duke of Tuscany to the court of Louis Philippe:--

This virtuosa [wrote to me the late keeper of the Musee of the Paris Conservatoire] had no less talent than the Princess Marcelline Czartoryska. I heard her at Florence in 1852, and I can a.s.sure you that she played Chopin's music in the true style and with all the unpublished traits of the master. She was of Russian origin.

But enough of amateurs. Mdlle. Friederike Muller, now for many years married to the Viennese pianoforte-maker J. B. Streicher, is regarded by many as the most, and is certainly one of the most gifted of Chopin's favourite pupils. [FOOTNOTE: She played already in public at Vienna in the fourth decade of this century, which must have been before her coming to Paris (see Eduard Hanslick, Geschichte des Concertwesens in Wien, p. 326). Marriage brought the lady's professional career to a close.] That the composer dedicated to her his Allegro de Concert, Op. 46, may be regarded as a mark of his love and esteem for her. Carl Mikuli found her a.s.sistance of great importance in the preparation of his edition of Chopin's works, as she had received lessons from the master for several years, and, moreover, had had many opportunities of hearing him on other occasions. The same authority refers to Madame Dubois (nee O'Meara) [FOOTNOTE: A relation of Edward Barry O'Meara, physician to the first Napoleon at St. Helena, and author of "Napoleon in Exile."] and to Madame Rubio (NEE Vera de Kologrivof) as to "two extremely excellent pianists [hochst ausgezeichnete Pianistinnen] whose talent enjoyed the advantage of the master's particular care." The latter lady was taught by Chopin from 1842 to 1849, and in the last years of his life a.s.sisted him, as we shall see, by taking partial charge of some of his pupils. Madame Dubois, who studied under Kalkbrenner from the age of nine to thirteen, became then a pupil of Chopin, with whom she remained five years. It was very difficult to obtain his consent to take another pupil, but the influence of M.

Albrecht, a common friend of her father's and Chopin's, stood her in good stead. Although I heard her play only one or two of her master's minor pieces, and under very unfavourable circ.u.mstances too--namely, at the end of the teaching season and in a tropical heat--I may say that her suave touch, perfect legato, and delicate sentiment seemed to me to bear out the above-quoted remark of M. Marmontel. Madame Dubois, who is one of the most highly-esteemed teachers of the piano in Paris, used to play till recently in public, although less frequently in later than in earlier years. And here I must extract a pa.s.sage from Madame Girardin's letter of March 7, 1847, in Vol. IV. of "Le Vicomte de Launay," where, after describing Mdlle. O'Meara's beauty, more especially her Irish look--"that mixture of sadness and serenity, of profound tenderness and shy dignity, which you never find in the proud and brilliant looks which you admire in the women of other nations "--she says:--

We heard her a few hours ago; she played in a really superior way the beautiful Concerto of Chopin in E flat minor [of course E minor]; she was applauded with enthusiasm. [FOOTNOTE: Chopin accompanied on a second piano. The occasion was a soiree at the house of Madame de Courbonne.] All we can say to give you an idea of Mdlle. O'Meara's playing is that there is in her playing all that is in her look, and in addition to it an admirable method, and excellent fingering. Her success has been complete; in hearing her, statesmen were moved... and the young ladies, those who are good musicians, forgave her her prettiness.

As regards Chopin's male pupils, we have to note George Mathias (born at Paris in 1826), the well-known professor of the piano at the Paris Conservatoire, [FOOTNOTE: He retired a year or two ago.] and still more widely-known composer of more than half-a-hundred important works (sonatas, trios, concertos, symphonic compositions, pianoforte pieces, songs, &c.), who enjoyed the master's teaching from 1839 to 1844; Lysberg (1821-1873), whose real name was Charles Samuel Bovy, for many years professor of the piano at the Conservatoire of his native town, Geneva, and a very fertile composer of salon pieces for the piano (composer also of a one-act comic opera, La Fills du Carillonneur), distinguished by "much poetic feeling, an extremely careful form, an original colouring, and in which one often seems to see pa.s.s a breath of Weber or Chopin"; [FOOTNOTE: Supplement et Complement to Fetis'

Biographie universelle des Musiciens, published under the direction of Arthur Pougin.] the Norwegian Thomas d.y.k.e Acland Tellefsen (1823-1874), a teacher of the piano in Paris and author of an edition of Chopin's works; Carl Mikuli (born at Czernowitz in 1821), since 1858 artistic director of the Galician Musical Society (conservatoire, concerts, &c.), and author of an edition of Chopin's works; and Adolph Gutmann, the master's favourite pupil par excellence, of whom we must speak somewhat more at length. Karasowski makes also mention of Casimir Wernik, who died at St. Petersburg in 1859, and of Gustav Schumann, a teacher of the piano at Berlin, who, however, was only during the winter of 1840-1841 with the Polish master. For Englishmen the fact of the late Brinley Richards and Lindsay Sloper having been pupils of Chopin--the one for a short, the other for a longer period--will be of special interest.

Adolph Gutmann was a boy of fifteen when in 1834 his father brought him to Paris to place him under Chopin. The latter, however, did not at first feel inclined to accept the proposed trust; but on hearing the boy play he conceived so high an idea of his capacities that he agreed to undertake his artistic education. Chopin seems to have always retained a thorough belief in his muscular pupil, although some of his great pianist friends thought this belief nothing but a strange delusion.

There are also piquant anecdotes told by fellow-pupils with the purpose of showing that Chopin did not care very much for him. For instance, the following: Some one asked the master how his pupil was getting on, "Oh, he makes very good chocolate," was the answer. Unfortunately, I cannot speak of Gutmann's playing from experience, for although I spent eight days with him, it was on a mountain-top in the Tyrol, where there were no pianos. But Chopin's belief in Gutmann counts with me for something, and so does Moscheles' reference to him as Chopin's "excellent pupil"; more valuable, I think, than either is the evidence of Dr. A. C.

Mackenzie, who at my request visited Gutmann several times in Florence and was favourably impressed by his playing, in which he noticed especially beauty of tone combined with power. As far as I can make out Gutmann planned only once, in 1846, a regular concert-tour, being furnished for it by Chopin with letters of introduction to the highest personages in Berlin, Warsaw, and St. Petersburg. Through the intervention of the Countess Rossi (Henriette Sontag), he was invited to play at a court-concert at Charlottenburg in celebration of the King's birthday. [FOOTNOTE: His part of the programme consisted of his master's E minor Concerto (2nd and 3rd movements) and No. 3 of the first book of studies, and his own tenth study.] But the day after the concert he was seized with such home-sickness that he returned forthwith to Paris, where he made his appearance to the great astonishment of Chopin.

The reader may perhaps be interested in what a writer in the Gazette Musicale said about Chopin's favourite pupil on March 24, 1844:--

M. Gutmann is a pianist with a neat but somewhat cold style of playing; he has what one calls fingers, and uses them with much dexterity. His manner of proceeding is rather that of Thalberg than of the clever professor who has given him lessons. He afforded pleasure to the lovers of the piano [amateurs de piano] at the musical SOIREE which he gave last Monday at M. Erard's. Especially his fantasia on the "Freischutz" was applauded.

Of course, the expression of any individual opinion is no conclusive proof. Gutmann was so successful as a teacher and in a way also as a composer (his compositions, I may say in pa.s.sing, were not in his master's but in a light salon style) that at a comparatively early period of his life he was able to retire from his profession. After travelling for some time he settled at Florence, where he invented the art, or, at least, practised the art which he had previously invented, of painting with oil-colours on satin. He died at Spezzia on October 27, 1882.

[FOOTNOTE: The short notice of Gutmann in Fetis' Biographie Universelle des Musiciens, and those of the followers of this by no means infallible authority, are very incorrect. Adolfo Gutmann, Riccordi Biografici, by Giulio Piccini (Firenze: Guiseppe Polverini, 1881), reproduces to a great extent the information contained in Der Lieblingsschuler Chopin's in Bernhard Stavenow's Schone Geister (Bremen: Kuhlmann, 1879), both which publications, eulogistic rather than biographical, were inspired by Gutmann.]

Whatever interest the reader may have taken in this survey of Chopin's pupils, he is sure to be more deeply interested by the account of the master's manner and method of teaching. Such an account, which would be interesting in the case of any remarkable virtuoso who devoted himself to instruction, is so in a higher degree in that of Chopin: first, because it may help us to solve the question why so unique a virtuoso did not form a single eminent concert-player; secondly, because it throws still further light on his character as a man and artist; and thirdly, because, as Mikuli thinks may be a.s.serted without exaggeration, "only Chopin's pupils knew the pianist in the fulness of his unrivalled height." The materials at my disposal are abundant and not less trustworthy than abundant. My account is based chiefly on the communications made to me by a number of the master's pupils--notably, Madame Dubois, Madame Rubio, M. Mathias, and Gutmann--and on Mikuli's excellent preface to his edition of Chopin's works. When I have drawn upon other sources, I have not done so without previous examination and verification. I may add that I shall use as far as possible the ipsissima verba of my informants:--

As to Chopin's method of teaching [wrote to me M. Mathias], it was absolutely of the old legato school, of the school of Clementi and Cramer. Of course, he had enriched it by a great variety of touch [d'une grande variete dans l'attaque de la touche]; he obtained a wonderful variety of tone and NUANCES of tone; in pa.s.sing I may tell you that he had an extraordinary vigour, but only by flashes [ce ne pouvait etre que par eclairs].

The Polish master, who was so original in many ways, differed from his confreres even in the way of starting his pupils. With him the normal position of the hand was not that above the keys c, d, e, f, g (i.e., above five white keys), but that above the keys e, f sharp, g sharp, a sharp, b (I.E., above two white keys and three black keys, the latter lying between the former). The hand had to be thrown lightly on the keyboard so as to rest on these keys, the object of this being to secure for it not only an advantageous, but also a graceful position:--

[FOOTNOTE: Kleczynski, in Chopin: De l'interpretation de ses oeuvres--Trois conferences faites a Varsovie, says that he was told by several of the master's pupils that the latter sometimes held his hands absolutely flat. When I asked Madame Dubois about the correctness of this statement, she replied: "I never noticed Chopin holding his hands flat." In short, if Chopin put his hands at any time in so awkward a position, it was exceptional; physical exhaustion may have induced him to indulge in such negligence when the technical structure of the music he was playing permitted it.]

Chopin [Madame Dubois informed me] made his pupils begin with the B major scale, very slowly, without stiffness. Suppleness was his great object. He repeated, without ceasing, during the lesson: "Easily, easily" [facilement, facilement]. Stiffness exasperated him.

How much stiffness and jerkiness exasperated him may be judged from what Madame Zaleska related to M. Kleczynski. A pupil having played somewhat carelessly the arpeggio at the beginning of the first study (in A flat major) of the second book of Clementi's Preludes et Exercices, the master jumped from his chair and exclaimed: "What is that? Has a dog been barking?" [Qu'est-ce? Est-ce un chien qui vient d'aboyer?] The rudeness of this exclamation will, no doubt, surprise. But polite as Chopin generally was, irritation often got the better of him, more especially in later years when bad health troubled him. Whether he ever went the length of throwing the music from the desk and breaking chairs, as Karasowski says, I do not know and have not heard confirmed by any pupil. Madame Rubio, however, informed me that Chopin was very irritable, and when teaching amateurs used to have always a packet of pencils about him which, to vent his anger, he silently broke into bits.

Gutmann told me that in the early stages of his discipleship Chopin sometimes got very angry, and stormed and raged dreadfully; but immediately was kind and tried to soothe his pupil when he saw him distressed and weeping.

To be sure [writes Mikuli], Chopin made great demands on the talent and diligence of the pupil. Consequently, there were often des lecons orageuses, as it was called in the school idiom, and many a beautiful eye left the high altar of the Cite d'Orleans, Rue St. Lazare, bedewed with tears, without, on that account, ever bearing the dearly-beloved master the least grudge. For was not the severity which was not easily satisfied with anything, the feverish vehemence with which the master wished to raise his disciples to his own stand-point, the ceaseless repet.i.tion of a pa.s.sage till it was understood, a guarantee that he had at heart the progress of the pupil? A holy artistic zeal burnt in him then, every word from his lips was incentive and inspiring. Single lessons often lasted literally for hours at a stretch, till exhaustion overcame master and pupil.

Indeed, the pupils were so far from bearing their master the least grudge that, to use M. Marmontel's words, they had more for him than admiration: a veritable idolatry. But it is time that after this excursion--which hardly calls for an excuse--we return to the more important part of our subject, the master's method of teaching.

What concerned Chopin most at the commencement of his instruction [writes Mikuli] was to free the pupil from every stiffness and convulsive, cramped movement of the hand, and to give him thus the first condition of a beautiful style of playing, souplesse (suppleness), and with it independence of the fingers. He taught indefatigably that the exercises in question were no mere mechanical ones, but called for the intelligence and the whole will of the pupil, on which account twenty and even forty thoughtless repet.i.tions (up to this time the arcanum of so many schools) do no good at all, still less the practising during which, according to Kalkbrenner's advice, one may occupy one's self simultaneously with some kind of reading(!).

He feared above all [remarked Madame Dubois to me] the abrutiss.e.m.e.nt of the pupils. One day he heard me say that I practised six hours a day. He became quite angry, and forbade me to practise more than three hours. This was also the advice of Hummel in his pianoforte school.

To resume Mikuli's narrative:--

Chopin treated very thoroughly the different kinds of touch, especially the full-toned [tonvolle] legato.

[FOOTNOTE: Karasowski says that Chopin demanded absolutely from his pupils that they should practise the exercises, and especially the scales in major and minor, from piano to fortissimo, staccato as well as legato, and also with a change of accent, which was to be now on the second, now on the third, now on the fourth note. Madame Dubois, on the other hand, is sure she was never told by her master to play the scales staccato.]

"As gymnastic helps he recommended the bending inward and outward of the wrist, the repeated touch from the wrist, the extending of the fingers, but all this with the earnest warning against over-fatigue. He made his pupils play the scales with a full tone, as connectedly as possible, very slowly and only gradually advancing to a quicker TEMPO, and with metronomic evenness. The pa.s.sing of the thumb under the other fingers and the pa.s.sing of the latter over the former was to be facilitated by a corresponding turning inward of the hand. The scales with many black keys (B, F sharp, and D flat) were first studied, and last, as the most difficult, C major.

In the same sequence he took up Clementi's Preludes et Exercices, a work which for its utility he esteemed very highly."

[FOOTNOTE: Kleczynski writes that whatever the degree of instruction was which Chopin's pupils brought with them, they had all to play carefully besides the scales the second book of Clementi's Preludes et Exercices, especially the first in A flat major.]

According to Chopin the evenness of the scales (also of the arpeggios) not merely depended on the utmost equal strengthening of all fingers by means of five-finger exercises and on a thumb entirely free at the pa.s.sing under and over, but rather on a lateral movement (with the elbow hanging quite down and always easy) of the hand, not by jerks, but continuously and evenly flowing, which he tried to ill.u.s.trate by the glissando over the keyboard. Of studies he gave after this a selection of Cramer's Etudes, Clementi's Gradus ad Parna.s.sum, Moscheles' style-studies for the higher development (which were very sympathetic to him), and J. S. Bach's suites and some fugues from Das wohltemperirte Clavier. In a certain way Field's and his own nocturnes numbered likewise with the studies, for in them the pupil was--partly by the apprehension of his explanations, partly by observation and imitation (he played them to the pupil unweariedly)--to learn to know, love, and execute the beautiful smooth [gebundene] vocal tone and the legato.

[FOOTNOTE: This statement can only be accepted with much reserve. Whether Chopin played much or little to his pupil depended, no doubt, largely on the mood and state of health he was in at the time, perhaps also on his liking or disliking the pupil. The late Brinley Richards told me that when he had lessons from Chopin, the latter rarely played to him, making his corrections and suggestions mostly by word of mouth.]

With double notes and chords he demanded most strictly simultaneous striking, breaking was only allowed when it was indicated by the composer himself; shakes, which he generally began with the auxiliary note, had not so much to be played quick as with great evenness the conclusion of the shake quietly and without precipitation. For the turn (gruppetto) and the appoggiatura he recommended the great Italian singers as models. Although he made his pupils play octaves from the wrist, they must not thereby lose in fulness of tone.