Frederick Chopin, as a Man and Musician Part 50

We have only one more work to consider before we come to the groups of masterpieces in the smaller forms above enumerated. But this last work is one of Chopin's best compositions, and in its way no less a masterpiece than these. Unfettered by the scheme of a definite form such as the sonata or concerto, the composer develops in the Fantaisie, Op.

49 (published in November, 1841), his thought with masterly freedom.

There is an enthralling weirdness about this work, a weirdness made up of force of pa.s.sion and an indescribable fantastic waywardness. Nothing more common than the name of Fantasia, here we have the thing! The music falls on our ears like the insuppressible outpouring of a being stirred to its heart's core, and full of immeasurable love and longing. Who would suspect the composer's fragility and sickliness in this work?

Does it not rather suggest a t.i.tan in commotion? There was a time when I spoke of the Fantasia in a less complimentary tone, now I bow down my head regretfully and exclaim peccavi. The disposition of the composition may be thus briefly indicated. A tempo di marcia opens the Fantasia--it forms the porch of the edifice. The dreamy triplet pa.s.sages of the poco a poco piu mosso are comparable to galleries that connect the various blocks of buildings. The princ.i.p.al subject, or acc.u.mulation of themes, recurs again and again in different keys, whilst other subjects appear only once or twice between the repet.i.tions of the princ.i.p.al subject.

The mazurkas of Chopin are a literature in themselves, said Lenz, and there is some truth in his saying. They may, indeed, be called a literature in themselves for two reasons--first, because of their originality, which makes them things sui generis; and secondly, because of the poetical and musical wealth of their contents. Chopin, as I have already said, is most national in the mazurkas and polonaises, for the former of which he draws not only inspiration, but even rhythmic, melodic, and harmonic motives from his country's folk-music. Liszt told me, in a conversation I had with him, that he did not care much for Chopin's mazurkas. "One often meets in them with bars which might just as well be in another place." But he added, "And yet as Chopin puts them, perhaps n.o.body else could have put them." And mark, those are the words of one who also told me that when he sometimes played half-an-hour for his amus.e.m.e.nt, he liked to resort to Chopin. Moscheles, I suspect, had especially the mazurkas in his mind when, in 1833, [FOOTNOTE: At this time the published compositions of Chopin were, of course, not numerous, but they included the first two books of Mazurkas, Op. 6 and 7.] he said of the Polish master's compositions that he found "much charm in their originality and national colouring," and that "his thoughts and through them the fingers stumbled over certain hard, inartistic modulations." Startling progressions, unreconciled contrasts, and abrupt changes of mood are characteristic of Slavonic music and expressive of the Slavonic character. Whether they ought to be called inartistic or not, we will leave time to decide, if it has not done so already; the Russian and other Slavonic composers, who are now coming more and more to the front, seem to be little in doubt as to their legitimacy. I neither regard Chopin's mazurkas as his most artistic achievements nor recommend their capriciousness and fragmentariness for general imitation. But if we view them from the right stand-point, which is not that of cla.s.sicism, we cannot help admiring them. The musical idiom which the composer uses in these, notwithstanding their capriciousness and fragmentariness, exquisitely-finished miniatures, has a truly delightful piquancy. Yet delightful as their language is, the mazurkas have a far higher claim to our admiration. They are poems--social poems, poems of private life, in distinction from the polonaises, which are political poems. Although Chopin's mazurkas and polonaises are no less individual than the other compositions of this most subjective of subjective poets, they incorporate, nevertheless, a good deal of the poetry of which the national dances of those names are the expression or vehicle. And let it be noted, in Poland so-called civilisation did not do its work so fast and effectually as in Western Europe; there dancing had not yet become in Chopin's days a merely formal and conventional affair, a matter of sinew and muscle.

It is, therefore, advisable that we should make ourselves acquainted with the princ.i.p.al Polish dances; such an acquaintance, moreover, will not only help us to interpret aright Chopin's mazurkas and polonaises, but also to gain a deeper insight into his ways of feeling and seeing generally. Now the reader will become aware that the long disquisitions on Poland and the Poles at the commencement of this biography were not superfluous accessories. For completeness' sake I shall preface the description of the mazurka by a short one of the krakowiak, the third of the triad of princ.i.p.al Polish dances. The informants on whom I shall chiefly rely when I am not guided by my own observations are the musician Sowinski and the poet Brodzinski, both Poles:

The krakowiak [says Albert Sowinski in chant polonais] bubbles over with esprit and gaiety; its name indicates its origin. It is the delight of the salons, and especially of the huts. The Cracovians dance it in a very agitated and expressive manner, singing at the same time words made for the occasion of which they multiply the stanzas and which they often improvise.

These words are of an easy gaiety which remind one strangely of the rather loose [semi-grivoises] songs so popular in France; others again are connected with the glorious epochs of history, with the sweet or sad memories which it calls up, and are a faithful expression of the character and manners of the nation.

Casimir Brodzinski describes the dance as follows:--

The krakowiak resembles in its figures a simplified polonaise; it represents, compared with the latter, a less advanced social state. The boldest and strongest takes the position of leader and conducts the dance; he sings, the others join in chorus; he dances, they imitate him. Often also the krakowiak represents, in a kind of little ballet, the simple course of a love-affair: one sees a couple of young people place themselves before the orchestra; the young man looks proud, presumptuous, preoccupied with his costume and beauty. Before long he becomes meditative, and seeks inspiration to improvise verses which the cries of his companions ask for, and which the time beaten by them provoke, as well as the manoeuvre of the young girl, who is impatient to dance. Arriving before the orchestra after making a round, the dancer generally takes the liberty of singing a refrain which makes the young girl blush; she runs away, and it is in pursuing her that the young man displays all his agility. At the last round it is the young man who pretends to run away from his partner; she tries to seize his arm, after which they dance together until the ritornello puts an end to their pleasure.

As a technical supplement to the above, I may say that this lively dance is in 2/4 time, and like other Polish dances has the rhythmical peculiarity of having frequently the accent on a usually unaccented part of the bar, especially at the end of a section or a phrase, for instance, on the second quaver of the second and the fourth bar, thus:--

[Here, the author ill.u.s.trates with a rhythm diagram consisting of a line of notes divided in measures: 1/8 1/16 1/16 1/8 1/8 | 1/8 1/4 1/8 | 1/8 1/16 1/16 1/8 1/8 | 1/8 1/4 dot]

Chopin has only once been inspired by the krakowiak--namely, in his Op.

14, ent.i.tled Krakowiak, Grand Rondeau de Concert, a composition which was discussed in Chapter VIII. Thus much of the krakowiak; now to the more interesting second of the triad.

The mazurek [or mazurka], whose name comes from Mazovia, one of our finest provinces, is the most characteristic dance-tune --it is the model of all our new tunes. One distinguishes, however, these latter easily from the ancient ones on account of their less original and less cantabile form. There are two kinds of mazureks: one, of which the first portion is always in minor and the second in major, has a romance-like colouring, it is made to be sung, in Polish one says "to be heard" (do sludninin); the other serves as an accompaniment to a dance, of which the figures are multiplied pa.s.ses and coiuluiles. Its movement is in time, and yet less quick than the waltz. The motive is in dotted notes, which must be executed with energy and warmth, but not without a certain dignity.

Now the mazurka is generally written in 3/4-time; Chopin's are all written thus. The dotted rhythmical motive alluded to by Sowinski is this, or similar to this--

[Another rhythm diagram: 1/8 dot 1/16 1/4 1/4 | 1/8 dot 1/16 1/2]

But the dotted notes are by no means de rigueur. As motives like the following--

[Another rhythm diagram: 1/4 1/2 | 1/8 1/8 1/4 1/4 | triplet 1/4 1/4 | triple 1/8 1/8 1/8 1/8]

are of frequent occurrence, I would propose a more comprehensive definition--namely, that the first part of the bar consists mostly of quicker notes than the latter part. But even this more comprehensive definition does not comprehend all; it is a rule which has many exceptions. [FOOTNOTE: See the musical ill.u.s.trations on pp. 217-218.] Le Sowinski mentions only one cla.s.sification of mazurkas. Several others, however, exist. First, according to the district from which they derive--mazurkas of Kujavia, of Podlachia, of Lublin, &c.; or, secondly, according to their character, or to the purpose or occasion for which they were composed: wedding, village, historical, martial, and political mazurkas. And now let us hear what the poet Brodzinski has to say about the nature of this dance:-- The mazurek in its primitive form and as the common people dance is only a kind of krakowiak, only less lively and less sautillant. The agile Cracovians and the mountaineers of the Carpathians call the mazurek danced by the inhabitants of the plain but a dwarfed krakowiak. The proximity of the Germans, or rather the sojourn of the German troops, has caused the true character of the mazurek among the people to be lost; this dance hap become a kind of awkward waltz.

With the people of the capital the real dances of the country are disfigured not only by the influx of foreigners, but especially also by the unfortunate employment of barrel- organs....It is this instrument which crushes among the people the practice of music, and takes the means of subsistence from the village fiddler, who becomes more and more rare since every tavern-keeper, in buying a barrel-organ, easily puts an end to all compet.i.tion. We see already more and more disappear from our country sides these sweet songs and improvised refrains which the rustic minstrels remembered and repeated, and the truly national music gives way, alas! to the themes borrowed from the operas most in vogue.

The mazurek, thus degenerated among the people, has been adopted by the upper cla.s.ses who, in preserving the national allures, perfected it to the extent of rendering it, beyond doubt, one of the most graceful dances in Europe. This dance has much resemblance with the French quadrille, according to what is a.n.a.logous in the characters of the two nations; in seeing these two dances one might say that a French woman dances only to please, and that a Polish woman pleases by abandoning herself to a kind of maiden gaiety--the graces which she displays come rather from nature than from art. A French female dancer recalls the ideal of Greek statues; a Polish female dancer has something which recalls the shepherdesses created by the imagination of the poets; if the former charms us, the latter attaches us.

As modern dances lend themselves especially to the triumph of the women, because the costume of the men is so little favourable, it is noteworthy that the mazurek forms here an exception; for a young man, and especially a young Pole, remarkable by a certain amiable boldness, becomes soon the soul and hero of this dance. A light and in some sort pastoral dress for the women, and the Polish military costume so advantageous for the men, add to the charm of the picture which the mazurek presents to the eye of the painter. This dance permits to the whole body the most lively and varied movements, leaves the shoulders full liberty to bend with that ABANDON which, accompanied by a joyous laisser-aller and a certain movement of the foot striking the floor, is exceedingly graceful.

One finds often a magic effect in the animated enthusiasm which characterises the different movements of the head--now proudly erect, now tenderly sunk on the bosom, now lightly inclined towards the shoulder, and always depicting in large traits the abundance of life and joy, shaded with simple, graceful, and delicate sentiments. Seeing in the mazurek the female dancer almost carried away in the arms and on the shoulders of her cavalier, abandoning herself entirely to his guidance, one thinks one sees two beings intoxicated with happiness and flying towards the celestial regions. The female dancer, lightly dressed, scarcely skimming the earth with her dainty foot, holding on by the hand of her partner, in the twinkling of an eye carried away by several others, and then, like lightning, precipitating herself again into the arms of the first, offers the image of the most happy and delightful creature. The music of the mazurek is altogether national and original; through its gaiety breathes usually something of melancholy--one might say that it is destined to direct the steps of lovers, whose pa.s.sing sorrows are not without charm.

Chopin himself published forty-one mazurkas of his composition in eleven sets of four, five, or three numbers--Op. 6, Quatre Mazurkas, and Op. 7, Cinq Mazurkas, in December, 1832; Op. 17, Quatre Mazurkas, in May, 1834; Op. 24, Quatre Mazurkas, in November, 1835; Op. 30, Quatre Maazurkas, in December, 1837; Op. 33, Quatre Mazurkas, in October, 1838; Op. 41, Quatre Mazurkas, in December, 1840; Op. 50, Trois Mazurkas, in November, 1841; Op, 56, Trois Mazurkas, in August, 1844; Op. 59, Trois Mazurkas, in April, 1846; and Op. 63, Trois Mazurkas, in September, 1847. In the posthumous works published by Fontana there are two more sets, each of four numbers, and respectively marked as Op. 67 and 68. Lastly, several other mazurkas composed by or attributed to Chopin have been published without any opus number. Two mazurkas, both in A minor, although very feeble compositions, are included in the editions by Klindworth and Mikuli. The Breitkopf and Hartel edition, which includes only one of these two mazurkas, comprises further a mazurka in G major and one in B flat major of 1825, one in D major of 1829-30, a remodelling of the same of 1832--these have already been discussed--and a somewhat more interesting one in C major of 1833. Of one of the two mazurkas in A minor, a poor thing and for the most part little Chopinesque, only the dedication (a son ami Rmile Gaillard) is known, but not the date of composition. The other (the one not included in Breitkopf and Hartel's, No. 50 of Mikuli's and Klindworth's edition) appeared first as No. 2 of Noire Temps, a publication by Schott's Sohne. On inquiry I learned that Notre Temps was the general t.i.tle of a series of 12 pieces by Czerny, Chopin, Kalliwoda, Rosenhain, Thalberg, Kalkbrenner, Mendelssohn, Bertini, Wolff, Kontski, Osborne, and Herz, which appeared in 1842 or 1843 as a Christmas Alb.u.m. [FOONOTE: I find, however, that Chopin's Mazurka was already separately announced as "Notre Temps, No. 2," in the Monatsberichte of February, 1842.] Whether a Mazurka elegante by Fr, Chopin, advertised in La France Musicale of April 6, 1845, as en vente au Bureau de musique, 29, Place de la Bourse, is identical with one of the above-enumerated mazurkas I have not been able to discover. In the Klindworth edition [FOOTNOTE: That is to say, in the original Russian, not in the English (Augener and Co.'s) edition; and there only by the desire of the publishers and against the better judgment of the editor.]

is also to be found a very un-Chopinesque Mazurka in F sharp major, previously published by J. P. Gotthard, in Vienna, the authors.h.i.+p of which Mr. E. Pauer has shown to belong to Charles Mayer.

[FOOTNOTE: In an article, ent.i.tled Musical Plagiarism in the Monthly Musical Record of July 1, 1882 (where also the mazurka in question is reprinted), we read as follows:--"In 1877 Mr. E. Pauer, whilst preparing a comprehensive guide through the entire literature of the piano, looked through many thousand pieces for that instrument published by German firms, and came across a mazurka by Charles Mayer, published by Pietro Mechetti (afterwards C. A. Spinal, and ent.i.tled Souvenirs de la Pologne.

A few weeks later a mazurka, a posthumous work of F. Chopin, published by J. Gotthard, came into his hands. At first, although the piece 'struck him as being an old acquaintance,' he could not fix the time when and the place where he had heard it; but at last the Mayer mazurka mentioned above returned to his remembrance, and on comparing the two, he found that they were one and the same piece. From the appearance of the t.i.tle-page and the size of the notes, Mr. Pauer, who has had considerable experience in these matters, concluded that the Mayer copy must have been published between the years 1840 and 1845, and wrote to Mr. Gotthard pointing out the similarity of Chopin's posthumous work, and asking how he came into possession of the Chopin ma.n.u.script. Mr.

Gotthard replied,'that he had bought the mazurka as Chopin's autograph from a Polish countess, who, being in sad distress, parted, though with the greatest sorrow, with the composition of her ill.u.s.trious compatriot.' Mr. Pauer naturally concludes that Mr. Gotthard had been deceived, that the ma.n.u.script was not a genuine autograph, and 'that the honour of having composed the mazurka in question belongs to Charles Mayer.' Mr. Pauer further adds: 'It is not likely that C. Mayer, even if Chopin had made him a present of this mazurka, would have published it during Chopin's lifetime as a work of his own, or have sold or given it to the Polish countess. It is much more likely that Mayer's mazurka was copied in the style of Chopin's handwriting, and after Mayer's death in 1862 sold as Chopin's autograph to Mr. Gotthard.'"]

Surveying the mazurkas in their totality, we cannot but notice that there is a marked difference between those up to and those above Op. 41.

In the later ones we look in vain for the beautes sauvages which charm us in the earlier ones--they strike us rather by their propriety of manner and scholarly elaboration; in short, they have more of reflective composition and less of spontaneous effusion about them. This, however, must not be taken too literally. There are exceptions, partial and total. The "native wood-notes wild" make themselves often heard, only they are almost as often stifled in the close air of the study. Strange to say, the last opus (63) of mazurkas published by Chopin has again something of the early freshness and poetry. Schumann spoke truly when he said that some poetical trait, something new, was to be found in every one of Chopin's mazurkas. They are indeed teeming with interesting matter. Looked at from the musician's point of view, how much do we not see that is novel and strange, and beautiful and fascinating withal? Sharp dissonances, chromatic pa.s.sing notes, suspensions and antic.i.p.ations, displacements of accent, progressions of perfect fifths (the horror of schoolmen), [FOOTNOTE: See especially the pa.s.sage near the close of Op. 30, No. 4, where there are four bars of simultaneous consecutive fifths and sevenths.] sudden turns and unexpected digressions that are so unaccountable, so out of the line of logical sequence, that one's following the composer is beset with difficulties, marked rhythm picture to us the graceful motions of the dancers, and suggest the clas.h.i.+ng of the spurs and the striking of heels against the ground. The second mazurka might be called "the request." All the arts of persuasion are tried, from the pathetic to the playful, and a vein of longing, not unmixed with sadness, runs through the whole, or rather forms the basis of it. The tender commencement of the second part is followed, as it were, by the several times repeated questions--Yes? No?

(Bright suns.h.i.+ne? Dark clouds?) But there comes no answer, and the poor wretch has to begin anew. A helpless, questioning uncertainty and indecision characterise the third mazurka. For a while the composer gives way (at the beginning of the second part) to anger, and speaks in a defiant tone; but, as if perceiving the unprofitableness of it, returns soon to his first strain. Syncopations, suspensions, and chromatic pa.s.sing notes form here the composer's chief stock in trade, displacement of everything in melody, harmony, and rhythm is the rule.

n.o.body did anything like this before Chopin, and, as far as I know, n.o.body has given to the world an equally minute and distinct representation of the same intimate emotional experiences. My last remarks hold good with the fourth mazurka, which is bleak and joyless till, with the entrance of A major, a fairer prospect opens. But those jarring tones that strike in wake the dreamer pitilessly. The commencement of the mazurka, as well as the close on the chord of the sixth, the chromatic glidings of the harmonies, the strange twirls and skips, give a weird character to this piece.

The origin of the polonaise (Taniec Polski, Polish dance), like that of the, no doubt, older mazurka, is lost in the dim past. For much credit can hardly be given to the popular belief that it developed out of the measured procession, to the sound of music, of the n.o.bles and their ladies, which is said to have first taken place in 1574, the year after his election to the Polish throne, when Henry of Anjou received the grandees of his realm. The ancient polonaises were without words, and thus they were still in the time of King Sobieski (1674-96). Under the subsequent kings of the house of Saxony, however, they were often adapted to words or words were adapted to them. Celebrated polonaises of political significance are: the Polonaise of the 3rd of May, adapted to words relative to the promulgation of the famous const.i.tution of the 3rd of May, 1791; the Kosciuszko Polonaise, with words adapted to already existing music, dedicated to the great patriot and general when, in 1792, the nation rose in defence of the const.i.tution; the Oginski Polonaise, also called the Swan's song and the Part.i.tion of Poland, a composition without words, of the year 1793 (at the time of the second part.i.tion), by Prince Michael Cleophas Oginski. Among the Polish composers of the second half of the last century and the beginning of the present whose polonaises enjoyed in their day, and partly enjoy still, a high reputation, are especially notable Kozlowski, Kamienski, Elsner, Deszczynski, Bracicki, Wanski, Prince Oginski, Kurpinski, and Dobrzynski. Outside Poland the polonaise, both as an instrumental and vocal composition, both as an independent piece and part of larger works, had during the same period quite an extraordinary popularity.

Whether we examine the productions of the cla.s.sics or those of the inferior virtuosic and drawing-room composers, [FOOTNOTE: I should have added "operatic composers."] everywhere we find specimens of the polonaise. Pre-eminence among the most successful foreign cultivators of this Polish dance has, however, been accorded to Spohr and Weber. I said just now "this dance," but, strictly speaking, the polonaise, which has been called a marche dansante, is not so much a dance as a figured walk, or procession, full of gravity and a certain courtly etiquette. As to the music of the polonaise, it is in 3/4 time, and of a moderate movement (rather slow than quick). The flowing and more or less florid melody has rhythmically a tendency to lean on the second crotchet and even on the second quaver of the bar (see ill.u.s.tration No. 1, a and b), and generally concludes each of its parts with one of certain stereotyped formulas of a similar rhythmical cast (see ill.u.s.tration No.

2, a, b, c, and d). The usual accompaniment consists of a ba.s.s note at the beginning of the bar followed, except at the cadences, by five quavers, of which the first may be divided into semiquavers. Chopin, however, emanc.i.p.ated himself more and more from these conventionalities in his later poetic polonaises.

[Two music score excerpts here, labeled No. 1 and No. 2]

The polonaise [writes Brodzinski] is the only dance which suits mature age, and is not unbecoming to persons of elevated rank; it is the dance of kings, heroes, and even old men; it alone suits the martial dress. It does not breathe any pa.s.sion, but seems to be only a triumphal march, an expression of chivalrous and polite manners. A solemn gravity presides always at the polonaise, which, perhaps, alone recalls neither the fire of primitive manners nor the gallantry of more civilised but more enervated ages. Besides these princ.i.p.al characteristics, the polonaise bears a singularly national and historical impress; for its laws recall an aristocratic republic with a disposition to anarchy, flowing less from the character of the people than from its particular legislation.

In the olden times the polonaise was a kind of solemn ceremony. The king, holding by the hand the most distinguished personage of the a.s.sembly, marched at the head of a numerous train of couples composed of men alone: this dance, made more effective by the splendour of the chivalrous costumes, was only, strictly speaking, a triumphal march.

If a lady was the object of the festival, it was her privilege to open the march, holding by the hand another lady. All the others followed until the queen of the ball, having offered her hand to one of the men standing round the room, induced the other ladies to follow her example.

The ordinary polonaise is opened by the most distinguished person of the gathering, whose privilege it is to conduct the whole file of the dancers or to break it up. This is called in Polish rey wodzic, figuratively, to be the leader, in some sort the king (from the Latin rex). To dance at the head was also called to be the marshal, on account of the privileges of a marshal at the Diets. The whole of this form is connected with the memories and customs of raising the militia (pospolite), or rather of the gathering of the national a.s.semblies in Poland. Hence, notwithstanding the deference paid to the leaders, who have the privilege of conducting at will the chain of dancers, it is allowable, by a singular practice made into a law, to dethrone a leader every time any bold person calls out odbiianego, which means retaken by force or reconquered; he who p.r.o.nounces this word is supposed to wish to reconquer the hand of the first lady and the direction of the dance; it is a kind of act of liberum veto, to which everyone is obliged to give way. The leader then abandons the hand of his lady to the new pretender; every cavalier dances with the lady of the following couple, and it is only the cavalier of the last couple who finds himself definitively ousted if he has not the boldness to insist likewise upon his privilege of equality by demanding odbiianego, and placing himself at the head.

But as a privilege of this nature too often employed would throw the whole ball into complete anarchy, two means are established to obviate this abuse--namely, the leader makes use of his right to terminate the polonaise, in imitation of a king or marshal dissolving a Diet, or else, according to the predominating wish, all the cavaliers leave the ladies alone in the middle, who then choose new partners and continue the dance, excluding the disturbers and discontented, which recalls the confederations employed for the purpose of making the will of the majority prevail.

The polonaise breathes and paints the whole national character; the music of this dance, while admitting much art, combines something martial with a sweetness marked by the simplicity of manners of an agricultural people. Foreigners have distorted this character of the polonaises; the natives themselves preserve it less in our day in consequence of the frequent employment of motives drawn from modern operas. As to the dance itself, the polonaise has become in our day a kind of promenade which has little charm for the young, and is but a scene of etiquette for those of a riper age. Our fathers danced it with a marvellous ability and a gravity full of n.o.bleness; the dancer, making gliding steps with energy, but without skips, and caressing his moustache, varied his movements by the position of his sabre, of his cap, and of his tucked-up coat-sleeves, distinctive signs of a free man and warlike citizen. Whoever has seen a Pole of the old school dance the polonaise in the national costume will confess without hesitation that this dance is the triumph of a well- made man, with a n.o.ble and proud tournure, and with an air at once manly and gay.

After this Brodzinski goes on to describe the way in which the polonaise used to be danced. But instead of his description I shall quote a not less true and more picturesque one from the last canto of Mickiewicz's "Pan Tadeusz":--

It is time to dance the polonaise. The President comes forward; he lightly throws back the fausses manches of his overcoat, caresses his moustache, presents his hand to Sophia: and, by a respectful salute, invites her for the first couple.

Behind them range themselves the other dancers, two and two; the signal is given, the dance is begun, the President directs it.

His red boots move over the green sward, his belt sends forth flashes of light; he proceeds slowly, as if at random: but in every one of his steps, in every one of his movements, one can read the feelings and the thoughts of the dancer. He stops as if to question his partner; he leans towards her, wishes to speak to her in an undertone. The lady turns away, does not listen, blushes. He takes off his cap, and salutes her respectfully. The lady is not disinclined to look at him, but persists in being silent. He slackens his pace, seeks to read in her eyes, and smiles. Happy in her mute answer, he walks more quickly, looking proudly at his rivals; now he draws his cap with the heron-feathers forward, now he pushes it back. At last he puts it on one side and turns up his moustaches. He withdraws; all envy him, all follow his footsteps. He would like to disappear with his lady. Sometimes he stops, raises politely his hand, and begs the dancers to pa.s.s by him.

Sometimes he tries to slip dexterously away, changing the direction. He would like to deceive his companions; but the troublesome individuals follow him with a nimble step, entwine him with more and more tightened loops. He becomes angry; lays his right hand on his sword as if he wished to say: "Woe to the jealous!" He turns, pride on his countenance, a challenge in his air, and marches straight on the company, who give way at his approach, open to him a pa.s.sage, and soon, by a rapid evolution, are off again in pursuit of him.

On all sides one hears the exclamation: "Ah! this is perhaps the last. Look, young people, perhaps this is the last who will know how to conduct thus the polonaise!"

Among those of Chopin's compositions which he himself published are, exclusive of the "Introduction et Polonaise brillante" for piano and violoncello, Op. 3, eight polonaises--namely: "Grande Polonaise brillante" (in E flat major), "precedee d'un Andante spianato" (in G major), "pour le piano avec orchestre," Op. 22; "Deux Polonaises" (in C sharp minor and E flat minor), Op. 26; "Deux Polonaises" (in A major and C minor), Op. 40; "Polonaise" (F sharp minor), Op. 44; "Polonaise" (in A flat major), Op. 53; [FOOTNOTE: This polonaise is called the "eighth"

on the t.i.tle-page, which, of course, it is only by including the "Polonaise," Op. 3, for piano and violoncello.] and "Polonaise-Fantaisie" (in A flat major), Op. 61. The three early polonaises posthumously-published by Fontana as Op. 71 have already been discussed in Chapter VIII. Other posthumously-published polonaises--such as the Polonaise in G sharp minor, to be found in Mikuli's edition, and one in B flat minor of the year 1826, first published in the supplement of the journal "Echo Muzyczne"--need not be considered by us. [FOOTNOTE: Both polonaises are included in the Breitkopf and Hartel edition, where the one in G sharp minor bears the unlikely date 1822. The internal evidence speaks against this statement.]

Chopin's Polonaises Op. 26, 40, 53, and 61 are pre-eminently political, they are the composer's expression of his patriotic feelings. It is not difficult to recognise in them proud memories of past splendours, sad broodings over present humiliations, bright visions of a future resurrection. They are full of martial chivalry, of wailing dejection, of conspiracy and sedition, of glorious victories. The poetically-inferior Polonaise, Op. 22, on the other hand, while unquestionably Polish in spirit, is not political. Chopin played this work, which was probably composed, or at least sketched, in 1830, [FOOTNOTE: See Vol. I., Chapter xiii., pp. 201, 202.] and certainly published in July, 1836, for the first time in public at a Paris Conservatoire concert for the benefit of Habeneck on April 26, 1835; and this was the only occasion on which he played it with orchestral accompaniments. The introductory Andante (in G major, and 6/8 time), as the accompanying adjective indicates, is smooth and even. It makes one think of a lake on a calm, bright summer day. A boat glides over the pellucid, unruffled surface of the water, by-and-by halts at a shady spot by the sh.o.r.e, or by the side of some island (3/4 time), then continues its course (f time), and finally returns to its moorings (3/4). I can perceive no connection between the Andante and the following Polonaise (in E flat major) except the fact.i.tious one of a formal and forced transition, with which the orchestra enters on the scene of action (Allegro molto, 3/4). After sixteen bars of tutti, the pianoforte commences, unaccompanied, the polonaise. Barring the short and in no way attractive and remarkable test's, the orchestra plays a very subordinate and often silent role, being, indeed, hardly missed when the pianoforte part is played alone. The p.r.o.nounced bravura character of the piece would warrant the supposition that it was written expressly for the concert-room, even if the orchestral accompaniments were not there to prove the fact. A proud bearing, healthful vigour, and sprightly vivacity distinguish Chopin on this occasion. But notwithstanding the brave appearance, one misses his best qualities.

This polonaise ill.u.s.trates not only the most brilliant, but also the least lovable features of the Polish character--ostentatiousness and exaggerated rhetoric. In it Chopin is discovered posturing, dealing in phrases, and coquetting with sentimental affectations. In short, the composer comes before us as a man of the world, intent on pleasing, and sure of himself and success. The general airiness of the style is a particularly-noticeable feature of this piece of Chopin's virtuosic period.

The first bars of the first (in C sharp minor) of the two Polonaises, Op. 26 (published in July, 1836), fall upon one's ear like a decision of irresistible, inexorable fate. Indignation flares up for a moment, and then dies away, leaving behind sufficient strength only for a dull stupor (beginning of the second part), deprecation, melting tenderness (the E major in the second part, and the closing bars of the first and second parts), and declarations of devotion (meno mosso). While the first polonaise expresses weak timidity, sweet plaintiveness, and a looking for help from above, the second one (in E flat minor) speaks of physical force and self-reliance--it is full of conspiracy and sedition.

The ill-suppressed murmurs of discontent, which may be compared to the ominous growls of a volcano, grow in loudness and intensity, till at last, with a rush and a wild shriek, there follows an explosion. The thoughts flutter hither and thither, in anxious, helpless agitation.

Then martial sounds are heard--a secret gathering of a few, which soon grows in number and in boldness. Now they draw nearer; you distinguish the clatter of spurs and weapons, the clang of trumpets (D flat major).

Revenge and death are their watchwords, and with sullen determination they stare desolation in the face (the pedal F with the trebled part above). After an interesting transition the first section returns. In the meno mosso (B major) again a martial rhythm is heard; this time, however, the gathering is not one for revenge and death, but for battle and victory. From the far-off distance the winds carry the message that tells of freedom and glory. But what is this (the four bars before the tempo I.)? Alas! the awakening from a dream. Once more we hear those sombre sounds, the shriek and explosion, and so on. Of the two Polonaises, Op. 26, the second is the grander, and the definiteness which distinguishes it from the vague first shows itself also in the form.

A greater contrast than the two Polonaises, Op. 40 (published in November, 1840), can hardly be imagined. In the first (in A major) the mind of the composer is fixed on one elating thought--he sees the gallantly-advancing chivalry of Poland, determination in every look and gesture; he hears rising above the noise of stamping horses and the clash of arms their bold challenge scornfully hurled at the enemy. In the second (in C minor), on the other hand, the mind of the composer turns from one depressing or exasperating thought to another--he seems to review the different aspects of his country's unhappy state, its sullen discontent, fretful agitation, and uncertain hopes. The manly Polonaise in A major, one of the simplest (not easiest) compositions of Chopin, is the most popular of his polonaises. The second polonaise, however, although not so often heard, is the more interesting one, the emotional contents being more varied, and engaging more our sympathy.

Further, the pianoforte, however fully and effectively employed, cannot do justice to the martial music of the one, while its capacities are well suited for the rendering of the less material effect of the other.

In conclusion, let me point out in the C minor Polonaise the chafing agitation of the second part, the fitful play between light and shade of the trio-like part in A flat major, and the added wailing voice in the recurring first portion at the end of the piece. [FOOTNOTE: In connection with the A major Polonaise, see last paragraph on next page.]

If Schiller is right in saying "Ernst ist das Leben, heiter ist die Kunst," then what we find in the Polonaise (in F sharp minor), Op. 44 (published in November, 1841), cannot be art. We look in vain for beauty of melody and harmony; dreary unisons, querulous melodic phrases, hollow-eyed chords, hard progressions and modulations throughout every part of the polonaise proper. We receive a pathological rather than aesthetical impression. Nevertheless, no one can deny the grandeur and originality that s.h.i.+ne through this gloom. The intervening Doppio movimento, tempo di Mazurka, sends forth soft beneficent rays--reminiscences of long ago, vague and vanis.h.i.+ng, sweet and melancholy. But there is an end to this as to all such dreams. Those hara.s.sing, exasperating gloomy thoughts (Tempo di Polacca) return.

The sharp corners which we round so pleasantly and beautifully in our reconstructions of the past make themselves only too soon felt in the things of the present, and cruelly waken us to reality and its miseries.