We come now to the so much talked-of concert at the Italian Opera, which became so fateful in Chopin's career as a virtuoso. It is generally spoken of as a concert given by Chopin, and Karasowski says it took place in February, 1834. I have, however, been unable to find any trace of a concert given by Chopin in 1834. On the other hand, Chopin played on April 5, 1835, at a concert which in all particulars except that of date answers to the description of the one mentioned by Karasowski. The "Journal des Debats" of April 4, 1835, draws the public's attention to it by the following short and curious article:—
The concert for the benefit of the indigent Poles [i.e., indigent Polish refugees] will take place to-morrow, Saturday, at the Theatre-Italien, at eight o'clock in the evening. Mdlle. Falcon and Nourrit, MM. Ernst, Dorus, Schopin [sic], Litz [sic], and Pantaleoni, will do the honours of this soiree, which will be brilliant. Among other things there will be heard the overtures to "Oberon" and "Guillaume Tell," the duet from the latter opera, sung by Mdlle. Falcon and Nourrit, and romances by M. Schubert, sung by Nourrit and accompanied by Litz, &c.
To this galaxy of artistic talent I have yet to add Habeneck, who conducted the orchestra. Chopin played with the orchestra his E minor Concerto and with Liszt a duet for two pianos by Hiller.
As you may suppose [says a writer of a notice in the "Gazette musicale">[ M. Chopin was not a stranger to the composition of the programme of this soiree in behalf of his unhappy countrymen. Accordingly the fete was brilliant.
In the same notice may also be read the following:—
Chopin's Concerto, so original, of so brilliant a style, so full of ingenious details, so fresh in its melodies, obtained a very great success. It is very difficult not to be monotonous in a pianoforte concerto; and the amateurs could not but thank Chopin for the pleasure he had procured them, while the artists admired the talent which enabled him to do so [i.e., to avoid monotony], and at the same time to rejuvenate so antiquated a form.
The remark on the agedness of the concerto-form and the difficulty of not being monotonous is naive and amusing enough to be quoted for its own sake, but what concerns us here is the correctness of the report. Although the expressions of praise contained in it are by no means enthusiastic, nay, are not even straightforward, they do not tally with what we learn from other accounts. This discrepancy may be thus explained. Maurice Schlesinger, the founder and publisher of the "Gazette musicale," was on friendly terms with Chopin and had already published some of his compositions. What more natural, therefore, than that, if the artist's feelings were hurt, he should take care that they should not be further tortured by unpleasant remarks in his paper. Indeed, in connection with all the Chopin notices and criticisms in the "Gazette musicale" we must keep in mind the relations between the publisher and composer, and the fact that several of the writers in the paper were Chopin's intimate friends, and many of them were of the clique, or party, to which he also belonged. Sowinski, a countryman and acquaintance of Chopin's, says of this concert that the theatre was crowded and all went well, but that Chopin's expectations were disappointed, the E minor Concerto not producing the desired effect. The account in Larousse's "Grand Dictionnaire" is so graphic that it makes one's flesh creep. After remarking that Chopin obtained only a demi-success, the writer of the article proceeds thus: "The bravos of his friends and a few connoisseurs alone disturbed the cold and somewhat bewildered attitude of the majority of the audience." According to Sowinski and others Chopin's repugnance to play in public dates from this concert; but this repugnance was not the outcome of one but of many experiences. The concert at the Theatre-Italien may, however, have brought it to the culminating point. Liszt told me that Chopin was most deeply hurt by the cold reception he got at a concert at the Conservatoire, where he played the Larghetto from the F minor Concerto. This must have been at Berlioz's concert, which I mentioned on one of the foregoing pages of this chapter.
Shortly after the concert at the Theatre-Italien, Chopin ventured once more to face that terrible monster, the public. On Sunday, April 26, 1835, he played at a benefit concert of Habeneck's, which is notable as the only concert of the Societe des Concerts du Conservatoire in which he took part. The programme was as follows:—1. The "Pastoral Symphony," by Beethoven; 2. "The Erl- King," by Schubert, sung by M. Ad. Nourrit; 3. Scherzo from the "Choral Symphony," by Beethoven; 4. "Polonaise avec introduction" [i.e., "Polonaise brillante precedee d'un Andante spianato">[, composed and played by M. Chopin; 5. Scena, by Beethoven, sung by Mdlle. Falcon; 6. Finale from the C minor Symphony, by Beethoven. The writer of the article Chopin in Larousse's "Grand Dictionnaire" says that Chopin had no reason to repent of having taken part in the concert, and others confirm this statement. In Elwart's "Histoire des Concerts du Conservatoire" we read:—"Le compositeur reveur, l'elegiaque pianiste, produisit a ce concert un effet delicieux." To the author of the "Histoire dramatique en France" and late curator of the Musee du Conservatoire I am indebted for some precious communications. M. Gustave Chouquet, who at the time we are speaking of was a youth and still at the College, informed me in a charming letter that he was present at this concert at which Chopin played, and also at the preceding one (on Good Friday) at which Liszt played Weber's "Concertstuck," and that he remembered very well "the fiery playing of Liszt and the ineffable poetry of Chopin's style." In another letter M. Chouquet gave a striking resume of the vivid reminiscences of his first impressions:—
Liszt, in 1835 [he wrote], represented a merveilleux the prototype of the virtuoso; while in my opinion Chopin personified the poet. The first aimed at effect and posed as the Paganini of the piano; Chopin, on the other hand, seemed never to concern himself [se preuccuper] about the public, and to listen only to the inner voices. He was unequal; but when inspiration took hold of him [s'emparait de hit] he made the keyboard sing in an ineffable manner. I owe him some poetic hours which I shall never forget.
One of the facts safely deducible from the often doubtful and contradictory testimonies relative to Chopin's public performances is, that when he appeared before a large and mixed audience he failed to call forth general enthusiasm. He who wishes to carry the multitude away with him must have in him a force akin to the broad sweep of a full river. Chopin, however, was not a Demosthenes, Cicero, Mirabeau, or Pitt. Unless he addressed himself to select conventicles of sympathetic minds, the best of his subtle art remained uncomprehended. How well Chopin knew this may be gathered from what he said to Liszt:—