Frederick Chopin, as a Man and Musician Part 35

George Sand's fits of economy never lasted very long. At any rate, in the summer of 1841 we find her again at Nohant. But as it is my intention to treat of Chopin's domestic life at Nohant and in Paris with some fulness in special chapters, I shall now turn to his artistic doings.

In 1839 there appeared only one work by Chopin, Op. 28, the "Preludes,"

but in the two following years as many as sixteen--namely, Op. 35-50.

Here is an enumeration of these compositions, with the dates of publication and the dedications.

[FOOTNOTE: Both the absence of dedications in the case of some compositions, and the persons to whom others are dedicated, have a biographical significance. They tell us of the composer's absence from Paris and aristocratic society, and his return to them.]

The "Vingt-quatre Preludes," Op. 28, published in September, 1839, have a twofold dedication, the French and English editions being dedicated a son ami Pleyel, and the German to Mr. J. C. Kessler. The publications of 1840 are: in May--Op. 35, "Sonate" (B flat minor); Op. 36, "Deuxieme Impromptu" (F sharp minor); Op. 37, "Deux Nocturnes" (G minor and G major); in July--Op. 42, "Valse" (A flat major); in September--Op.

38, "Deuxieme Ballade" (F major), dedicated to Mr. R. Schumann; in October--Op. 39, "Troisieme Scherzo" (C sharp minor), dedicated to Mr. A. Gutmann; in November--Op. 40, "Deux Polonaises" (A major and C minor), dedicated to Mr. J. Fontana; and in December--Op. 41, "Quatre Mazurkas" (C sharp and E minor, B and A flat major), dedicated to E.

Witwicki. Those of 1841 are: in October--Op. 43, "Tarantelle" (A flat major), without any dedication; and in November--Op. 44, "Polonaise" (F sharp minor), dedicated to Madame la Princesse Charles de Beauvau; Op. 45, "Prelude" (C sharp minor), dedicated to Madame la Princesse Elizabeth Czernicheff; Op. 46, "Allegro de Concert" (A major), dedicated to Mdlle. F. Muller; Op. 47, "Troisieme Ballade" (A flat major), dedicated to Mdlle. P. de Noailles; Op. 48, "Deux Nocturnes" (C minor and F sharp minor), dedicated to Mdlle. L. Duperre; Op. 49, "Fantaisie"

(F minor), dedicated to Madame la Princesse C. de Souzzo; and Op. 50, "Trois Mazurkas" (G and A flat major, and C sharp minor), dedicated to Mr. Leon Smitkowski.

Chopin's genius had now reached the most perfect stage of its development, and was radiating with all the intensity of which its nature was capable. Notwithstanding such later creations as the fourth "Ballade," Op. 52, the "Barcarolle," Op. 60, and the "Polonaise," Op.

53, it can hardly be said that the composer surpa.s.sed in his subsequent works those which he had published in recent years, works among which were the first three ballades, the preludes, and a number of stirring polonaises and charming nocturnes, mazurkas, and other pieces.

However, not only as a creative artist, but also as an executant, Chopin was at the zenith of his power. His bodily frame had indeed suffered from disease, but as yet it was not seriously injured, at least, not so seriously as to disable him to discharge the functions of a musical interpreter. Moreover, the great majority of his compositions demanded from the executant other qualities than physical strength, which was indispensable in only a few of his works. A writer in the "Menestrel"

(April 25, 1841) asks himself the question whether Chopin had progressed as a pianist, and answers: "No, for he troubles himself little about the mechanical secrets of the piano; in him there is no charlatanism; heart and genius alone speak, and in these respects his privileged organisation has nothing to learn." Or rather let us say, Chopin troubled himself enough about the mechanical secrets of the piano, but not for their own sakes: he regarded them not as ends, but as means to ends, and although mechanically he may have made no progress, he had done so poetically. Love and sorrow, those most successful teachers of poets and musicians, had not taught him in vain.

It was a fortunate occurrence that at this period of his career Chopin was induced to give a concert, and equally fortunate that men of knowledge, judgment, and literary ability have left us their impressions of the event. The desirability of replenis.h.i.+ng an ever-empty purse, and the instigations of George Sand, were no doubt the chief motive powers which helped the composer to overcome his dislike to playing in public.

"Do you practise when the day of the concert approaches?" asked Lenz.

[FOOTNOTE: Die grossen Pianoforte-Virtusen unstrer Zeit, p. 36.] "It is a terrible time for me," was Chopin's answer; "I dislike publicity, but it is part of my position. I shut myself up for a fortnight and play Bach. That is my preparation; I never practise my own compositions."

What Gutmann told me confirms these statements. Chopin detested playing in public, and became nervous when the dreaded time approached. He then fidgeted a great deal about his clothes, and felt very unhappy if one or the other article did not quite fit or pinched him a little. On one occasion Chopin, being dissatisfied with his own things, made use of a dress-coat and s.h.i.+rt of his pupil Gutmann. By the way, the latter, who gave me this piece of information, must have been in those days of less bulk, and, I feel inclined to add, of less height, than he was when I became acquainted with him.

Leaving the two concerts given by Chopin in 1841 and 1842 to be discussed in detail in the next chapter, I shall now give a translation of the Polish letters which he wrote in the summer and autumn of 1841 to Fontana. The letters numbered 4 and 5 are those already alluded to on p.

24 (foot-note 3) which Karasowski gives as respectively dated by Chopin: "Palma, November 17, 1838"; and "Valdemosa, January 9, 1839." But against these dates militate the contents: the mention of Troupenas, with whom the composer's business connection began only in 1840 (with the Sonata, Op. 35); the mention of the Tarantelle, which was not published until 1841; the mention (contradictory to an earlier inquiry--see p. 30) of the sending back of a valet nowhere else alluded to; the mention of the sending and arrival of a piano, irreconcilable with the circ.u.mstances and certain statements in indisputably correctly-dated letters; and, lastly, the absence of all mention of Majorca and the Preludes, those important topics in the letters really from that place and of that time. Karasowski thinks that the letters numbered 1, 2, 3, and 9 were of the year 1838, and those numbered 6, 7, and 8 of the year 1839; but as the "Tarantelle," Op. 43, the "Polonaise," Op. 44, the "Prelude," Op. 45, the "Allegro de Concert,"

Op. 46, the third "Ballade," Op. 47, the two "Nocturnes," Op. 48, and the "Fantaisie," Op. 49, therein mentioned, were published in 1841, I have no doubt that they are of the year 1841. The mention in the ninth letter of the Rue Pigalle, 16, George Sand's and Chopin's abode in Paris, of Pelletan, the tutor of George Sand's son Maurice, and of the latter's coming to Paris, speaks likewise against 1838 and for 1841, 1840 being out of the question, as neither George Sand nor Chopin was in this year at Nohant. What decides me especially to reject the date 1839 for the seventh letter is that Pauline Garcia had then not yet become the wife of Louis Viardot. There is, moreover, an allusion to a visit of Pauline Viardot to Nohant in the summer of 1841 in one of George Sand's letters (August 13, 1841). In this letter occurs a pa.s.sage which is important for the dating both of the fifth and the seventh letter. As to the order of succession of the letters, it may be wrong, it certainly does not altogether satisfy me; but it is the result of long and careful weighing of all the pros and cons. I have some doubt about the seventh letter, which, read by the light of George Sand's letter, ought perhaps to be placed after the ninth. But the seventh letter is somewhat of a puzzle. Puzzles, owing to his confused statements and slipshod style, are, however, not a rare thing in Chopin's correspondence. The pa.s.sage in the above-mentioned letter of George Sand runs thus: "Pauline leaves me on the 16th [of August]; Maurice goes on the 17th to fetch his sister, who should be here on the 23rd."

[I.] Nohant [1841].

My very dear friend,--I arrived here yesterday, Thursday. For Schlesinger [FOOTNOTE: The Paris music-publisher.] I have composed a Prelude in C sharp minor [Op. 45], which is short, as he wished it. Seeing that, like Mechetti's [FOOTNOTE: The Vienna music-publisher.] Beethoven, this has to come out at the New Year, do not yet give my Polonaise to Leo (although you have already transcribed it), for to-morrow I shall send you a letter for Mechetti, in which I shall explain to him that, if he wishes something short, I will give him for the Alb.u.m instead of the mazurka (which is already old) the NEW prelude. It is well modulated, and I can send it without hesitation. He ought to give me 300 francs for it, n'est-ce pas? Par-dessus le marche he may get the mazurka, only he must not print it in the Alb.u.m.

Should Troupenas, [FOOTNOTE: Eugene Troupenas, the Paris music- publisher.] that is, Ma.s.set, [FOOTNOTE: Ma.s.set (his daughter, Madame Colombier, informed me) was the partner of Troupenas, and managed almost the whole business, Troupenas being in weak health, which obliged him to pa.s.s the last ten winters of his life at Hyeres.] make any difficulties, do not give him the pieces a farthing cheaper, and tell him that if he does not wish to print them all--which I should not like--I could sell them at a better price to others.

Now of something else.

You will find in the right-hand drawer of my writing-desk (in the place where the cash-box always is) a sealed parcel addressed to Madame Sand. Wrap this parcel in wax-cloth, seal it, and send it by post to Madame Sand's address. Sew on the address with a strong thread, that it may not come off the wax- cloth. It is Madame Sand who asks me to do this. I know you will do it perfectly well. The key, I think, is on the top shelf of the little cabinet with the mirror. If it should not be there, get a locksmith to open the drawer.

I love you as an old friend. Embrace Johnnie.--Your

FREDERICK.

[2.] Nohant [1841].

Thanks for forwarding the parcel. I send you the Prelude, in large characters for Schlesinger and in small characters for Mechetti. Clip the MS. of the Polonaise to the same size, number the pages, and fold it like the Prelude, add to the whole my letter to Mechetti, and deliver it into Leo's own hands, praying him to send it by the first mail, as Mechetti is waiting for it.

The letter to Haslinger [FOOTNOTE: The Vienna music- publisher.] post yourself; and if you do not find Schlesinger at home leave the letter, but do not give him the MS. until he tells you that he accepts the Prelude as a settlement of the account. If he does not wish to acquire the right of publication for London, tell him to inform me of it by letter.

Do not forget to add the opus on the Polonaise and the following number on the Prelude--that is, on the copies that are going to Vienna.

I do not know how Czerniszewowa is spelt. Perhaps you will find under the vase or on the little table near the bronze ornament a note from her, from her daughter, or from the governess; if not, I should be glad if you would go--they know you already as my friend--to the Hotel de Londres in the Place Vendome, and beg in my name the young Princess to give you her name in writing and to say whether it is Tscher or Tcher. Or better still, ask for Mdlle. Krause, the governess; tell her that I wish to give the young Princess a surprise; and inquire of her whether it is usual to write Elisabeth and Tschernichef, or ff. [FOOTNOTE: Chopin dedicated the Prelude, Op. 45, to Mdlle. la Princesse Elisabeth Czernicheff.]

If you do not wish to do this, don't be bashful with me, and write that you would rather be excused, in which case I shall find it out by some other means. But do not yet direct Schlesinger to print the t.i.tle. Tell him I don't know how to spell. Nevertheless, I hope that you will find at my house some note from them on which will be the name....

I conclude because it is time for the mail, and I wish that my letter should reach Vienna without fail this week.

[3.] Nohant, Sunday [1841].

I send you the Tarantella [Op. 43]. Please to copy it. But first go to Schlesinger, or, better still, to Troupenas, and see the collection of Rossini's songs published by Troupenas.

In it there is a Tarantella in F. I do not know whether it is written in 6/8 or 12/8 time. As to my composition, it does not matter which way it is written, but I should prefer it to be like Rossini's. Therefore, if the latter be in 12/8 or in C with triplets, make in copying one bar out of two. It will be thus: [here follows one bar of music, bars four and five of the Tarantella as it is printed.] [FOOTNOTE: This is a characteristic instance of Chopin's carelessness in the notation of his music. To write his Tarantella in 12/8 or C would have been an egregious mistake. How Chopin failed to see this is inexplicable to me.]

I beg of you also to write out everything in full, instead of marking repeats. Be quick, and give it to Leo with my letter to Schubert. [FOOTNOTE: Schuberth, the Hamburg music- publisher.] You know he leaves for Hamburg before the 8th of next month, and I should not like to lose 500 francs.

As regards Troupenas, there is no hurry. If the time of my ma.n.u.script is not right, do not deliver the latter, but make a copy of it. Besides this, make a third copy of it for Wessel.

It will weary you to copy this nasty thing so often; but I hope I shall not compose anything worse for a long time. I also beg of you to look up the number of the last opus-- namely, the last mazurkas, or rather the waltz published by Paccini [FOOTNOTE: Pacini, a Paris music-publisher. He published the Waltz in A flat major, Op. 42, in the summer of 1840, if not earlier.]--and give the following number to the Tarantella.

I am keeping my mind easy, for I know you are willing and clever. I trust you will receive from me no more letters burdened with commissions. Had I not been with only one foot at home before my departure you would have none of these unpleasantnesses. Attend to the Tarantella, give it to Leo, and tell him to keep the money he may receive till I come back. Once more I beg of you to excuse my troubling you so much. To-day I received the letter from my people in Poland you sent me. Tell the portier to give you all the letters addressed to me.

[4.]

My dear friend,--As you are so good, be so to the end. Go to the transport commission-office of Mr. Hamberg et Levistal successeurs de Mr. Corstel fils aine et Cie, rue des Marais St. Martin, No. 51, a Paris, and direct them to send at once to Pleyel for the piano I am to have, so that it may go off the next day. Say at the office that it is to be forwarded par un envoy [sic] accelere et non ordinaire. Such a transport costs of course far more, but is incomparably quicker. It will probably cost five francs per cwt. I shall pay here. Only direct them to give you a receipt, on which they will write how many cwts. the piano weighs, when it leaves, and when it will arrive at Chateauroux. If the piano is conveyed by roulage [land-transport]--which goes straight to Toulouse and leaves goods only on the route--the address must not be a la Chatre, [FOOTNOTE: Instead of "la Chatre" we have in Karasowski's Polish book "la Chatie," which ought to warn us not to attribute all the peculiar French in this letter to Chopin, who surely knew how to spell the name of the town in the neighbourhood of the familiar Nohant.] but Madame Dudevant, a Chateauroux, as I wrote above. [FOOTNOTE: "Address of the piano: Madame Dudevant, a Chateauroux. Bureau Restant chez M. Vollant Patureau." This is what Chopin wrote above.]

At the last-mentioned place the agency has been informed, and will forward it at once. You need not send me the receipt, we should require it only in case of some unforeseen reclamation.

The correspondent in Chateauroux says that PAR LA VOYE ACCELERE [SIC] it will come from Paris in four days. If this is so, let him bind himself to deliver the piano at Chateauroux in four or five days.

Now to other business.

Should Pleyel make any difficulties, apply to Erard; I think that the latter in all probability ought to be serviceable to you. Only do not act hastily, and first ascertain how the matter really stands.

As to the Tarantella, seal it and send it to Hamburg. To- morrow I shall write you of other affairs, concerning Troupenas, &c.

Embrace Johnnie, and tell him to write.

[5.]

Thanks for all the commissions you have executed so well. To- day, that is on the 9th, I received the piano and the other things. Do not send my little bust to Warsaw, it would frighten them, leave it in the press. Kiss Johnnie for his letter. I shall write him a few lines shortly.

To-morrow I shall very likely send back my old servant, who loses his wits here. He is an honest man and knows how to serve, but he is tiresome, and makes one lose one's patience.

I shall send him back, telling him to wait for me in Paris. If he appears at the house, do not be frightened.

Latterly the weather has been only so-so.

The man in Chateauroux was waiting three days for the piano; yesterday, after receiving your letter, I gave orders that he should be recalled. To-day I do not yet know what kind of tone the piano has, as it is not yet unpacked; this great event is to take place to-morrow. As to the delay and misunderstanding in sending it, do not make any inquiries; let the matter rest, it is not worth a quarrel. You did the best you could. A little ill-humour and a few days lost in expectation are not worth a pinch of snuff. Forget, therefore, my commissions and your transaction; next time, if G.o.d permits us to live, matters will turn out better.

I write you these few words late at night. Once more I thank you, most obliging of men, for the commissions, which are not yet ended, for now comes the turn of the Troupenas business, which will hang on your shoulders. I shall write to you on this subject more fully some other time, and to-day I wish you good night. But don't have dreams like Johnnie--that I died; but rather dream that I am about to be born, or something of the sort.