Frederick Chopin, as a Man and Musician — Volume 1

by Frederick Niecks

Chopin, who made also a short stay in Prague—of which visit, however, we have no account—arrived in Vienna in the latter part of November, 1830. His intention was to give some concerts, and to proceed in a month or two to Italy. How the execution of this plan was prevented by various circumstances we shall see presently. Chopin flattered himself with the belief that managers, publishers, artists, and the public in general were impatiently awaiting his coming, and ready to receive him with open arms. This, however, was an illusion. He overrated his success. His playing at the two "Academies" in the dead season must have remained unnoticed by many, and was probably forgotten by not a few who did notice it. To talk, therefore, about forging the iron while it was hot proved a misconception of the actual state of matters. It is true his playing and compositions had made a certain impression, especially upon some of the musicians who had heard him. But artists, even when free from hostile jealousy, are far too much occupied with their own interests to be helpful in pushing on their younger brethren. As to publishers and managers, they care only for marketable articles, and until an article has got a reputation its marketable value is very small. Nine hundred and ninety-nine out of a thousand judge by names and not by intrinsic worth. Suppose a hitherto unknown statue of Phidias, a painting of Raphael, a symphony of Beethoven, were discovered and introduced to the public as the works of unknown living artists, do you think they would receive the same universal admiration as the known works of the immortal masters? Not at all! By a very large majority of the connoisseurs and pretended connoisseurs they would be criticised, depreciated, or ignored. Let, however, the real names of the authors become known, and the whole world will forthwith be thrown into ecstasy, and see in them even more beauties than they really possess. Well, the first business of an artist, then, is to make himself a reputation, and a reputation is not made by one or two successes. A first success, be it ever so great, and achieved under ever so favourable circumstances, is at best but the thin end of the wedge which has been got in, but which has to be driven home with much vigour and perseverance before the work is done. "Art is a fight, not a pleasure-trip," said the French painter Millet, one who had learnt the lesson in the severe school of experience. Unfortunately for Chopin, he had neither the stuff nor the stomach for fighting. He shrank back at the slightest touch like a sensitive plant. He could only thrive in the sunshine of prosperity and protected against all those inimical influences and obstacles that cause hardier natures to put forth their strength, and indeed are necessary for the full unfolding of all their capabilities. Chopin and Titus Woyciechowski put up at the hotel Stadt London, but, finding the charges too high, they decamped and stayed at the hotel Goldenes Lamm till the lodgings which they had taken were evacuated by the English admiral then in possession of them. From Chopin's first letter after his arrival in the Austrian capital his parents had the satisfaction of learning that their son was in excellent spirits, and that his appetite left nothing to be desired, especially when sharpened by good news from home. In his perambulations he took particular note of the charming Viennese girls, and at the Wilde Mann, where he was in the habit of dining, he enjoyed immensely a dish of Strudeln. The only drawback to the blissfulness of his then existence was a swollen nose, caused by the change of air, a circumstance which interfered somewhat with his visiting operations. He was generally well received by those on whom he called with letters of introduction. In one of the two exceptional cases he let it be understood that, having a letter of introduction from the Grand Duke Constantine to the Russian Ambassador, he was not so insignificant a person as to require the patronage of a banker; and in the other case he comforted himself with the thought that a time would come when things would be changed.

In the letter above alluded to (December 1, 1830) Chopin speaks of one of the projected concerts as if it were to take place shortly; that is to say, he is confident that, such being his pleasure, this will be the natural course of events. His Warsaw acquaintance Orlowski, the perpetrator of mazurkas on his concerto themes, was accompanying the violinist Lafont on a concert-tour. Chopin does not envy him the honour:—

Will the time come [he writes] when Lafont will accompany me? Does this question sound arrogant? But, God willing, this may come to pass some day.

Wurfel has conversations with him about the arrangements for a concert, and Graff, the pianoforte-maker, advises him to give it in the Landstandische Saal, the finest and most convenient hall in Vienna. Chopin even asks his people which of his Concertos he should play, the one in F or the one in E minor. But disappointments were not long in coming. One of his first visits was to Haslinger, the publisher of the Variations on "La ci darem la mano," to whom he had sent also a sonata and another set of variations. Haslinger received him very kindly, but would print neither the one nor the other work. No wonder the composer thought the cunning publisher wished to induce him in a polite and artful way to let him have his compositions gratis. For had not Wurfel told him that his Concerto in F minor was better than Hummel's in A flat, which Haslinger had just published, and had not Klengel at Dresden been surprised to hear that he had received no payment for the Variations? But Chopin will make Haslinger repent of it. "Perhaps he thinks that if he treats my compositions somewhat en bagatelle, I shall be glad if only he prints them; but henceforth nothing will be got from me gratis; my motto will be 'Pay, animal!'" But evidently the animal wouldn't pay, and in fact did not print the compositions till after Chopin's death. So, unless the firm of Haslinger mentioned that he will call on him as soon as he has a room wherein he can receive a visit in return, the name of Lachner does not reappear in the correspondence.

In the management of the Karnthnerthor Theatre, Louis Duport had succeeded, on September 1, 1830, Count Gallenberg, whom severe losses obliged to relinquish a ten years' contract after the lapse of less than two years. Chopin was introduced to the new manager by Hummel.

He (Duport) [writes Chopin on December 21 to his parents] was formerly a celebrated dancer, and is said to be very niggardly; however, he received me in an extremely polite manner, for perhaps he thinks I shall play for him gratis. He is mistaken there! We entered into a kind of negotiation, but nothing definite was settled. If Mr. Duport offers me too little, I shall give my concert in the large Redoutensaal.

But the niggardly manager offered him nothing at all, and Chopin did not give a concert either in the Redoutensaal or elsewhere, at least not for a long time. Chopin's last-quoted remark is difficult to reconcile with what he tells his friend Matuszyriski four days later:" I have no longer any thought of giving a concert." In a letter to Elsner, dated January 26, 1831, he writes:—

I meet now with obstacles on all sides. Not only does a series of the most miserable pianoforte concerts totally ruin all true music and make the public suspicious, but the occurrences in Poland have also acted unfavourably upon my position. Nevertheless, I intend to have during the carnival a performance of my first Concerto, which has met with Wurfel's full approval.

It would, however, be a great mistake to ascribe the failure of Chopin's projects solely to the adverse circumstances pointed out by him. The chief causes lay in himself. They were his want of energy and of decision, constitutional defects which were of course intensified by the disappointment of finding indifference and obstruction where he expected enthusiasm and furtherance, and by the outbreak of the revolution in Poland (November 30, 1830), which made him tremble for the safety of his beloved ones and the future of his country. In the letter from which I have last quoted Chopin, after remarking that he had postponed writing till he should be able to report some definite arrangement, proceeds to say:—

But from the day that I heard of the dreadful occurrences in our fatherland, my thoughts have been occupied only with anxiety and longing for it and my dear ones. Malfatti gives himself useless trouble in trying to convince me that the artist is, or ought to be, a cosmopolitan. And, supposing this were really the case, as an artist I am still in the cradle, but as a Pole already a man. I hope, therefore, that you will not be offended with me for not yet having seriously thought of making arrangements for a concert.