Frederick Chopin, as a Man and Musician — Complete

by Frederick Niecks

To reconcile Liszt's account with George Sand's remark that Chopin was one of those whose acquaintance she made at Madame d'Agoult's or through her, we have only to remember the intimate relation in which Liszt stood to this lady (subsequently known in literature under the nom de plume of Daniel Stern), who had left her husband, the Comte d'Agoult, in 1835.

And now at last we can step again from the treacherous quicksand of reminiscences on the terra firma of documents. The following extracts from some letters of George Sand's throw light on her relation to Chopin in the early part of 1837:—

Nohant, March 28, 1837.
[To Franz Liszt.]...Come and see us as soon as possible. Love,
esteem, and friendship claim you at Nohant. Love (Marie
[FOOTNOTE: The Comtesse d'Agoult.]) is some what ailing,
esteem (Maurice and Pelletan [FOOTNOTE: The former, George
Sand's son; the latter, Eugene Pelletan, Maurice's tutor.])
pretty well, and friendship (myself) obese and in excellent
health.
Marie told me that there was some hope of Chopin. Tell Chopin
that I beg of him to accompany you; that Marie cannot live
without him, and that I adore him.
I shall write to Grzymala personally in order to induce him
also, if I can, to come and see us. I should like to be able
to surround Marie with all her friends, in order that she also
may live in the bosom of love, esteem, and friendship.

[FOOTNOTE: Albert Grzymala, a man of note among the Polish refugees. He was a native of Dunajowce in Podolia, had held various military and other posts—those of maitre des requites, director of the Bank of Poland, attache to the staff of Prince Poniatowski, General Sebastiani, and Lefebvre, &c.—and was in 1830 sent by the Polish Government on a diplomatic mission to Berlin, Paris, and London. (See L'Amanach de L'Emigration polonaise, published at Paris some forty years ago.) He must not be confounded with the publicist Francis Grzymala, who at Warsaw was considered one of the marechaux de plume, and at Paris was connected with the Polish publication Sybilla. With one exception (Vol. I., p. 3), the Grzymala spoken of in these volumes is Albert Grzymala, sometimes also called Count Grzymala. This title, however, was, if I am rightly informed, only a courtesy title. The Polish nobility as such was untitled, titles being of foreign origin and not legally recognised. But many Polish noblemen when abroad assume the prefix de or von, or the title "Count," in order to make known their rank.]

Nohant, April 5, 1837.
[To the Comtesse d'Agoult.]...Tell Mick....[FOOTNOTE:
Mickiewicz, the poet.] (non-compromising manner of writing
Polish names) that my pen and my house are at his service, and
are only too happy to be so; tell Grzy...., [FOOTNOTE:
Gryzmala] whom I adore, Chopin, whom I idolatrise, and all
those whom you love that I love them, and that, brought by
you, they will be welcome. Berry in a body watches for the
maestro's [FOOTNOTE: Liszt's] return in order to hear him play
the piano. I believe we shall be obliged to place le garde-
champetre and la garde nationals of Nohant under arms in order
to defend ourselves against the dilettanti berrichoni.

Nohant, April 10, 1837.
[To the Comtesse d'Agoult.] I want the fellows, [FOOTNOTE:
"Fellows" (English) was the nickname which Liszt gave to
himself and his pupil Hermann Cohen.] I want them as soon and
as LONG as possible. I want them a mort. I want also Chopin
and all the Mickiewiczs and Grzymalas in the world. I want
even Sue if you want him. What more would I not want if that
were your fancy? For instance, M. de Suzannet or Victor
Schoelcher! Everything, a lover excepted.

Nohant, April 21, 1837.
[To the Comtesse d'Agoult.] Nobody has permitted himself to
breathe the air of your room since you left it. Arrangements
will be made to put up all those you may bring with you. I
count on the maestro, on Chopin, on the Rat, [FOOTNOTE:
Liszt's pupil, Hermann Cohen.] if he does not weary you too
much, and all the others at your choice.

Chopin's love for George Sand was not instantaneous like that of Romeo for Juliet. Karasowski remembers having read in one of those letters of the composer which perished in 1863: "Yesterday I met George Sand...; she made a very disagreeable impression upon me." Hiller in his Open Letter to Franz Liszt writes:—

One evening you had assembled in your apartments the
aristocracy of the French literary world—George Sand was of
course one of the company. On the way home Chopin said to me
"What a repellent [antipathische] woman the Sand is! But is
she really a woman? I am inclined to doubt it."

Liszt, in discussing this matter with me, spoke only of Chopin's "reserve" towards George Sand, but said nothing of his "aversion" to her. And according to this authority the novelist's extraordinary mind and attractive conversation soon overcame the musician's reserve. Alfred de Musset's experience had been of a similar nature. George Sand did not particularly please him at first, but a few visits which he paid her sufficed to inflame his heart with a violent passion. The liaisons of the poet and musician with the novelist offer other points of resemblance besides the one just mentioned: both Musset and Chopin were younger than George Sand—the one six, the other five years; and both, notwithstanding the dissimilarity of their characters, occupied the position of a weaker half. In the case of Chopin I am reminded of a saying of Sydney Smith, who, in speaking of his friends the historian Grote and his wife, remarked: "I do like them both so much, for he is so lady-like, and she is such a perfect gentleman." Indeed, Chopin was described to me by his pupil Gutmann as feminine in looks, gestures, and taste; as to George Sand, although many may be unwilling to admit her perfect gentlemanliness, no one can doubt her manliness:—