Frederick Chopin, as a Man and Musician Part 15

I shall play [at a soiree at the house of Lewicki] Hummel's "La Sentinelle," and at the close my Polonaise with violoncello, for which I have composed an Adagio as an introduction. I have already rehea.r.s.ed it, and it does not sound badly.

Prince Radziwill, the reader will remember, played the violoncello.

It was, however, not to him but to Merk that Chopin dedicated this composition, which, before departing from Vienna to Paris, he left with Mechetti, who eventually published it under the t.i.tle of "Introduction et Polonaise brillante pour piano et violoncelle," dediees a Mr. Joseph Merk. On the whole we may accept Chopin's criticism of his Op. 3 as correct. The Polonaise is nothing but a brilliant salon piece. Indeed, there is very little in this composition--one or two pianoforte pa.s.sages, and a finesse here and there excepted--that distinguishes it as Chopin's. The opening theme verges even dangerously to the commonplace. More of the Chopinesque than in the Polonaise may be discovered in the Introduction, which was less of a piece d'occasion.

What subdued the composer's individuality was no doubt the violoncello, which, however, is well provided with grateful cantilene.

On two occasions Chopin writes of studies. On October 20, 1829: "I have composed a study in my own manner"; and on November 14, 1829: "I have written some studies; in your presence I would play them well." These studies are probably among the twelve published in the summer of 1833, they may, however, also be among those published in the autumn of 1837.

The twelfth of the first sheaf of studies (Op. 10) Chopin composed, as already stated, at Stuttgart, when he was under the excitement caused by the news of the taking of Warsaw by the Russians on September 8, 1831.

The words "I intend to write a Polonaise with orchestra," contained in a letter dated September 18, 1830, give rise to the interesting question: "Did Chopin realise his intention, and has the work come down to us?" I think both questions can be answered in the affirmative. At any rate, I hold that internal evidence seems to indicate that Op. 22, the "Grande Polonaise brillante precedee d'un Andante spianato avec orchestre,"

which was published in the summer of 1836, is the work in question.

Whether the "Andante" was composed at the same time, and what, if any, alterations were subsequently made in the Polonaise, I do not venture to decide. But the Polonaise has so much of Chopin's early showy virtuosic style and so little of his later n.o.ble emotional power that my conjecture seems reasonable. Moreover, the fact that the orchestra is employed speaks in favour of my theory, for after the works already discussed in the tenth chapter, and the concertos with which we shall concern ourselves presently, Chopin did not in any other composition (i.e., after 1830) write for the orchestra. His experiences in Warsaw, Vienna, and Paris convinced him, no doubt, that he was not made to contend with ma.s.ses, either as an executant or as a composer. Query: Is the Polonaise, of which Chopin says in July, 1831, that he has to leave it to Wurfel, Op. 22 or another work?

Two other projects of Chopin, however, seem to have remained unrealised--a Concerto for two pianos which he intended to play in public at Vienna with his countryman Nidecki (letter of December 21, 1830), and Variations for piano and violin on a theme of Beethoven's, to be written conjointly by himself and Slavik (letters of December 21 and 25, 1830). Fragments of the former of these projected works may, however, have been used in the "Allegro de Concert," Op. 46, published in 1842.

In the letter of December 21, 1830, there is also an allusion to a waltz and mazurkas just finished, but whether they are to be found among the master's printed compositions is more than I can tell.

The three "Ecossaises" of the year 1830, which Fontana published as Op.

72, No. 3, are the least individual of Chopin's compositions, and almost the only dances of his which may be described as dance music pure and simple--rhythm and melody without poetry, matter with a minimum of soul.

The posthumous Mazurka (D major) of 1829-30 is unimportant. It contains nothing notable, except perhaps the descending chromatic successions of chords of the sixth. In fact, we can rejoice in its preservation only because a comparison with a remodelling of 1832 allows us to trace a step in Chopin's development.

And now we come to the concertos, the history of which, as far as it is traceable in the composer's letters, I will here place before the reader. If I repeat in this chapter pa.s.sages already quoted in previous chapters, it is for the sake of completeness and convenience.

October 3, 1829.--I have--perhaps to my misfortune--already found my ideal, whom I wors.h.i.+p faithfully and sincerely. Six months have elapsed and I have not yet exchanged a syllable with her of whom I dream every night. Whilst my thoughts were with her I composed the Adagio of my Concerto.

The Adagio here mentioned is that of the F minor Concerto, Op. 21, which he composed before but published after the F. minor Concerto, Op. 11--the former appearing in print in April, 1836, the latter in September, 1833. [Footnote: The slow movements of Chopin's concertos are marked Larglietto, the composer uses here the word Adagio generically--i.e., in the sense of slow movement generally.] Karasowski says mistakingly that the movement referred to is the Adagio of the E minor Concerto. He was perhaps misled by a mistranslation of his own. In the German version of his Chopin biography he gives the concluding words of the above quotation as "of my new Concerto," but there is no new in the Polish text (na ktorego pamiatke skomponowalem Adagio do mojego Koncertu).

October 20, 1829.--Elsner has praised the Adagio of the Concerto. He says that there is something new in it. As to the Rondo I do not wish yet to hear a judgment, for I am not yet satisfied with it myself. I am curious whether I shall finish this work when I return [from a visit to Prince Radziwill].

November 14, 1829.--I received your last letter at Antonin at Radziwill's. I was there a week; you cannot imagine how quickly and pleasantly the time pa.s.sed to me. I left by the last coach, and had much trouble in getting away. As for me I should have stayed till they had turned me out; but my occupations and, above all things, my Concerto, which is impatiently waiting for its Finale, have compelled me to take leave of this Paradise.

On March 17, 1830, Chopin played the F minor Concerto at the first concert he gave in Warsaw. How it was received by the public and the critics on this occasion and on that of a second concert has been related in the ninth chapter (p.131).

March 27, 1830.--I hope yet to finish before the holidays the first Allegro of my second Concerto [i.e., the one in E minor], and therefore I should in any case wait till after the holidays [to give a third concert], although I am convinced that I should have this time a still larger audience than formerly; for the haute volee has not yet heard me.

On April 10, 1830, Chopin writes that his Concerto is not yet finished; and on May 15, 1830:--

The Rondo for my Concerto is not yet finished, because the right inspired mood has always beep wanting. If I have only the Allegro and the Adagio completely finished I shall be without anxiety about the Finale. The Adagio is in E major, and of a romantic, calm, and partly melancholy character. It is intended to convey the impression which one receives when the eye rests on a beloved landscape that calls up in one's soul beautiful memories--for instance, on a fine, moonlit spring night. I have written violins with mutes as an accompaniment to it. I wonder if that will have a good effect? Well, time will show.

August 21, 1830.--Next month I leave here; first, however, I must rehea.r.s.e my Concerto, for the Rondo is now finished.

For an account of the rehearsals of the Concerto and its first public performance at Chopin's third Warsaw concert on October u, 1830, the reader is referred to the tenth chapter (p. 150). [FOOTNOTE: In the following remarks on the concertos I shall draw freely from the critical commentary on the Pianoforte Works of Chopin, which I contributed some years ago (1879) to the Monthly Musical Record.]

Chopin, says Liszt, wrote beautiful concertos and fine sonatas, but it is not difficult to perceive in these productions "plus de volonte que d'inspiration." As for his inspiration it was naturally "imperieuse, fantasque, irreflechie; ses allures ne pouvaient etre que libres."

Indeed, Liszt believes that Chopin--

did violence to his genius every time he sought to fetter it by rules, cla.s.sifications, and an arrangement that was not his own, and could not accord with the exigencies of his spirit, which was one of those whose grace displays itself when they seem to drift along [alter a la derive]....The cla.s.sical attempts of Chopin nevertheless s.h.i.+ne by a rare refinement of style. They contain pa.s.sages of great interest, parts of surprising grandeur.

With Chopin writing a concerto or a sonata was an effort, and the effort was always inadequate for the attainment of the object--a perfect work of its kind. He lacked the peculiar qualities, natural and acquired, requisite for a successful cultivation of the larger forms. He could not grasp and hold the threads of thought which he found flitting in his mind, and weave them into a strong, complex web; he s.n.a.t.c.hed them up one by one, tied them together, and either knit them into light fabrics or merely wound them into skeins. In short, Chopin was not a thinker, not a logician--his propositions are generally good, but his arguments are poor and the conclusions often wanting. Liszt speaks sometimes of Chopin's science. In doing this, however, he misapplies the word. There was nothing scientific in Chopin's mode of production, and there is nothing scientific in his works. Subst.i.tute "ingenious" (in the sense of quick-witted and possessed of genius, in the sense of the German geistreich) for "scientific," and you come near to what Liszt really meant. If the word is applicable at all to art, it can be applicable only to works which manifest a sustained and dominating intellectual power, such, for instance, as a fugue of Bach's, a symphony of Beethoven's, that is, to works radically different from those of Chopin.

Strictly speaking, the word, however, is not applicable to art, for art and science are not coextensive; nay, to some extent, are even inimical to each other. Indeed, to call a work of art purely and simply "scientific," is tantamount to saying that it is dry and uninspired by the muse. In dwelling so long on this point my object was not so much to elucidate Liszt's meaning as Chopin's character as a composer.

Notwithstanding their many shortcomings, the concertos may be said to be the most satisfactory of Chopin's works in the larger forms, or at least those that afford the greatest amount of enjoyment. In some respects the concerto-form was more favourable than the sonata-form for the exercise of Chopin's peculiar talent, in other respects it was less so. The concerto-form admits of a far greater and freer display of the virtuosic capabilities of the pianoforte than the sonata-form, and does not necessitate the same strictness of logical structure, the same thorough working-out of the subject-matter. But, on the other hand, it demands apt.i.tude in writing for the orchestra and appropriately solid material.

Now, Chopin lacked such apt.i.tude entirely, and the nature of his material accorded little with the size of the structure and the orchestral frame. And, then, are not these confessions of intimate experiences, these moonlight sentimentalities, these listless dreams, &c., out of place in the gaslight glare of concert-rooms, crowded with audiences brought together to a great extent rather by ennui, vanity, and idle curiosity than by love of art?

The concerto is the least perfect species of the sonata genus; practical, not ideal, reasons have determined its form, which owes its distinctive features to the calculations of the virtuoso, not to the inspiration of the creative artist. Romanticism does not take kindly to it. Since Beethoven the form has been often modified, more especially the long introductory tutti omitted or cut short. Chopin, however, adhered to the orthodox form, taking unmistakably Hummel for his model.

Indeed, Hummel's concertos were Chopin's model not only as regards structure, but also to a certain extent as regards the character of the several movements. In the tutti's of the first movement, and in the general complexion of the second (the slow) and the third (Rondo) movement, this disciples.h.i.+p is most apparent. But while noting the resemblance, let us not overlook the difference. If the bones are Hummel's (which no doubt is an exaggeration of the fact), the flesh, blood, and soul are Chopin's. In his case adherence to the orthodox concerto-form was so much the more regrettable as writing for the orchestra was one of his weakest points. Indeed, Chopin's originality is gone as soon as he writes for another instrument than the pianoforte.

The commencement of the first solo is like the opening of a beautiful vista after a long walk through dreary scenery, and every new entry of the orchestra precipitates you from the delectable regions of imagination to the joyless deserts of the actual. Chopin's inapt.i.tude in writing for the orchestra is, however, most conspicuous where he employs it conjointly with the pianoforte. Carl Klindworth and Carl Tausig have rescored the concertos: the former the one in F minor, the latter the one in E minor. Klindworth wrote his arrangement of the F minor Concerto in 1867-1868 in London, and published it ten years later at Moscow (P.

Jurgenson).[FOOTNOTE: The t.i.tle runs: "Second Concerto de Chopin, Op.

21, avec un nouvel accompagnement d'orchestre d'apres la part.i.tion originale par Karl Klindworth. Dedie a Franz Lizt." It is now the property of the Berlin publishers Bote and Bock.] A short quotation from the preface will charactise his work:--

The princ.i.p.al pianoforte part has, notwithstanding the entire remodelling of the score, been retained almost unchanged.

Only in some pa.s.sages, which the orchestra, in consequence of a richer instrumentation, accompanies with greater fulness, the pianoforte part had, on that account, to be made more effective by an increase of brilliance. By these divergences from the original, from the so perfect and beautifully effectuating [effectuirenden] pianoforte style of Chopin, either the unnecessary doubling of the melody already pregnantly represented by the orchestra was avoided, or--in keeping with the now fuller harmonic support of the accompaniment--some figurations of the solo instrument received a more brilliant form.

Of Tausig's labour [FOOTNOTE: "Grosses Concert in E moll. Op. 11."

Bearberet von Carl Tausig. Score, pianoforte, and orchestral parts.

Berlin: Ries and Erler.] I shall only say that his cutting-down and patching-up of the introductory tutti, to mention only one thing, are not well enough done to excuse the liberty taken with a great composer's work. Moreover, your emendations cannot reach the vital fault, which lies in the conceptions. A musician may have mastered the mechanical trick of instrumentation, and yet his works may not be at heart orchestral. Instrumentation ought to be more than something that at will can be added or withheld; it ought to be the appropriate expression of something that appertains to the thought. The fact is, Chopin could not think for the orchestra, his thoughts took always the form of the pianoforte language; his thinking became paralysed when he made use of another medium of expression. Still, there have been critics who thought differently. The Polish composer Sowinski declared without circ.u.mlocution that Chopin "wrote admirably for the orchestra." Other countrymen of his dwelt at greater length, and with no less enthusiasm, on what is generally considered a weak point in the master's equipment.

A Paris correspondent of the Neue Zeitschrift fur Musik (1834) remarked a propos of the F minor Concerto that there was much delicacy in the instrumentation. But what do the opinions of those critics, if they deserve the name, amount to when weighed against that of the rest of the world, nay, even against that of Berlioz alone, who held that "in the compositions of Chopin all the interest is concentrated in the piano part, the orchestra of his concertos is nothing but a cold and almost useless accompaniment"?

All this and much more may be said against Chopin's concertos, yet such is the charm, loveliness, delicacy, elegance, and brilliancy of the details, that one again and again forgives and forgets their shortcomings as wholes. But now let us look at these works a little more closely.

The first-composed and last-published Concerto, the one in F minor, Op. 21 (dedicated to Madame la Comtesse Delphine Potocka), opens with a tutti of about seventy bars. When, after this, the pianoforte interrupts the orchestra impatiently, and then takes up the first subject, it is as if we were transported into another world and breathed a purer atmosphere. First, there are some questions and expostulations, then the composer unfolds a tale full of sweet melancholy in a strain of lovely, tenderly-intertwined melody. With what inimitable grace he winds those delicate garlands around the members of his melodic structure! How light and airy the harmonic base on which it rests! But the contemplation of his grief disturbs his equanimity more and more, and he begins to fret and fume. In the second subject he seems to protest the truthfulness and devotion of his heart, and concludes with a pa.s.sage half upbraiding, half beseeching, which is quite captivating, nay more, even bewitching in its eloquent persuasiveness. Thus far, from the entrance of the pianoforte, all was irreproachable. How charming if Chopin had allowed himself to drift on the current of his fancy, and had left rules, cla.s.sifications, &c., to others! But no, he had resolved to write a concerto, and must now put his hand to the rudder, and have done with idle dreaming, at least for the present--unaware, alas, that the idle dreamings of some people are worth more than their serious efforts.

Well, what is unpoetically called the working-out section--to call it free fantasia in this instance would be mockery--reminds me of Goethe's "Zauberlehrling," who said to himself in the absence of his master, "I noted his words, works, and procedure, and, with strength of mind, I also shall do wonders." How the apprentice conjured up the spirits, and made them do his bidding; how, afterwards, he found he had forgotten the formula with which to stop and banish them, and what were the consequent sad results, the reader will, no doubt, remember. The customary repet.i.tion of the first section of the movement calls for no remark.

Liszt cites the second movement (Larghetto, A flat major) of this work as a specimen of the morceaux d'une surprenante grandeur to be found in Chopin's concertos and sonatas, and mentions that the composer had a marked predilection for it, delighting in frequently playing it. And Schumann exclaims: "What are ten editorial crowns compared to one such Adagio as that in the second concerto!" The beautiful deep-toned, love-laden cantilena, which is profusely and exquisitely ornamented in Chopin's characteristic style, is interrupted by a very impressive recitative of some length, after which the cantilena is heard again.

But criticism had better be silent, and listen here attentively. And how shall I describe the last movement (Allegro vivace F minor, 3-4)--its feminine softness and rounded contours, its graceful, gyrating, dance-like motions, its sprightliness and frolicsomeness? Unless I quote every part and particle, I feel I cannot do justice to it. The exquisite ease and grace, the subtle spirit that breathes through this movement, defy description, and, more, defy the attempts of most performers to reproduce the original. He who ventures to interpret Chopin ought to have a soul strung with chords which the gentlest breath of feeling sets in vibration, and a body of such a delicate and supple organisation as to echo with equal readiness the music of the soul. As to the listener, he is carried away in this movement from one lovely picture to another, and no time is left him to reflect and make objections with reference to the whole.

The Concerto in E minor, Op. 11, dedicated to Mr. Fred Kalkbrenner, shows more of volonte and less of inspiration than the one in F minor.

One can almost read in it the words of the composer, "If I have only the Allegro and the Adagio completely finished, I shall be in no anxiety about the Finale." The elongated form of the first movement--the introductory tutti alone extends to 138 bars--compares disadvantageously with the greater compactness of the corresponding movement in the F minor Concerto, and makes still more sensible the monotony resulting from the key-relation of the const.i.tuent parts, the tonic being the same in both subjects. The scheme is this:--First subject in E minor, second subject in E major, working-out section in C major, leading through various keys to the return of the first subject in E minor and of the second subject in G major, followed by a close in E minor. The tonic is not relieved till the commencement of the working-out section.

The re-entrance of the second subject brings, at last, something of a contrast. How little Chopin understood the importance or the handling of those powerful levers, key-relation and contrast, may also be observed in the Sonata, Op. 4, where the last movement brings the first subject in C minor and the second in G minor. Here the composer preserves the same mode (minor), there the same tonic, the result being nearly the same in both instances. But, it may be asked, was not this languid monotony which results from the employment of these means just what Chopin intended? The only reply that can be made to this otherwise unanswerable objection is, so much the worse for the artist's art if he had such intentions. Chopin's description of the Adagio quoted above--remember the beloved landscape, the beautiful memories, the moonlit spring night, and the muted violins--hits off its character admirably. Although Chopin himself designates the first Allegro as "vigorous"--which in some pa.s.sages, at least from the composer's standpoint, we may admit it to be--the fundamental mood of this movement is one closely allied to that which he says he intended to express in the Adagio. Look at the first movement, and judge whether there are not in it more pale moonlight reveries than fresh morning thoughts. Indeed, the latter, if not wholly absent, are confined to the introductory bars of the first subject and some pa.s.sage-work. Still, the movement is certainly not without beauty, although the themes appear somewhat bloodless, and the pa.s.sages are less brilliant and piquant than those in the F minor Concerto. Exquisite softness and tenderness distinguish the melodious parts, and Chopin's peculiar coaxing tone is heard in the semiquaver pa.s.sage marked tranquillo of the first subject. The least palatable portion of the movement is the working-out section. The pianoforte part therein reminds one too much of a study, without having the beauty of Chopin's compositions thus ent.i.tled; and the orchestra amuses itself meanwhile with reminiscences of the princ.i.p.al motives.

Chopin's procedure in this and similar cases is pretty much the same (F minor Concerto, Krakowiak, &c.), and recalls to my mind--may the manes of the composer forgive me--a malicious remark of Rellstab's. Speaking of the introduction to the Variations, Op. 2, he says: "The composer pretends to be going to work out the theme." It is curious, and sad at the same time, to behold with what distinction Chopin treats the ba.s.soon, and how he is repaid with mocking ingrat.i.tude. But enough of the orchestral rabble. The Adagio is very fine in its way, but such is its cloying sweetness that one longs for something bracing and active.

This desire the composer satisfies only partially in the last movement (Rondo vivace, 2-4, E major). Nevertheless, he succeeds in putting us in good humour by his gaiety, pretty ways, and tricksy surprises (for instance, the modulations from E major to E flat major, and back again to E major). We seem, however, rather to look on the play of fantoccini than the doings of men; in short, we feel here what we have felt more or less strongly throughout the whole work--there is less intensity of life and consequently less of human interest in this than in the F minor Concerto.

Almost all my remarks on the concertos run counter to those made by W.

von Lenz. The F minor Concerto he holds to be an uninteresting work, immature and fragmentary in plan, and, excepting some delicate ornamentation, without originality. Nay, he goes even so far as to say that the pa.s.sage-work is of the usual kind met with in the compositions of Hummel and his successors, and that the cantilena in the larghetto is in the jejune style of Hummel; the last movement also receives but scanty and qualified praise. On the other hand, he raves about the E minor Concerto, confining himself, however, to the first movement. The second movement he calls a "tiresome nocturne," the Rondo "a Hummel."

A tincture of cla.s.sical soberness and self-possession in the first movement explains Lenz's admiration of this composition, but I fail to understand the rest of his predilections and critical utterances.

In considering these concertos one cannot help exclaiming--What a pity that Chopin should have set so many beautiful thoughts and fancies in such a frame and thereby marred them! They contain pa.s.sages which are not surpa.s.sed in any of his most perfect compositions, yet among them these concertos cannot be reckoned. It is difficult to determine their rank in concerto literature. The loveliness, brilliancy, and piquancy of the details bribe us to overlook, and by dazzling us even prevent us from seeing, the formal shortcomings of the whole. But be their shortcomings ever so great and many, who would dispense with these works? Therefore, let us be thankful, and enjoy them without much grumbling.

Schumann in writing of the concertos said that Chopin introduced Beethoven spirit [Beethovenischen Geist] into the concert-room, dressing the master's thoughts, as Hummel had done Mozart's, in brilliant, flowing drapery; and also, that Chopin had instruction from the best, from Beethoven, Schubert, and Field--that the first might be supposed to have educated his mind to boldness, the second his heart to tenderness, the third his fingers to dexterity. Although as a rule a wonderfully acute observer, Schumann was not on this occasion very happy in the few critical utterances which he vouchsafed in the course of the general remarks of which his notice mainly consists. Without congeniality there cannot be much influence, at least not in the case of so exclusive and fastidious a nature as Chopin's. Now, what congeniality could there be between the rugged German and the delicate Pole? All accounts agree in that Chopin was far from being a thorough-going wors.h.i.+pper of Beethoven--he objected to much in his matter and manner, and, moreover, could not by any means boast an exhaustive acquaintance with his works.

That Chopin a.s.similated something of Beethoven is of course more likely than not; but, if a fact, it is a latent one. As to Schubert, I think Chopin knew too little of his music to be appreciably influenced by him. At any rate, I fail to perceive how and where the influence reveals itself. Of Field, on the other hand, traces are discoverable, and even more distinct ones of Hummel. The idyllic serenity of the former and the Mozartian sweetness of the latter were truly congenial to him; but no less, if not more, so was Spohr's elegiac morbidezza. Chopin's affection for Spohr is proved by several remarks in his letters: thus on one occasion (October 3, 1829) he calls the master's Octet a wonderful work; and on another occasion (September 18, 1830) he says that the Quintet for pianoforte, flute, clarinet, ba.s.soon, and horn (Op. 52) is a wonderfully beautiful work, but not suitable for the pianoforte. How the gliding cantilena in sixths and thirds of the minuet and the serpentining chromatic pa.s.sages in the last movement of the last-mentioned work must have flattered his inmost soul! There can be no doubt that Spohr was a composer who made a considerable impression upon Chopin. In his music there is nothing to hurt the most fastidious sensibility, and much to feed on for one who, like Jaques in "As you like it", could "suck melancholy out of a song, as a weasel eggs."

Many other composers, notably the supremely-loved and enthusiastically-admired Mozart and Bach, must have had a share in Chopin's development; but it cannot be said that they left a striking mark on his music, with regard to which, however, it has to be remembered that the degree of external resemblance does not always accurately indicate the degree of internal indebtedness. Bach's influence on Mendelssohn, Schumann, Chopin, and others of their contemporaries, and its various effects on their styles, is one of the curiosities of nineteenth century musical history; a curiosity, however, which is fully disclosed only by subtle a.n.a.lysis. Field and especially Hummel are those musicians who--more, however, as pianists than as composers (i.e., more by their pianoforte language than by their musical thoughts)--set the most distinct impress on Chopin's early virtuosic style, of which we see almost the last in the concertos, where it appears in a chastened and spiritualised form very different from the materialism of the Fantasia (Op. 13) and the Krakowiak (Op. 14). Indeed, we may say of this style that the germ, and much more than the germ, of almost every one of its peculiarities is to be found in the pianoforte works of Hummel and Field; and this statement the concertos of these masters, more especially those of the former, and their shorter pieces, more especially the nocturnes of the latter, bear out in its entirety.

The wide-spread broken chords, great skips, wreaths of rhythmically unmeasured ornamental notes, simultaneous combinations of unequal numbers of notes (five or seven against four, for instance), &c., are all to be found in the compositions of the two above-named pianist-composers. Chopin's style, then, was not original? Most decidedly it was. But it is not so much new elements as the development and the different commixture, in degree and kind, of known elements which make an individual style--the absolutely new being, generally speaking, insignificant compared with the acquired and evolved. The opinion that individuality is a spontaneous generation is an error of the same kind as that imagination has nothing to do with memory. Ex nihilo nihil fit. Individuality should rather be regarded as a feminine organisation which conceives and brings forth; or, better still, as a growing thing which feeds on what is germane to it, a thing with self-acting suctorial organs that operate whenever they come in contact with suitable food. A nucleus is of course necessary for the development of an individuality, and this nucleus is the physical and intellectual const.i.tution of the individual. Let us note in pa.s.sing that the development of the individuality of an artistic style presupposes the development of the individuality of the man's character. But not only natural dispositions, also acquired dexterities affect the development of the individuality of an artistic style. Beethoven is orchestral even in his pianoforte works. Weber rarely ceases to be operatic. Spohr cannot help betraying the violinist, nor Schubert the song-composer. The more Schumann got under his command the orchestral forces, the more he impressed on them the style which he had formed previously by many years of playing and writing for the pianoforte. Bach would have been another Bach if he had not been an organist. Clementi was and remained all his life a pianist. Like Clementi, so was also Chopin under the dominion of his instrument. How the character of the man expressed itself in the style of the artist will become evident when we examine Chopin's masterpieces. Then will also be discussed the influence on his style of the Polish national music.

CHAPTER XIV.