It was a fortunate occurrence that at this period of his career Chopin was induced to give a concert, and equally fortunate that men of knowledge, judgment, and literary ability have left us their impressions of the event. The desirability of replenishing an ever-empty purse, and the instigations of George Sand, were no doubt the chief motive powers which helped the composer to overcome his dislike to playing in public.
"Do you practise when the day of the concert approaches?" asked Lenz. [FOOTNOTE: Die grossen Pianoforte-Virtusen unstrer Zeit, p. 36.] "It is a terrible time for me," was Chopin's answer; "I dislike publicity, but it is part of my position. I shut myself up for a fortnight and play Bach. That is my preparation; I never practise my own compositions." What Gutmann told me confirms these statements. Chopin detested playing in public, and became nervous when the dreaded time approached. He then fidgeted a great deal about his clothes, and felt very unhappy if one or the other article did not quite fit or pinched him a little. On one occasion Chopin, being dissatisfied with his own things, made use of a dress-coat and shirt of his pupil Gutmann. By the way, the latter, who gave me this piece of information, must have been in those days of less bulk, and, I feel inclined to add, of less height, than he was when I became acquainted with him.
Leaving the two concerts given by Chopin in 1841 and 1842 to be discussed in detail in the next chapter, I shall now give a translation of the Polish letters which he wrote in the summer and autumn of 1841 to Fontana. The letters numbered 4 and 5 are those already alluded to on p. 24 (foot-note 3) which Karasowski gives as respectively dated by Chopin: "Palma, November 17, 1838"; and "Valdemosa, January 9, 1839." But against these dates militate the contents: the mention of Troupenas, with whom the composer's business connection began only in 1840 (with the Sonata, Op. 35); the mention of the Tarantelle, which was not published until 1841; the mention (contradictory to an earlier inquiry—see p. 30) of the sending back of a valet nowhere else alluded to; the mention of the sending and arrival of a piano, irreconcilable with the circumstances and certain statements in indisputably correctly-dated letters; and, lastly, the absence of all mention of Majorca and the Preludes, those important topics in the letters really from that place and of that time. Karasowski thinks that the letters numbered 1, 2, 3, and 9 were of the year 1838, and those numbered 6, 7, and 8 of the year 1839; but as the "Tarantelle," Op. 43, the "Polonaise," Op. 44, the "Prelude," Op. 45, the "Allegro de Concert," Op. 46, the third "Ballade," Op. 47, the two "Nocturnes," Op. 48, and the "Fantaisie," Op. 49, therein mentioned, were published in 1841, I have no doubt that they are of the year 1841. The mention in the ninth letter of the Rue Pigalle, 16, George Sand's and Chopin's abode in Paris, of Pelletan, the tutor of George Sand's son Maurice, and of the latter's coming to Paris, speaks likewise against 1838 and for 1841, 1840 being out of the question, as neither George Sand nor Chopin was in this year at Nohant. What decides me especially to reject the date 1839 for the seventh letter is that Pauline Garcia had then not yet become the wife of Louis Viardot. There is, moreover, an allusion to a visit of Pauline Viardot to Nohant in the summer of 1841 in one of George Sand's letters (August 13, 1841). In this letter occurs a passage which is important for the dating both of the fifth and the seventh letter. As to the order of succession of the letters, it may be wrong, it certainly does not altogether satisfy me; but it is the result of long and careful weighing of all the pros and cons. I have some doubt about the seventh letter, which, read by the light of George Sand's letter, ought perhaps to be placed after the ninth. But the seventh letter is somewhat of a puzzle. Puzzles, owing to his confused statements and slipshod style, are, however, not a rare thing in Chopin's correspondence. The passage in the above-mentioned letter of George Sand runs thus: "Pauline leaves me on the 16th [of August]; Maurice goes on the 17th to fetch his sister, who should be here on the 23rd."
[I.] 1841.
My very dear friend,—I arrived here yesterday, Thursday. For
Schlesinger [FOOTNOTE: The Paris music-publisher.] I have
composed a Prelude in C sharp minor [Op. 45], which is short,
as he wished it. Seeing that, like Mechetti's [FOOTNOTE: The
Vienna music-publisher.] Beethoven, this has to come out at
the New Year, do not yet give my Polonaise to Leo (although
you have already transcribed it), for to-morrow I shall send
you a letter for Mechetti, in which I shall explain to him
that, if he wishes something short, I will give him for the
Album instead of the mazurka (which is already old) the NEW
prelude. It is well modulated, and I can send it without
hesitation. He ought to give me 300 francs for it, n'est-ce
pas? Par-dessus le marche he may get the mazurka, only he must
not print it in the Album.
Should Troupenas, [FOOTNOTE: Eugene Troupenas, the Paris music-
publisher.] that is, Masset, [FOOTNOTE: Masset (his daughter,
Madame Colombier, informed me) was the partner of Troupenas,
and managed almost the whole business, Troupenas being in weak
health, which obliged him to pass the last ten winters of his
life at Hyeres.] make any difficulties, do not give him the
pieces a farthing cheaper, and tell him that if he does not
wish to print them all—which I should not like—I could sell
them at a better price to others.
Now of something else.
You will find in the right-hand drawer of my writing-desk (in
the place where the cash-box always is) a sealed parcel
addressed to Madame Sand. Wrap this parcel in wax-cloth, seal
it, and send it by post to Madame Sand's address. Sew on the
address with a strong thread, that it may not come off the wax-
cloth. It is Madame Sand who asks me to do this. I know you
will do it perfectly well. The key, I think, is on the top
shelf of the little cabinet with the mirror. If it should not
be there, get a locksmith to open the drawer.
I love you as an old friend. Embrace Johnnie.—Your
FREDERICK.
[2.] 1841.
Thanks for forwarding the parcel. I send you the Prelude, in
large characters for Schlesinger and in small characters for
Mechetti. Clip the MS. of the Polonaise to the same size,
number the pages, and fold it like the Prelude, add to the
whole my letter to Mechetti, and deliver it into Leo's own
hands, praying him to send it by the first mail, as Mechetti
is waiting for it.
The letter to Haslinger [FOOTNOTE: The Vienna music-
publisher.] post yourself; and if you do not find Schlesinger
at home leave the letter, but do not give him the MS. until he
tells you that he accepts the Prelude as a settlement of the
account. If he does not wish to acquire the right of
publication for London, tell him to inform me of it by letter.
Do not forget to add the opus on the Polonaise and the
following number on the Prelude—that is, on the copies that
are going to Vienna.
I do not know how Czerniszewowa is spelt. Perhaps you will
find under the vase or on the little table near the bronze
ornament a note from her, from her daughter, or from the
governess; if not, I should be glad if you would go—they know
you already as my friend—to the Hotel de Londres in the Place
Vendome, and beg in my name the young Princess to give you her
name in writing and to say whether it is Tscher or Tcher. Or
better still, ask for Mdlle. Krause, the governess; tell her
that I wish to give the young Princess a surprise; and inquire
of her whether it is usual to write Elisabeth and
Tschernichef, or ff. [FOOTNOTE: Chopin dedicated the Prelude,
Op. 45, to Mdlle. la Princesse Elisabeth Czernicheff.]
If you do not wish to do this, don't be bashful with me, and
write that you would rather be excused, in which case I shall
find it out by some other means. But do not yet direct
Schlesinger to print the title. Tell him I don't know how to
spell. Nevertheless, I hope that you will find at my house
some note from them on which will be the name....
I conclude because it is time for the mail, and I wish that my
letter should reach Vienna without fail this week.
[3.] Nohant, Sunday, 1841.
I send you the Tarantella [Op. 43]. Please to copy it. But
first go to Schlesinger, or, better still, to Troupenas, and
see the collection of Rossini's songs published by Troupenas.
In it there is a Tarantella in F. I do not know whether it is
written in 6/8 or 12/8 time. As to my composition, it does not
matter which way it is written, but I should prefer it to be
like Rossini's. Therefore, if the latter be in 12/8 or in C
with triplets, make in copying one bar out of two. It will be
thus: [here follows one bar of music, bars four and five of
the Tarantella as it is printed.] [FOOTNOTE: This is a
characteristic instance of Chopin's carelessness in the
notation of his music. To write his Tarantella in 12/8 or C
would have been an egregious mistake. How Chopin failed to see
this is inexplicable to me.]
I beg of you also to write out everything in full, instead of
marking repeats. Be quick, and give it to Leo with my letter
to Schubert. [FOOTNOTE: Schuberth, the Hamburg music-
publisher.] You know he leaves for Hamburg before the 8th of
next month, and I should not like to lose 500 francs.
As regards Troupenas, there is no hurry. If the time of my
manuscript is not right, do not deliver the latter, but make a
copy of it. Besides this, make a third copy of it for Wessel.
It will weary you to copy this nasty thing so often; but I
hope I shall not compose anything worse for a long time. I
also beg of you to look up the number of the last opus—
namely, the last mazurkas, or rather the waltz published by
Paccini [FOOTNOTE: Pacini, a Paris music-publisher. He
published the Waltz in A flat major, Op. 42, in the summer of
1840, if not earlier.]—and give the following number to the
Tarantella.
I am keeping my mind easy, for I know you are willing and
clever. I trust you will receive from me no more letters
burdened with commissions. Had I not been with only one foot
at home before my departure you would have none of these
unpleasantnesses. Attend to the Tarantella, give it to Leo,
and tell him to keep the money he may receive till I come
back. Once more I beg of you to excuse my troubling you so
much. To-day I received the letter from my people in Poland
you sent me. Tell the portier to give you all the letters
addressed to me.
[4.]
My dear friend,—As you are so good, be so to the end. Go to
the transport commission-office of Mr. Hamberg et Levistal
successeurs de Mr. Corstel fils aine et Cie, rue des Marais
St. Martin, No. 51, a Paris, and direct them to send at once
to Pleyel for the piano I am to have, so that it may go off
the next day. Say at the office that it is to be forwarded par
un envoy [sic] accelere et non ordinaire. Such a transport
costs of course far more, but is incomparably quicker. It will
probably cost five francs per cwt. I shall pay here. Only
direct them to give you a receipt, on which they will write
how many cwts. the piano weighs, when it leaves, and when it
will arrive at Chateauroux. If the piano is conveyed by
roulage [land-transport]—which goes straight to Toulouse and
leaves goods only on the route—the address must not be a la
Chatre, [FOOTNOTE: Instead of "la Chatre" we have in
Karasowski's Polish book "la Chatie," which ought to warn us
not to attribute all the peculiar French in this letter to
Chopin, who surely knew how to spell the name of the town in
the neighbourhood of the familiar Nohant.] but Madame
Dudevant, a Chateauroux, as I wrote above. [FOOTNOTE: "Address
of the piano: Madame Dudevant, a Chateauroux. Bureau Restant
chez M. Vollant Patureau." This is what Chopin wrote above.]
At the last-mentioned place the agency has been informed, and
will forward it at once. You need not send me the receipt, we
should require it only in case of some unforeseen reclamation.
The correspondent in Chateauroux says that PAR LA VOYE
ACCELERE [SIC] it will come from Paris in four days. If this
is so, let him bind himself to deliver the piano at
Chateauroux in four or five days.
Now to other business.
Should Pleyel make any difficulties, apply to Erard; I think
that the latter in all probability ought to be serviceable to
you. Only do not act hastily, and first ascertain how the
matter really stands.
As to the Tarantella, seal it and send it to Hamburg. To-
morrow I shall write you of other affairs, concerning
Troupenas, &c.
Embrace Johnnie, and tell him to write.
[5.]
Thanks for all the commissions you have executed so well. To-
day, that is on the 9th, I received the piano and the other
things. Do not send my little bust to Warsaw, it would
frighten them, leave it in the press. Kiss Johnnie for his
letter. I shall write him a few lines shortly.
To-morrow I shall very likely send back my old servant, who
loses his wits here. He is an honest man and knows how to
serve, but he is tiresome, and makes one lose one's patience.
I shall send him back, telling him to wait for me in Paris. If
he appears at the house, do not be frightened.
Latterly the weather has been only so-so.
The man in Chateauroux was waiting three days for the piano;
yesterday, after receiving your letter, I gave orders that he
should be recalled. To-day I do not yet know what kind of tone
the piano has, as it is not yet unpacked; this great event is
to take place to-morrow. As to the delay and misunderstanding
in sending it, do not make any inquiries; let the matter rest,
it is not worth a quarrel. You did the best you could. A
little ill-humour and a few days lost in expectation are not
worth a pinch of snuff. Forget, therefore, my commissions and
your transaction; next time, if God permits us to live,
matters will turn out better.
I write you these few words late at night. Once more I thank
you, most obliging of men, for the commissions, which are not
yet ended, for now comes the turn of the Troupenas business,
which will hang on your shoulders. I shall write to you on
this subject more fully some other time, and to-day I wish you
good night. But don't have dreams like Johnnie—that I died;
but rather dream that I am about to be born, or something of
the sort.
In fact, I am feeling now as calm and serene as a baby in
swaddling-clothes; and if somebody wished to put me in leading-
strings, I should be very glad—nota bene, with a cap thickly
lined with wadding on my head, for I feel that at every moment
I should stumble and turn upside down. Unfortunately, instead
of leading-strings there are probably awaiting me crutches, if
I approach old age with my present step. I once dreamt that I
was dying in a hospital, and this is so strongly rooted in my
mind that I cannot forget it—it is as if I had dreamt it
yesterday. If you survive me, you will learn whether we may
believe in dreams.
And now I often dream with my eyes open what may be said to
have neither rhyme nor reason in it.
That is why I write you such a foolish letter, is it?
Send me soon a letter from my people, and love your old
FREDERICK.
[6.] Nohant, 1841.
Thanks for your very kind letter. Unseal all you judge
necessary.
Do not give the manuscripts to Troupenas till Schubert has
informed you of the day of publication. The answer will very
likely come soon through Leo.
What a pity that the Tarantella is gone to Berlin, for, as you
know from Schubert's letter, Liszt is mixed up in this
monetary affair, and I may have some unpleasantness. He is a
thin-skinned Hungarian, and may think that I do not trust him
because I directed that the manuscripts should not be given
otherwise than for cash. I do not know, but I have a
presentiment of a disagreeable mess. Do not say anything about
it to the ailing Leo; go and see him if you think it
necessary, give him my compliments and thanks (although
undeserved), and ask pardon for troubling him so much. After
all, it is kind of him to take upon him the forwarding of my
things. Give my compliments, also to Pleyel, and ask him to
excuse my not writing to him (do not say anything about his
sending me a very inferior piano).
I beg of you to put into the letter-box at the Exchange
yourself the letter to my parents, but I say do it yourself,
and before 4 o'clock. Excuse my troubling you, but you know of
what great importance my letter is to my people.
Escudier has very likely sent you that famous album. If you
wish you may ask Troupenas to get you a copy as if it were for
me; but if you don't wish, say nothing.
[FOOTNOTE: Leon Escudier, I suppose. The brothers Marie and
Leon Escudier established a music business in the latter part
of the fourth decade of this century; but when soon after both
married and divided their common property, Marie got their
journal "La France Musicale" and Leon the music-business. They
wrote and published together various books on music and
musicians.]
Still one more bother.
At your leisure transcribe once more this unlucky Tarantella,
which will be sent to Wessel when the day [of publication] is
known. If I tire you so much with this Tarentella, you may be
sure that it is for the last time. From here, I am sure you
will have no more manuscript from me. If there should not be
any news from Schubert within a week, please write to me. In
that case you would give the manuscript to Troupenas. But I
shall write him about it.
[7.] Nohant, 1841, Friday evening.
My dear Julius,—I send you a letter for Bonnet; read, seal,
and deliver it. And if in passing through the streets in which
you know I can lodge, you find something suitable for me,
please write to me. Just now the condition about the staircase
exists no longer. [FOOTNOTE: Chopin felt so much stronger that
high stairs were no longer any objection to lodgings.] I also
send you a letter to Dessauer [FOOTNOTE: Joseph Dessauer, a
native of Prague, best known by his songs. He stayed in Paris
in 1833, and afterwards settled in Vienna. George Sand
numbered him among her friends.] in answer to his letter which
Madame Deller sent me from Austria. He must already be back to
Paris; be sure and ask Schlesinger, who will be best able to
inform you of this.
Do not give Dessauer many particulars about me; do not tell
him that you are looking for rooms, nor Anthony either, for he
will mention it to Mdlle. de Rozieres, and she is a babbler
and makes the least thing a subject for gossip. Some of her
gossipings have already reached me here in a strange way. You
know how great things sometimes grow out of nothing if they
pass through a mouth with a loose tongue. Much could be said
on this head.
As to the unlucky Tarantella, you may give it to Troupenas
(that is, to Masset); but, if you think otherwise, send it by
post to Wessel, only insist on his answering at once that he
has received it. The weather has been charming here for the
last few days, but my music—is ugly. Madame Viardot spent a
fortnight here; we occupied ourselves less with music than
with other things.
Please write to me whatever you like, but write.
May Johnnie be in good health!
But remember to write on Troupenas's copy: Hamburg, Schubert;
Wessel, London.
In a few days I shall send you a letter for Mechetti in
Vienna, to whom I promised to give some compositions. If you
see Dessauer or Schlesinger, ask if it is absolutely necessary
to pay postage for the letters sent to Vienna.—I embrace you,
adieu.
CHOPIN.