To complete my account of Chopin's last concert in Paris, I have yet to add some scraps of information derived from Un nid d'autographes, by Oscar Comettant, who was present at it, and, moreover, reported on it in Le Siecle. The memory of the event was brought back to him when on looking over autographs in the possession of Auguste Wolff, the successor of Camille Pleyel, he found a ticket for the above described concert. As the concert so was also the ticket unlike that of any other artist. "Les lettres d'ecriture anglaise etaient gravees au burin et imprimees en taille-douce sur de beau papier mi-carton glace, d'un carre long elegant et distingue." It bore the following words and figures:—
SOIREE DE M. CHOPIN,
DANS L'UN DES SALONS DE MM. PLEYEL ET CIE.,
20, Rue Rochechouart,
Le mercredi 16 fevrier 1848 a 8 heures 1/2.
Rang….Prix 20 francs….Place reservee.
M. Comettant, in contradiction to what has been said by others about Chopin's physical condition, states that when the latter came on the platform, he walked upright and without feebleness; his face, though pale, did not seem greatly altered; and he played as he had always played. But M. Comettant was told that Chopin, having spent at the concert all his moral and physical energy, afterwards nearly fainted in the artists' room.
In March Chopin and George Sand saw each other once more. We will rest satisfied with the latter's laconic account of the meeting already quoted: "Je serrai sa main tremblante et glacee. Je voulu lui parler, il s'echappa." Karasowski's account of this last meeting is in the feuilleton style and a worthy pendant to that of the first meeting:—
A month before his departure [he writes], in the last days of March, Chopin was invited by a lady to whose hospitable house he had in former times often gone. Some moments he hesitated whether he should accept this invitation, for he had of late years less frequented the salons; at last—as if impelled by an inner voice—he accepted. An hour before he entered the house of Madame H…
And then follow wonderful conversations, sighs, blushes, tears, a lady hiding behind an ivy screen, and afterwards advancing with a gliding step, and whispering with a look full of repentance: "Frederick!" Alas, this was not the way George Sand met her dismissed lovers. Moreover, let it be remembered she was at this time not a girl in her teens, but a woman of nearly forty-four.
The outbreak of the revolution on February 22, 1848, upset the arrangements for the second concert, which was to take place on the 10th of March, and, along with the desire to seek forgetfulness of the grievous loss he had sustained in a change of scene, decided him at last to accept the pressing and unwearied invitations of his Scotch and English friends to visit Great Britain. On April 2 the Gazette musicale announced that Chopin would shortly betake himself to London and pass the season there. And before many weeks had passed he set out upon his journey. But the history of his doings in the capital and in other parts of the United Kingdom shall be related in another chapter.
CHAPTER XXX.
DIFFERENCE OF STYLE IN CHOPIN'S WORKS.——THEIR CHARACTERISTICS DISCUSSED, AND POPULAR PREJUDICES CONTROVERTED.——POLISH NATIONAL MUSIC AND ITS INFLUENCE ON CHOPIN.——CHOPIN A PERSONAL AS WELL AS NATIONAL TONE-POET.—A REVIEW OF SOME OF HIS LESS PERFECT COMPOSITIONS AND OF HIS MASTERPIECES: BOLERO; RONDEAU; VARIATIONS; TARANTELLE; ALLEGRO DE CONCERT; TWO SONATAS FOR PIANOFORTE (OP. 38 AND 58); SONATA (OP. 65) AND GRAND DUO CONCERTANT FOR PIANOFORTE AND VIOLONCELLO; FANTAISIE; MAZURKAS; POLONAISES; VALSES; ETUDES; PRELUDES; SCHERZI; IMPROMPTUS; NOCTURNES; BERCEUSE; BARCAROLE; AND BALLADES——-THE SONGS.—— VARIOUS EDITIONS.
Before we inquire into the doings and sufferings of Chopin in England and Scotland, let us take a general survey of his life- work as a composer. We may fitly do so now; as at the stage of his career we have reached, his creative activity had come to a close. The last composition he published, the G minor Sonata for piano and violoncello, Op. 65, appeared in October, 1847; and among his posthumous compositions published by Fontana there are only two of later date—namely, the mazurkas, No. 2 of Op. 67 (G minor) and No. 4 of Op. 68 (F minor), which came into existence in 1849. Neither of these compositions can be numbered with the master's best works, but the latter of them is interesting, because it seems in its tonal writhings and wailings a picture of the bodily and mental torments Chopin was at the time enduring.