Frederick Chopin, as a Man and Musician Part 39

The above notes exemplify and show the truth of Liszt's remark:--

In the great models and the master-works of art Chopin sought only what corresponded with his nature. What resembled it pleased him; what differed from it hardly received justice from him.

CHAPTER XXVI.

1843-1847.

CHOPIN'S PECUNIARY CIRc.u.mSTANCES, AND BUSINESS EXPERIENCES WITH PUBLISHERS.--LETTERS TO FRANCHOMME.--PUBLICATIONS FROM 1842-7.--SOJOURNS AT NOHANT.--LISZT, MATTHEW ARNOLD, GEORGE SAND, CHARLES ROLLINAT, AND EUGENE DELACROIX ON NOHANT AND LIFE AT NOHANT.--CHOPIN'S MODE OF COMPOSITION.--CHOPIN AND GEORGE SAND TAKE UP THEIR PARIS QUARTERS IN THE CITE D'ORLEANS.--THEIR WAY OF LIFE THERE, PARTICULARLY CHOPIN'S, AS DESCRIBED BY HIS PUPILS LINDSAY SLOPER, MATHIAS, AND MADAME DUBOIS, AND MORE ESPECIALLY BY LENZ, MADAME SAND HERSELF, AND PROFESSOR ALEXANDER CHODZKO (DOMESTIC RELATIONS, APARTMENTS, MANNERS, SYMPATHIES, HIS TALENT FOR MIMICRY, GEORGE SAND'S FRIENDS, AND HER ESTIMATE OF CHOPIN'S CHARACTER).

Chopin's life from 1843 to 1847 was too little eventful to lend itself to a chronologically progressive narrative. I shall, therefore, begin this chapter with a number of letters written by the composer during this period to his friend Franchomme, and then endeavour to describe Chopin's mode of life, friends, character, &c.

The following fascicle of letters, although containing less about the writer's thoughts, feelings, and doings than we could wish, affords nevertheless matter of interest. At any rate, much additional light is thrown on Chopin's pecuniary circ.u.mstances and his dealings with his publishers.

Impecuniosity seems to have been a chronic state with the artist and sometimes to have pressed hard upon him. On one occasion it even made him write to the father of one of his pupils, and ask for the payment of the fees for five lessons (100 francs). M. Mathias tells me that the letter is still in his possession. One would hardly have expected such a proceeding from a grand seigneur like Chopin, and many will, no doubt, ask, how it was that a teacher so much sought after, who got 20 francs a lesson, and besides had an income from his compositions, was reduced to such straits. The riddle is easily solved. Chopin was open-handed and not much of an economist: he spent a good deal on pretty trifles, a.s.sisted liberally his needy countrymen, made handsome presents to his friends, and is said to have had occasionally to pay bills of his likewise often impecunious lady-love. Moreover, his total income was not so large as may be supposed, for although he could have as many pupils as he wished, he never taught more than five hours a day, and lived every year for several months in the country. And then there is one other point to be taken into consideration: he often gave his lessons gratis. From Madame Rubio I learned that on one occasion when she had placed the money for a series of lessons on the mantel-piece, the master declined to take any of it, with the exception of a 20-franc piece, for which sum he put her name down on a subscription list for poor Poles.

Lindsay Sloper, too, told me that Chopin declined payment for the lessons he gave him.

Chopin's business experiences were not, for the most part, of a pleasant nature; this is shown as much by the facts he mentions in his letters as by the distrust with which he speaks of the publishers. Here are some more particulars on the same subject. Gutmann says that Chopin on his return from Majorca asked Schlesinger for better terms. But the publisher, whilst professing the highest opinion of the composer's merit, regretted that the sale of the compositions was not such as to allow him to pay more than he had hitherto done. [FOOTNOTE: Chopin's letters show that Gutmann's statement is correct. Troupenas was Chopin's publisher for some time after his return from Majorca.] Stephen h.e.l.ler remembered hearing that Breitkopf and Hartel, of Leipzig, wrote to their Paris agent informing him that they would go on publis.h.i.+ng Chopin's compositions, although, considering their by no means large sale, the terms at which they got them were too high. Ed. Wolff related to me that one day he drove with his countryman to the publisher Troupenas, to whom Chopin wished to sell his Sonata (probably the one in B flat minor).

When after his negotiations with the publisher Chopin was seated again in the carriage, he said in Polish: "The pig, he offered me 200 francs for my Sonata!" Chopin's relations with England were even less satisfactory. At a concert at which Filtsch played, Chopin introduced Stephen h.e.l.ler to Wessel or to a representative ofthat firm, but afterwards remarked: "You won't find them pleasant to deal with."

Chopin at any rate did not find them pleasant to deal with. Hearing that Gutmann was going to London he asked his pupil to call at Wessel's and try to renew the contract which had expired. The publisher on being applied to answered that not only would he not renew the contract, but that he would not even print Chopin's compositions if he got them for nothing. Among the pieces offered was the Berceuse. With regard to this story of Gutmann's it has, however, to be stated that, though it may have some foundation of fact, it is not true as he told it; for Wessel certainly had published the Berceuse by June 26, 1845, and also published in the course of time the five following works. Then, however, the connection was broken off by Wessel. Chopin's grumblings at his English publisher brings before us only one side of the question. The other side comes in view in the following piece of information with which Wessel's successor, Mr. Edwin Ashdown, favoured me:--"In 1847 Mr. Wessel got tired of buying Chopin's works, which at that time had scarcely any sale, and discontinued the agreement, his last a.s.signment from Chopin (of Op. 60, 61, and 62) being dated July 17, 1847." Wessel advertised these works on September 26, 1846.

Although in the first of the following letters the day, month, and year when it was written are not mentioned, and the second and third inform us only of the day and month, but not of the year, internal evidence shows that the first four letters form one group and belong to the year 1844. Chopin places the date sometimes at the head, sometimes at the foot, and sometimes in the middle of his letters; to give it prominence I shall place it always at the head, but indicate where he places it in the middle.

Chateau de Nohant, near La Chatre, Indre [August 1, 1844].

Dearest [Cherissime],--I send you [FOOTNOTE: In addressing Franchomme Chopin makes use of the p.r.o.noun of the second person singular.] the letter from Schlesinger and another for him. Read them. He wishes to delay the publication, and I cannot do so. If he says NO, give my ma.n.u.scripts to Maho [FOOTNOTE: See next letter.] so that he may get M. Meissonnier [FOOTNOTE: A Paris music-publisher. He brought out in the following year (1845) Chopin's Op. 57, Berceuse, and Op. 58, Sonate (B minor). The compositions spoken of in this and the next two letters are Op. 55, Deux Nocturnes, and Op. 56, Trois Mazurkas.] to take them for the same price, 600 francs, I believe that he (Schlesinger) will engrave them. They must be published on the 20th. But you know it is only necessary to register the t.i.tle on that day. I ask your pardon for troubling you with all these things. I love you, and apply to you as I would to my brother. Embrace your children. My regards to Madame Franchomme.--Your devoted friend,

F. Chopin.

A thousand compliments from Madame Sand.

Chateau de Nohant, Indre, August 2 [1844].

Dearest,--I was in great haste yesterday when I wrote to you to apply at Meissonnier's through Maho IF SCHLESINGER REFUSES my compositions. I forgot that Henri Lemoine [FOOTNOTE: A Paris music-publisher.] paid Schlesinger a very high price for my studies, and that I had rather have Lemoine engrave my ma.n.u.scripts than Meissonnier. I give you much trouble, dear friend, but here is a letter for H. Lemoine, which I send to you. Read it, and arrange with him. He must either publish the compositions or register the t.i.tles on the 20th of this month (August); ask from him only 300 francs for each, which makes 600 francs for the two. Tell him he need not pay me till my return to Paris if he likes. Give him even the two for 500 francs if you think it necessary. I had rather do that than give them to Meissonnier for 600 francs, as I wrote to you yesterday without reflecting. If you have in the meantime already arranged something with M., it is a different matter.

If not, do not let them go for less than 1,000 francs. For Maho, who is the correspondent of Haertel (who pays me well) might, knowing that I sell my compositions for so little in Paris, make me lower my price in Germany. I torment you much with my affairs. It is only in case Schlesinger persists in his intention not to publish this month. If you think Lemoine would give 800 francs for the two works, ask them. I do not mention THE PRICE to him so as to leave you complete freedom.

I have no time to lose before the departure of the mail. I embrace you, dear brother--write me a line.--Yours devotedly,

Chopin.

My regards to Madame. A thousand kisses to your children.

Nohant, Monday, August 4 [1844].

Dearest,--I relied indeed on your friends.h.i.+p--therefore the celerity with which you have arranged the Schlesinger affair for me does not surprise me at all. I thank you from the bottom of my heart, and await the moment when I shall be able to do as much for you. I imagine all is well in your home-- that Madame Franchomme and your dear children are well--and that you love me as I love you.--Yours devotedly,

F. CH.

Madame Sand embraces your dear big darling [fanfan], and sends you a hearty grasp of the hand.

Chateau de Nohant, September 20, 1844.

Dearest,--If I did not write you before, it was because I thought I should see you again this week in Paris. My departure being postponed, I send you a line for Schlesinger so that he may remit to you the price of my last ma.n.u.scripts, that is to say, 600 francs (100 of which you will keep for me). I hope he will do it without making any difficulty about it--if not, ask him at once for a line in reply (without getting angry), send it to me, and I shall write immediately to M. Leo to have the 500 francs you had the kindness to lend me remitted to you before the end of the month.

What shall I say? I often think of our last evening spent with my dear sister. [FOOTNOTE: His sister Louise, who had been on a visit to him.] How glad she was to hear you! She wrote to me about it since from Strasburg, and asked me to remember her to you and Madame Franchomme. I hope you are all well, and that I shall find you so. Write to me, and love me as I love you.

Your old

[A scrawl.]

A thousand compliments to Madame. I embrace your dear children. A thousand compliments from Madame Sand.

[Date.]

I send you also a receipt for Schlesinger which you will give up to him for the money only. Once more, do not be vexed if he makes any difficulties. I embrace you.

C.

August 30, 1845.

Very dear friend,--Here are three ma.n.u.scripts for Brandus, [FOOTNOTE: Brandus, whose name here appears for the first time in Chopin's letters, was the successor of Schlesinger.] and three for Maho, who will remit to you Haertel's price for them (1,500 francs). Give the ma.n.u.scripts only at the moment of payment. Send a note for 500 francs in your next letter, and keep the rest for me. I give you much trouble, I should like to spare you it--but--but----.

Ask Maho not to change the ma.n.u.scripts destined for Haertel, because, as I shall not correct the Leipzig proofs, it is important that my copy should be clear. Also ask Brandus to send me two proofs, one of which I may keep.

Now, how are you? and Madame Franchomme and her dear children?

I know you are in the country--(if St. Germain may be called country)--that ought to do you all infinite good in the fine weather which we continue to have. Look at my erasures! I should not end if I were to launch out into a chat with you, and I have not time to resume my letter, for Eug. Delacroix, who wishes much to take charge of my message for you, leaves immediately. He is the most admirable artist possible--I have spent delightful times with him. He adores Mozart--knows all his operas by heart.

Decidedly I am only making blots to-day--pardon me for them.

Au revoir, dear friend, I love you always, and I think of you every day.

Give my kind regards to Madame Franchomme, and embrace the dear children.

September 22, 1845.

Very dear friend,--I thank you with all my heart for all your journeys after Maho, and your letter which I have just received with the money. The day of the publication seems to me good, and I have only to ask you again not to let Brandus fall asleep on my account or over my accounts.