Frederick Chopin, as a Man and Musician Part 8

18) and in A flat major (Op. 34, No. 1); and the D major portion of the Waltz in B minor, to the C major part of the Waltz in A minor (Op. 34, No. 2). This concludes our survey of the compositions of Chopin's first period.

In the legacy of a less rich man, the Funeral March in C minor, Op. 72b, composed (according to Fontana) in 1829, [FOOTNOTE: In Breitkopf and Hartel's Gesammtausgabe of Chopin's works will be found 1826 instead of 1829. This, however, is a misprint, not a correction.]would be a notable item; in that of Chopin it counts for little. Whatever the shortcomings of this composition are, the quiet simplicity and sweet melancholy which pervade it must touch the hearer. But the master stands in his own.

light; the famous Funeral March in B flat minor, from the Sonata in B flat minor, Op. 35, composed about ten years later, eclipses the more modest one in C minor. Beside the former, with its sublime force and fervency of pa.s.sion and imposing mastery of the resources of the art, the latter sinks into weak insignificance, indeed, appears a mere puerility. Let us note in the earlier work the antic.i.p.ation, (bar 12) of a motive of the chef-d'ceuvre (bar 7), and reminiscences of the Funeral March from Beethoven's. Sonata in A flat major, Op. 26.

CHAPTER IX.

CHOPIN'S FIRST LOVE.--FRIENDs.h.i.+P WITH t.i.tUS WOYCIECHOWSKI.--LIFE IN WARSAW AFTER RETURNING FROM VIENNA.--VISIT TO PRINCE RADZIWILL AT ANTONIN (OCTOBER, 1829).--NEW COMPOSITIONS.--GIVES TWO CONCERTS.

IN the preceding chapter I alluded to a new element that entered into the life of Chopin and influenced his artistic work. The following words, addressed by the young composer on October 3, 1829, to his friend t.i.tus Woyciechowski, will explain what kind of element it was and when it began to make itself felt:--

Do not imagine that [when I speak of the advantages and desirability of a stay in Vienua] I am thinking of Miss Blahetka, of whom I have written to you; I have--perhaps to my misfortune--already found my ideal, which I wors.h.i.+p faithfully and sincerely. Six months have elapsed, and I have not yet exchanged a syllable with her of whom I dream every night. Whilst my thoughts were with her I composed the Adagio of my Concerto, and early this morning she inspired the Waltz which I send along with this letter.

The influence of the tender pa.s.sion on the development of heart and mind cannot be rated too highly; it is in nine out of ten, if not in ninety-nine out of a hundred cases that which transforms the rhymer into a poet, the artificer into an artist. Chopin confesses his indebtedness to Constantia, Schumann his to Clara. But who could recount all the happy and hapless loves that have made poets? Countless is the number of those recorded in histories, biographies, and anecdotes; greater still the number of those buried in literature and art, the graves whence they rise again as flowers, matchless in beauty, unfading, and of sweetest perfume. Love is indeed the sun that by its warmth unfolds the mult.i.tudinous possibilities that lie hidden, often unsuspected, in the depths of the human soul. It was, then, according to Chopin, about April, 1829, that the mighty power began to stir within him; and the correspondence of the following two years shows us most strikingly how it takes hold of him with an ever-increasing firmness of grasp, and shakes the whole fabric of his delicate organisation with fearful violence. The object of Chopin's pa.s.sion, the being whom he wors.h.i.+pped and in whom he saw the realisation of his ideal of womanhood, was Constantia Gladkowska, a pupil at the Warsaw Conservatorium, of whom the reader will learn more in the course of this and the next chapter.

What reveals perhaps more distinctly than anything else Chopin's idiosyncrasy is his friends.h.i.+p for t.i.tus Woyciechowski. At any rate, it is no exaggeration to say that a knowledge of the nature of Chopin's two pa.s.sions, his love and his friends.h.i.+p--for this, too, was a pa.s.sion with him--gives into our hands a key that unlocks all the secrets of his character, of his life, and of their outcome--his artistic work. Nay more, with a full comprehension of, and insight into, these pa.s.sions we can foresee the sufferings and disappointments which he is fated to endure. Chopin's friends.h.i.+p was not a common one; it was truly and in the highest degree romantic. To the st.u.r.dy Briton and gay Frenchman it must be incomprehensible, and the German of four or five generations ago would have understood it better than his descendant of to-day is likely to do. If we look for examples of such friends.h.i.+p in literature, we find the type nowhere so perfect as in the works of Jean Paul Richter.

Indeed, there are many pa.s.sages in the letters of the Polish composer that read like extracts from the German author: they remind us of the sentimental and other transcendentalisms of Siebenkas, Leibgeber, Walt, Vult, and others. There was somethine in Chopin's warm, tender, effusive friends.h.i.+p that may be best characterised by the word "feminine."

Moreover, it was so exacting, or rather so covetous and jealous, that he had often occasion to chide, gently of course, the less caressing and enthusiastic t.i.tus. Let me give some instances.

December 27th, 1828.--If I scribble to-day again so much nonsense, I do so only in order to remind you that you are as much locked in my heart as ever, and that I am the same Fred I was. You do not like to be kissed; but to-day you must permit me to do so.

The question of kissing is frequently brought up.

September 12th, 1829.--I embrace you heartily, and kiss you on your lips if you will permit me.

October 20th, 1829.--I embrace you heartily--many a one writes this at the end ol his letter, but most people do so with little thought of what they are writing. But you may believe me, my dearest friend, that I do so sincerely, as truly as my name is Fred.

September 4th, 1830.--Time pa.s.ses, I must wash myself...do not kiss me now...but you would not kiss me in any case--even if I anointed myself with Byzantine oils--unless I forced you to do so by magnetic means.

Did we not know the writer and the person addressed, one might imagine that the two next extracts were written by a lover to his mistress or vice versa.

November 14th, 1829.--You, my dearest one, do not require my portrait. Believe me I am always with you, and shall not forget you till the end of my life.

May 15th, 1830.--You have no idea how much I love you! If I only could prove it to you! What would I not give if I could once again right heartily embrace you!

One day he expresses the wish that he and his friend should travel together. But this was too commonplace a sentiment not to be refined upon. Accordingly we read in a subsequent letter as follows:--

September 18th, 1830.--I should not like to travel with you, for I look forward with the greatest delight to the moment when we shall meet abroad and embrace each other; it will be worth more than a thousand monotonous days pa.s.sed with you on the journey.

From another pa.s.sage in one of these letters we get a good idea of the influence t.i.tus Woyciechowski exercised on his friend.

April 10, 1830.--Your advice is good. I have already refused some invitations for the evening, as if I had had a presentiment of it--for I think of you in almost everything I undertake. I do not know whether it comes from my having learned from you how to feel and perceive; but when I compose anything I should much like to know whether it pleases you; and I believe that my second Concerto (E minor) will have no value for me until you have heard it and approved of it.

I quoted the above pa.s.sage to show how Chopin felt that this friends.h.i.+p had been a kind of education to him, and how he valued his friend's opinion of his compositions--he is always anxious to make t.i.tus acquainted with anything new he may have composed. But in this pa.s.sage there is another very characteristic touch, and it may easily be overlooked, or at least may not receive the attention which it deserves--I allude to what Chopin says of having had "a presentiment."

In superst.i.tiousness he is a true child of his country, and all the enlightenment of France did not succeed in weaning him from his belief in dreams, presentiments, good and evil days, lucky and unlucky numbers, &c. This is another romantic feature in the character of the composer; a dangerous one in the pursuit of science, but advantageous rather than otherwise in the pursuit of art. Later on I shall have to return to this subject and relate some anecdotes, here I shall confine myself to quoting a short pa.s.sage from one of his early letters.

April 17, 1830.--If you are in Warsaw during the sitting of the Diet, you will come to my concert--I have something like a presentiment, and when I also dream it, I shall firmly believe it.

And now, after these introductory explanations, we will begin the chapter in right earnest by taking up the thread of the story where we left it. On his return to Warsaw Chopin was kept in a state of mental excitement by the criticisms on his Vienna performances that appeared in German papers. He does not weary of telling his friend about them, transcribing portions of them, and complaining of Polish papers which had misrepresented the drift and mistranslated the words of them. I do not wonder at the incorrectness of the Polish reports, for some of these criticisms are written in as uncouth, confused, and vague German as I ever had the misfortune to turn into English. One cannot help thinking, in reading what Chopin says with regard to these matters, that he showed far too much concern about the utterances of the press, and far too much sensitiveness under the infliction of even the slightest strictures.

That, however, the young composer was soon engaged on new works may be gathered from the pa.s.sage (Oct. 3, 1829), quoted at the commencement of this chapter, in which he speaks of the Adagio of a concerto, and a waltz, written whilst his thoughts were with his ideal. These compositions were the second movement of the F minor Concerto and the Waltz, Op. 70, No. 3. But more of this when we come to discuss the works which Chopin produced in the years 1829 and 1830.

One of the most important of the items which made up our friend's musical life at this time was the weekly musical meetings at the house of Kessler, the pianist-composer characterised in Chapter X. There all the best artists of Warsaw a.s.sembled, and the executants had to play prima vista whatever was placed before them. Of works performed at two of these Friday evening meetings, we find mentioned Spohr's Octet, described by Chopin as "a wonderful work"; Ries's Concerto in C sharp minor (played with quartet accompaniment), Hummel's Trio in E major, Prince Louis Ferdinand of Prussia's Quartet, and Beethoven's last Trio, which, Chopin says, he could not but admire for its magnificence and grandeur. To Brzezina's music-shop he paid a visit every day, without finding there, however, anything new, except a Concerto by Pixis, which made no great impression upon him. That Chopin was little satisfied with his situation may be gathered from the following remarks of his:--

You cannot imagine how sad Warsaw is to me; if I did not feel happy in my home circle I should not like to live here. Oh, how bitter it is to have no one with whom one can share joy and sorrow; oh, how dreadful to feel one's heart oppressed and to be unable to express one's complaints to any human soul! You know full well what I mean. How often do I tell my piano all that I should like to impart to you!

Of course the reader, who is in the secret, knows as well as t.i.tus knew, to whom the letter was addressed, that Chopin alludes to his love. Let us mark the words in the concluding sentence about the conversations with his piano. Chopin was continually occupied with plans for going abroad. In October, 1829, he writes that, wherever fate may lead him, he is determined not to spend the winter in Warsaw. Nevertheless, more than a year pa.s.sed away before he said farewell to his native city. He himself wished to go to Vienna, his father seems to have been in favour of Berlin. Prince Radziwill and his wife had kindly invited him to come to the Prussian capital, and offered him apartments in their palais. But Chopin was unable to see what advantages he could derive from a stay in Berlin. Moreover, unlike his father, he believed that this invitation was no more than "de belles paroles." By the way, these remarks of Chopin's furnish a strong proof that the Prince was not his patron and benefactor, as Liszt and others have maintained. While speaking of his fixed intention to go somewhere, and of the Prince's invitation, Chopin suddenly exclaims with truly Chopinesque indecision and capriciousness:--

But what is the good of it all? Seeing that I have begun so many new works, perhaps the wisest thing I can do is to stay here.

Leaving this question undecided, he undertook in October, 1829, a journey to Posen, starting on the 20th of that month. An invitation from Prince Radziwill was the inducement that led him to quit the paternal roof so soon after his return to it. His intention was to remain only a fortnight from home, and to visit his friends, the Wiesiolowskis, on the way to Antonin. Chopin enjoyed himself greatly at the latter place. The wife of the Prince, a courteous and kindly lady, who did not gauge a man's merits by his descent, found the way to the heart of the composer by wis.h.i.+ng to hear every day and to possess as soon as possible his Polonaise in F minor (Op. 71, No. 3). The young Princesses, her daughters, had charms besides those of their beauty. One of them played the piano with genuine musical feeling.

I have written [reports Chopin to his friend t.i.tus on November 14, 1829] during my visit at Prince Radziwill's an Alla Polacca with violoncello. It is nothing more than a brilliant salon piece, such as pleases ladies. I would like Princess Wanda to practise it, so that it might be said that I had taught her. She is only seventeen years old and beautiful; it would be delightful to have the privilege of placing her pretty fingers on the keys. But, joking apart, her soul is endowed with true musical feeling, and one does not need to tell her whether she is to play crescendo, piano, or pianissimo.

According to Liszt, Chopin fondly remembered his visits to Antonin, and told many an anecdote in connection with them.

The Princess Elisa, one of the daughters of Prince Radziwill, who died in the first bloom of her life, left him [Chopin]

the sweet image of an angel exiled for a short period here below.

A pa.s.sage in the letter of Chopin from which I last quoted throws also a little light on his relation to her.

You wished one of my portraits; if I could only have pilfered one of Princess Elisa's, I should certainly have sent it; for she has two portraits of me in her alb.u.m, and I am told that these drawings are very good likenesses.

The musical Prince would naturally be attracted by, and take an interest in, the rising genius. What the latter's opinion of his n.o.ble friend as a composer was, he tells t.i.tus Woyciechowski at some length. I may here say, once for all, that all the letters from which extracts are given in this chapter are addressed to this latter.

You know how the Prince loves music; he showed me his "Faust"

and I found in it some things that are really beautiful, indeed, in part even grandly conceived. In confidence, I should not at all have credited the Namiestnik [governor, lord-lieutenant] with such music! Among other things I was struck by a scene in which Mephistopheles allures Margaret to the window by his singing and guitar-playing, while at the same time a chorale is heard from the neighbouring church.

This is sure to produce a great effect at a performance. I mention this only that you may form an idea of his musical conceptions. He is a great admirer of Gluck. Theatrical music has, in his opinion, significance only in so far as it ill.u.s.trates the situation and emotion; the overture, therefore, has no close, and leads at once into the introduction. The orchestra is placed behind the stage and is always invisible, in order that the attention of the audience may not be diverted by external, such as the movements of the conductor and executants.

Chopin enjoyed himself so much at Antonin that if he had consulted only his pleasure he would have stayed till turned out by his host. But, although he was asked to prolong his visit, he left this "Paradise" and the "two Eves" after a sojourn of eight days. It was his occupations, more especially the F minor Concerto, "impatiently waiting for its Finale," that induced him to practise this self-denial. When Chopin had again taken possession of his study, he no doubt made it his first business, or at least one of the first, to compose the wanting movement, the Rondo, of his Concerto; as, however, there is an interval of more than four months in his extant letters, we hear no more about it till he plays it in public. Before his visit to Antonin (October 20, 1829) he writes to his friend that he has composed "a study in his own manner,"

and after the visit he mentions having composed "some studies."

Chopin seems to have occasionally played at the Ressource. The reader will remember the composer's intention of playing there with Fontana his Rondo for two pianos. On November 14, 1829, Chopin informs his friend t.i.tus that on the preceding Sat.u.r.day Kessler performed Hummel's E major Concerto at the Ressource, and that on the following Sat.u.r.day he himself would perhaps play there, and in the case of his doing so choose for his piece his Variations, Op. 2. Thus composing, playing, and all the time suffering from a certain loneliness--"You cannot imagine how everywhere in Warsaw I now find something wanting! I have n.o.body with whom I can speak, were it only two words, n.o.body whom I can really trust"--the day came when he gave his first concert in his native city. This great event took place on March 17, 1830, and the programme contained the following pieces:--

PART I

1. Overture to the Opera "Leszek Bialy," by Elsner.

2. Allegro from the Concerto in F minor, composed and played by F. Chopin.

3. Divertiss.e.m.e.nt for the French horn, composed and played by Gorner.

4. Adagio and Rondo from the Concerto in F minor, composed and played by Chopin.

PART II