But that his reason was in a sorry plight may be gathered from a letter dated September 4, 1830, which, moreover, is noteworthy, as in the confessions which it contains are discoverable the key- notes of the principal parts that make up the symphony of his character.
I tell you my ideas become madder and madder every day. I am still sitting here, and cannot make up my mind to fix definitively the day of my departure. I have always a presentiment that I shall leave Warsaw never to return to it; I am convinced that I shall say farewell to my home for ever. Oh, how sad it must be to die in any other place but where one was born! What a great trial it would be to me to see beside my death-bed an unconcerned physician and paid servant instead of the dear faces of my relatives! Believe me, Titus, I many a time should like to go to you and seek rest for my oppressed heart; but as this is not possible, I often hurry, without knowing why, into the street. But there also nothing allays or diverts my longing. I return home to… long again indescribably… I have not yet rehearsed my Concerto; in any case I shall leave all my treasures behind me by Michaelmas. In Vienna I shall be condemned to sigh and groan! This is the consequence of having no longer a free heart! You who know this indescribable power so well, explain to me the strange feeling which makes men always expect from the following day something better than the preceding day has bestowed upon them? “Do not be so foolish!” That is all the answer I can give myself; if you know a better, tell me, pray, pray….
After saying that his plan for the winter is to stay two months in Vienna and pass the rest of the season in Milan, “if it cannot be helped,” he makes some remarks of no particular interest, and then comes back to the old and ever new subject, the cud that humanity has been chewing from the time of Adam and Eve, and will have to chew till the extinction of the race, whether pessimism or optimism be the favoured philosophy.
Since my return I have not yet visited her, and must tell you openly that I often attribute the cause of my distress to her; it seems to me as if people shared this view, and that affords me a certain satisfaction. My father smiles at it; but if he knew all, he would perhaps weep. Indeed, I am seemingly quite contented, whilst my heart….
This is one of the occasions, which occur so frequently in Chopin’s letters, where he breaks suddenly off in the course of his emotional outpourings, and subsides into effective silence. On such occasions one would like to see him go to the piano and hear him finish the sentence there. “All I can write to you now is indeed stupid stuff; only the thought of leaving Warsaw…” Another musical opportunity! Where words fail, there music begins.
Only wait, the day will come when you will not fare any better. Man is not always happy; sometimes only a few moments of happiness are granted to him in this life; therefore why should we shun this rapture which cannot last long?
After this the darkness of sadness shades gradually into brighter hues:–
As on the one hand I consider intercourse with the outer world a sacred duty, so, on the other hand, I regard it as a devilish invention, and it would be better if men… but I have said enough!…
The reader knows already the rest of the letter; it is the passage in which Chopin’s love of fun gets the better of his melancholy, his joyous spirits of his sad heart, and where he warns his friend, as it were with a bright twinkle in his tearful eyes and a smile on his face, not to kiss him at that moment, as he must wash himself. This joking about his friend’s dislike to osculation is not without an undercurrent of seriousness; indeed, it is virtually a reproach, but a reproach cast in the most delicate form and attired in feminine coquetry.
On September 18, 1830, Chopin is still in Warsaw. Why he is still there he does not know; but he feels unspeakably happy where he is, and his parents make no objections to this procrastination.
To-morrow I shall hold a rehearsal [of the E minor Concerto] with quartet, and then drive to–whither? Indeed, I do not feel inclined to go anywhere; but I shall on no account stay in Warsaw. If you have, perhaps, a suspicion that something dear to me retains me here, you are mistaken, like many others. I assure you I should be ready to make any sacrifice if only my own self were concerned, and I–although I am in love–had yet to keep my unfortunate feelings concealed in my bosom for some years to come.
Is it possible to imagine anything more inconsistent and self- delusive than these ravings of our friend? Farther on in this very lengthy epistle we come first of all once more to the pending question.
I was to start with the Cracow post for Vienna as early as this day week, but finally I have given up that idea–you will understand why. You may be quite sure that I am no egoist, but, as I love you, am also willing to sacrifice anything for the sake of others. For the sake of others, I say, but not for the sake of outward appearance. For public opinion, which is in high esteem among us, but which, you may be sure, does not influence me, goes even so far as to call it a misfortune if one wears a torn coat, a shabby hat, and the like. If I should fail in my career, and have some day nothing to eat, you must appoint me as clerk at Poturzyn. There, in a room above the stables, I shall be as happy as I was last summer in your castle. As long as I am in vigour and health I shall willingly continue to work all my life. I have often considered the question, whether I am really lazy or whether I could work more without overexerting my strength. Joking apart, I have convinced myself that I am not the worst idler, and that I am able to work twice as much if necessity demands it.
It often happens that he who wishes to better the opinion which others have formed of him makes it worse; but, I think, as regards you, I can make it neither better nor worse, even if I occasionally praise myself. The sympathy which I have for you forces your heart to have the same sympathetic feelings for me. You are not master of your thoughts, but I command mine; when I have once taken one into my head I do not let it be taken from me, just as the trees do not let themselves be robbed of their green garment which gives them the charm of youth. With me it will be green in winter also, that is, only in the head, but–God help me–in the heart the greatest ardour, therefore, no one need wonder that the vegetation is so luxuriant. Enough…yours for ever…Only now I notice that I have talked too much nonsense. You see yesterday’s impression [he refers to the name-day festivity already mentioned] has not yet quite passed away, I am still sleepy and tired, because I danced too many mazurkas.
Around your letters I twine a little ribbon which my ideal once gave me. I am glad the two lifeless things, the letters and the ribbon, agree so well together, probably because, although they do not know each other, they yet feel that they both come from a hand dear to me.
Even the most courteous of mortals, unless he be wholly destitute of veracity, will hesitate to deny the truth of Chopin’s confession that he has been talking nonsense. But apart from the vagueness and illogicalness of several of the statements, the foregoing effusion is curious as a whole: the thoughts turn up one does not know where, how, or why–their course is quite unaccountable; and if they passed through his mind in an unbroken connection, he fails to give the slightest indication of it. Still, although Chopin’s philosophy of life, poetical rhapsodies, and meditations on love and friendship, may not afford us much light, edification, or pleasure, they help us substantially to realise their author’s character, and particularly his temporary mood.
Great as was the magnetic power of the ideal over Chopin, great as was the irresolution of the latter, the long delay of his departure must not be attributed solely to these causes. The disturbed state of Europe after the outbreak of the July revolution in Paris had also something to do with this interminable procrastination. Passports could only be had for Prussia and Austria, and even for these countries not by everyone. In France the excitement had not yet subsided, in Italy it was nearing the boiling point. Nor were Vienna, whither Chopin intended to go first, and the Tyrol, through which he would have to pass on his way to Milan, altogether quiet. Chopin’s father himself, therefore, wished the journey to be postponed for a short time. Nevertheless, our friend writes on September 22 that he will start in a few weeks: his first goal is Vienna, where, he says, they still remember him, and where he will forge the iron as long as it is hot. But now to the climax of Chopin’s amorous fever.
I regret very much [he writes on September 22, 1830] that I must write to you when, as to-day, I am unable to collect my thoughts. When I reflect on myself I get into a sad mood, and am in danger of losing my reason. When I am lost in my thoughts–which is often the case with me–horses could trample upon me, and yesterday this nearly happened in the street without my noticing it. Struck in the church by a glance of my ideal, I ran in a moment of pleasant stupor into the street, and it was not till about a quarter of an hour afterwards that I regained my full consciousness; I am sometimes so mad that I am frightened at myself.
The melancholy cast of the letters cited in this chapter must not lead us to think that despondence was the invariable state of Chopin’s mind. It is more probable that when his heart was saddest he was most disposed to write to his friend his confessions and complaints, as by this means he was enabled to relieve himself to some extent of the burden that oppressed him. At any rate, the agitations of love did not prevent him from cultivating his art, for even at the time when he felt the tyranny of the passion most potently, he mentions having composed “some insignificant pieces,” as he modestly expresses himself, meaning, no doubt, “short pieces.” Meanwhile Chopin had also finished a composition which by no means belongs to the category of “insignificant pieces”–namely, the Concerto in E minor, the completion of which he announces on August 21, 1830. A critical examination of this and other works will be found in a special chapter, at present I shall speak only of its performance and the circumstances connected with it.
On September 18, 1830, Chopin writes that a few days previously he rehearsed the Concerto with quartet accompaniment, but that it does not quite satisfy him:–
Those who were present at the rehearsal say that the Finale is the most successful movement (probably because it is easily intelligible). How it will sound with the orchestra I cannot tell you till next Wednesday, when I shall play the Concerto for the first time in this guise. To-morrow I shall have another rehearsal with quartet.
To a rehearsal with full orchestra, except trumpets and drums (on September 22, 1830), he invited Kurpinski, Soliva, and the select musical world of Warsaw, in whose judgment, however, he professes to have little confidence. Still, he is curious to know how–
the Capellmeister [Kurpinski] will look at the Italian [Soliva], Czapek at Kessler, Filipeus at Dobrzynski, Molsdorf at Kaczynski, Ledoux at Count Sohyk, and Mr. P. at us all. It has never before occurred that all these gentlemen have been assembled in one place; I alone shall succeed in this, and I do it only out of curiosity!
The musicians in this company, among whom are Poles, Czechs, Germans, Italians, &c., give us a good idea of the mixed character of the musical world of Warsaw, which was not unlike what the musical world of London is still in our day. From the above remark we see that Chopin had neither much respect nor affection for his fellow-musicians; indeed, there is not the slightest sign in his letters that an intimacy existed between him and any one of them. The rehearsals of the Concerto keep Chopin pretty busy, and his head is full of the composition. In the same letter from which I quoted last we find the following passage:–
I heartily beg your pardon for my hasty letter of to-day; I have still to run quickly to Elsner in order to make sure that he will come to the rehearsal. Then I have also to provide the desks and mutes, which I had yesterday totally forgotten; without the latter the Adagio would be wholly insignificant, and its success doubtful. The Rondo is effective, the first Allegro vigorous. Cursed self-love! And if it is anyone’s fault that I am conceited it is yours, egoist; he who associates with such a person becomes like him. But in one point I am as yet unlike you. I can never make up my mind quickly. But I have the firm will and the secret intention actually to depart on Saturday week, without pardon, and in spite of lamentations, tears, and complaints. My music in the trunk, a certain ribbon on my heart, my soul full of anxiety: thus into the post-chaise. To be sure, everywhere in the town tears will flow in streams: from Copernicus to the fountain, from the bank to the column of King Sigismund; but I shall be cold and unfeeling as a stone, and laugh at all those who wish to take such a heart-rending farewell of me!
After the rehearsal of the Concerto with orchestra, which evidently made a good impression upon the much-despised musical world of Warsaw, Chopin resolved to give, or rather his friends resolved for him that he should give, a concert in the theatre on October 11, 1830. Although he is anxious to know what effect his Concerto will produce on the public, he seems little disposed to play at any concert, which may be easily understood if we remember the state of mind he is in.
You can hardly imagine [he writes] how everything here makes me impatient, and bores me, in consequence of the commotion within me against which I cannot struggle.
The third and last of his Warsaw concerts was to be of a more perfect type than the two preceding ones; it was to be one “without those unlucky clarinet and bassoon solos,” at that time still so much in vogue. To make up for this quantitative loss Chopin requested the Misses Gladkowska and Wolkow to sing some arias, and obtained, not without much trouble, the requisite permission for them from their master, Soliva, and the Minister of Public Instruction, Mostowski. It was necessary to ask the latter’s permission, because the two young ladies were educated as singers at the expense of the State.
The programme of the concert was as follows:–
PART I
1. Symphony by Gorner.
2. First Allegro from the Concerto in E minor, composed and played by Chopin.
3. Aria with Chorus by Soliva, sung by Miss Wolkow.
4. Adagio and Rondo from the Concerto in E minor, composed and played by Chopin.
PART II
1. Overture to “Guillaume Tell” by Rossini.
2. Cavatina from “La Donna del lago” by Rossini, sung by Miss Gladkowska.
3. Fantasia on Polish airs, composed and played by Chopin.
The success of the concert made Chopin forget his sorrows. There is not one complaint in the letter in which he gives an account of it; in fact, he seems to have been enjoying real halcyon days. He had a full house, but played with as little nervousness as if he had been playing at home. The first Allegro of the Concerto went very smoothly, and the audience rewarded him with thundering applause. Of the reception of the Adagio and Rondo we learn nothing except that in the pause between the first and second parts the connoisseurs and amateurs came on the stage, and complimented him in the most flattering terms on his playing. The great success, however, of the evening was his performance of the Fantasia on Polish airs. “This time I understood myself, the orchestra understood me, and the audience understood us.” This is quite in the bulletin style of conquerors; it has a ring of “veni, vidi, vici” about it. Especially the mazurka at the end of the piece produced a great effect, and Chopin was called back so enthusiastically that he was obliged to bow his acknowledgments four times. Respecting the bowing he says: “I believe I did it yesterday with a certain grace, for Brandt had taught me how to do it properly.” In short, the concert-giver was in the best of spirits, one is every moment expecting him to exclaim: “Seid umschlungen Millionen, diesen Kuss der ganzen Welt.” He is pleased with himself and Streicher’s piano on which he had played; pleased with Soliva, who kept both soloist and orchestra splendidly in order; pleased with the impression the execution of the overture made; pleased with the blue-robed, fay-like Miss Wolkow; pleased most of all with Miss Gladkowska, who “wore a white dress and roses in her hair, and was charmingly beautiful.” He tells his friend that:
she never sang so well as on that evening (except the aria in “Agnese”). You know “O! quante lagrime per te versai.” The tutto detesto down to the lower b came out so magnificently that Zielinski declared this b alone was worth a thousand ducats.
In Vienna the score and parts of the Krakowiak had been found to be full of mistakes, it was the same with the Concerto in Warsaw. Chopin himself says that if Soliva had not taken the score with him in order to correct it, he (Chopin) did not know what might have become of the Concerto on the evening of the concert. Carl Mikuli, who, as well as his fellow-pupil Tellefsen, copied many of Chopin’s MSS., says that they were full of slips of the pen, such as wrong notes and signatures, omissions of accidentals, dots, and intervals of chords, and incorrect markings of slurs and 8va’s.
Although Chopin wrote on October 5, 1830, that eight days after the concert he would certainly be no longer in Warsaw, that his trunk was bought, his whole outfit ready, the scores corrected, the pocket-handkerchiefs hemmed, the new trousers and the new dress-coat tried on, &c., that, in fact, nothing remained to be done but the worst of all, the leave-taking, yet it was not till the 1st of November, 1830, that he actually did take his departure. Elsner and a number of friends accompanied him to Wola, the first village beyond Warsaw. There the pupils of the Conservatorium awaited them, and sang a cantata composed by Elsner for the occasion. After this the friends once more sat down together to a banquet which had been prepared for them. In the course of the repast a silver goblet filled with Polish earth was presented to Chopin in the name of all.
May you never forget your country [said the speaker, according to Karasowski], wherever you may wander or sojourn, may you never cease to love it with a warm, faithful heart! Remember Poland, remember your friends, who call you with pride their fellow-countryman, who expect great things of you, whose wishes and prayers accompany you!
How fully Chopin realised their wishes and expectations the sequel will show: how much such loving words must have affected him the reader of this chapter can have no difficulty in understanding. But now came pitilessly the dread hour of parting. A last farewell is taken, the carriage rolls away, and the traveller has left behind him all that is dearest to him– parents, sisters, sweetheart, and friends. “I have always a presentiment that I am leaving Warsaw never to return to it; I am convinced that I shall say an eternal farewell to my native country.” Thus, indeed, destiny willed it. Chopin was never to tread again the beloved soil of Poland, never to set eyes again on Warsaw and its Conservatorium, the column of King Sigismund opposite, the neighbouring church of the Bernardines (Constantia’s place of worship), and all those things and places associated in his mind with the sweet memories of his youth and early manhood.
CHAPTER XI.
CHOPIN IS JOINED AT KALISZ BY TITUS WOYCIECHOWSKI.–FOUR DAYS AT BRESLAU: HIS VISITS TO THE THEATRE; CAPELLMEISTER SCHNABEL; PLAYS AT A CONCERT; ADOLF HESSE.–SECOND VISIT TO DRESDEN: MUSIC AT THEATRE AND CHURCH; GERMAN AND POLISH SOCIETY; MORLACCHI, SIGNORA PALAZZESI, RASTRELLI, ROLLA, DOTZAUER, KUMMER, KLENGEL, AND OTHER MUSICIANS; A CONCERT TALKED ABOUT BUT NOT GIVEN; SIGHT-SEEING.– AFTER A WEEK, BY PRAGUE TO VIENNA.–ARRIVES AT VIENNA TOWARDS THE END OF NOVEMBER, 1830.
Thanks to Chopin’s extant letters to his family and friends it is not difficult to give, with the help of some knowledge of the contemporary artists and of the state of music in the towns he visited, a pretty clear account of his experiences and mode of life during the nine or ten months which intervene between his departure from Warsaw and his arrival in Paris. Without the letters this would have been impossible, and for two reasons: one of them is that, although already a notable man, Chopin was not yet a noted man; and the other, that those with whom he then associated have, like himself, passed away from among us.
Chopin, who, as the reader will remember, left Warsaw on November 1, 1830, was joined at Kalisz by Titus Woyciechowski. Thence the two friends travelled together to Vienna. They made their first halt at Breslau, which they reached on November 6. No sooner had Chopin put up at the hotel Zur goldenen Gans, changed his dress, and taken some refreshments, than he rushed off to the theatre. During his stay in Breslau he was present at three performances– at Raimund’s fantastical comedy “Der Alpenkonig und der Menschenfeind”, Auber’s “Maurer und Schlosser (Le Macon),” and Winter’s “Das unterbrochene Opferfest”, a now superannuated but then still popular opera. The players succeeded better than the singers in gaining the approval of their fastidious auditor, which indeed might have been expected. As both Chopin and Woyciechowski were provided with letters of introduction, and the gentlemen to whom they were addressed did all in their power to make their visitors’ sojourn as pleasant as possible, the friends spent in Breslau four happy days. It is characteristic of the German musical life in those days that in the Ressource, a society of that town, they had three weekly concerts at which the greater number of the performers were amateurs. Capellmeister Schnabel, an old acquaintance of Chopin’s, had invited the latter to come to a morning rehearsal. When Chopin entered, an amateur, a young barrister, was going to rehearse Moscheles’ E flat major Concerto. Schnabel, on seeing the newcomer, asked him to try the piano. Chopin sat down and played some variations which astonished and delighted the Capellmeister, who had not heard him for four years, so much that he overwhelmed him with expressions of admiration. As the poor amateur began to feel nervous, Chopin was pressed on all sides to take that gentleman’s place in the evening. Although he had not practised for some weeks he consented, drove to the hotel, fetched the requisite music, rehearsed, and in the evening performed the Romanza and Rondo of his E minor Concerto and an improvisation on a theme from Auber’s “La Muette” (“Masaniello”). At the rehearsal the “Germans” admired his playing; some of them he heard whispering “What a light touch he has!” but not a word was said about the composition. The amateurs did not know whether it was good or bad. Titus Woyciechowski heard one of them say “No doubt he can play, but he can’t compose.” There was, however, one gentleman who praised the novelty of the form, and the composer naively declares that this was the person who understood him best. Speaking of the professional musicians, Chopin remarks that, with the exception of Schnabel, “the Germans” were at a loss what to think of him. The Polish peasants use the word “German” as an invective, believe that the devil speaks German and dresses in the German fashion, and refuse to take medicine because they hold it to be an invention of the Germans and, consequently, unfit for Christians. Although Chopin does not go so far, he is by no means free from this national antipathy. Let his susceptibility be ruffled by Germans, and you may be sure he will remember their nationality. Besides old Schnabel there was among the persons whose acquaintance Chopin made at Breslau only one other who interests us, and interests us more than that respectable composer of church music; and this one was the organist and composer Adolph Frederick Hesse, then a young man of Chopin’s age. Before long the latter became better acquainted with him. In his account of his stay and playing in the Silesian capital, he says of him only that “the second local connoisseur, Hesse, who has travelled through the whole of Germany, paid me also compliments.”
Chopin continued his journey on November 10, and on November 12 had already plunged into Dresden life. Two features of this, in some respects quite unique, life cannot but have been particularly attractive to our traveller–namely, its Polish colony and the Italian opera. The former owed its origin to the connection of the house of Saxony with the crown of Poland; and the latter, which had been patronised by the Electors and Kings for hundreds of years, was not disbanded till 1832. In 1817, it is true, Weber, who had received a call for that purpose, founded a German opera at Dresden, but the Italian opera retained the favour of the Court and of a great part of the public, in fact, was the spoiled child that looked down upon her younger sister, poor Cinderella. Even a Weber had to fight hard to keep his own, indeed, sometimes failed to do so, in the rivalry with the ornatissimo Signore Cavaliere Morlacchi, primo maestro della capella Reale.
Chopin’s first visit was to Miss Pechwell, through whom he got admission to a soiree at the house of Dr. Kreyssig, where she was going to play and the prima donna of the Italian opera to sing. Having carefully dressed, Chopin made his way to Dr. Kreyssig’s in a sedan-chair. Being unaccustomed to this kind of conveyance he had a desire to kick out the bottom of the “curious but comfortable box,” a temptation which he, however–to his honour be it recorded–resisted. On entering the salon he found there a great number of ladies sitting round eight large tables:–
No sparkling of diamonds met my eye, but the more modest glitter of a host of steel knitting-needles, which moved ceaselessly in the busy hands of these ladies. The number of ladies and knitting-needles was so large that if the ladies had planned an attack upon the gentlemen that were present, the latter would have been in a sorry plight. Nothing would have been left to them but to make use of their spectacles as weapons, for there was as little lack of eye-glasses as of bald heads.
The clicking of knitting-needles and the rattling of teacups were suddenly interrupted by the overture to the opera “Fra Diavolo,” which was being played in an adjoining room. After the overture Signora Palazzesi sang “with a bell-like, magnificent voice, and great bravura.” Chopin asked to be introduced to her. He made likewise the acquaintance of the old composer and conductor Vincent Rastrelli, who introduced him to a brother of the celebrated tenor Rubini.
At the Roman Catholic church, the Court Church, Chopin met Morlacchi, and heard a mass by that excellent artist. The Neapolitan sopranists Sassaroli and Tarquinio sang, and the “incomparable Rolla” played the solo violin. On another occasion he heard a clever but dry mass by Baron von Miltitz, which was performed under the direction of Morlacchi, and in which the celebrated violoncello virtuosos Dotzauer and Kummer played their solos beautifully, and the voices of Sassaroli, Muschetti, Babnigg, and Zezi were heard to advantage. The theatre was, as usual, assiduously frequented by Chopin. After the above- mentioned soiree he hastened to hear at least the last act of “Die Stumme von Portici” (“Masaniello”). Of the performance of Rossini’s “Tancredi,” which he witnessed on another evening, he praised only the wonderful violin playing of Rolla and the singing of Mdlle. Hahnel, a lady from the Vienna Court Theatre. Rossini’s “La Donna del lago,” in Italian, is mentioned among the operas about to be performed. What a strange anomaly, that in the year 1830 a state of matters such as is indicated by these names and facts could still obtain in Dresden, one of the capitals of musical Germany! It is emphatically a curiosity of history.
Chopin, who came to Rolla with a letter of introduction from Soliva, was received by the Italian violinist with great friendliness. Indeed, kindness was showered upon him from all sides. Rubini promised him a letter of introduction to his brother in Milan, Rolla one to the director of the opera there, and Princess Augusta, the daughter of the late king, and Princess Maximiliana, the sister-in-law of the reigning king, provided him with letters for the Queen of Naples, the Duchess of Lucca, the Vice-Queen of Milan, and Princess Ulasino in Rome. He had met the princesses and played to them at the house of the Countess Dobrzycka, Oberhofmeisterin of the Princess Augusta, daughter of the late king, Frederick Augustus.
The name of the Oberhofmeisterin brings us to the Polish society of Dresden, into which Chopin seems to have found his way at once. Already two days after his arrival he writes of a party of Poles with whom he had dined. At the house of Mdme. Pruszak he made the acquaintance of no less a person than General Kniaziewicz, who took part in the defence of Warsaw, commanded the left wing in the battle of Maciejowice (1794), and joined Napoleon’s Polish legion in 1796. Chopin wrote home: “I have pleased him very much; he said that no pianist had made so agreeable an impression on him.”
To judge from the tone of Chopin’s letters, none of all the people he came in contact with gained his affection in so high a degree as did Klengel, whom he calls “my dear Klengel,” and of whom he says that he esteems him very highly, and loves him as if he had known him from his earliest youth. “I like to converse with him, for from him something is to be learned.” The great contrapuntist seems to have reciprocated this affection, at any rate he took a great interest in his young friend, wished to see the scores of his concertos, went without Chopin’s knowledge to Morlacchi and to the intendant of the theatre to try if a concert could not be arranged within four days, told him that his playing reminded him of Field’s, that his touch was of a peculiar kind, and that he had not expected to find him such a virtuoso. Although Chopin replied, when Klengel advised him to give a concert, that his stay in Dresden was too short to admit of his doing so, and thought himself that he could earn there neither much fame nor much money, he nevertheless was not a little pleased that this excellent artist had taken some trouble in attempting to smooth the way for a concert, and to hear from him that this had been done not for Chopin’s but for Dresden’s sake; our friend, be it noted, was by no means callous to flattery. Klengel took him also to a soiree at the house of Madame Niesiolawska, a Polish lady, and at supper proposed his health, which was drunk in champagne.
There is a passage in one of Chopin’s letters which I must quote; it tells us something of his artistic taste outside his own art:- –
The Green Vault I saw last time I was here, and once is enough for me; but I revisited with great interest the picture gallery. If I lived here I would go to it every week, for there are pictures in it at the sight of which I imagine I hear music.
Thus our friend spent a week right pleasantly and not altogether unprofitably in the Saxon Athens, and spent it so busily that what with visits, dinners, soirees, operas, and other amusements, he leaving his hotel early in the morning and returning late at night, it passed away he did not know how.
Chopin, who made also a short stay in Prague–of which visit, however, we have no account–arrived in Vienna in the latter part of November, 1830. His intention was to give some concerts, and to proceed in a month or two to Italy. How the execution of this plan was prevented by various circumstances we shall see presently. Chopin flattered himself with the belief that managers, publishers, artists, and the public in general were impatiently awaiting his coming, and ready to receive him with open arms. This, however, was an illusion. He overrated his success. His playing at the two “Academies” in the dead season must have remained unnoticed by many, and was probably forgotten by not a few who did notice it. To talk, therefore, about forging the iron while it was hot proved a misconception of the actual state of matters. It is true his playing and compositions had made a certain impression, especially upon some of the musicians who had heard him. But artists, even when free from hostile jealousy, are far too much occupied with their own interests to be helpful in pushing on their younger brethren. As to publishers and managers, they care only for marketable articles, and until an article has got a reputation its marketable value is very small. Nine hundred and ninety-nine out of a thousand judge by names and not by intrinsic worth. Suppose a hitherto unknown statue of Phidias, a painting of Raphael, a symphony of Beethoven, were discovered and introduced to the public as the works of unknown living artists, do you think they would receive the same universal admiration as the known works of the immortal masters? Not at all! By a very large majority of the connoisseurs and pretended connoisseurs they would be criticised, depreciated, or ignored. Let, however, the real names of the authors become known, and the whole world will forthwith be thrown into ecstasy, and see in them even more beauties than they really possess. Well, the first business of an artist, then, is to make himself a reputation, and a reputation is not made by one or two successes. A first success, be it ever so great, and achieved under ever so favourable circumstances, is at best but the thin end of the wedge which has been got in, but which has to be driven home with much vigour and perseverance before the work is done. “Art is a fight, not a pleasure-trip,” said the French painter Millet, one who had learnt the lesson in the severe school of experience. Unfortunately for Chopin, he had neither the stuff nor the stomach for fighting. He shrank back at the slightest touch like a sensitive plant. He could only thrive in the sunshine of prosperity and protected against all those inimical influences and obstacles that cause hardier natures to put forth their strength, and indeed are necessary for the full unfolding of all their capabilities. Chopin and Titus Woyciechowski put up at the hotel Stadt London, but, finding the charges too high, they decamped and stayed at the hotel Goldenes Lamm till the lodgings which they had taken were evacuated by the English admiral then in possession of them. From Chopin’s first letter after his arrival in the Austrian capital his parents had the satisfaction of learning that their son was in excellent spirits, and that his appetite left nothing to be desired, especially when sharpened by good news from home. In his perambulations he took particular note of the charming Viennese girls, and at the Wilde Mann, where he was in the habit of dining, he enjoyed immensely a dish of Strudeln. The only drawback to the blissfulness of his then existence was a swollen nose, caused by the change of air, a circumstance which interfered somewhat with his visiting operations. He was generally well received by those on whom he called with letters of introduction. In one of the two exceptional cases he let it be understood that, having a letter of introduction from the Grand Duke Constantine to the Russian Ambassador, he was not so insignificant a person as to require the patronage of a banker; and in the other case he comforted himself with the thought that a time would come when things would be changed.
In the letter above alluded to (December 1, 1830) Chopin speaks of one of the projected concerts as if it were to take place shortly; that is to say, he is confident that, such being his pleasure, this will be the natural course of events. His Warsaw acquaintance Orlowski, the perpetrator of mazurkas on his concerto themes, was accompanying the violinist Lafont on a concert-tour. Chopin does not envy him the honour:–
Will the time come [he writes] when Lafont will accompany me? Does this question sound arrogant? But, God willing, this may come to pass some day.
Wurfel has conversations with him about the arrangements for a concert, and Graff, the pianoforte-maker, advises him to give it in the Landstandische Saal, the finest and most convenient hall in Vienna. Chopin even asks his people which of his Concertos he should play, the one in F or the one in E minor. But disappointments were not long in coming. One of his first visits was to Haslinger, the publisher of the Variations on “La ci darem la mano,” to whom he had sent also a sonata and another set of variations. Haslinger received him very kindly, but would print neither the one nor the other work. No wonder the composer thought the cunning publisher wished to induce him in a polite and artful way to let him have his compositions gratis. For had not Wurfel told him that his Concerto in F minor was better than Hummel’s in A flat, which Haslinger had just published, and had not Klengel at Dresden been surprised to hear that he had received no payment for the Variations? But Chopin will make Haslinger repent of it. “Perhaps he thinks that if he treats my compositions somewhat en bagatelle, I shall be glad if only he prints them; but henceforth nothing will be got from me gratis; my motto will be ‘Pay, animal!'” But evidently the animal wouldn’t pay, and in fact did not print the compositions till after Chopin’s death. So, unless the firm of Haslinger mentioned that he will call on him as soon as he has a room wherein he can receive a visit in return, the name of Lachner does not reappear in the correspondence.
In the management of the Karnthnerthor Theatre, Louis Duport had succeeded, on September 1, 1830, Count Gallenberg, whom severe losses obliged to relinquish a ten years’ contract after the lapse of less than two years. Chopin was introduced to the new manager by Hummel.
He (Duport) [writes Chopin on December 21 to his parents] was formerly a celebrated dancer, and is said to be very niggardly; however, he received me in an extremely polite manner, for perhaps he thinks I shall play for him gratis. He is mistaken there! We entered into a kind of negotiation, but nothing definite was settled. If Mr. Duport offers me too little, I shall give my concert in the large Redoutensaal.
But the niggardly manager offered him nothing at all, and Chopin did not give a concert either in the Redoutensaal or elsewhere, at least not for a long time. Chopin’s last-quoted remark is difficult to reconcile with what he tells his friend Matuszyriski four days later:” I have no longer any thought of giving a concert.” In a letter to Elsner, dated January 26, 1831, he writes:–
I meet now with obstacles on all sides. Not only does a series of the most miserable pianoforte concerts totally ruin all true music and make the public suspicious, but the occurrences in Poland have also acted unfavourably upon my position. Nevertheless, I intend to have during the carnival a performance of my first Concerto, which has met with Wurfel’s full approval.
It would, however, be a great mistake to ascribe the failure of Chopin’s projects solely to the adverse circumstances pointed out by him. The chief causes lay in himself. They were his want of energy and of decision, constitutional defects which were of course intensified by the disappointment of finding indifference and obstruction where he expected enthusiasm and furtherance, and by the outbreak of the revolution in Poland (November 30, 1830), which made him tremble for the safety of his beloved ones and the future of his country. In the letter from which I have last quoted Chopin, after remarking that he had postponed writing till he should be able to report some definite arrangement, proceeds to say:–
But from the day that I heard of the dreadful occurrences in our fatherland, my thoughts have been occupied only with anxiety and longing for it and my dear ones. Malfatti gives himself useless trouble in trying to convince me that the artist is, or ought to be, a cosmopolitan. And, supposing this were really the case, as an artist I am still in the cradle, but as a Pole already a man. I hope, therefore, that you will not be offended with me for not yet having seriously thought of making arrangements for a concert.
What affected Chopin most and made him feel lonely was the departure of his friend Woyciechowski, who on the first news of the insurrection returned to Poland and joined the insurgents. Chopin wished to do the same, but his parents advised him to stay where he was, telling him that he was not strong enough to bear the fatigues and hardships of a soldier’s life. Nevertheless, when Woyciechowski was gone an irresistible home-sickness seized him, and, taking post-horses, he tried to overtake his friend and go with him. But after following him for some stages without making up to him, his resolution broke down, and he returned to Vienna. Chopin’s characteristic irresolution shows itself again at this time very strikingly, indeed, his letters are full of expressions indicating and even confessing it. On December 21, 1830, he writes to his parents:–
I do not know whether I ought to go soon to Italy or wait a little longer? Please, dearest papa, let me know your and the best mother’s will in this matter.
And four days afterwards he writes to Matuszynski:–
You know, of course, that 1 have letters from the Royal Court of Saxony to the Vice-Queen in Milan, but what shall I do? My parents leave me to choose; I wish they would give me instructions. Shall I go to Paris? My acquaintances here advise me to wait a little longer. Shall I return home? Shall I stay here? Shall I kill myself? Shall I not write to you any more?
Chopin’s dearest wish was to be at home again. “How I should like to be in Warsaw!” he writes. But the fulfilment of this wish was out of the question, being against the desire of his parents, of whom especially the mother seems to have been glad that he did not execute his project of coming home.
I would not like to be a burden to my father; were it not for this fear I should return home at once. I am often in such a mood that I curse the moment of my departure from my sweet home! You will understand my situation, and that since the departure of Titus too much has fallen upon me all at once.
The question whether he should go to Italy or to France was soon decided for him, for the suppressed but constantly-increasing commotion which had agitated the former country ever since the July revolution at last vented itself in a series of insurrections. Modena began on February 3,1831, Bologna, Ancona, Parma, and Rome followed. While the “where to go” was thus settled, the “when to go” remained an open question for many months to come. Meanwhile let us try to look a little deeper into the inner and outer life which Chopin lived at Vienna.
The biographical details of this period of Chopin’s life have to be drawn almost wholly from his letters. These, however, must be judiciously used. Those addressed to his parents, important as they are, are only valuable with regard to the composer’s outward life, and even as vehicles of such facts they are not altogether trustworthy, for it is always his endeavour to make his parents believe that he is well and cheery. Thus he writes, for instance, to his friend Matuszyriski, after pouring forth complaint after complaint:–“Tell my parents that I am very happy, that I am in want of nothing, that I amuse myself famously, and never feel lonely.” Indeed, the Spectator’s opinion that nothing discovers the true temper of a person so much as his letters, requires a good deal of limitation and qualification. Johnson’s ideas on the same subject may be recommended as a corrective. He held that there was no transaction which offered stronger temptations to fallacy and sophistication than epistolary intercourse:–
In the eagerness of conversation the first emotions of the mind burst out before they are considered. In the tumult of business, interest and passion have their genuine effect; but a friendly letter is a calm and deliberate performance in the cool of leisure, in the stillness of solitude, and surely no man sits down by design to depreciate his own character. Friendship has no tendency to secure veracity; for by whom can a man so much wish to be thought better than he is, as by him whose kindness he desires to gain or keep?
These one-sided statements are open to much criticism, and would make an excellent theme for an essay. Here, however, we must content ourselves with simply pointing out that letters are not always calm and deliberate performances, but exhibit often the eagerness of conversation and the impulsiveness of passion. In Chopin’s correspondence we find this not unfrequently exemplified. But to see it we must not turn to the letters addressed to his parents, to his master, and to his acquaintances- -there we find little of the real man and his deeper feelings– but to those addressed to his bosom-friends, and among them there are none in which he shows himself more openly than in the two which he wrote on December 25, 1830, and January 1, 1831, to John Matuszynski. These letters are, indeed, such wonderful revelations of their writer’s character that I should fail in my duty as his biographer were I to neglect to place before the reader copious extracts from them, in short, all those passages which throw light on the inner working of this interesting personality.
Dec. 25, 1830.–I longed indescribably for your letter; you know why. How happy news of my angel of peace always makes me! How I should like to touch all the strings which not only call up stormy feelings, but also awaken again the songs whose half-dying echo is still flitting on the banks of the Danube-songs which the warriors of King John Sobieski sang!
You advised me to choose a poet. But you know I am an undecided being, and succeeded only once in my life in making a good choice.
The many dinners, soirees, concerts, and balls which I have to go to only bore me. I am sad, and feel so lonely and forsaken here. But I cannot live as I would! I must dress, appear with a cheerful countenance in the salons; but when I am again in my room I give vent to my feelings on the piano, to which, as my best friend in Vienna, I disclose all my sufferings. I have not a soul to whom I can fully unbosom myself, and yet I must meet everyone like a friend. There are, indeed, people here who seem to love me, take my portrait, seek my society; but they do not make up for the want of you [his friends and relations]. I lack inward peace, I am at rest only when I read your [his friends’ and relations’] letters, and picture to myself the statue of King Sigismund, or gaze at the ring [Constantia’s], that dear jewel. Forgive me, dear Johnnie, for complaining so much to you; but my heart grows lighter when I speak to you thus. To you I have indeed always told all that affected me. Did you receive my little note the day before yesterday? Perhaps you don’t care much for my scribbling, for you are at home; but I read and read your letters again and again.
Dr. Freyer has called on me several times; he had learned from Schuch that I was in Vienna. He told me a great deal of interesting news, and enjoyed your letter, which I read to him up to a certain passage. This passage has made me very sad. Is she really so much changed in appearance? Perhaps she was ill? One could easily fancy her being so, as she has a very sensitive disposition. Perhaps she only appeared so to you, or was she afraid of anything? God forbid that she should suffer in any way on my account. Set her mind at rest, and tell her that as long as my heart beats I shall not cease to adore her. Tell her that even after my death my ashes shall be strewn under her feet. Still, all this is yet too little, and you might tell her a great deal more.
I shall write to her myself; indeed, I would have done so long ago to free myself from my torments; but if my letter should fall into strange hands, might this not hurt her reputation ? Therefore, dear friend, be you the interpreter of my feelings; speak for me, “et j’en conviendrai.” These French words of yours flashed through me like lightning. A Viennese gentleman who walked beside me in the street when I was reading your letter, seized me by the arm, and was hardly able to hold me. He did not know what had happened to me. I should have liked to embrace and kiss all the passers-by, and I felt happier than I had done for a long time, for I had received the first letter from you. Perhaps I weary you, Johnnie, with my passionateness; but it is difficult for me to conceal from you anything that moves my heart.
The day before yesterday I dined at Madame Beyer’s, her name is likewise Constantia. I like her society, her having that indescribably dear Christian name is sufficient to account for my partiality; it gives me even pleasure when one of her pocket-handkerchiefs or napkins marked “Constantia” comes into my hands.
I walked alone, and slowly, into St. Stephen’s. The church was as yet empty. To view the noble, magnificent edifice in a truly devout spirit I leant against a pillar in the darkest corner of this house of God. The grandeur of the arched roof cannot be described, one must see St. Stephen’s with one’s own eyes. Around me reigned the profoundest silence, which was interrupted only by the echoing footsteps of the sacristan who came to light the candles. Behind me was a grave, before me a grave, only above me I saw none. At that moment I felt my loneliness and isolation. When the lights were burning and the Cathedral began to fill with people, I wrapped myself up more closely in my cloak (you know the way in which I used to walk through the suburb of Cracow), and hastened to be present at the Mass in the Imperial Court Chapel. Now, however, I walked no longer alone, but passed through the beautiful streets of Vienna in merry company to the Hofburg, where I heard three movements of a mass performed by sleepy musicians. At one o’clock in the morning I reached my lodgings. I dreamt of you, of her, and of my dear children [his sisters].
The first thing I did to-day was to indulge myself in melancholy fantasias on my piano.
Advise me what to do. Please ask the person who has always exercised so powerful an influence over me in Warsaw, and let me know her opinion; according to that I shall act.
Let me hear once more from you before you take the field. Vienna, poste restante. Go and see my parents and Constantia. Visit my sisters often, as long as you are still in Warsaw, so that they may think that you are coming to me, and that I am in the other room. Sit down beside them that they may imagine I am there too; in one word, be my substitute in the house of my parents.
I shall conclude, dear Johnnie, for now it is really time. Embrace all my dear colleagues for me, and believe that I shall not cease to love you until I cease to love those that are dearest to me, my parents and her.
My dearest friend, do write me soon a few lines. You may even show her this letter, if you think fit to do so.
My parents don’t know that I write to you. You may tell them of it, but must by no means show them the letter. I cannot yet take leave of my Johnnie; but I shall be off presently, you naughty one! If W…loves you as heartily as I love you, then would Con…No, I cannot complete the name, my hand is too unworthy. Ah! I could tear out my hair when I think that I could be forgotten by her!
My portrait, of which only you and I are to know, is a very good likeness; if you think it would give her pleasure, I would send it to her through Schuch.
January 1, 1831.–There you have what you wanted! Have you received the letter? Have you delivered any of the messages it contained? To-day I still regret what I have done. I was full of sweet hopes, and now am tormented by anxiety and doubts. Perhaps she mocks at me–laughs at me? Perhaps–ah! does she love me? This is what my passionate heart asks. You wicked AEsculapius, you were at the theatre, you eyed her incessantly with your opera-glass; if this is the case a thunderbolt shall…Do not forfeit my confidence; oh, you! if I write to you I do so only for my own sake, for you do not deserve it.
Just now when I am writing I am in a strange state; I feel as if I were with you [with his dear ones], and were only dreaming what I see and hear here. The voices which I hear around me, and to which my ear is not accustomed, make upon me for the most part only an impression like the rattling of carriages or any other indifferent noise. Only your voice or that of Titus could to-day wake me out of my torpor. Life and death are perfectly alike to me. Tell, however, my parents that I am very happy, that I am in want of nothing, that I amuse myself famously, and never feel lonely.
If she mocks at me, tell her the same; but if she inquires kindly for me, shows some concern about me, whisper to her that she may make her mind easy; but add also that away from her I feel everywhere lonely and unhappy. I am unwell, but this I do not write to my parents. Everybody asks what is the matter with me. I should like to answer that I have lost my good spirits. However, you know best what troubles me! Although there is no lack of entertainment and diversion here, I rarely feel inclined for amusement.
To-day is the first of January. Oh, how sadly this year begins for me! I love you [his friends] above all things. Write as soon as possible. Is she at Radom? Have you thrown up redoubts? My poor parents! How are my friends faring?
I could die for you, for you all! Why am I doomed to be here so lonely and forsaken? You can at least open your hearts to each other and comfort each other. Your flute will have enough to lament! How much more will my piano have to weep!
You write that you and your regiment are going to take the field; how will you forward the note? Be sure you do not send it by a messenger; be cautious! The parents might perhaps– they might perhaps view the matter in a false light.
I embrace you once more. You are going to the war; return as a colonel. May all pass off well! Why may I not at least be your drummer?
Forgive the disorder in my letter, I write as if I were intoxicated.
The disorder of the letters is indeed very striking; it is great in the foregoing extracts, and of course ten times greater with the interspersed descriptions, bits of news, and criticisms on music and musicians. I preferred separating the fundamental and always-recurring thoughts, the all-absorbing and predominating feelings, from the more superficial and passing fancies and affections, and all those matters which were to him, if not of total indifference, at least of comparatively little moment; because such a separation enables us to gain a clearer and fuller view of the inner man and to judge henceforth his actions and works with some degree of certainty, even where his own accounts and comments and those of trustworthy witnesses fail us. The psychological student need not be told to take note of the disorder in these two letters and of their length (written to the same person within less than a week, they fill nearly twelve printed pages in Karasowski’s book), he will not be found neglecting such important indications of the temporary mood and the character of which it is a manifestation. And now let us take a glance at Chopin’s outward life in Vienna.
I have already stated that Chopin and Woyciechowski lived together. Their lodgings, for which they had to pay their landlady, a baroness, fifty florins, were on the third story of a house in the Kohlmarkt, and consisted of three elegant rooms. When his friend left, Chopin thought the rent too high for his purse, and as an English family was willing to pay as much as eighty florins, he sublet the rooms and removed to the fourth story, where he found in the Baroness von Lachmanowicz an agreeable young landlady, and had equally roomy apartments which cost him only twenty florins and pleased him quite well. The house was favourably situated, Mechetti being on the right, Artaria on the left, and the opera behind; and as people were not deterred by the high stairs from visiting him, not even old Count Hussarzewski, and a good profit would accrue to him from those eighty florins, he could afford to laugh at theprobable dismay of his friends picturing him as “a poor devil living in a garret,” and could do so the more heartily as there was in reality another story between him and the roof. He gives his people a very pretty description of his lodgings and mode of life:–
I live on the fourth story, in a fine street, but I have to strain my eyes in looking out of the window when I wish to see what is going on beneath. You will find my room in my new album when I am at home again. Young Hummel [a son of the composer] is so kind as to draw it for me. It is large and has five windows; the bed is opposite to them. My wonderful piano stands on the right, the sofa on the left; between the windows there is a mirror, in the middle of the room a fine, large, round mahogany table; the floor is polished. Hush! “The gentleman does not receive visitors in the afternoon”– hence I can be amongst you in my thoughts. Early in the morning the unbearably-stupid servant wakes me; I rise, get my coffee, and often drink it cold because I forget my breakfast over my playing. Punctually at nine o’clock appears my German master; then I generally write; and after that, Hummel comes to work at my portrait, while Nidecki studies my concerto. And all this time I remain in my comfortable dressing-gown, which I do not take off till twelve o’clock. At that hour a very worthy German makes his appearance, Herr Leibenfrost, who works in the law-courts here. If the weather is fine I take a walk with him on the Glacis, then we dine together at a restaurant, Zur bohmischen Kochin, which is frequented by all the university students; and finally we go (as is the custom here) to one of the best coffee-houses. After this I make calls, return home in the twilight, throw myself into evening-dress, and must be off to some soiree: to- day here, to-morrow there. About eleven or twelve (but never later) I return home, play, laugh, read, lie down, put out the light, sleep, and dream of you, my dear ones.
If is evident that there was no occasion to fear that Chopin would kill himself with too hard work. Indeed, the number of friends, or, not to misuse this sacred name, let us rather say acquaintances, he had, did not allow him much time for study and composition. In his letters from Vienna are mentioned more than forty names of families and single individuals with whom he had personal intercourse. I need hardly add that among them there was a considerable sprinkling of Poles. Indeed, the majority of the houses where he was oftenest seen, and where he felt most happy, were those of his countrymen, or those in which there was at least some Polish member, or which had some Polish connection. Already on December 1, 1830, he writes home that he had been several times at Count Hussarzewski’s, and purposes to pay a visit at Countess Rosalia Rzewuska’s, where he expects to meet Madame Cibbini, the daughter of Leopold Kozeluch and a pupil of Clementi, known as a pianist and composer, to whom Moscheles dedicated a sonata for four hands, and who at that time was first lady-in-waiting to the Empress of Austria. Chopin had likewise called twice at Madame Weyberheim’s. This lady, who was a sister of Madame Wolf and the wife of a rich banker, invited him to a soiree “en petit cercle des amateurs,” and some weeks later to a soiree dansante, on which occasion he saw “many young people, beautiful, but not antique [that is to say not of the Old Testament kind], “refused to play, although the lady of the house and her beautiful daughters had invited many musical personages, was forced to dance a cotillon, made some rounds, and then went home. In the house of the family Beyer (where the husband was a Pole of Odessa, and the wife, likewise Polish, bore the fascinating Christian name Constantia–the reader will remember her) Chopin felt soon at his ease. There he liked to dine, sup, lounge, chat, play, dance mazurkas, &c. He often met there the violinist Slavik, and the day before Christmas played with him all the morning and evening, another day staying with him there till two o’clock in the morning. We hear also of dinners at the house of his countrywoman Madame Elkan, and at Madame Schaschek’s, where (he writes in July, 1831) he usually met several Polish ladies, who by their hearty hopeful words always cheered him, and where he once made his appearance at four instead of the appointed dinner hour, two o’clock. But one of his best friends was the medical celebrity Dr. Malfatti, physician-in- ordinary to the Emperor of Austria, better remembered by the musical reader as the friend of Beethoven, whom he attended in his last illness, forgetting what causes for complaint he might have against the too irritable master. Well, this Dr. Malfatti received Chopin, of whom he had already heard from Wladyslaw Ostrowski, “as heartily as if I had been a relation of his” (Chopin uses here a very bold simile), running up to him and embracing him as soon as he had got sight of his visiting-card. Chopin became a frequent guest at the doctor’s house; in his letters we come often on the announcement that he has dined or is going to dine on such or such a day at Dr. Malfatti’s.
December 1, 1830.–On the whole things are going well with me, and I hope with God’s help, who sent Malfatti to my assistance–oh, excellent Malfatti!–that they will go better still.
December 25, 1830.–I went to dine at Malfatti’s. This excellent man thinks of everything; he is even so kind as to set before us dishes prepared in the Polish fashion.
May 14, 1831.–I am very brisk, and feel that good health is the best comfort in misfortune. Perhaps Malfatti’s soups have strengthened me so much that I feel better than I ever did. If this is really the case, I must doubly regret that Malfatti has gone with his family into the country. You have no idea how beautiful the villa is in which he lives; this day week I was there with Hummel. After this amiable physician had taken us over his house he showed us also his garden. When we stood at the top of the hill, from which we had a splendid view, we did not wish to go down again. The Court honours Malfatti every year with a visit. He has the Duchess of Anhalt-Cothen as a neighbour; I should not wonder if she envied him his garden. On one side one sees Vienna lying at one’s feet, and in such a way that one might believe it was joined to Schoenbrunn; on the other side one sees high mountains picturesquely dotted with convents and villages. Gazing on this romantic panorama one entirely forgets the noisy bustle and proximity of the capital.
This is one of the few descriptive passages to be found in Chopin’s letters–men and their ways interested him more than natural scenery. But to return from the villa to its owner, Chopin characterises his relation to the doctor unequivocally in the following statement:–“Malfatti really loves me, and I am not a little proud of it.” Indeed, the doctor seems to have been a true friend, ready with act and counsel. He aided him with his influence in various ways; thus, for instance, we read that he promised to introduce him to Madame Tatyszczew, the wife of the Russian Ambassador, and to Baron Dunoi, the president of the musical society, whom Chopin thought a very useful personage to know. At Malfatti’s he made also the acquaintance of some artists whom he would, perhaps, have had no opportunity of meeting elsewhere. One of these was the celebrated tenor Wild. He came to Malfatti’s in the afternoon of Christmas-day, and Chopin, who had been dining there, says: “I accompanied by heart the aria from Othello, which he sang in a masterly style. Wild and Miss Heinefetter are the ornaments of the Court Opera.” Of a celebration of Malfatti’s name-day Chopin gives the following graphic account in a letter to his parents, dated June 25, 1831:- –
Mechetti, who wished to surprise him [Malfatti], persuaded the Misses Emmering and Lutzer, and the Messrs. Wild, Cicimara, and your Frederick to perform some music at the honoured man’s house; almost from beginning to end the performance was deserving of the predicate “parfait.” I never heard the quartet from Moses better sung; but Miss Gladkowska sang “O quante lagrime” at my farewell concert at Warsaw with much more expression. Wild was in excellent voice, and I acted in a way as Capellmeister.
To this he adds the note:–
Cicimara said there was nobody in Vienna who accompanied so well as I. And I thought, “Of that I have been long convinced.” A considerable number of people stood on the terrace of the house and listened to our concert. The moon shone with wondrous beauty, the fountains rose like columns of pearls, the air was filled with the fragrance of the orangery; in short, it was an enchanting night, and the surroundings were magnificent! And now I will describe to you the drawing-room in which we were. High windows, open from top to bottom, look out upon the terrace, from which one has a splendid view of the whole of Vienna. The walls are hung with large mirrors; the lights were faint: but so much the greater was the effect of the moonlight which streamed through the windows. The cabinet to the left of the drawing- room and adjoining it gives, on account of its large dimensions, an imposing aspect to the whole apartment. The ingenuousness and courtesy of the host, the elegant and genial society, the generally-prevailing joviality, and the excellent supper, kept us long together.
Here Chopin is seen at his best as a letter writer; it would be difficult to find other passages of equal excellence. For, although we meet frequently enough with isolated pretty bits, there is not one single letter which, from beginning to end, as a whole as well as in its parts, has the perfection and charm of Mendelssohn’s letters.
CHAPTER XII
VIENNA MUSICAL LIFE.–KARNTHNERTHOR THEATRE.–SABINE HEINEFETTER.- -CONCERTS: HESSE, THALBERG, DOHLER, HUMMEL, ALOYS SCHMITT, CHARLES CZERNY, SLAVIK, MERK, BOCKLET, ABBE STABLER, KIESEWETTER, KANDLER.–THE PUBLISHERS HASLINGER, DIABELLI, MECHETTI, AND JOSEPH CZERNY.–LANNER AND STRAUSS.–CHOPIN PLAYS AT A CONCERT OF MADAME GARZIA-VESTRIS AND GIVES ONE HIMSELF.–HIS STUDIES AND COMPOSITIONS OF THAT TIME.–HIS STATE OF BODY AND MIND.– PREPARATIONS FOR AND POSTPONEMENT OF HIS DEPARTURE.–SHORTNESS OF MONEY.–HIS MELANCHOLY.–TWO EXCURSIONS.–LEAVES FOR MUNICH.–HIS CONCERT AT MUNICH.–HIS STAY AT STUTTGART.–PROCEEDS TO PARIS.
The allusions to music and musicians lead us naturally to inquire further after Chopin’s musical experiences in Vienna.
January 26, 1831.–If I had not made [he writes] the exceedingly interesting acquaintance of the most talented artists of this place, such as Slavik, Merk, Bocklet, and so forth [this “so forth” is tantalising], I should be very little satisfied with my stay here. The Opera indeed is good: Wild and Miss Heinefetter fascinate the Viennese; only it is a pity that Duport brings forward so few new operas, and thinks more of his pocket than of art.
What Chopin says here and elsewhere about Duport’s stinginess tallies with the contemporary newspaper accounts. No sooner had the new manager taken possession of his post than he began to economise in such a manner that he drove away men like Conradin Kreutzer, Weigl, and Mayseder. During the earlier part of his sojourn in Vienna Chopin remarked that excepting Heinefetter and Wild, the singers were not so excellent as he had expected to find them at the Imperial Opera. Afterwards he seems to have somewhat extended his sympathies, for he writes in July, 1831:–
Rossini’s “Siege of Corinth” was lately very well performed here, and I am glad that I had the opportunity of hearing this opera. Miss Heinefetter and Messrs. Wild, Binder, and Forti, in short, all the good singers in Vienna, appeared in this opera and did their best.
Chopin’s most considerable criticism of this time is one on Miss Heinefetter in a letter written on December 25, 1830; it may serve as a pendant to his criticism on Miss Sontag which I quoted in a preceding chapter.
Miss Heinefetter has a voice such as one seldom hears; she sings always in tune; her coloratura is like so many pearls; in short, everything is faultless. She looks particularly well when dressed as a man. But she is cold: I got my nose almost frozen in the stalls. In “Othello” she delighted me more than in the “Barber of Seville,” where she represents a finished coquette instead of a lively, witty girl. As Sextus in “Titus” she looks really quite splendid. In a few days she is to appear in the “Thieving Magpie” [“La Gazza ladra”]. I am anxious to hear it. Miss Woikow pleased me better as Rosina in the “Barber”; but, to be sure, she has not such a delicious voice as the Heinefetter. I wish I had heard Pasta!
The opera at the Karnthnerthor Theatre with all its shortcomings was nevertheless the most important and most satisfactory musical institution of the city. What else, indeed, had Vienna to offer to the earnest musician? Lanner and Strauss were the heroes of the day, and the majority of other concerts than those given by them were exhibitions of virtuosos. Imagine what a pass the musical world of Vienna must have come to when Stadler, Kiesewetter, Mosel, and Seyfried could be called, as Chopin did call them, its elite! Abbe Stadler might well say to the stranger from Poland that Vienna was no longer what it used to be. Haydn, Mozart, Beethoven, and Schubert had shuffled off their mortal coil, and compared with these suns their surviving contemporaries and successors–Gyrowetz, Weigl, Stadler, Conradin Kreutzer, Lachner, &c.–were but dim and uncertain lights.
With regard to choral and orchestral performances apart from the stage, Vienna had till more recent times very little to boast of. In 1830-1831 the Spirituel-Concerte (Concerts Spirituels) were still in existence under the conductorship of Lannoy; but since 1824 their number had dwindled down from eighteen to four yearly concerts. The programmes were made up of a symphony and some sacred choruses. Beethoven, Mozart, and Haydn predominated among the symphonists; in the choral department preference was given to the Austrian school of church music; but Cherubim also was a great favourite, and choruses from Handel’s oratorios, with Mosel’s additional accompaniments, were often performed. The name of Beethoven was hardly ever absent from any of the programmes. That the orchestra consisted chiefly of amateurs, and that the performances took place without rehearsals (only difficult new works got a rehearsal, and one only), are facts which speak for themselves. Franz Lachner told Hanslick that the performances of new and in any way difficult compositions were so bad that Schubert once left the hall in the middle of one of his works, and he himself (Lachner) had felt several times inclined to do the same. These are the concerts of which Beethoven spoke as Winkelmusik, and the tickets of which he denominated Abtrittskarten, a word which, as the expression of a man of genius, I do not hesitate to quote, but which I could not venture to translate. Since this damning criticism was uttered, matters had not improved, on the contrary, had gone from bad to worse. Another society of note was the still existing and flourishing Gesellschaft der Musikfreunde. It, too, gave four, or perhaps five yearly concerts, in each of which a symphony, an overture, an aria or duet, an instrumental solo, and a chorus were performed. This society was afflicted with the same evil as the first-named institution. It was a
gladdening sight [we are told] to see counts and tradesmen, superiors and subalterns, professors and students, noble ladies and simple burghers’ daughters side by side harmoniously exerting themselves for the love of art.
As far as choral singing is concerned the example deserves to be followed, but the matter stands differently with regard to instrumental music, a branch of the art which demands not only longer and more careful, but also constant, training. Although the early custom of drawing lots, in order to determine who were to sing the solos, what places the players were to occupy in the orchestra, and which of the four conductors was to wield the baton, had already disappeared before 1831, yet in 1841 the performances of the symphonies were still so little “in the spirit of the composers” (a delicate way of stating an ugly fact) that a critic advised the society to imitate the foreign conservatoriums, and reinforce the band with the best musicians of the capital, who, constantly exercising their art, and conversant with the works of the great masters, were better able to do justice to them than amateurs who met only four times a year. What a boon it would be to humanity, what an increase of happiness, if amateurs would allow themselves to be taught by George Eliot, who never spoke truer and wiser words than when she said:–“A little private imitation of what is good is a sort of private devotion to it, and most of us ought to practise art only in the light of private study–preparation to understand and enjoy what the few can do for us.” In addition to the above I shall yet mention a third society, the Tonkunstler-Societat, which, as the name implies, was an association of musicians. Its object was the getting-up and keeping-up of a pension fund, and its artistic activity displayed itself in four yearly concerts. Haydn’s “Creation” and “Seasons” were the stock pieces of the society’s repertoire, but in 1830 and 1831 Handel’s “Messiah” and “Solomon” and Lachner’s “Die vier Menschenalter” were also performed.
These historical notes will give us an idea of what Chopin may have heard in the way of choral and orchestral music. I say “may have heard,” because not a word is to be found in his extant letters about the concerts of these societies. Without exposing ourselves to the reproach of rashness, we may, however, assume that he was present at the concert of the Gesellschaft der Musikfreunde on March 20, 1831, when among the items of the programme were Beethoven’s Pastoral Symphony, and the first movement of a concerto composed and played by Thalberg. On seeing the name of one of the most famous pianists contemporary with Chopin, the reader has, no doubt, at once guessed the reason why I assumed the latter’s presence at the concert. These two remarkable, but in their characters and aims so dissimilar, men had some friendly intercourse in Vienna. Chopin mentions Thalberg twice in his letters, first on December 25, 1830, and again on May 28, 1831. On the latter occasion he relates that he went with him to an organ recital given by Hesse, the previously-mentioned Adolf Hesse of Breslau, of whom Chopin now remarked that he had talent and knew how to treat his instrument. Hesse and Chopin must have had some personal intercourse, for we learn that the former left with the latter an album leaf. A propos of this circumstance, Chopin confesses in a letter to his people that he is at a loss what to write, that he lacks the requisite wit. But let us return to the brilliant pianist, who, of course, was a more interesting acquaintance in Chopin’s, eyes than the great organist. Born in 1812, and consequently three years younger than Chopin, Sigismund Thalberg had already in his fifteenth year played with success in public, and at the age of sixteen published Op. 1, 2, and 3. However, when Chopin made his acquaintance, he had not yet begun to play only his own compositions (about that time he played, for instance, Beethoven’s C minor Concerto at one of the Spirituel-Concerte, where since 1830 instrumental solos were occasionally heard), nor had he attained that in its way unique perfection of beauty of tone and elegance of execution which distinguished him afterwards. Indeed, the palmy days of his career cannot be dated farther back than the year 1835, when he and Chopin met again in Paris; but then his success was so enormous that his fame in a short time became universal, and as a virtuoso only one rival was left him–Liszt, the unconquered. That Chopin and Thalberg entertained very high opinions of each other cannot be asserted. Let the reader judge for himself after reading what Chopin says in his letter of December 25, 1830:–
Thalberg plays famously, but he is not my man. He is younger than I, pleases the ladies very much, makes pot-pourris on “La Muette” [“Masaniello”], plays the forte and piano with the pedal, but not with the hand, takes tenths as easily as I do octaves, and wears studs with diamonds. Moscheles does not at all astonish him; therefore it is no wonder that only the tuttis of my concerto have pleased him. He, too, writes concertos.
Chopin was endowed with a considerable power of sarcasm, and was fond of cultivating and exercising it. This portraiture of his brother-artist is not a bad specimen of its kind, although we shall meet with better ones.
Another, but as yet unfledged, celebrity was at that time living in Vienna, prosecuting his studies under Czerny–namely, Theodor Dohler. Chopin, who went to hear him play some compositions of his master’s at the theatre, does not allude to him again after the concert; but if he foresaw what a position as a pianist and composer he himself was destined to occupy, he could not suspect that this lad of seventeen would some day be held up to the Parisian public by a hostile clique as a rival equalling and even surpassing his peculiar excellences. By the way, the notion of anyone playing compositions of Czerny’s at a concert cannot but strangely tickle the fancy of a musician who has the privilege of living in the latter part of the nineteenth century.
Besides the young pianists with a great future before them Chopin came also in contact with aging pianists with a great past behind them. Hummel, accompanied by his son, called on him in the latter part of December, 1830, and was extraordinarily polite. In April, 1831, the two pianists, the setting and the rising star, were together at the villa of Dr. Malfatti. Chopin informed his master, Elsner, for whose masses he was in quest of a publisher, that Haslinger was publishing the last mass of Hummel, and added:- –
For he now lives only by and for Hummel. It is rumoured that the last compositions of Hummel do not sell well, and yet he is said to have paid a high price for them. Therefore he now lays all MSS. aside, and prints only Strauss’s waltzes.
Unfortunately there is not a word which betrays Chopin’s opinion of Hummel’s playing and compositions. We are more fortunate in the case of another celebrity, one, however, of a much lower order. In one of the prosaic intervals, of the sentimental rhapsody, indited on December 25, 1830, there occur the following remarks:–
The pianist Aloys Schmitt of Frankfort-on-the-Main, famous for his excellent studies, is at present here; he is a man above forty. I have made his acquaintance; he promised to visit me. He intends to give a concert here, and one must admit that he is a clever musician. I think we shall understand each other with regard to music.
Having looked at this picture, let the reader look also at this other, dashed off a month later in a letter to Elsner:–
The pianist Aloys Schmitt has been flipped on the nose by the critics, although he is already over forty years old, and composes eighty-years-old music.
From the contemporary journals we learn that, at the concert mentioned by Chopin, Schmitt afforded the public of Vienna an opportunity of hearing a number of his own compositions–which were by no means short drawing-room pieces, but a symphony, overture, concerto, concertino, &c.–and that he concluded his concert with an improvisation. One critic, at least, described his style of playing as sound and brilliant. The misfortune of Schmitt was to have come too late into the world–respectable mediocrities like him always do that–he never had any youth. The pianist on whom Chopin called first on arriving in Vienna was Charles Czerny, and he
was, as he is always (and to everybody), very polite, and asked, “Hat fleissig studirt?” [Have you studied diligently?] He has again arranged an overture for eight pianos and sixteen performers, and seems to be very happy over it.
Only in the sense of belonging rather to the outgoing than to the incoming generation can Czerny be reckoned among the aged pianists, for in 1831 he was not above forty years of age and had still an enormous capacity for work in him–hundreds and hundreds of original and transcribed compositions, thousands and thousands of lessons. His name appears in a passage of one of Chopin’s letters which deserves to be quoted for various reasons: it shows the writer’s dislike to the Jews, his love of Polish music, and his contempt for a kind of composition much cultivated by Czerny. Speaking of the violinist Herz, “an Israelite,” who was almost hissed when he made his debut in Warsaw, and whom Chopin was going to hear again in Vienna, he says:–
At the close of the concert Herz will play his own Variations on Polish airs. Poor Polish airs! You do not in the least suspect how you will be interlarded with “majufes” [see page 49, foot-note], and that the title of “Polish music” is only given you to entice the public. If one is so outspoken as to discuss the respective merits of genuine Polish music and this imitation of it, and to place the former above the latter, people declare one to be mad, and do this so much the more readily because Czerny, the oracle of Vienna, has hitherto in the fabrication of his musical dainties never produced Variations on a Polish air.
Chopin had not much sympathy with Czerny the musician, but seems to have had some liking for the man, who indeed was gentle, kind, and courteous in his disposition and deportment.
A much more congenial and intimate connection existed between Chopin, Slavik, and Merk. [FOOTNOTE: Thus the name is spelt in Mendel’s Musikalisches Conversations-Lexikon and by E. A. Melis, the Bohemian writer on music. Chopin spells it Slawik. The more usual spelling, however, is Slawjk; and in C.F. Whistling’s Handbuch der musikalischen Literatur (Leipzig, 1828) it is Slavjk.] Joseph Slavik had come to Vienna in 1825 and had at once excited a great sensation. He was then a young man of nineteen, but technically already superior to all the violinists that had been heard in the Austrian capital. The celebrated Mayseder called him a second Lipinski. Pixis, his master at the Conservatorium in Prague, on seeing some of this extraordinary pupil’s compositions–a concerto, variations, &c.–had wondered how anyone could write down such mad, unplayable stuff. But Slavik before leaving Prague proved at a farewell concert that there was at least one who could play the mad stuff. All this, however, was merely the prelude to what was yet to come. The appearance of Paganini in 1828 revealed to him the, till then, dimly-perceived ideal of his dreams, and the great Italian violinist, who took an interest in this ardent admirer and gave him some hints, became henceforth his model. Having saved a little money, he went for his further improvement to Paris, studying especially under Baillot, but soon returned to accept an engagement in the Imperial Band. When after two years of hard practising he reappeared before the public of Vienna, his style was altogether changed; he mastered the same difficulties as Paganini, or even greater ones, not, however, with the same unfailing certainty, nor with an always irreproachable intonation. Still, there can be no doubt that had not a premature death (in 1833, at the age of twenty-seven) cut short his career, he would have spread his fame all over the world. Chopin, who met him first at Wurfel’s, at once felt a liking for him, and when on the following day he heard him play after dinner at Beyer’s, he was more pleased with his performance than with that of any other violinist except Paganini. As Chopin’s playing was equally sympathetic to Slavik, they formed the project of writing a duet for violin and piano. In a letter to his friend Matuszynski (December 25, 1830) Chopin writes:–
I have just come from the excellent violinist Slavik. With the exception of Paganini, I never heard a violin-player like him. Ninety-six staccato notes in one bow! It is almost incredible! When I heard him I felt inclined to return to my lodgings and sketch variations on an Adagio [which they had previously agreed to take for their theme] of Beethoven’s.
The sight of the post-office and a letter from his Polish friends put the variations out of his mind, and they seem never to have been written, at least nothing has been heard of them. Some remarks on Slavik in a letter addressed to his parents (May 28, 1831) show Chopin’s admiration of and affection for his friend still more distinctly:–
He is one of the Viennese artists with whom I keep up a really friendly and intimate intercourse. He plays like a second Paganini, but a rejuvenated one, who will perhaps in time surpass the first. I should not believe it myself if I had not heard him so often….Slavik fascinates the listener and brings tears into his eyes.
Shortly after falling in with Slavik, Chopin met Merk, probably at the house of the publisher Mechetti, and on January 1, 1831, he announces to his friend in Warsaw with unmistakable pride that “Merk, the first violoncellist in Vienna,” has promised him a visit. Chopin desired very much to become acquainted with him because he thought that Merk, Slavik, and himself would form a capital trio. The violoncellist was considerably older than either pianist or violinist, being born in 1795. Merk began his musical career as a violinist, but being badly bitten in the arm by a big dog, and disabled thereby to hold the violin in its proper position (this is what Fetis relates), he devoted himself to the violoncello, and with such success as to become the first solo player in Vienna. At the time we are speaking of he was a member of the Imperial Orchestra and a professor at the Conservatorium. He often gave concerts with Mayseder, and was called the Mayseder of the violoncello. Chopin, on hearing him at a soiree of the well-known autograph collector Fuchs, writes home:–
Limmer, one of the better artists here in Vienna, produced some of his compositions for four violoncelli. Merk, by his expressive playing, made them, as usual, more beautiful than they really are. People stayed again till midnight, for Merk took a fancy to play with me his variations. He told me that he liked to play with me, and it is always a great treat to me to play with him. I think we look well together. He is the first violoncellist whom I really admire.
Of Chopin’s intercourse with the third of the “exceedingly interesting acquaintances “whom he mentions by name, we get no particulars in his letters. Still, Carl Maria von Bocklet, for whom Beethoven wrote three letters of recommendation, who was an intimate friend of Schubert’s, and whose interpretations of classical works and power of improvisation gave him one of the foremost places among the pianists of the day, cannot have been without influence on Chopin. Bocklet, better than any other pianist then living in Vienna, could bring the young Pole into closer communication with the German masters of the preceding generation; he could, as it were, transmit to him some of the spirit that animated Beethoven, Schubert, and Weber. The absence of allusions to Bocklet in Chopin’s letters does not, however, prove that he never made any, for the extant letters are only a small portion of those he actually wrote, many of them having in the perturbed state of Poland never reached their destination, others having been burnt by his parents for fear of the Russian police, and some, no doubt, having been lost through carelessness or indifference.
The list of Chopin’s acquaintances is as yet far from being exhausted. He had conversations with old Abbe Stadler, the friend of Haydn and Mozart, whose Psalms, which he saw in MS., he admired. He also speaks of one of the performances of old, sacred, and secular music which took place at Kiesewetter’s house as if he were going to it. But a musician of Chopin’s nature would not take a very lively interest in the historical aspect of the art; nor would the learned investigator of the music of the Netherlanders, of the music of the Arabs, of the life and works of Guido d’Arezzo, &c., readily perceive the preciousness of the modern composer’s originality. At any rate, Chopin had more intercourse with the musico-literary Franz Kandler, who wrote favourable criticisms on his performances as a composer and player, and with whom he went on one occasion to the Imperial Library, where the discovery of a certain MS. surprised him even more than the magnitude and order of the collection, which he could not imagine to be inferior to that of Bologna–the manuscript in question being no other than his Op. 2, which Haslinger had presented to the library. Chopin found another MS. of his, that of the Rondo for two pianos, in Aloys Fuchs’s famous collection of autographs, which then comprised 400 numbers, but about the year 1840 had increased to 650 numbers, most of them complete works. He must have understood how to ingratiate himself with the collector, otherwise he would hardly have had the good fortune to be presented with an autograph of Beethoven.
Chopin became also acquainted with almost all the principal publishers in Vienna. Of Haslinger enough has already been said. By Czerny Chopin was introduced to Diabelli, who invited him to an evening party of musicians. With Mechetti he seems to have been on a friendly footing. He dined at his house, met him at Dr. Malfatti’s, handed over to him for publication his Polonaise for piano and violoncello (Op. 3), and described him as enterprising and probably persuadable to publish Elsner’s masses. Joseph Czerny, no relation of Charles’s, was a mere business acquaintance of Chopin’s. Being reminded of his promise to publish a quartet of Elsner’s, he said he could not undertake to do so just then (about January 26, 1831), as he was publishing the works of Schubert, of which many were still in the press.
Therefore [writes Chopin to his master] I fear your MS. will have to wait. Czerny, I have found out now, is not one of the richest publishers here, and consequently cannot easily risk the publication of a work which is not performed at the Sped or at the Romische Kaiser. Waltzes are here called works; and Lanner and Strauss, who lead the performances, Capellmeister. In saying this, however, I do not mean that all people here are of this opinion; on the contrary, there are many who laugh at it. Still, it is almost only waltzes that are published.
It is hardly possible for us to conceive the enthusiasm and ecstasy into which the waltzes of the two dance composers transported Vienna, which was divided into two camps:–
The Sperl and Volksgarten [says Hanslick] were on the Strauss and Lanner days the favourite and most frequented “concert localities.” In the year 1839 Strauss and Lanner had already each of them published more than too works. The journals were thrown into ecstasy by every new set of waltzes; innumerable articles appeared on Strauss, and Lanner, enthusiastic, humorous, pathetic, and certainly longer than those that were devoted to Beethoven and Mozart.
These glimpses of the notabilities and manners of a by-gone generation, caught, as it were, through the chinks of the wall which time is building up between the past and the present, are instructive as well as amusing. It would be a great mistake to regard these details, apparently very loosely connected with the life of Chopin, as superfluous appendages to his biography. A man’s sympathies and antipathies are revelations of his nature, and an artist’s surroundings make evident his position and merit, the degree of his originality being undeterminable without a knowledge of the time in which he lived. Moreover, let the impatient reader remember that, Chopin’s life being somewhat poor in incidents, the narrative cannot be an even-paced march, but must be a series of leaps and pauses, with here and there an intervening amble, and one or two brisk canters.
Having described the social and artistic sphere, or rather spheres, in which Chopin moved, pointed out the persons with whom he most associated, and noted his opinions regarding men and things, almost all that is worth telling of his life in the imperial city is told–almost all, but not all. Indeed, of the latter half of his sojourn there some events have yet to be recorded which in importance, if not in interest, surpass anything that is to be found in the preceding and the foregoing part of the present chapter. I have already indicated that the disappointment of Chopin’s hopes and the failure of his plans cannot altogether be laid to the charge of unfavourable circumstances. His parents must have thought so too, and taken him to task about his remissness in the matter of giving a concert, for on May 14, 1831, Chopin writes to them:–“My most fervent wish is to be able to fulfil your wishes; till now, however, I found it impossible to give a concert.” But although he had not himself given a concert he had had an opportunity of presenting himself in the best company to the public of Vienna. In the “Theaterzeitung” of April 2, 1831, Madame Garzia-Vestris announced a concert to be held in the Redoutensaal during the morning hours of April 4, in which she was to be assisted by the Misses Sabine and Clara Heinefetter, Messrs. Wild, Chopin, Bohm (violinist), Hellmesberger (violinist, pupil of the former), Merk, and the brothers Lewy (two horn-players). Chopin was distinguished from all the rest, as a homo ignotus et novus, by the parenthetical “pianoforte-player” after his name, no such information being thought necessary in the case of the other artists. The times are changed, now most readers require parenthetical elucidation after each name except that of Chopin. “He has put down the mighty from their seat and has exalted them of low degree!” The above-mentioned exhortation of his parents seems to have had the desired effect, and induced Chopin to make an effort, although now the circumstances were less favourable to his giving a concert than at the time of his arrival. The musical season was over, and many people had left the capital for their summer haunts; the struggle in Poland continued with increasing fierceness, which was not likely to lessen the backwardness of Austrians in patronising a Pole; and in addition to this, cholera had visited the country and put to flight all who were not obliged to stay. I have not been able to ascertain the date and other particulars of this concert. Through Karasowski we learn that it was thinly attended, and that the receipts did not cover the expenses. The “Theaterzeitung,” which had given such full criticisms of Chopin’s performances in 1829, says not a word either of the matinee or of the concert, not even the advertisement of the latter has come under my notice. No doubt Chopin alludes to criticisms on this concert when he writes in the month of July:–
Louisa [his sister] informs me that Mr. Elsner was very much pleased with the criticism; I wonder what he will say of the others, he who was my teacher of composition?
Kandler, the Vienna correspondent of the “Allgemeine musikalische Zeitung,” after discussing in that paper (September 21, 1831) the performances of several artists, among others that of the clever Polish violin-virtuoso Serwaczynski, turns to “Chopin, also from the Sarmatian capital, who already during his visit last year proved himself a pianist of the first rank,” and remarks:–
The execution of his newest Concerto in E minor, a serious composition, gave no cause to revoke our former judgment. One who is so upright in his dealings with genuine art is deserving our genuine esteem.
All things considered, I do not hesitate to accept Liszt’s statement that the young artist did not produce such a sensation as he had a right to expect. In fact, notwithstanding the many pleasant social connections he had, Chopin must have afterwards looked back with regret, probably with bitterness, on his eight months’ sojourn in Vienna. Not only did he add nothing to his fame as a pianist and composer by successful concerts and new publications, but he seems even to have been sluggish in his studies and in the production of new works. How he leisurely whiled away the mornings at his lodgings, and passed the rest of the day abroad and in society, he himself has explicitly described. That this was his usual mode of life at Vienna, receives further support from the self-satisfaction with which he on one occasion mentions that he had practised from early morning till two o’clock in the afternoon. In his letters we read only twice of his having finished some new compositions. On December 21, 1830, he writes:–
I wished to enclose my latest waltz, but the post is about to depart, and I have no longer time to copy it, therefore I shall send it another time. The mazurkas, too, I have first to get copied, but they are not intended for dancing.
And in the month of July, 1831, “I have written a polonaise, which I must leave here for Wurfel.” There are two more remarks about compositions, but of compositions which were never finished, perhaps never begun. One of these remarks refers to the variations on a theme of Beethoven’s, which he intended to compose conjointly with Slavik, and has already been quoted; the other refers to a grander project. Speaking of Nidecki, who came every morning to his lodgings and practised his (Chopin’s) concerto, he says (December 21, 1830):–
If I succeed in writing a concerto for two pianos so as to satisfy myself, we intend to appear at once with it in public; first, however, I wish to play once alone.
What an interesting, but at the same time what a gigantic, subject to write on the history of the unrealised plans of men of genius would be! The above-mentioned waltz, polonaise, and mazurkas do not, of course, represent the whole of Chopin’s output as a composer during the time of his stay in Vienna; but we may surmise with some degree of certainty that few works of importance have to be added to it. Indeed, the multiplicity of his social connections and engagements left him little time for himself, and the condition of his fatherland kept him in a constant state of restlessness. Poland and her struggle for independence were always in his mind; now he laments in his letters the death of a friend, now rejoices at a victory, now asks eagerly if such or such a piece of good news that has reached him is true, now expresses the hope that God will be propitious to their cause, now relates that he has vented his patriotism by putting on the studs with the Polish eagles and using the pocket-handkerchief with the Kosynier (scythe-man) depicted on it.
What is going on at home? [he writes, on May 28, 1831.] I am always dreaming of you. Is there still no end to the bloodshed? I know your answer: “Patience!” I, too, always comfort myself with that.
But good health, he finds, is the best comfort in misfortune, and if his bulletins to his parents could be trusted he was in full enjoyment of it.
Zacharkiewicz of Warsaw called on me; and when his wife saw me at Szaszek’s, she did not know how to sufficiently express her astonishment at my having become such a sturdy fellow. I have let my whiskers grow only on the right side, and they are growing very well; on the left side they are not needed at all, for one sits always with the right side turned to the public.
Although his “ideal” is not there to retain him, yet he cannot make up his mind to leave Vienna. On May 28, he writes:–
How quickly this dear time passes! It is already the end of May, and I am still in Vienna. June will come, and I shall probably be still here, for Kumelski fell ill and was obliged to take to bed again.
It was not only June but past the middle of July before Chopin left, and I am afraid he would not always have so good an excuse for prolonging his stay as the sickness of his travelling- companion. On June 25, however, we hear of active preparations being made for departure.
I am in good health, that is the only thing that cheers me, for it seems as if my departure would never take place. You all know how irresolute I am, and in addition to this I meet with obstacles at every step. Day after day I am promised my passport, and I run from Herod to Pontius Pilate, only to get back what I deposited at the police office. To-day I heard even more agreeable news–namely, that my passport has been mislaid, and that they cannot find it; I have even to send in an application for a new one. It is curious how now every imaginable misfortune befalls us poor Poles. Although I am ready to depart, I am unable to set out.
Chopin had been advised by Mr. Beyer to have London instead of Paris put as a visa in his passport. The police complied with his request that this should be done, but the Russian Ambassador, after keeping the document for two days, gave him only permission to travel as far as Munich. But Chopin did not care so long as he got the signature of the French Ambassador. Although his passport contained the words “passant par Paris a Londres,” and he in after years in Paris sometimes remarked, in allusion to these words, “I am here only in passing,” he had no intention of going to London. The fine sentiment, therefore, of which a propos of this circumstance some writers have delivered themselves was altogether misplaced. When the difficulty about the passport was overcome, another arose: to enter Bavaria from cholera-stricken Austria a passport of health was required. Thus Chopin had to begin another series of applications, in fact, had to run about for half a day before he obtained this additional document.
Chopin appears to have been rather short of money in the latter part of his stay in Vienna–a state of matters with which the financial failure of the concert may have had something to do. The preparations for his departure brought the pecuniary question still more prominently forward. On June 25, 1831, he writes to his parents:–
I live as economically as possible, and take as much care of every kreuzer as of that ring in Warsaw [the one given him by the Emperor Alexander]. You may sell it, I have already cost you so much.
He must have talked about his shortness of money to some of his friends in Vienna, for he mentions that the pianist-composer Czapek, who calls on him every day and shows him much kindness, has offered him money for the journey should he stand in need of it. One would hardly have credited Chopin with proficiency in an art in which he nevertheless greatly excelled–namely, in the art of writing begging letters. How well he understood how to touch the springs of the parental feelings the following application for funds will prove.
July, 1831.–But I must not forget to mention that I shall probably be obliged to draw more money from the banker Peter than my dear father has allowed me. I am very economical; but, God knows, I cannot help it, for otherwise I should have to leave with an almost empty purse. God preserve me from sickness; were, however, anything to happen to me, you might perhaps reproach me for not having taken more. Pardon me, but consider that I have already lived on this money during May, June, and July, and that I have now to pay more for my dinner than I did in winter. I do not do this only because I myself feel I ought to do so, but also in consequence of the good advice of others. I am very sorry that I have to ask you for it; my papa has already spent more than three groschen for me; I know also very well how difficult it is to earn money. Believe me, my dearest ones, it is harder for me to ask than for you to give. God will not fail to assist us also in the future, punctum!
Chopin was at this time very subject to melancholy, and did not altogether hide the fact even from his parents. He was perhaps thinking of the “lengthening chain” which he would have to drag at this new remove. He often runs into the street to seek Titus Woyciechowski or John Matuszynski. One day he imagines he sees the former walking before him, but on coming up to the supposed friend is disgusted to find “a d—- Prussian.”
I lack nothing [he writes in July, 1831] except more life, more spirit! I often feel unstrung, but sometimes as merry as I used to be at home. When I am sad I go to Madame Szaszek’s; there I generally meet several amiable Polish ladies who with their hearty, hopeful words always cheer me up, so that I begin at once to imitate the generals here. This is a fresh joke of mine; but those who saw it almost died with laughing. But alas, there are days when not two words can be got out of me, nor can anyone find out what is the matter with me; then, to divert myself, I generally take a thirty-kreuzer drive to Hietzing, or somewhere else in the neighbourhood of Vienna.
This is a valuable bit of autobiography; it sets forth clearly Chopin’s proneness to melancholy, which, however, easily gave way to his sportiveness. That low spirits and scantiness of money did not prevent Chopin from thoroughly enjoying himself may be gathered from many indications in his letters; of these I shall select his descriptions of two excursions in the neighbourhood of Vienna, which not only make us better acquainted with the writer, but also are interesting in themselves.
June 25, 1831.–The day before yesterday we were with Kumelski and Czapek…on the Kahlenberg and Leopoldsberg. It was a magnificent day; I have never had a finer walk. From the Leopoldsberg one sees all Vienna, Wagram, Aspern, Pressburg, even Kloster-Neuburg, the castle in which Richard