Frederick Chopin, as a Man and Musician

Renew：Part 64
Author：Frederick Niecks
Update：08-15-2023
Tags：Biographies Memoirs
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Chapter List

Chapter 1
Chapter 2
Chapter II), which, like the Rondo, Op. 1, was first published in Warsaw, and made its appearance in Germany some years later. I do not know the exact time of its composition, but I presume it was a year or two after that of the previously mentioned works. Schumann, who reviewed it in 1836, thought it had perhaps been written in the eighteenth year of the composer, but he found in it, some confused pa.s.sages excepted, no indications of the author"s youth. In this Rondeau a la Mazur the individuality of Chopin and with it his nationality begin to reveal themselves unmistakably. Who could fail to recognise him in the peculiar sweet and persuasive flows of sound, and the serpent-like winding of the melodic outline, the wide-spread chords, the chromatic progressions, the dissolving of the harmonies and the linking of their const.i.tuent parts! And, as I have said elsewhere in speaking of this work: "The harmonies are often novel, and the matter is more h.o.m.ogeneous and better welded into oneness."
Chapter 4
Chapter 5
Chapter 6
Chapter III). We must retrace our steps as far back as 1827, and briefly survey the composer"s achievements up to the spring of 1829, when a new element enters into his life and influences his artistic work. It will be best to begin with a chronological enumeration of those of Chopin"s compositions of the time indicated that have come down to us. In 1827 came into existence or were finished: a Mazurka (Op. 68, No.
Chapter X. There all the best artists of Warsaw a.s.sembled, and the executants had to play prima vista whatever was placed before them. Of works performed at two of these Friday evening meetings, we find mentioned Spohr"s Octet, described by Chopin as "a wonderful work"; Ries"s Concerto in C sharp minor (played with quartet accompaniment), Hummel"s Trio in E major, Prince Louis Ferdinand of Prussia"s Quartet, and Beethoven"s last Trio, which, Chopin says, he could not but admire for its magnificence and grandeur. To Brzezina"s music-shop he paid a visit every day, without finding there, however, anything new, except a Concerto by Pixis, which made no great impression upon him. That Chopin was little satisfied with his situation may be gathered from the following remarks of his:--
Chapter 9
Chapter 10
Chapter 11
Chapter 12
Chapter 13
Chapter 14
Chapter 15
Chapter 16
Chapter 17
Chapter 18
Chapter 19
Chapter 20
Chapter 21
Chapter 22
Chapter 23
Chapter 24
Chapter 25
Chapter 26
Chapter XXIV., where also my reasons for doing so will be more particularly stated. A third letter, supposed by Karasowski to be written at Valdemosa in February, I hold to be written at Ma.r.s.eilles in April. It will be found in the next chapter.]
Chapter 28
Chapter 29
Chapter XXII.
Chapter 31
Chapter 32
Chapter 33
Chapter 34
Chapter 35
Chapter 36
Chapter 37
Chapter 38
Chapter 39
Chapter 40
Chapter 41
Chapter 42
Chapter 43
Chapter 44
Chapter XXVI.), died on May 11, 1845, at Venice, after having in 1843 made a sensation in London and Vienna, both by the poetical and technical qualities of his playing. In London "little Filtsch" played at least twice in public (on June 14 at the St. James"s Theatre between two plays, and on July 4 at a matinee of his own at the Hanover Square Rooms), repeatedly in private, and had also the honour to appear before the Queen at Buckingham Palace. J. W.
Chapter 46
Chapter 47
Chapter 48
Chapter 49
Chapter VIII. Thus much of the krakowiak; now to the more interesting second of the triad.
Chapter XXVI., p. 142). No. 2 (in C sharp minor); different as it is, is in its own way nearly as perfect as No. 1. Tender, love-sick longing cannot be depicted more truthfully, sweetly, and entrancingly. The excellent No. 3 (in A flat major), with the exquisite serpentining melodic lines, which play so important a part in Chopin"s waltzes, and other beautiful details, is in a somewhat trying position beside the other two waltzes. The non-publication by the composer of the waltzes which have got into print, thanks to the zeal of his admirers and the avidity of publishers, proves to me that he was a good judge of his own works. Fontana included in his collection of posthumous compositions five waltzes--"Deux Valses," Op. 69 (in F minor, of 1836; in B minor, of 1829);. and "Trois Valses," Op. 70 (in G flat major, of 1835; in F minor, of 1843; in D flat major, of 1830). There are further a waltz in E minor and one in E major (of 1829). [FOOTNOTE: The "Deux Valses melancoliques" (in F minor and B minor), ecrits sur l"alb.u.m de Madame la Comtesse P., 1844 (Cracow: J. Wildt), the English edition of which (London: Edwin Ashdown) is ent.i.tled "Une soiree en 1844," "Deux Valses melancoliques," are Op. 70. No. 2, and Op. 69, No. 2, of the works of Chopin posthumously published by Fontana.] Some of these waltzes I discussed already when speaking of the master"s early compositions, to which they belong. The last-mentioned waltz, which the reader will find in Mikuli"s edition (No. 15 of the waltzes), and also in Breitkopf and Hartel"s (No. 22 of the Posthumous works), is a very weak composition; and of all the waltzes not published by the composer himself it may be said that what is good in them has been expressed better in others.
Chapter 52
Chapter 53
Chapter 54
Chapter 55
Chapter 56
Chapter 57
Chapter XX.] And pervading and tincturing every part of the harmonious whole of Chopin"s presence there was delicacy, which was indeed the cardinal factor in the shaping not only of his outward conformation, but also of his character, life, and art-practice.
Chapter 59
Chapter 60
Chapter 61
Chapter 62
Chapter 63
Chapter 64