From the Easy Chair, Volume 1

by George William Curtis

"Certainly not."

"Well, we all know him, and he is the very man. We ought to hurry."

Honestus put the question, and Sly was unanimously named as the candidate to be reported to the meeting by the chairman.

The meeting was already stamping and clapping and calling for the committee, and the energetic mover of Sly said that it was necessary to go in right away. The committee made for the hall, and the chairman followed. He knew nothing of Sly nor of the people who had named him, and he knew nobody else whom he could propose for the place. Honestus felt very much as a leaf might feel upon the fall at Niagara, and in the next moment the chairman of the meeting was asking him if the committee were ready to report. The chairman of the committee bowed. The chairman of the meeting said that the report would now be made. Honestus stated that he was instructed to report the name of Sly. The meeting roared. There was some thumping by the chairman, and Honestus heard only the name of Sly and "by acclamation," and a whirlwind of calls upon "Sly!" "Sly!" "Speech!" "Speech!" The next moment Sly, with a large diamond pin, was upon the platform thanking and promising, and the meeting was stormily cheering and adjourning sine die.

Honestus walked quietly home, perceiving that the result of his practical effort to discharge the primary duties of a citizen was that Sly, one of the most disreputable and dishonest of public sharks, had been nominated by a committee of which he was chairman, and that the whole weight of the name of Honestus was thrown upon the side of rascality with a diamond pin. And he reflected that in politics, as elsewhere, it is necessary to begin as early in preparation for action as the rascals.

Yet he did not lose his faith, nor suppose that popular government is a cheat and a snare, because he had been involuntarily made the instrument of knaves. Honestus understands that good government is one of the best things in the world, and he knows that good things of that kind are not cheap. He is willing to pay the price, and the price is the trouble to ascertain who Sly is, and the time to do his part in defeating Sly. For Honestus knows that if he does not rule, Sly will.

[THALBERG AND OTHER PIANISTS, 1871.]

It was about fifteen years ago that Thalberg, who has just died only fifty-nine years old, was in this country. Jenny Lind had been here some years earlier, and Alboni and Grisi a little later, and Vieuxtemps and Sivori and Ole Bull a dozen years before. Jullien, with his monster orchestra, had given monstrous concerts in the monstrous hall of Castle Garden, and many a musician of less fame had come to try his fortune. But we had had neither of the acknowledged masters of the piano, the founders of the modern school of playing--Liszt and Thalberg. Liszt, spoiled and capricious, played very seldom. Chopin, more a composer than a performer, we in America had never supposed would cross the sea: so sensitive, so delicate, so shadowy, his life seemed to exhale, a passionate sigh of music. In the stormy, blood-soaked, ruined Paris of to-day it is not easy to imagine those evenings at the Prince Czartoryski's, when Chopin played in the moonlight the mazurkas and polonaises and waltzes which moonlight or dreams seem often to have inspired, but through which the proud movement of the old Polish dance and song triumphantly rings.

In George Sand's Letters of a Traveller Chopin also appears, but sadly and hopelessly. What Xavier de Maistre says of the Fornarina and Raphael is the undertone of all the passages of the book that speak of Chopin--"She loved her love more than her lover." Then came the burial at the Madeleine, with his own funeral march beating time to his grave. The mere pianist who had aroused the most enthusiasm in this country was Leopold de Meyer, who came more than twenty years ago. His was a blithe, exhilarating style. There was a grotesque little plaster cast of him in the shop-windows at the time, representing him crouching over the instrument, with enormous hands spread upon the keyboard, and his fat knees crowding in to cover all the rest of the space. It was slam-bang playing, but so skilful, and with such a tickling melody, that it was irresistibly popular. His "Marche Marocaine," a brilliant tour de force, was always sure to captivate the audience; and his success was indisputable.

De Meyer's concerts were sometimes given in the old Tabernacle in Broadway, near Leonard Street, the circular church which for so many years was the chief public hall in the city. The platform was almost in the centre, and the aisles radiated from it. The galleries went quite around the building, and, except for the huge columns which supported a dome, it was convenient both for hearing and seeing. Here were some of the great antislavery meetings in the hottest days of the agitation. The anniversaries were held here, and it was the scene of all popular lectures and of concerts. A few blocks above, upon Broadway, near Canal Street, was the old Apollo Hall, where the first Philharmonic concerts took place. In those early days of the German music--days which followed the City Hotel epoch and the Garcia opera--people were so unaccustomed to the proprieties of the concert-room that the Easy Chair has even known some persons to whisper and giggle during the performance of the finest symphonies of Beethoven and Mozart, and so excessively rude as to rustle out of the hall before the last piece was ended.