[8.]
Nohant, Sunday, 1841.
What you have done you have done well. Strange world! Masset
is a fool, so also is Pelletan. Masset knew of Pacini's waltz
and that I promised it to the "Gazette" for the Album. I did
not wish to make any advances to him. If he does not wish them
at 600 francs, with London (the price of my USUAL manuscripts
was 300 francs with him)—three times five being fifteen—I
should have to give so much labour for 1,500 francs—that
cannot be. So much the more as I told him when I had the first
conversation with him that it might happen that I could not
let him have my things at this price. For instance, he cannot
expect that I should give him twelve Etudes or a new Methode
de Piano for 300 francs. The Allegro maestoso ["Allegro de
Concert," Op. 46] which I send you to-day I cannot give for
300 francs, but only for 600 francs, nor the "Fantasia" [Op.
49], for which I ask 500 francs. Nevertheless, the "Ballade"
[the third, Op. 47], the Nocturnes ["Deux Nocturnes," Op. 48],
and Polonaise [F sharp minor, Op. 44], I shall let him have at
300 francs, for he has already formerly printed such things.
In one word, for Paris I give these five compositions for
2,000 francs. If he does not care for them, so much the
better. I say it entre nous—for Schlesinger will most
willingly buy them. But I should not like him to take me for a
man who does not keep his word in an agreement. "Il n'y avait
qu'une convention facile d'honnete homme a honnete homme."
therefore, he should not complain of my terms, for they are
very easy. I want nothing but to come out of this affair
respectably. You know that I do not sell myself. But tell him
further that if I were desirous of taking advantage of him or
of cheating him, I could write fifteen things per year, but
worthless ones, which he would buy at 300 francs and I would
have a better income. Would it be an honest action?
My dear friend, tell him that I write seldom, and spend but
little. He must not think that I wish to raise the price. But
when you yourself see my manuscript flies, [FOOTNOTE: An
allusion to his small, fine writing.] you will agree with me
that I may ask 600 francs when I was paid 300 francs for the
Tarantella and 500 for the Bolero.
For God's sake take good care of the manuscripts, do not
squeeze, dirty, or tear them. I know you are not capable of
doing anything of the sort, but I love my WRITTEN TEDIOUSNESS
[NUDY, tediousness; NUTY, notes] so much that I always fear
that something might happen to them.
To-morrow you will receive the Nocturne, and at the end of the
week the Ballade and Fantasia; I cannot get my writing done
sooner. Each of these things you will transcribe; your copies
will remain in Paris. If copying wearies you, console yourself
with thinking that you are doing it for THE REMISSION OF YOUR
SINS. I should not like to give my little spider-feet to any
copyist who would daub coarsely. Once more I make this
request, for had I again to write these eighteen pages, I
should most certainly go wrong in my mind.
I send you a letter from Hartel.
Try to get another valet instead of the one you have. I shall
probably be in Paris during the first days of November. To-
morrow I will write to you again.
Monday
morning.
On reading your letter attentively, I see that Masset does not
ask for Paris. Leave this point untouched if you can. Mention
only 3,000 francs pour les deux pays, and 2,000 francs for
Paris itself if he particularly asks about it. Because la
condition des deux pays is still easier, and for me also more
convenient. If he should not want it, it must be because he
seeks an opportunity for breaking with me. In that case, wait
for his answer from London. Write to him openly and frankly,
but always politely, and act cautiously and coolly, but mind,
not to me, for you know how much loves you your...
[9.] Nohant, 1841.
My dear friend,—You would be sure to receive my letters and
compositions. You have read the German letters, sealed them,
and done everything I asked you, have you not? As to Wessel,
he is a fool and a cheat. Write him whatever you like, but
tell him that I do not intend to give up my rights to the
Tarantella, as he did not send it back in time. If he
sustained losses by my compositions, it is most likely owing
to the foolish titles he gave them, in spite of my directions.
Were I to listen to the voice of my soul, I would not send him
anything more after these titles. Say as many sharp things to
him as you can.
[FOOTNOTE: Here are some specimens of the publisher's
ingenious inventiveness:—"Adieu a Varsovie" (Rondeau, Op. 1),
"Hommage a Mozart" (Variations, Op. 2), "La Gaite"
(Introduction et Polonaise, Op. 3), "La Posiana" (Rondeau a la
Mazur, Op. 5), "Murmures de la Seine" (Nocturnes, Op. 9), "Les
Zephirs" (Nocturnes, Op. 15), "Invitation a la Valse" (Valse,
Op. 18), "Souvenir d'Andalousie" (Bolero, Op. 19), "Le banquet
infernal" (Premier Scherzo, Op. 20), "Ballade ohne Worte"
[Ballad without words] (Ballade, Op. 23), "Les Plaintives"
(Nocturnes, Op. 27), "La Meditation" (Deuxieme Scherzo, Op.
31), "Il lamento e la consolazione" (Nocturnes, Op. 32), "Les
Soupirs" (Nocturnes, Op. 37), and "Les Favorites" (Polonaises,
Op. 40). The mazurkas generally received the title of
"Souvenir de la Pologne.">[
Madame Sand thanks you for the kind words accompanying the
parcel. Give directions that my letters may be delivered to
Pelletan, Rue Pigal [i.e., Pigalle], 16, and impress it very
strongly on the portier. The son of Madame Sand will be in
Paris about the 16th. I shall send you, through him, the MS.
of the Concerto ["Allegro de Concert">[ and the Nocturnes [Op.
46 and 48].
These letters of the romantic tone-poet to a friend and fellow-artist will probably take the reader by surprise, nay, may even disillusionise him. Their matter is indeed very suggestive of a commercial man writing to one of his agents. Nor is this feature, as the sequel will show, peculiar to the letters just quoted. Trafficking takes up a very large part of Chopin's Parisian correspondence; [FOOTNOTE: I indicate by this phrase comprehensively the whole correspondence since his settling in the French capital, whether written there or elsewhere.] of the ideal within him that made him what he was as an artist we catch, if any, only rare glimmerings and glimpses.
CHAPTER XXV.
TWO PUBLIC CONCERTS, ONE IN 1841 AND ANOTHER IN 1842.—CHOPIN'S STYLE OF PLAYING: TECHNICAL QUALITIES; FAVOURABLE PHYSICAL CONDITIONS; VOLUME OF TONE; USE OF THE PEDALS; SPIRITUAL QUALITIES; TEMPO RUBATO; INSTRUMENTS.—HIS MUSICAL SYMPATHIES AND ANTIPATHIES.—OPINIONS ON MUSIC AND MUSICIANS.
The concert which Chopin gave in 1841, after several years of retirement, took place at Pleyel's rooms on Monday, the 26th of April. It was like his subsequent concerts a semi-public rather than a public one, for the audience consisted of a select circle of pupils, friends, and partisans who, as Chopin told Lenz, took the tickets in advance and divided them among themselves. As most of the pupils belonged to the aristocracy, it followed as a matter of course that the concert was emphatically what Liszt calls it, "un concert de fashion." The three chief musical papers of Paris: the "Gazette Musicale," the "France Musicale," and the "Menestrel" were unanimous in their high, unqualified praise of the concert-giver, "the king of the fete, who was overwhelmed with bravos." The pianoforte performances of Chopin took up by far the greater part of the programme, which was varied by two arias from Adam's "La Rose de Peronne," sung by Mdme. Damoreau—Cinti, who was as usual "ravissante de perfection," and by Ernst's "Elegie," played by the composer himself "in a grand style, with passionate feeling and a purity worthy of the great masters." Escudier, the writer of the notice in the "France Musicale," says of Ernst's playing: "If you wish to hear the violin weep, go and hear Ernst; he produces such heart-rending, such passionate sounds, that you fear every moment to see his instrument break to pieces in his hands. It is difficult to carry farther the expression of sadness, of suffering, and of despair."
To give the reader an idea of the character of the concert, I shall quote largely from Liszt's notice, in which he not only sets forth the merits of the artists, but also describes the appearance of the room and the audience. First, however, I must tell a pretty anecdote of which this notice reminds me. When Liszt was moving about among the audience during the intervals of the concert, paying his respects here and there, he came upon M. Ernest Legouve. The latter told him of his intention to give an account of the concert in the "Gazette Musicale." Liszt thereupon said that he had a great wish to write one himself, and M. Legouve, although reluctantly, gave way. When it came to the ears of Chopin that Liszt was going to report on the concert, he remarked: "Il me donnera un petit royaume dans son empire" (He will give me a little kingdom in his empire).
[FOOTNOTE: Since I wrote the above, M. Legouve has published his "Soixante ans de Souvenirs," and in this book gives his version of the story, which, it is to be hoped, is less incorrect than some other statements of his relating to Chopin: "He [Chopin] had asked me to write a report of the concert. Liszt claimed the honour. I hastened to announce this good news to Chopin, who quietly said to me: "I should have liked better if it had been you." "What are you thinking of my dear friend! An article by Liszt, that is a fortunate thing for the public and for you. Trust in his admiration for your talent. I promise you qu'il vous fera un beau royaume.'—'Oui, me dit-il en souriant, dans son empire!'"">[
These few words speak volumes. But here is what Liszt wrote about the concert in the "Gazette musicale" of May 2, 1841:—