Frederick Chopin, as a Man and Musician Part 17

The house of Cherubini [writes Veron in his "Memoires d'un Bourgeois de Paris"] was open to artists, amateurs, and people of good society; and every Monday a numerous a.s.sembly thronged his salons. All foreign artists wished to be presented to Cherubini. During these last years one met often at his house Hummel, Liszt, Chopin, Moscheles, Madame Gra.s.sini, and Mademoiselle Falcon, then young and brilliant in talent and beauty; Auber and Halevy, the favourite pupils of the master; and Meyerbeer and Rossini.

As evidence of the younger master's respect for the older one may be adduced a copy made by Chopin of one of Cherubini's fugues. This ma.n.u.script, which I saw in the possession of M. Franchomme, is a miracle of penmans.h.i.+p, and surpa.s.ses in neatness and minuteness everything I have seen of Chopin's writing, which is always microscopic.

From Dr. Hiller I learnt also that Chopin went frequently to Baillot's house. It is very probable that he was present at the soirees which Mendelssohn describes with his usual charming ease in his Paris letters.

Baillot, though a man of sixty, still knew how to win the admiration of the best musicians by his fine, expressive violin-playing. Chopin writes in a letter to Elsner that Baillot was very amiable towards him, and had promised to take part with him in a quintet of Beethoven's at his concert; and in another letter Chopin calls Baillot "the rival of Paganini."

As far as I can learn there was not much intercourse between Chopin and Rossini. Of Kalkbrenner I shall have presently to speak at some length; first, however, I shall say a few words about some of the most interesting young artists whose acquaintance Chopin made.

One of these young artists was the famous violoncellist Franchomme, who told me that it was Hiller who first spoke to him of the young Pole and his unique compositions and playing. Soon after this conversation, and not long after the new-comer's arrival in Paris, Chopin, Liszt, Hiller, and Franchomme dined together. When the party broke up, Chopin asked Franchomme what he was going to do. Franchomme replied he had no particular engagement. "Then," said Chopin, "come with me and spend an hour or two at my lodgings." "Well," was the answer of Franchomme, "but if I do you will have to play to me." Chopin had no objection, and the two walked off together. Franchomme thought that Chopin was at that time staying at an hotel in the Rue Bergere. Be this as it may, the young Pole played as he had promised, and the young Frenchman understood him at once. This first meeting was the beginning of a life-long friends.h.i.+p, a friends.h.i.+p such as is rarely to be met with among the fas.h.i.+onable musicians of populous cities.

Mendelssohn, who came to Paris early in December, 1831, and stayed there till about the middle of April, 1832, a.s.sociated a good deal with this set of striving artists. The diminutive "Chopinetto," which he makes use of in his letters to Hiller, indicates not only Chopin's delicate const.i.tution of body and mind and social amiability, but also Mendelssohn's kindly feeling for him. [Footnote: Chopin is not mentioned in any of Mendelssohn's Paris letters. But the following words may refer to him; for although Mendelssohn did not play at Chopin's concert, there may have been some talk of his doing so. January 14, 1832: "Next week a Pole gives a concert; in it I have to play a piece for six performers with Kalkbrenner, Hiller and Co." Osborne related in his "Reminiscences of Frederick Chopin," a paper read before a meeting of the Musical a.s.sociation (April 5, 1880), that he, Chopin, Hiller, and Mendelssohn, during the latter's stay in Paris, frequently dined together at a restaurant. They ordered and paid the dinner in turn. One evening at dessert they had a very animated conversation about authors and their ma.n.u.scripts. When they were ready to leave Osborne called the waiter, but instead of asking for la note a payer, he said "Garcon, apportez-moi votre ma.n.u.scrit." This sally of the mercurial Irishman was received with hearty laughter, Chopin especially being much tickled by the profanation of the word so sacred to authors. From the same source we learn also that Chopin took delight in repeating the criticisms on his performances which he at one time or other had chanced to overhear.

Not the least interesting and significant incident in Chopin's life was his first meeting and early connection with Kalkbrenner, who at that time--when Liszt and Thalberg had not yet taken possession of the commanding positions they afterwards occupied--enjoyed the most brilliant reputation of all the pianists then living. On December 16, 1831, Chopin writes to his friend Woyciechowski:--

You may easily imagine how curious I was to hear Herz and Hiller play; they are ciphers compared with Kalkbrenner.

Honestly speaking, I play as well as Herz, but I wish I could play as well as Kalkbrenner. If Paganini is perfect, so also is he, but in quite another way. His repose, his enchanting touch, the smoothness of his playing, I cannot describe to you, one recognises the master in every note--he is a giant who throws all other artists into the shade. When I visited him, he begged me to play him something. What was I to do? As I had heard Herz, I took courage, seated myself at the instrument, and played my E minor Concerto, which charmed the people of the Bavarian capital so much. Kalkbrenner was astonished, and asked me if I were a pupil of Field's. He remarked that I had the style of Cramer, but the touch of Field. It amused me that Kalkbrenner, when he played to me, made a mistake and did not know how to go on; but it was wonderful to hear how he found his way again. Since this meeting we see each other daily, either he calls on me or I on him. He proposed to teach me for three years and make a great artist of me. I told him that I knew very well what I still lacked; but I will not imitate him, and three years are too much for me. He has convinced me that I play well only when I am in the right mood for it, but less well when this is not the case. This cannot be said of Kalkbrenner, his playing is always the same. When he had watched me for a long time, he came to the conclusion that I had no method; that I was indeed on a very good path, but might easily go astray; and that when he ceased to play, there would no longer be a representative of the grand pianoforte school left. I cannot create a new school, however much I may wish to do so, because I do not even know the old one; but I know that my tone-poems have some individuality in them, and that I always strive to advance.

If you were here, you would say "Learn, young man, as long as you have an opportunity to do so!" But many dissuade me from taking lessons, are of opinion that I play as well as Kalkbrenner, and that it is only vanity that makes him wish to have me for his pupil. That is nonsense. Whoever knows anything of music must think highly of Kalkbrenner's talent, although he is disliked as a man because he will not a.s.sociate with everybody. But I a.s.sure you there is in him something higher than in all the virtuosos whom I have as yet heard. I have said this in a letter to my parents, who quite understand it. Elsner, however, does not comprehend it, and regards it as jealousy on Kalkbrenner's part that he not only praises me, but also wishes that my playing were in some respects different from what it is. In spite of all this I may tell you confidentially that I have already a distinguished name among the artists here.

Elsner expressed his astonishment that Kalkbrenner should require three years to reveal to Chopin the secrets of his art, and advised his former pupil not to confine the exercise of his musical talent to pianoforte-playing and the composition of pianoforte music. Chopin replies to this in a letter written on December 14, 1831, as follows:--

In the beginning of last year, although I knew what I yet lacked, and how very far I still was from equalling the model I have in you, I nevertheless ventured to think, "I will approach him, and if I cannot produce, a Lokietek ["the short," surname of a king of Poland; Elsner had composed an opera of that name], I may perhaps give to the world a Laskonogi ["the thin-legged," surname of another king of Poland]." To-day all such hopes are annihilated; I am forced to think of making my way in the world as a pianist. For some time I must keep in the background the higher artistic aim of which you wrote to me. In order to be a great composer one must possess, in addition to creative power, experience and the faculty of self-criticism, which, as you have taught me, one obtains not only by listening to the works of others, but still more by means of a careful critical examination of one's own.

After describing the difficulties which lie in the way of the opera composer, he proceeds:--

It is my conviction that he is the happier man who is able to execute his compositions himself. I am known here and there in Germany as a pianist; several musical journals have spoken highly of my concerts, and expressed the hope of seeing me soon take a prominent position among the first pianoforte- virtuosos. I had to-day anopportunity or fulfilling the promise I had made to myself. Why should I not embrace it?...

I should not like to learn pianoforte-playing in Germany, for there no one could tell me precisely what it was that I lacked. I, too, have not seen the beam in my eye. Three years' study is far too much. Kalkbrenner, when he had heard me repeatedly, came to see that himself. From this you may see that a true meritorious virtuoso does not know the feeling of envy. I would certainly make up my mind to study for three years longer if I were certain that I should then reach the aim which I have kept in view. So much is clear to me, I shall never become a copy of Kalkbrenner; he will not be able to break my perhaps bold but n.o.ble resolve--TO CREATE A NEW ART-ERA. If I now continue my studies, I do so only in order to stand at some future time on my own feet. It was not difficult for Ries, who was then already recognised as a celebrated pianist, to win laurels at Berlin, Frankfort-on- the-Main, Dresden, &c., by his opera Die Rauberbraut. And how long was Spohr known as an excellent violinist before he had written Faust, Jessonda, and other works? I hope you will not deny me your blessing when you see on what grounds and with what intentions I struggle onwards.

This is one of the most important letters we have of Chopin; it brings before us, not the sighing lover, the sentimental friend, but the courageous artist. On no other occasion did he write so freely and fully of his views and aims. What heroic self-confidence, n.o.ble resolves, vast projects, flattering dreams! And how sad to think that most of them were doomed to end in failure and disappointment! But few are the lives of true artists that can really be called happy! Even the most successful have, in view of the ideally conceived, to deplore the quant.i.tative and qualitative shortcomings of the actually accomplished. But to return to Kalkbrenner. Of him Chopin said truly that he was not a popular man; at any rate, he was not a popular man with the romanticists. Hiller tells us in his "Recollections and Letters of Mendelssohn" how little grateful he and his friends, Mendelssohn included, were for Kalkbrenner's civilities, and what a wicked pleasure they took in worrying him.

Sitting one day in front of a cafe on the Boulevard des Italiens, Hiller, Liszt, and Chopin saw the prim master advancing, and knowing how disagreeable it would be to him to meet such a noisy company, they surrounded him in the friendliest manner, and a.s.sailed him with such a volley of talk that he was nearly driven to despair, which, adds Hiller, "of course delighted us." It must be confessed that the great Kalkbrenner, as M. Marmontel in his "Pianistes celebres" remarks, had "certaines etroitesses de caractere," and these "narrownesses" were of a kind that particularly provokes the ridicule of unconventional and irreverent minds. Heine is never more biting than when he speaks of Kalkbrenner. He calls him a mummy, and describes him as being dead long ago and having lately also married. This, however, was some years after the time we are speaking of. On another occasion Heine writes that Kalkbrenner is envied

for his elegant manners, for his polish and sweetishness, and for his whole marchpane-like appearance, in which, however, ihe calm observer discovers a shabby admixture of involuntary Berlinisms of the lowest cla.s.s, so that Koreff could say of the man as wittily as correctly: "He looks like a bon-bon that has been in the mud."

A thorough belief in and an unlimited admiration of himself form the centre of gravity upon which the other qualities of Kalkbrenner's character balance themselves. He prided himself on being the pattern of a fine gentleman, and took upon him to teach even his oldest friends how to conduct themselves in society and at table. In his gait he was dignified, in his manners ceremonious, and in his speech excessively polite. He was addicted to boasting of honours offered him by the King, and of his intimacy with the highest aristocracy. That he did not despise popularity with the lower strata of society is evidenced by the anecdote (which the virtuoso is credited with having told himself to his guests) of the fish-wife who, on reading his card, timidly asks him to accept as a homage to the great Kalkbrenner a splendid fish which he had selected for his table. The artist was the counterpart of the man. He considered every success as by right his due, and recognised merit only in those who were formed on his method or at least acknowledged its superiority. His artistic style was a chastened reflex of his social demeanour.

It is difficult to understand how the Kalkbrenner-Chopin affair could be so often misrepresented, especially since we are in possession of Chopin's clear statements of the facts. [FOOTNOTE: Statements which are by no means invalidated by the following statement of Lenz:--"On my asking Chopin 'whether Kalkbrenner had understood much about it' [i.e.

the art of pianoforte-playing], followed the answer: 'It was at the beginning of my stay in Paris.'"]. There are no grounds whatever to justify the a.s.sumption that Kalkbrenner was actuated by jealousy, artfulness, or the like, when he proposed that the wonderfully-gifted and developed Chopin should become his pupil for three years. His conceit of himself and his method account fully for the strangeness of the proposal. Moreover, three years was the regulation time of Kalkbrenner's course, and it was much that he was willing to shorten it in the case of Chopin. Karasowski, speaking as if he had the gift of reading the inmost thoughts of men, remarks: "Chopin did not suspect what was pa.s.sing in Kalkbrenner's mind when he was playing to him."

After all, I should like to ask, is there anything surprising in the fact that the admired virtuoso and author of a "Methode pour apprendre le Piano a l'aide du Guide-mains; contenant les principes de musique; un systems complet de doigter; des regles sur l'expression," &c., found fault with Chopin's strange fingering and unconventional style?

Kalkbrenner could not imagine anything superior to his own method, anything finer than his own style. And this inability to admit the meritoriousness or even the legitimacy of anything that differed from what he was accustomed to, was not at all peculiar to this great pianist; we see it every day in men greatly his inferiors. Kalkbrenner's lament that when he ceased to play there would be no representative left of the grand pianoforte school ought to call forth our sympathy.

Surely we cannot blame him for wis.h.i.+ng to perpetuate what he held to be unsurpa.s.sable! According to Hiller, Chopin went a few times to the cla.s.s of advanced pupils which Kalkbrenner had advised him to attend, as he wished to see what the thing was like. Mendelssohn, who had a great opinion of Chopin and the reverse of Kalkbrenner, was furious when he heard of this. But were Chopin's friends correct in saying that he played better than Kalkbrenner, and could learn nothing from him? That Chopin played better than Kalkbrenner was no doubt true, if we consider the emotional and intellectual qualities of their playing. But I think it was not correct to say that Chopin could learn nothing from the older master. Chopin was not only a better judge of Kalkbrenner than his friends, who had only sharp eyes for his short-comings, and overlooked or undervalued his good qualities, but he was also a better judge of himself and his own requirements. He had an ideal in his mind, and he thought that Kalkbrenner's teaching would help him to realise it. Then there is also this to be considered: unconnected with any school, at no time guided by a great master of the instrument, and left to his own devices at a very early age, Chopin found himself, as it were, floating free in the air without a base to stand on, without a pillar to lean against. The consequent feeling of isolation inspires at times even the strongest and most independent self-taught man--and Chopin, as a pianist, may almost be called one--with distrust in the adequacy of his self-acquired attainments, and an exaggerated idea of the advantages of a school education. "I cannot create a new school, because I do not even know the old one." This may or may not be bad reasoning, but it shows the att.i.tude of Chopin's mind. It is also possible that he may have felt the inadequacy and inappropriateness of his technique and style for other than his own compositions. And many facts in the history of his career as an executant would seem to confirm the correctness of such a feeling. At any rate, after what we have read we cannot attribute his intention of studying under Kalkbrenner to undue self-depreciation. For did he not consider his own playing as good as that of Herz, and feel that he had in him the stuff to found a new era in music? But what was it then that attracted him to Kalkbrenner, and made him exalt this pianist above all the pianists he had heard? If the reader will recall to mind what I said in speaking of Mdlles. Sontag and Belleville of Chopin's love of beauty of tone, elegance, and neatness, he cannot be surprised at the young pianist's estimate of the virtuoso of whom Riehl says: "The essence of his nature was what the philologists call elegantia--he spoke the purest Ciceronian Latin on the piano." As a knowledge of Kalkbrenner's artistic personality will help to further our acquaintance with Chopin, and as our knowledge of it is for the most part derived from the libels and caricatures of well-intentioned critics, who in their zeal for a n.o.bler and more glorious art overshoot the mark of truth, it will be worth our while to make inquiries regarding it.

Kalkbrenner may not inaptly be called the Delille of pianist-composers, for his nature and fate remind us somewhat of the poet. As to his works, although none of them possessed stamina enough to be long-lived, they would have insured him a fairer reputation if he had not published so many that were written merely for the market. Even Schumann confessed to having in his younger days heard and played Kalkbrenner's music often and with pleasure, and at a maturer age continued to acknowledge not only the master's natural virtuoso amiability and clever manner of writing effectively for fingers and hands, but also the genuinely musical qualities of his better works, of which he held the Concerto in D minor to be the "bloom," and remarks that it shows the "bright sides"

of Kalkbrenner's "pleasing talent." We are, however, here more concerned with the pianist than with the composer. One of the best sketches of Kalkbrenner as a pianist is to be found in a pa.s.sage which I shall presently quote from M. Marmontel's collection of "Silhouettes et Medaillons" of "Les Pianistes celebres." The sketch is valuable on account of its being written by one who is himself a master, one who does not speak from mere hearsay, and who, whilst regarding Kalkbrenner as an exceptional virtuoso, the continuator of Clementi, the founder ("one of the founders" would be more correct) of modern pianoforte-playing, and approving of the leading principle of his method, which aims at the perfect independence of the fingers and their preponderant action, does not hesitate to blame the exclusion of the action of the wrist, forearm, and arm, of which the executant should not deprive himself "dans les accents de legerete, d'expression et de force." But here is what M. Marmontel says:--

The pianoforte a.s.sumed under his fingers a marvellous and never harsh sonorousness, for he did not seek forced effects.

His playing, smooth, sustained, harmonious, and of a perfect evenness, charmed even more than it astonished; moreover, a faultless neatness in the most difficult pa.s.sages, and a left hand of unparalleled bravura, made Kalkbrenner an extraordinary virtuoso. Let us add that the perfect independence of the fingers, the absence of the in our day so frequent movements of the arms, the tranquillity of the hands and body, a perfect bearing--all these qualities combined, and many others which we forget, left the auditor free to enjoy the pleasure of listening without having his attention diverted by fatiguing gymnastics. Kalkbrenner's manner of phrasing was somewhat lacking in expression and communicative warmth, but the style was always n.o.ble, true, and of the grand school.

We now know what Chopin meant when he described Kalkbrenner as "perfect and possessed of something that raised him above all other virtuosos"; we now know also that Chopin's admiration was characteristic and not misplaced. Nevertheless, n.o.body will think for a moment of disagreeing with those who advised Chopin not to become a pupil of this master, who always exacted absolute submission to his precepts; for it was to be feared that he would pay too dear for the gain of inferior accomplishments with the loss of his invaluable originality. But, as we have seen, the affair came to nothing, Chopin ceasing to attend the cla.s.ses after a few visits. What no doubt influenced his final decision more than the advice of his friends was the success which his playing and compositions met with at the concert of which I have now to tell the history. Chopin's desertion as a pupil did not terminate the friendly relation that existed between the two artists. When Chopin published his E minor Concerto he dedicated it to Kalkbrenner, and the latter soon after composed "Variations brillantes (Op. 120) pour le piano sur une Mazourka de Chopin," and often improvised on his young brother-artist's mazurkas. Chopin's friends.h.i.+p with Camille Pleyel helped no doubt to keep up his intercourse with Kalkbrenner, who was a partner of the firm of Pleyel & Co.

The arrangements for his concert gave Chopin much trouble, and had they not been taken in hand by Paer, Kalkbrenner, and especially Norblin, he would not have been able to do anything in Paris, where one required at least two months to get up a concert. This is what Chopin tells Elsner in the letter dated December 14, 1831. Notwithstanding such powerful a.s.sistance he did not succeed in giving his concert on the 25th of December, as he at first intended. The difficulty was to find a lady vocalist. Rossini, the director of the Italian Opera, was willing to help him, but Robert, the second director, refused to give permission to any of the singers in his company to perform at the concert, fearing that, if he did so once, there would be no end of applications. As Veron, the director of the Academie Royale likewise refused Chopin's request, the concert had to be put off till the 15th of January, 1832, when, however, on account of Kalkbrenner's illness or for some other reason, it had again to be postponed. At last it came off on February 26, 1832. Chopin writes on December 16, 1831, about the arrangements for the concert:--

Baillot, the rival of Paganini, and Brod, the celebrated oboe- player, will a.s.sist me with their talent. I intend to play my F minor Concerto and the Variations in B flat...I shall play not only the concerto and the variations, but also with Kalkbrenner his duet "Marche suivie d'une Polonaise" for two pianos, with the accompaniment of four others. Is this not an altogether mad idea? One of the grand pianos is very large, and is for Kalkbrenner; the other is small (a so-called mono- chord), and is for me. On the other large ones, which are as loud as an orchestra, Hiller, Osborne, Stamati, and Sowinski are to play. Besides these performers, Norblin, Vidal, and the celebrated viola-player Urban will take part in the concert.

The singers of the evening were Mdlles. Isambert and Tomeoni, and M. Boulanger. I have not been able to discover the programme of the concert. Hiller says that Chopin played his E minor Concerto and some of his mazurkas and nocturnes. Fetis, in the Revue musicale (March 3, 1832), mentions only in a general way that there were performed a concerto by Chopin, a composition for six pianos by Kalkbrenner, some vocal pieces, an oboe solo, and "a quintet for violin [sic], executed with that energy of feeling and that variety of inspiration which distinguish the talent of M. Baillot." The concert, which took place in Pleyel's rooms, was financially a failure; the receipts did not cover the expenses. The audience consisted chiefly of Poles, and most of the French present had free tickets. Hiller says that all the musical celebrities of Paris were there, and that Chopin's performances took everybody by storm. "After this," he adds, "nothing more was heard of want of technique, and Mendelssohn applauded triumphantly." Fetis describes this soiree musicale as one of the most pleasant that had been given that year. His criticism contains such interesting and, on the whole, such excellent remarks that I cannot resist the temptation to quote the more remarkable pa.s.sages:--

Here is a young man who, abandoning himself to his natural impressions and without taking a model, has found, if not a complete renewal of pianoforte music, at least a part of what has been sought in vain for a long time--namely, an abundance of original ideas of which the type is to be found nowhere.

We do not mean by this that M. Chopin is endowed with a powerful organisation like that of Beethoven, nor that there are in his music such powerful conceptions as one remarks in that of this great man. Beethoven has composed pianoforte music, but I speak here of pianists' music, and it is by comparison with the latter that I find in M. Chopin's inspirations the indication of a renewal of forms which may exercise in time much influence over this department of the art.

Of Chopin's concerto Fetis remarks that it:--

equally astonished and surprised his audience, as much by the novelty of the melodic ideas as by the figures, modulations, and general disposition of the movements. There is soul in these melodies, fancy in these figures, and originality in everything. Too much luxuriance in the modulations, disorder in the linking of the phrases, so that one seems sometimes to hear an improvisation rather than written music, these are the defects which are mixed with the qualities I have just now pointed out. But these defects belong to the age of the artist; they will disappear when experience comes. If the subsequent works of M. Chopin correspond to his debut, there can be no doubt but that he will acquire a brilliant and merited reputation.

As an executant also the young artist deserves praise. His playing is elegant, easy, graceful, and possesses brilliance and neatness. He brings little tone out of the instrument, and resembles in this respect the majority of German pianists. But the study which he is making of this part of his art, under the direction of M. Kalkbrenner, cannot fail to give him an important quality on which the nerf of execution depends, and without which the accents of the instrument cannot be modified.

Of course dissentient voices made themselves heard who objected to this and that; but an overwhelming majority, to which belonged the young artists, p.r.o.nounced in favour of Chopin. Liszt says that he remembers his friend's debut:--

The most vigorous applause seemed not to suffice to our enthusiasm in the presence of this talented musician, who revealed a new phase of poetic sentiment combined with such happy innovations in the form of his art.

The concluding remark of the above-quoted criticism furnishes an additional proof that Chopin went for some time to Kalkbrenner's cla.s.s.

As Fetis and Chopin were acquainted with each other, we may suppose that the former was well informed on this point. In pa.s.sing, we may take note of Chopin's account of the famous historian and theorist's early struggles:--

Fetis [Chopin writes on December 14, 1831], whom I know, and from whom one can learn much, lives outside the town, and comes to Paris only to give his lessons. They say he is obliged to do this because his debts are greater than the profits from his "Revue musicale." He is sometimes in danger of making intimate acquaintance with the debtors' prison. You must know that according to the law of the country a debtor can only be arrested in his dwelling. Fetis has, therefore, left the town and lives in the neighbourhood of Paris, n.o.body knows where.

On May 20, 1832, less than three months after his first concert, Chopin made his second public appearance in Paris, at a concert given by the Prince de la Moskowa for the benefit of the poor. Among the works performed was a ma.s.s composed by the Prince. Chopin played the first movement of:--

the concerto, which had already been heard at Pleyel's rooms, and had there obtained a brilliant success. On this occasion it was not so well received, a fact which, no doubt, must be attributed to the instrumentation, which is lacking in lightness, and to the small volume of tone which M. Chopin draws from the piano. However, it appears to us that the music of this artist will gain in the public opinion when it becomes better known. [FOOTNOTE: From the "Revue musicale."]

The great attraction of the evening was not Chopin, but Brod, who "enraptured" the audience. Indeed, there were few virtuosos who were as great favourites as this oboe-player; his name was absent from the programme of hardly any concert of note.

In pa.s.sing we will note some other musical events of interest which occurred about the same time that Chopin made his debut. On March 18 Mendelssohn played Beethoven's G major Concerto with great success at one of the Conservatoire concerts, [FOOTNOTE: It was the first performance of this work in Paris.] the younger master's overture to the "Midsummer Night's Dream" had been heard and well received at the same inst.i.tution in the preceding month, and somewhat later his "Reformation Symphony" was rehea.r.s.ed, but laid aside. In the middle of March Paganini, who had lately arrived, gave the first of a series of concerts, with what success it is unnecessary to say. Of Chopin's intercourse with Zimmermann, the distinguished pianoforte-professor at the Conservatoire, and his family we learn from M. Marmontel, who was introduced to Chopin and Liszt, and heard them play in 1832 at one of his master's brilliant musical fetes, and gives a charming description of the more social and intimate parties at which Chopin seems to have been occasionally present.

Madame Zimmermann and her daughters did the honours to a great number of artists. Charades were acted; the forfeits that were given, and the rebuses that were not guessed, had to be redeemed by penances varying according to the nature of the guilty ones. Gautier, Dumas, and Musset were condemned to recite their last poem. Liszt or Chopin had to improvise on a given theme, Mesdames Viardot, Falcon, and Euggnie Garcia had also to discharge their melodic debts, and I myself remember having paid many a forfeit.

The preceding chapter and the foregoing part of this chapter set forth the most important facts of Chopin's social and artistic life in his early Paris days. The following extract from a letter of his to t.i.tus Woyciechowski, dated December 25, 1831, reveals to us something of his inward life, the gloom of which contrasts violently with the outward brightness:--

Ah, how I should like to have you beside me!... You cannot imagine how sad it is to have n.o.body to whom I can open my troubled heart. You know how easily I make acquaintances, how I love human society--such acquaintances I make in great numbers--but with no one, no one can I sigh. My heart beats as it were always "in syncopes," therefore I torment myself and seek for a rest--for solitude, so that the whole day n.o.body may look at me and speak to me. It is too annoying to me when there is a pull at the bell, and a tedious visit is announced while I am writing to you. At the moment when I was going to describe to you the ball, at which a divine being with a rose in her black hair enchanted me, arrives your letter. All the romances of my brain disappear? my thoughts carry me to you, I take your hand and weep...When shall we see each other again?...Perhaps never, because, seriously, my health is very bad. I appear indeed merry, especially when I am among my fellow-countrymen; but inwardly something torments me--a gloomy presentiment, unrest, bad dreams, sleeplessness, yearning, indifference to everything, to the desire to live and the desire to die. It seems to me often as if my mind were benumbed, I feel a heavenly repose in my heart, in my thoughts I see images from which I cannot tear myself away, and this tortures me beyond all measure. In short, it is a combination of feelings that are difficult to describe...Pardon me, dear t.i.tus, for telling you of all this; but now I have said enough...I will dress now and go, or rather drive, to the dinner which our countrymen give to- day to Ramorino and Langermann...Your letter contained much that was news to me; you have written me four pages and thirty-seven lines--in all my life you have never been so liberal to me, and I stood in need of something of the kind, I stood indeed very much in need of it.

What you write about my artistic career is very true, and I myself am convinced of it.

I drive in my own equipage, only the coachman is hired.

I shall close, because otherwise I should be too late for the post, for I am everything in one person, master and servant.

Take pity on me and write as often as possible!--Yours unto death,

FREDERICK.

In the postscript of this letter Chopin's light fancy gets the better of his heavy heart; in it all is fun and gaiety. First he tells his friend of a pretty neighbour whose husband is out all day and who often invites him to visit and comfort her. But the blandishments of the fair one were of no avail; he had no taste for adventures, and, moreover, was afraid to be caught and beaten by the said husband. A second love-story is told at greater length. The dramatis personae are Chopin, John Peter Pixis, and Francilla Pixis, a beautiful girl of sixteen, a German orphan whom the pianist-composer, then a man of about forty-three, had adopted, and who afterwards became known as a much-admired singer. Chopin made their acquaintance in Stuttgart, and remarks that Pixis said that he intended to marry her. On his return to Paris Pixis invited Chopin to visit him; the latter, who had by this time forgotten pretty Francilla, was in no hurry to call. What follows must be given in Chopin's own words:--

Eight days after the second invitation I went to his house, and accidentally met his pet on the stairs. She invited me to come in, a.s.suring me it did not matter that Mr. Pixis was not at home; meanwhile I was to sit down, he would return soon, and so on. A strange embarra.s.sment seized both of us. I made my excuses--for I knew the old man was very jealous--and said I would rather return another time. While we were talking familiarly and innocently on the staircase, Pixis came up, looking over his spectacles in order to see who was speaking above to his bella. He may not have recognised us at once, quickened his steps, stopped before us, and said to her harshly: "Qu'est-ce que vous faites ici?" and gave her a severe lecture for receiving young men in his absence, and so on. I addressed Pixis smilingly, and said to her that it was somewhat imprudent to leave the room in so thin a silk dress.