Frederick Chopin, as a Man and Musician Part 40

Nohant, July 8, 1846.

Very dear friend,--It was not because I did not think of it that I have not written to you sooner, but because I wished to send you at the same time my poor ma.n.u.scripts, which are not yet finished. In the meantime here is a letter for M. Brandus.

When you deliver it to him, be so kind as to ask him for a line in reply, which you will have the goodness to send to me; because if any unforeseen event occurs, I shall have to apply to Meissonnier, their offers being equal.

My good friend,--I am doing my utmost to work, but I do not get on; and if this state of things continues, my new productions will no longer remind people either of the WARBLING OF LINNETS [gazouillement des fauvettes] [FOOTNOTE: This is an allusion to a remark which somebody made on his compositions.] or even of BROKEN CHINA [porcelaine ca.s.see]. I must resign myself.

Write to me. I love you as much as ever.

A thousand kind regards to Madame Franchomme, and many compliments from my sister Louise. I embrace your dear children.

[Date.]

Madame Sand begs to be remembered to you and Madame Franchomme.

Chateau de Nohant, near La Chatre, September 17, 1846.

Very dear friend,--I am very sorry that Brandus is away, and that Maho is not yet in a position to receive the ma.n.u.scripts that he has so often asked me for this winter. One must therefore wait; meanwhile I beg you will be so kind as to go back AS SOON as you judge it possible, for I should not now like this to be a long business, having sent my copy to London at the same time as to you. Do not tell them this--if they are CLEVER tradesmen [marchands habiles] they may cheat me like honest people [en honnetes gens]. As this is all my present fortune I should prefer the affair to turn out differently.

Also have the kindness not to consign my ma.n.u.scripts to them without receiving the money agreed upon, and send me immediately a note for 500 francs in your letter. You will keep the rest for me till my arrival in Paris, which will take place probably in the end of October. I thank you a thousand times, dear friend, for your good heart and friendly offers.

Keep your millions for me till another time--is it not already too much to dispose of your time as I do?

[Here follow compliments to and friendly enquiries after Franchomme's family.]

Madame Sand sends you a thousand compliments and desires to be remembered to Madame Franchomme.

[Date.]

I shall answer Madame Rubio. [FOOTNOTE: Nee Vera de Kologriwof, a pupil of Chopin's and teacher of music in Paris; she married Signor Rubio, an artist, and died in the summer of 1880 at Florence.] If Mdlle. Stirling [FOOTNOTE: A Scotch lady and pupil of Chopin's; I shall have to say more about her by- and-by. Madame Erskine was her elder sister.] is at St.

Germain, do not forget to remember me to her, also to Madame Erskine.

This will be the proper place to mention the compositions of the years 1842-47, about the publication of many of which we have read so much in the above letters. There is no new publication to be recorded in 1842.

The publications of 1843 were: in February--Op. 51, Allegro vivace, Troisieme Impromptu (G flat major), dedicated to Madame la Comtesse Esterhazy; in December--Op. 52, Quatrieme Ballade (F minor), dedicated to Madame la Baronne C. de Rothschild; Op. 53, Huitieme Polonaise (A flat major), dedicated to Mr. A. Leo; and Op. 54, Scherzo, No. 4 (E major), dedicated to Mdlle. J. de Caraman. Those of 1844 were: in August--Op. 55, Deux Nocturnes (F minor and E flat major), dedicated to Mdlle. J. H. Stirling; and Op. 56, Trois Mazurkas (A minor, A flat major, and F sharp minor), dedicated to Mdlle. C. Maberly. Those of 1845: in May--Op. 57, Berceuse (D flat major), dedicated to Mdlle. Elise Gavard; and in June--Op. 58, Sonate (B minor), dedicated to Madame la Comtesse E. de Perthuis. Those of 1846: in April--Op. 59, Trois Mazurkas (A minor, A flat major, and F sharp minor); and in September--Op.

60, Barcarole (F sharp major), dedicated to Madame la Baronne de Stockhausen; Op. 61, Polonaise-Fantaisie (A flat major), dedicated to Madame A. Veyret; and Op. 62, Deux Nocturnes (B major and E major), dedicated to Mdlle. R. de Konneritz. Those of 1847: in September--Op.

63, Trois Mazurkas (B major, F minor, and C sharp minor), dedicated to Madame la Comtesse L. Czosnowska, and Op. 64, Trois Valses (D flat major, C sharp minor, and A flat major), respectively dedicated to Madame la Comtesse Delphine Potocka, Madame la Baronne Nathaniel de Rothschild, and Madame la Baronne Bronicka; and lastly, in October--Op.

65, Sonate (G minor), pour piano et violoncelle, dedicated to Mr. A.

Franchomme.

From 1838 to 1846 Chopin pa.s.sed regularly every year, with the exception of 1840, three or four months at Nohant. The musical papers announced Chopin's return to town sometimes at the beginning of October, sometimes at the beginning of November. In 1844 he must either have made a longer stay at Nohant than usual or paid it a visit during the winter, for in the "Gazette musicale" of January 5, 1845, we read: "Chopin has returned to Paris and brought with him a new grand Sonata and variantes. These two important works will soon be published."

[FOOTNOTE: The new Sonata here mentioned is the one in B minor, Op. 58, which was published in June, 1845. As to the other item mentioned, I am somewhat puzzled. Has the word to be taken in its literal sense of "various readings," i.e., new readings of works already known (the context, however, does not favour this supposition), or does it refer to the ever-varying evolutions of the Berceuse, Op. 57. published in May, 1845, or, lastly, is it simply a misprint?]

George Sand generally prolonged her stay at Nohant till pretty far into the winter, much to the sorrow of her malade ordinaire (thus Chopin used to style himself), who yearned for her return to Paris.

According to Liszt, the country and the vie de chateau pleased Chopin so much that for the sake of enjoying them he put up with company that did not please him at all. George Sand has a different story to tell. She declares that the retired life and the solemnity of the country agreed neither with Chopin's physical nor with his moral health; that he loved the country only for a fortnight, after which he bore it only out of attachment to her; and that he never felt regret on leaving it. Whether Chopin loved country life or not, whether he liked George Sand's Berry friends and her guests from elsewhere or not, we may be sure that he missed Paris and his accustomed Paris society.

"Of all the troubles I had not to endure but to contend against, the sufferings of my malade ordinaire were not the least," says George Sand. "Chopin always wished for Nohant, and never could bear it."

And, speaking of the later years, when the havoc made in Chopin's const.i.tution by the inroads of his malady showed itself more and more, she remarks: "Nohant had become repugnant to him. His return in the spring still filled him with ecstatic joy for a short time. But as soon as he began to work everything round him a.s.sumed a gloomy aspect."

Before we peep into Chopin's room and watch him at work, let us see what the chateau of Nohant and life there were like. "The railway through the centre of France went in those days [August, 1846] no further than Vierzon," [FOOTNOTE: The opening of the extension of the line to Chateauroux was daily expected at that time.] writes Mr. Matthew Arnold in an account of a visit paid by him to George Sand:--

From Vierzon to Chateauroux one travelled by an ordinary diligence, from Chateauroux to La Chatre by a humbler diligence, from La Chatre to Broussac by the humblest diligence cf. all. At Broussac diligence ended, and PATACHE began. Between Chateauroux and La Chatre, a mile or two before reaching the latter place, the road pa.s.ses by the village of Nohant. The chateau of Nohant, in which Madame Sand lived, is a plain house by the roadside, with a walled garden. Down in the meadows not far off flows the Indre, bordered by trees.

The Chateau of Nohant is indeed, as Mr. Matthew Arnold says, a plain house, only the roof with its irregularly distributed dormars and chimney-stacks of various size giving to it a touch of picturesqueness.

On the other hand, the ground-floor, with its central door flanked on each side by three windows, and the seven windowed story above, impresses one with the sense of s.p.a.ciousness.

Liszt, speaking of a three months' stay at Nohant made by himself and his friend the Comtesse d'Agoult in the summer of 1837--i.e., before the closer connection of George Sand and Chopin began--relates that the hostess and her guests spent the days in reading good books, receiving letters from absent friends, taking long walks on the banks of the Indre, and in other equally simple occupations and amus.e.m.e.nts. In the evenings they a.s.sembled on the terrace. There, where the light of the lamps cast fantastic shadows on the neighbouring trees, they sat listening to the murmuring of the river and the warbling of the nightingales, and breathing in the sweet perfume of the lime-trees and the stronger scent of the larches till the Countess would exclaim: "There you are again dreaming, you incorrigible artists! Do you not know that the hour for working has come?" And then George Sand would go and write at the book on which she was engaged, and Liszt would betake himself to the old scores which he was studying with a view to discover some of the great masters' secrets. [FOOTNOTE: Liszt. "Essays and Reisebriefe eines Baccalaureus der Tonkunst." Vol. II., pp. 146 and 147 of the collected works.]

Thus was Nohant in quiet days. But the days at Nohant were by no means always quiet. For George Sand was most hospitable, kept indeed literally open house for her friends, and did so regardless of credit and debit.

The following pa.s.sage from a letter written by her in 1840 from Paris to her half-brother Hippolyte Chatiron gives us a good idea of the state of matters:--

If you will guarantee my being able to pa.s.s the summer at Nohant for 4,000 francs, I will go. But I have never been there without spending 1,500 francs per month, and as I do not spend here the half of this, it is neither the love of work, nor that of spending, nor that of GLORY, which makes me stay. I do not know whether I have been pillaged; but I am at a loss how to avoid it with my nonchalance, in so vast a house, and so easy a kind of life as that of Nohant. Here I can see clearly; everything is done under my eyes as I understand and wish it. At Nohant--let this remain between us--you know that before I am up a dozen people have often made themselves at home in the house. What can I do? Were I to pose as a good manager [econome] they would accuse me of stinginess; were I to let things go on, I should not be able to provide for them. Try if you can find a remedy for this.

In George Sand's letters many glimpses may be caught of the life at Nohant. To some of them I have already drawn the reader's attention in preceding chapters; now I shall point out a few more.

George Sand to Madame Marliani; Nohant, August 13, 1841:--

I have had all my nights absorbed by work and fatigue. I have pa.s.sed all my days with Pauline [Viardot] in walking, playing at billiards, and all this makes me so entirely go out of my indolent character and lazy habits that, at night, instead of working quickly, I fall stupidly asleep at every line....Viardot [Louis Viardot, the husband of Pauline] pa.s.ses his days in poaching with my brother and Papet; for the shooting season has not yet begun, and they brave the laws, divine and human. Pauline reads with Chopin whole scores at the piano. She is always good-natured and charming, as you know her.

George Sand to Mdlle. Rozieres: Nohant, October 15, 1841:--

Papet is in the depths of the forests; in "Erymanthe" at least, hunting the wild boar. Chopin is in Paris, and he has relapsed, as he says, into his triples croches [demisemiquavers].

George Sand to Mdlle. Rozieres; Nohant, May 9, 1842:--

Quick to work! Your master, the great Chopin, has forgotten (that for which he nevertheless cares a great deal) to buy a beautiful present for Francoise, my faithful servant, whom he adores, and he is very right.

He begs of you therefore to send him, IMMEDIATELY, four yards of lace, two fingers broad at least, within the price of ten francs a yard; further, a shawl of whatever material you like, within the price of forty francs....This, then, is the superb present which your HONOURED MASTER asks you to get for him, with an eagerness worthy of the ardour which he carries into his gifts, and of the impatience which he puts into little things.

Charles Rollinat, a friend of George Sand's, the brother of one of George Sand's most intimate and valued friends, Francois Rollinat, published in "Le Temps" (September 1, 1874) a charming "Souvenir de Nohant," which shows us the the chateau astir with a more numerous company:--

The hospitality there [he writes] was comfortable, and the freedom absolute. There were guns and dogs for those who loved hunting, boats and nets for those who loved fis.h.i.+ng, a splendid garden to walk in. Everyone did as he liked. Liszt and Chopin composed; Pauline Garcia studied her role of the "Prophete"; the mistress of the house wrote a romance or a drama; and it was the same with the others. At six o'clock they a.s.sembled again to dine, and did not part company till two or three o'clock in the morning.

Chopin rarely played. He could only be prevailed upon to play when he was sure of perfection. Nothing in the world would have made him consent to play indifferently. Liszt, on the contrary, played always, well or badly.

[FOOTNOTE: Charles Rollinat, a younger brother of Francois, went afterwards to Russia, where, according to George Sand (see letter to Edmond Plauchut, April 8, 1874), he was for twenty-five years "professeur de musique et haut enseignement, avec une bonne place du gouvernement." He made a fortune and lost it, retaining only enough to live upon quietly in Italy. He tried then to supplement his scanty income by literary work (translations from the Russian). George Sand, recalling the days of long ago, says: "Il chantait comme on ne chante plus, excepte Pauline [Viardot-Garcia]!"]

Unfortunately, the greater portion of M. Rollinat's so-called Souvenir consists of "poetry WITHOUT truth." Nevertheless, we will not altogether ignore his pretty stories.

One evening when Liszt played a piece of Chopin's with embellishments of his own, the composer became impatient and at last, unable to restrain himself any longer, walked up to Liszt and said with his ENGLISH PHLEGM:--

"I beg of you, my dear friend, if you do me the honour to play a piece of mine, to play what is written, or to play something else. It is only Chopin who has the right to alter Chopin."

"Well! play yourself!" said Liszt, rising from his seat a little irritated,

"With pleasure," said Chopin.

At that moment a moth extinguished the lamp. Chopin would not have it relighted, and played in the dark. When he had finished his delighted auditors overwhelmed him with compliments, and Liszt said: