Frederick Chopin, as a Man and Musician Part 42

I always made my appearance long before my hour and waited.

One lady after another came out, one more beautiful than the other, on one occasion Mdlle. Laure Duperre, the daughter of the admiral, whom Chopin accompanied to the staircase, she was the most beautiful of all, and as straight as a palm; to her Chopin has dedicated two of his most important Nocturnes (in C minor and F sharp minor, Op. 48); she was at that time his favourite pupil. In the anteroom I often met little Filtsch, who, unfortunately, died too young, at the age of thirteen, a Hungarian and a genius. He knew how to play Chopin! Of Filtsch Liszt said in my presence at a soiree of the Comtesse d'Agoult: "When the little one begins to travel, I shall shut up my shop" (Quand le pet.i.t voyagera, je fermerai boutique). I was jealous of Filtsch, Chopin had eyes only for him.

How high an opinion the master had of this talented pupil appears from his a.s.sertion that the boy played the E minor Concerto better than he himself. Lenz mentions Filtsch and his playing of the E minor Concerto only in pa.s.sing in "Die grossen Pianoforte-Virtuosen unserer Zeit," but devotes to them more of his leisure in an article which appeared in the Berliner Musikzeitung (Vol. XXVI.), the amusing gossip of which deserves notice here on account of the light thrown by some of its details on Chopin's ways and the company he received in his salon. On one occasion when Filtsch had given his master particular satisfaction by a tasteful rendering of the second solo of the first movement of the E minor Concerto, Chopin said: "You have played this well, my boy (mon garcon), I must try it myself." Lenz relates that what now followed was indescribable: the little one (der Kleine) burst into tears, and Chopin, who indeed had been telling them the story of his artist life, said, as if speaking to himself, "I have loved it! I have already once played it!" Then, turning to Filtsch, he spoke these words: "Yours is a beautiful artist nature (une belle nature d'artiste), you will become a great artist." Whilst the youthful pianist was studying the Concerto with Chopin, he was never allowed to play more than one solo at a time, the work affecting too much the feelings of the composer, who, moreover, thought that the whole was contained in every one of the solos; and when he at last got leave to perform the whole, an event for which he prepared himself by fasting and prayers of the Roman Catholic Church, and by such reading as was pointed out by his master, practising being forbidden for the time, Chopin said to him: "As you have now mastered the movement so well, we will bring it to a hearing."

The reader must understand that I do not vouch for the strict correctness of Lenz's somewhat melodramatic narrative; and having given this warning I shall, to keep myself free from all responsibility, simply translate the rest of what is yet to be told:--

Chopin invited a party of ladies, George Sand was one of them, and was as quiet as a mouse; moreover, she knew nothing of music. The favoured pupils from the highest aristocracy appeared with modest demeanour and full of the most profound devotion, they glided silently, like gold-fishes in a vase, one after another into the salon, and sat down as far as possible from the piano, as Chopin liked people to do. n.o.body spoke, Chopin only nodded, and shook hands with one here and there, not with all of them. The square pianoforte, which stood in his cabinet, he had placed beside the Pleyel concert grand in the salon, not without the most painful embarras to him. The most insignificant trifle affected him; he was a noli me tangere. He had said once, or rather had thought aloud: "If I saw a crack more in the ceiling, I should not be able to bring out a note." Chopin poured the whole dreamy, vaporous instrumentation of the work into his incomparable accompaniment. He played without book. I have never heard anything that could be compared to the first tutti, which he played alone on the piano. The little one did wonders. The whole was an impression for all the rest of one's life. After Chopin had briefly dismissed the ladies (he loved praise neither for himself nor for others, and only George Sand was permitted to embrace Filtsch), he said to the latter, his brother, who always accompanied the little one, and me: "We have yet to take a walk." It was a command which we received with the most respectful bow.

The destination of this walk was Schlesinger's music-shop, where Chopin presented his promising young pupil with the score of Beethoven's "Fidelio":--

"I am in your debt, you have given me much pleasure to-day. I wrote the Concerto in happier days. Receive, my dear little friend, this great master-work; read therein as long as you live, and remember me also sometimes." The little one was as if stunned, and kissed Chopin's hand. We were all deeply moved, Chopin himself was so. He disappeared immediately through the gla.s.s door on a level with the Rue Richelieu, into which it leads.

A scene of a very different nature which occurred some years later was described to me by Madame Dubois. This lady, then still Mdlle. O'Meara and a pupil of Chopin's, had in 1847 played, accompanied on a second piano by her master, the latter's Concerto in E minor at a party of Madame de Courbonne's. Madame Girardin, who was among the guests, afterwards wrote most charmingly and eulogistically about the young girl's beauty and talent in one of her Lettres parisiennes, which appeared in La Presse and were subsequently published in a collected form under the t.i.tle of "Le Vicomte de Launay." Made curious by Madame Girardin's account, and probably also by remarks of Chopin and others, George Sand wished to see the heroine of that much-talked-of letter.

Thus it came to pa.s.s that one day when Miss O'Meara was having her lesson, George Sand crossed the Square d'Orleans and paid Chopin a visit in his apartments. The master received her with all the grace and amiability he was capable of. Noticing that her pardessus was bespattered with mud, he seemed to be much vexed, and the exquisitely-elegant gentleman (l'homme de toutes les elegances ) began to rub off with his small, white hands the stains which on any other person would have caused him disgust. And Mdlle. O'Meara, child as she still was, watched what was going on from the corner of her eye and thought: "Comme il aime cette femme!" [FOOTNOTE: Madame A. Audley gives an altogether incorrect account of this incident in her FREDERIC CHOPIN.

Madame Girardin was not one of the actors, and Mdlle. O'Meara did not think the thoughts attributed to her.]

Whenever Chopin's connection with George Sand is mentioned, one hears a great deal of the misery and nothing or little of the happiness which accrued to him out of it. The years of tenderness and devotion are slurred over and her infidelities, growing indifference, and final desertion are dwelt upon with undue emphasis. Whatever those of Chopin's friends who were not also George Sand's friends may say, we may be sure that his joys outweighed his sorrows. Her resoluteness must have been an invaluable support to so vacillating a character as Chopin's was; and, although their natures were in many respects discordant, the poetic element of hers cannot but have found sympathetic chords in his. Every character has many aspects, but the world is little disposed to see more than one side of George Sand's--namely, that which is most conspicuous by its defiance of law and custom, and finds expression in loud declamation and denunciation. To observe her in one of her more lovable att.i.tudes of mind, we will transport ourselves from Chopin's to her salon.

Louis Enault relates how one evening George Sand, who sometimes thought aloud when with Chopin--this being her way of chatting--spoke of the peacefulness of the country and unfolded a picture of the rural harmonies that had all the charming and negligent grace of a village idyl, bringing, in fact, her beloved Berry to the fireside of the room in the Square d'Orleans.

"How well you have spoken!" said Chopin naively.

"You think so?" she replied. "Well, then, set me to music!"

Hereupon Chopin improvised a veritable pastoral symphony, and George Sand placing herself beside him and laying her hand gently on his shoulder said: "Go on, velvet fingers [courage, doigts de velour]!"

Here is another anecdote of quiet home-life. George Sand had a little dog which was in the habit of turning round and round in the endeavour to catch its tail. One evening when it was thus engaged, she said to Chopin: "If I had your talent, I would compose a pianoforte piece for this dog." Chopin at once sat down at the piano, and improvised the charming Waltz in D flat (Op. 64), which hence has obtained the name of Valse du pet.i.t chien. This story is well known among the pupils and friends of the master, but not always told in exactly the same way.

According to another version, Chopin improvised the waltz when the little dog was playing with a ball of wool. This variation, however, does not affect the pith of the story.

The following two extracts tell us more about the intimate home-life at Nohant and in the Court d'Orleans than anything we have as yet met with.

Madame Sand to her son; October 17, 1843:--

Tell me if Chopin is ill; his letters are short and sad. Take care of him if he is ailing. Take a little my place. He would take my place with so much zeal if you were ill.

Madame Sand to her son; November 16, 1843:--

If you care for the letter which I have written you about her [Solange], ask Chopin for it. It was for both of you, and it has not given him much pleasure. He has taken it amiss, and yet I did not wish to annoy him, G.o.d forbid! We shall all see each other soon again, and hearty embraces [de bonnes bigeades] [FOOTNOTE: Biger is in the Berry dialect "to kiss."]

all round shall efface all my sermons.

In another of George Sand's letters to her son--it is dated November 28, 1843--we read about Chopin's already often-mentioned valet. Speaking of the foundation of a provincial journal, "L'Eclaireur de l'Indre," by herself and a number of her friends, and of their being on the look-out for an editor who would be content with the modest salary of 2,000 francs, she says:--

This is hardly more than the wages of Chopin's domestic, and to imagine that for this it is possible to find a man of talent! First measure of the Committee of Public Safety: we shall outlaw Chopin if he allows himself to have lackeys salaried like publicists.

Chopin treated George Sand with the greatest respect and devotion; he was always aux pet.i.ts soins with her. It is characteristic of the man and exemplifies strikingly the delicacy of his taste and feeling that his demeanour in her house showed in no way the intimate relation in which he stood to the mistress of it: he seemed to be a guest like any other occasional visitor. Lenz wishes to make us believe that George Sand's treatment of Chopin was unworthy of the great artist, but his statements are emphatically contradicted by Gutmann, who says that her behaviour towards him was always respectful. If the lively Russian councillor in the pa.s.sages I am going to translate describes correctly what he heard and saw, he must have witnessed an exceptional occurrence; it is, however, more likely that the bad reception he received from the lady prejudiced him against her.

Lenz relates that one day Chopin took him to the salon of Madame Marliani, where there was in the evening always a gathering of friends.

George Sand [thus runs his account of his first meeting with the great novelist] did not say a word when Chopin introduced me. This was rude. Just for that reason I seated myself beside her. Chopin fluttered about like a little frightened bird in its cage, he saw something was going to happen. What had he not always feared on this terrain? At the first pause in the conversation, which was led by Madame Sand's friend, Madame Viardot, the great singer whose acquaintance I was later to make in St. Petersburg, Chopin put his arm through mine and led me to the piano. Reader! if you play the piano you will imagine how I felt! It was an upright or cottage piano [Steh- oder Stutzflugel] of Pleyel's, which people in Paris regard as a pianoforte. I played the Invitation in a fragmentary fas.h.i.+on, Chopin gave me his hand in the most friendly manner, George Sand did not say a word. I seated myself once more beside her. I had obviously a purpose. Chopin looked anxiously at us across the table, on which was burning the inevitable carcel.

"Are you not coming sometime to St. Petersburg," said I to George Sand in the most polite tone, "where you are so much read, so highly admired?"

"I shall never lower myself by visiting a country of slaves!"

answered George Sand shortly.

This was indecorous [unanstandig] after she had been uncivil.

"After all, you are right NOT to come," I replied in the same tone; "you might find the door closed! I was thinking of the Emperor Nicholas."

George Sand looked at me in astonishment, I plunged boldly into her large, beautiful, brown, cow-like eyes. Chopin did not seem displeased, I knew the movements of his head.

Instead of giving any answer George Sand rose in a theatrical fas.h.i.+on, and strode in the most manly way through the salon to the blazing fire. I followed her closely, and seated myself for the third time beside her, ready for another attack.

She would be obliged at last to say something.

George Sand drew an enormously thick Trabucco cigar out of her ap.r.o.n pocket, and called out "Frederic! un fidibus!"

This offended me for him, that perfect gentleman, my master; I understood Liszt's words: "Pauvre Frederic!" in all their significance.

Chopin immediately came up with a fidibus.

As she was sending forth the first terrible cloud of smoke, George Sand honoured me with a word:

"In St. Petersburg," she began, "I could not even smoke a cigar in a drawing-room?"

"In NO drawing-room have I ever seen anyone smoke a cigar, Madame," I answered, not without emphasis, with a bow!

George Sand fixed her eyes sharply upon me--the thrust had gone home! I looked calmly around me at the good pictures in the salon, each of which was lighted up by a separate lamp.

Chopin had probably heard nothing; he had returned to the hostess at the table.

Pauvre Frederic! How sorry I was for him, the great artist!

The next day the Suisse [hall-porter] in the hotel, Mr.

Armand, said to me: "A gentleman and a lady have been here, I said you were not at home, you had not said you would receive visitors; the gentleman left his name, he had no card with him." I read: Chopin et Madame Sand. After this I quarrelled for two months with Mr. Armand.

George Sand was probably out of humour on the evening in question; that it was not her usual manner of receiving visitors may be gathered from what Chopin said soon after to Lenz when the latter came to him for a lesson. "George Sand," he said, "called with me on you. What a pity you were not at home! I regretted it very much. George Sand thought she had been uncivil to you. You would have seen how amiable she can be. You have pleased her."

Alexander Chodzko, the learned professor of Slavonic literature at the College de France, told me that he was half-a-dozen times at George Sand's house. Her apartments were furnished in a style in favour with young men. First you came into a vestibule where hats, coats, and sticks were left, then into a large salon with a billiard-table. On the mantel-piece were to be found the materials requisite for smoking.

George Sand set her guests an example by lighting a cigar. M. Chodzko met there among others the historian and statesman Guizot, the litterateur Francois, and Madame Marliani. If Chopin was not present, George Sand would often ask the servant what he was doing, whether he was working or sleeping, whether he was in good or bad humour. And when he came in all eyes were directed towards him. If he happened to be in good humour George Sand would lead him to the piano, which stood in one of the two smaller apartments adjoining the salon. These smaller apartments were provided with couches for those who wished to talk.

Chopin began generally to prelude apathetically and only gradually grew warm, but then his playing was really grand. If, however, he was not in a playing mood, he was often asked to give some of his wonderful mimetic imitations. On such occasions Chopin retired to one of the side-rooms, and when he returned he was irrecognisable. Professor Chodzko remembers seeing him as Frederick the Great.

Chopin's talent for mimicry, which even such distinguished actors as Bocage and Madame Dorval regarded with admiration, is alluded to by Balzac in his novel "Un Homme d'affaires," where he says of one of the characters that "he is endowed with the same talent for imitating people which Chopin, the pianist, possesses in so high a degree; he represents a personage instantly and with astounding truth." Liszt remarks that Chopin displayed in pantomime an inexhaustible verve drolatique, and often amused himself with reproducing in comical improvisations the musical formulas and peculiar ways of certain virtuosos, whose faces and gestures he at the same time imitated in the most striking manner.

These statements are corroborated by the accounts of innumerable eye and ear-witnesses of such performances. One of the most ill.u.s.trative of these accounts is the following very amusing anecdote. When the Polish musician Nowakowski [FOOTNOTE: He visited Paris in 1838, 1841, and 1846, partly for the purpose of making arrangements for the publication of his compositions, among which are Etudes dedicated to Chopin.]

visited Paris, he begged his countryman to bring him in contact with Kalkbrenner, Liszt, and Pixis. Chopin, replying that he need not put himself to the trouble of going in search of these artists if he wished to make their acquaintance, forthwith sat down at the piano and a.s.sumed the att.i.tude, imitated the style of playing, and mimicked the mien and gestures, first of Liszt and then of Pixis. Next evening Chopin and Nowakowski went together to the theatre. The former having left the box during one of the intervals, the latter looked round after awhile and saw Pixis sitting beside him. Nowakowski, thinking Chopin was at his favourite game, clapped Pixis familiarly on the shoulder and said: "Leave off, don't imitate now!" The surprise of Pixis and the subsequent confusion of Nowakowski may be easily imagined. When Chopin, who at this moment returned, had been made to understand what had taken place, he laughed heartily, and with the grace peculiar to him knew how to make his friend's and his own excuses. One thing in connection with Chopin's mimicry has to be particularly noted--it is very characteristic of the man. Chopin, we learn from Liszt, while subjecting his features to all kinds of metamorphoses and imitating even the ugly and grotesque, never lost his native grace, "la grimace ne parvenait meme pas a l'enlaidir."

We shall see presently what George Sand has to say about her lover's imitative talent; first, however, we will make ourselves acquainted with the friends with whom she especially a.s.sociated. Besides Pierre Leroux, Balzac, Pauline Viardot-Garcia, and others who have already been mentioned in the foregoing chapters, she numbered among her most intimate friends the Republican politician and historian Louis Blanc, the Republican litterateur G.o.defroy Cavaignac, the historian Henri Martin, and the litterateur Louis Viardot, the husband of Pauline Garcia.

[FOOTNOTE: This name reminds me of a pa.s.sage in Louis Blanc's "Histoire de la Revolution de 1840" (p. 210 of Fifth Edition. Paris, 1880). "A short time before his [G.o.defroy Cavaignac's] end, he was seized by an extraordinary desire to hear music once more. I knew Chopin. I offered to go to him, and to bring him with me, if the doctor did not oppose it.