All this, however, is changed in another composition, the Rondeau a la Mazur, Op. 5, dedicated to the Comtesse Alexandrine de Moriolles (a daughter of the Comte de Moriolles mentioned in Chapter II), which, like the Rondo, Op. 1, was first published in Warsaw, and made its appearance in Germany some years later. I do not know the exact time of its composition, but I presume it was a year or two after that of the previously mentioned works. Schumann, who reviewed it in 1836, thought it had perhaps been written in the eighteenth year of the composer, but he found in it, some confused passages excepted, no indications of the author's youth. In this Rondeau a la Mazur the individuality of Chopin and with it his nationality begin to reveal themselves unmistakably. Who could fail to recognise him in the peculiar sweet and persuasive flows of sound, and the serpent-like winding of the melodic outline, the wide-spread chords, the chromatic progressions, the dissolving of the harmonies and the linking of their constituent parts! And, as I have said elsewhere in speaking of this work: "The harmonies are often novel, and the matter is more homogeneous and better welded into oneness."
Chopin's pianoforte lessons, as has already been stated, came to an end when he was twelve years old, and thenceforth he was left to his own resources.
The school of that time [remarks Fontana] could no longer
suffice him, he aimed higher, and felt himself impelled
towards an ideal which, at first vague, before long grew into
greater distinctness. It was then that, in trying his
strength, he acquired that touch and style, so different from
those of his predecessors, and that he succeeded in creating
at last that execution which since then has been the
admiration of the artistic world.
The first stages of the development of his peculiar style may be traced in the compositions we have just now discussed. In the variations and first Rondo which Chopin wrote at or before the age of fifteen, the treatment of the instrument not only proves that he was already as much in his element on the pianoforte as a fish in the water, but also shows that an as yet vaguely-perceived ideal began to beckon him onward. Karasowski, informed by witnesses of the boy's studies in pianoforte playing, relates that Frederick, being struck with the fine effect of a chord in extended harmony, and unable, on account of the smallness of his hands, to strike the notes simultaneously, set about thinking how this physical obstacle could be overcome. The result of his cogitations was the invention of a contrivance which he put between his fingers and kept there even during the night, by this means endeavouring to increase the extensibility and flexibility of his hands. Who, in reading of this incident in Chopin's life, is not reminded of Schumann and his attempt to strengthen his fingers, an attempt that ended so fatally for his prospects as a virtuoso! And the question, an idle one I admit, suggests itself: Had Chopin been less fortunate than he was, and lost, like Schumann, the command of one of his hands before he had formed his pianoforte style, would he, as a composer, have risen to a higher position than we know him to have attained, or would he have achieved less than he actually did? From the place and wording of Karasowski's account it would appear that this experiment of Chopin's took place at or near the age of ten. Of course it does not matter much whether we know or do not know the year or day of the adoption of the practice, what is really interesting is the fact itself. I may, however, remark that Chopin's love of wide-spread chords and skips, if marked at all, is not strongly marked in the Variations on the German air and the first Rondo. Let the curious examine with regard to this matter the Tempo di Valse of the former work, and bars 38-43 of the Piu lento of the latter. In the Rondeau a la Mazur, the next work in chronological order, this peculiarity begins to show itself distinctly, and it continues to grow in the works that follow. It is not my intention to weary the reader with microscopical criticism, but I thought the first manifestations of Chopin's individuality ought not to be passed over in silence. As to his style, it will be more fully discussed in a subsequent chapter, where also the seeds from which it sprang will be pointed out.
CHAPTER IV.
FREDERICK WORKS TOO HARD.—PASSES PART OF HIS HOLIDAYS (1826) IN REINERZ.—STAYS ALSO AT STRZYZEWO, AND PAYS A VISIT TO PRINCE RADZIWILL.—HE TERMINATES HIS STUDIES AT THE LYCEUM (1827). ADOPTION OF MUSIC AS HIS PROFESSION.—EXCURSIONS.—FOLK-MUSIC AND THE POLISH PEASANTRY.—SOME MORE COMPOSITIONS.—PROJECTED TRAVELS FOR HIS IMPROVEMENT.—HIS OUTWARD APPEARANCE AND STATE OF HEALTH.
THE art which had attracted the child took every day a stronger hold of the youth. Frederick was not always in that sportive humour in which we have seen him repeatedly. At times he would wander about silent and solitary, wrapped in his musical meditations. He would sit up late, busy with his beloved music, and often, after lying down, rise from his bed in the middle of the night in order, to strike a few chords or try a short phrase—to the horror of the servants, whose first thought was of ghosts, the second that their dear young master was not quite right in his mind. Indeed, what with his school-work and his musical studies, our young friend exerted himself more than was good for him. When, therefore, in the holidays of 1826 his youngest sister, Emilia, was ordered by the physicians to go to Reinerz, a watering-place in Prussian Silesia, the parents thought it advisable that the too diligent Frederick should accompany her, and drink whey for the benefit of his health. The travelling party consisted of the mother, two sisters, and himself. A letter which he wrote on August 28, 1826, to his friend William Kolberg, furnishes some information about his doings there. It contains, as letters from watering-places usually do, criticisms of the society and accounts of promenadings, excursions, regular meals, and early hours in going to bed and in rising. As the greater part of the contents can be of no interest to us, I shall confine myself to picking up what seems to me worth preserving. He had been drinking whey and the waters for a fortnight and found he was getting somewhat stouter and at the same time lazy. People said he began to look better. He enjoyed the sight of the valleys from the hills which surround Reinerz, but the climbing fatigued him, and he had sometimes to drag himself down on all-fours. One mountain, the rocky Heuscheuer, he and other delicate persons were forbidden to ascend, as the doctor was afraid that the sharp air at the top would do his patients harm. Of course, Frederick tried to make fun of everything and everyone—for instance, of the wretched wind-band, which consisted of about a dozen "caricatures," among whom a lean bassoon-player with a snuffy hook-nose was the most notable. To the manners of the country, which in some respects seem to have displeased him, he got gradually accustomed.
At first I was astonished that in Silesia the women work
generally more than the men, but as I am doing nothing myself
just now I have no difficulty in falling in with this
arrangement.
During his stay at Reinerz he gave also a concert on behalf of two orphans who had come with their sick mother to this watering-place, and at her death were left so poor as to be unable even to pay the funeral expenses and to return home with the servant who took care of them.