Frederick Chopin, as a Man and Musician Part 59

PALMA AND VALDEMOSA.

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

The Argosy of 1888 contains a series of Letters from Majorca by Charles W. Wood, ill.u.s.trated by views of Palma, Valdemosa, and other parts of the island. The ill.u.s.trations in the April number comprise a general view of the monastery of Valdemosa, and views of one of its courts and of the cloister in which is situated the cell occupied by George Sand and Chopin in the winter of 1838-1839. The cloister has a groined vault, on one side the cell doors, and on the other side, opening on the court, doors and rectangular windows with separate circular windows above them.

The letters have been republished in book form (London: Bentley and Sons).

APPENDIX VI.

On Tempo Rubato.

(VOL. II., p. 101.)

An earlier practiser of the tempo rubato than the lady mentioned by Quanz (see Vol. II., p. 101 of this work) was Girolamo Frescobaldi, who speaks of this manner of musical rendering in the preface to Il primo libra di Capricci fatti sopra diversi sogetti et Arie in part.i.tura (1624). An extract from this preface is to be found in A. G. Ritter's Zur Geschichte des Orgelspiels, Vol. I., p. 34. F. X. Haberl remarks in the preface to his collection of pieces by Frescobaldi (Leipzig: Breitkopf and Hartel): "A chief trait of Frescobaldi's genius is the so-called tempo rubato, an absolute freedom in the employment of a quicker and slower tempo."

APPENDIX VII.

CAROLINE HARTMANN.

(VOL. II., p. 171.)

On page 175 of this volume I made an allusion to Spohr in connection with Chopin's pupil Caroline Hartmann. To save the curious reader trouble, I had better point out that the information is to be found in Spohr's autobiography under date Munster, near Colmar, March 26, 1816 (German edition, pp. 245-250; English edition, pp. 229-232). Jacques Hartmann, the father of Caroline, was a cotton manufacturer and an enthusiastic lover of music. He had an orchestra consisting of his family and employes. Spohr calls the father a ba.s.soon-virtuoso; what he says of the daughter will be seen in the following sentences: "His sister and his daughter play the pianoforte. The latter, a child eight years old, is the star of the amateur orchestra. She plays with a dexterity and exactness that are worthy of admiration. I was still more astonished at her fine ear, with which (away from the piano) she recognises the intervals of the most intricate and full dissonant chords which one strikes, and names the notes of which they consist in their sequence. If the child is well guided, she is sure to become one day an excellent artist."

APPENDIX VIII.

MADAME PERUZZI.

(VOL. II., p. 177.)

The reader will be as grateful as I am for the following interesting communications of Madame Peruzzi (nee Elise Eustaphieve, whose father was Russian Consul-General to the United States of America) about her intercourse with Chopin.

"I first met Chopin at the house of the American banker, Samuel Welles, in Paris, where I, like every one present, was enchanted listening to his mazurkas, waltzes, nocturnes, &c., which he played on a wretched square piano. I lived as dame en chambre (a very convenient custom for ladies alone), at a pension, or rather a regular boarding-school, with rooms to let for ladies. The lady of the house was acquainted with many of the musical people, and I had a splendid American grand piano which was placed in the large drawing-room of the establishment, so that I felt quite at home, and there received Chopin, Liszt, and Herz (Miss Herz, his sister, gave lessons in the school), and often played four-hand pieces with them.

"My intimacy with Chopin began after my marriage. He often dined with us, was very fond of my husband, and after dinner we were not at home if any one else came, but remained at our two pianos (Erard had sent me one), playing together, and I used to amuse him by picking out of his music little bits that seemed like questions for him to answer on the other piano. He lived very near us, so we very often pa.s.sed mornings at his house, where he asked me to play with him all Weber's duets. This was delightful to me, the more so, as he complimented me on my reading and entering at first sight into the spirit of the music. He made me acquainted with the beautiful duet of Moscheles, and was the first with whom I played Hummel's splendid duet. He was a great admirer of Weber.

We frequently had morning concerts with double quartet, and Chopin would very kindly turn the leaves for me. He was particularly fond of doing so when I played Hummel's Septet, and was so encouraging. Even when playing to him his own music, he would approve some little thing not indicated and say, 'What a good idea of yours that is!' My husband begged him to give me lessons; but he always refused, and did give them; for I studied so many things with him, among others his two concertos. The one in E minor I once played accompanied by himself on a second piano. We pa.s.sed many pleasant evenings at Mr. and Madame Leo's house, a very musical one. Madame Moscheles was a niece of theirs. Chopin was fond of going there, where he was quite a pet. He always appeared to best advantage among his most intimate friends. I was one who helped to christen the Berceuse. You ask me in what years I knew Chopin, 1838 is the date of the ma.n.u.script in my collection which he gave me after I was married, and the last notes of that little jewel he wrote on the desk of the piano in our presence. He said it would not be published because they would play it....Then he would show how they would play it, which was very funny. It came out after his death, it is a kind of waltz-mazurka [the Valse, Op. 69, No. I], Chopin's intimate friend, Camille Pleyel, called it the story of a D flat, because that note comes in constantly.

One morning we took Paganini to hear Chopin, and he was enchanted; they seemed to understand each other so well. When I knew him he was a sufferer and would only occasionally play in public, and then place his piano in the middle of Pleyel's room whilst his admirers were around the piano. His speciality was extreme delicacy, and his pianissimo extraordinary. Every little note was like a bell, so clear. His fingers seemed to be without any bones; but he would bring out certain effects by great elasticity. He got very angry at being accused of not keeping time; calling his left hand his maitre de chapelle and allowing his right to wander about ad libitum."

APPENDIX IX.

MADAME STREICHER'S (nee FRIEDERIKE MULLER) RECOLLECTIONS OF CHOPIN, BASED ON EXTRACTS FROM HER CAREFULLY-KEPT DIARY OF THE YEARS 1839, 1840, AND 1841. (VOL. II., p. 177.)

In March, 1839, I went to Paris, accompanied by a kind aunt, who was a highly-cultured musical connoisseur, animated by the wish to get if possible lessons from Chopin, whose compositions inspired me with enthusiasm. But he was from home and very ill; indeed, it was feared he would not return to Paris even in the winter. However, at last, at last, in October, 1839, he came. I had employed this long time in making myself acquainted with the musical world in Paris, but the more I heard, nay, even admired, the more was my intention to wait till Chopin's return confirmed. And I was quite right.

On the 30th of October, 1839, we, my kind aunt and I, went to him. At that time he lived in Rue Tronchet, No. 5. Anxiously I handed him my letters of introduction from Vienna, and begged him to take me as a pupil. He said very politely, but very formally: "You have played with applause at a matinee at the house of Countess Appony, the wife of the Austrian amba.s.sador, and will hardly require my instruction." I became afraid, for I was wise enough to understand he had not the least inclination to accept me as a pupil. I quickly protested that I knew very well I had still very, very much to learn. And, I added timidly, I should like to be able to play his wondrously-beautiful compositions well. "Oh!" he exclaimed, "it would be sad if people were not in a position to play them well without my instruction." "I certainly am not able to do so," I replied anxiously. "Well, play me something," he said.

And in a moment his reserve had vanished. Kindly and indulgently he helped me to overcome my timidity, moved the piano, inquired whether I were comfortably seated, let me play till I had become calm, then gently found fault with my stiff wrist, praised my correct comprehension, and accepted me as a pupil. He arranged for two lessons a week, then turned in the most amiable way to my aunt, excusing himself beforehand if he should often be obliged to change the day and hour of the lesson on account of his delicate health. His servant would always inform us of this.

Alas! he suffered greatly. Feeble, pale, coughing much, he often took opium drops on sugar and gum-water, rubbed his forehead with eau de Cologne, and nevertheless he taught with a patience, perseverance, and zeal which were admirable. His lessons always lasted a full hour, generally he was so kind as to make them longer. Mikuli says: "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." There were for me also such blessed lessons. Many a Sunday I began at one o'clock to play at Chopin's, and only at four or five o'clock in the afternoon did he dismiss us. Then he also played, and how splendidly but not only his own compositions, also those of other masters, in order to teach the pupil how they should be performed. One morning he played from memory fourteen Preludes and Fugues of Bach's, and when I expressed my joyful admiration at this unparalleled performance, he replied: "Cela ne s...o...b..ie jamais,"

and smiling sadly he continued: "Depuis un an je n'ai pas etudie un quart d'heure de sante, je n'ai pas de force, pas d'energie, j'attends toujours un peu de sante pour reprendre tout cela, mais... j'attends encore." We always spoke French together, in spite of his great fondness for the German language and poetry. It is for this reason that I give his sayings in the French language, as I heard them from him. In Paris people had made me afraid, and told me how Chopin caused Clementi, Hummel, Cramer, Moscheles, Beethoven, and Bach to be studied, but not his own compositions. This was not the case. To be sure, I had to study with him the works of the above-mentioned masters, but he also required me to play to him the new and newest compositions of Hiller, Thalberg, and Liszt, &c. And already in the first lesson he placed before me his wondrously--beautiful Preludes and Studies. Indeed, he made me acquainted with many a composition before it had appeared in print.

I heard him often preluding in a wonderfully-beautiful manner. On one occasion when he was entirely absorbed in his playing, completely detached from the world, his servant entered softly and laid a letter on the music-desk. With a cry Chopin left off playing, his hair stood on end--what I had hitherto regarded as impossible I now saw with my own eyes. But this lasted only for a moment.

His playing was always n.o.ble and beautiful, his tones always sang, whether in full forte, or in the softest piano. He took infinite pains to teach the pupil this legato, cantabile way of playing. "Il [ou elle]

ne sait pas lier deux notes" was his severest censure. He also required adherence to the strictest rhythm, hated all lingering and dragging, misplaced rubatos, as well as exaggerated ritardandos. "Je vous prie de vous a.s.seoir," he said on such an occasion with gentle mockery. And it is just in this respect that people make such terrible mistakes in the execution of his works. In the use of the pedal he had likewise attained the greatest mastery, was uncommonly strict regarding the misuse of it, and said repeatedly to the pupil: "The correct employment of it remains a study for life."

When I played with him the study in C major, the first of those he dedicated to Liszt, he bade me practise it in the mornings very slowly.

"Cette etude vous fera du bien," he said. "Si vous l'etudiez comme je l'entends, cela elargit la main, et cela vous donne des gammes d'accords, comme les coups d'archet. Mais souvent malheureus.e.m.e.nt au lieu d'apprendre tout cela, elle fait desapprendre." I am quite aware that it is a generally-prevalent error, even in our day, that one can only play this study well when one possesses a very large hand. But this is not the case, only a supple hand is required.

Chopin related that in May, 1834, he had taken a trip to Aix-la-Chapelle with Hiller and Mendelssohn. "Welcomed there in a very friendly manner, people asked me when I was introduced: 'You are, I suppose, a brother of the pianist?' I answered in the affirmative, for it amused me, and described my brother the pianist. 'He is tall, strong, has black hair, a black moustache, and a very large hand.'" To those who have seen the slightly-built Chopin and his delicate hand, the joke must have been exceedingly amusing.

On the 20th of April, 1840, Liszt, who had come back to Paris after extended artistic tours, gave a matinee to an invited audience in Erard's saloon. He played, as he did always, very brilliantly, and the next morning I had to give a minute account to Chopin of what and how he had played. He himself was too unwell to be present. When I spoke of Liszt's artistic self-control and calmness in overcoming the greatest technical difficulties, he exclaimed: "Ainsi il parait que mon avis est juste. La derniere chose c'est la simplicite. Apres avoir epuise toutes les difficultes, apres avoir joue une immense quant.i.te de notes, et de notes, c'est la simplicite qui sort avec tout son charme, comme le dernier sceau de l'art. Quiconque veut arriver de suite a cela n'y parviendra jamais, on ne peut commencer par la fin. II faut avoir etudie beaucoup, meme immens.e.m.e.nt pour atteindre ce but, ce n'est pas une chose facile. II m'etait impossible," he continued, "d'a.s.sister a sa matinee.

Avec ma sante ou ne peut rien faire. Je suis toujours embrouille avec mes affaires, de maniere que je n'ai pas un moment libre. Que j'envie les gens forts qui sont d'une sante robuste et qui n'ont rien a faire!

Je suis bien fache, je n'ai pas le temps d'etre malade."

When I studied his Trio he drew my attention to some pa.s.sages which now displeased him, he would now write them differently. At the end of the Trio he said: "How vividly do the days when I composed it rise up in my memory! It was at Posen, in the castle surrounded by vast forests of Prince Radziwill. A small but very select company was gathered together there. In the mornings there was hunting, in the evenings music. Ah!

and now," he added sadly, "the Prince, his wife, his son, all, all are dead."

At a soiree (Dec. 20, 1840) he made me play the Sonata with the Funeral March before a large a.s.semblage. On the morning of the same day I had once more to play over to him the Sonata, but was very nervous. "Why do you play less well to-day?" he asked. I replied that I was afraid.

"Why? I consider you play it well," he rejoined very gravely, indeed, severely. "But if you wish to play this evening as n.o.body played before you, and n.o.body will play after you, well then!"...These words restored my composure. The thought that I played to his satisfaction possessed me also in the evening; I had the happiness of gaining Chopin's approval and the applause of the audience. Then he played with me the Andante of his F minor Concerto, which he accompanied magnificently on the second piano. The entire a.s.semblage a.s.sailed him with the request to perform some more of his compositions, which he then did to the delight of all.

For eighteen months (he did not leave Paris this summer) I was allowed to enjoy his instruction. How willingly would I have continued my studies with him longer! But he himself was of opinion that I should now return to my fatherland, pursue my studies unaided, and play much in public. On parting he presented me with the two ma.n.u.scripts of his C sharp major and E major studies (dedicated to Liszt), and promised to write during his stay in the country a concert-piece and dedicate it to me.

In the end of the year 1844 I went again to Paris, and found Chopin looking somewhat stronger. At that time his friends hoped for the restoration of, or at least for a considerable improvement in, his health.

The promised concert-piece, Op. 46, had to my inexpressible delight been published. I played it to him, and he was satisfied with my playing of it; rejoiced at my successes in Vienna, of which he had been told, exerted himself with the amiability peculiar to him to make me still better known to the musical world of Paris. Thus I learned to know Auber, Halevy, Franchomme, Alkan, and others. But in February, 1845,1 was obliged to return to Vienna; I had pupils there who were waiting for me. On parting he spoke of the possibility of coming there for a short time, and I had quite made up my mind to return for another visit to Paris in eighteen months, in order again to enjoy his valuable instruction and advice. But this, to my deepest regret, was not to be.

I saw Madame Sand in the year 1841 and again in the year 1845 in a box in a theatre, and had an opportunity of admiring her beauty. I never spoke to her.

APPENDIX X.

PORTRAITS OF CHOPIN.