CHOPINʼS REVERENCE FOR ART. Chopin sacredly cherished art as one of heavenʼs best gifts, as a gentle comforter in sorrow, and would never put it to any common-place purpose. There are, unfortunately, plenty of famous artists who regard their art merely as a means of subsistence. What Schiller says of men of science is no less true of artists:—
“Einem ist sie die hohe, die himmlische Göttin, dem Andern
Eine Tüchtige Kuh, die ihn mit Butter versorgt.”
Throughout his life art was to Chopin a lofty goddess. He was frequently asked by wealthy and aristocratic personages to give instruction to them or to their relations, but the largest honorarium could not induce him to teach anyone devoid of talent; although at that time he had long ceased to receive anything from his parents, was very particular about the appointments of his household, fond of giving presents, and always dispensed a most liberal hospitality. In a pleasant manner—and, indeed, no other was possible to him—Chopin would refuse on the score of not increasing the number of his pupils. Young people of talent he would encourage with the sincerest kindness, lending them books, music, and sometimes money even, when he found their means were limited; many he taught gratuitously. One of his most talented pupils was Filtsch,[36] a young Hungarian; Chopin thought a great deal of him, and always delighted in his company. His premature death made a deep and painful impression on our master. All who knew Filtsch intimately, and had heard his beautiful playing, say that he would have fulfilled the most splendid hopes, and unite in deploring his death as a sad loss to the musical world.
Among Chopinʼs best pupils we must name: Gutmann, Guntsberg; Telefsen; George Mathias, who is now a professor at the Paris Conservatoire; Charles Mikuli, director of the Musical Union, at Lemberg; Casimir Wernick, who died young, at St. Petersburg, in 1859; and Gustav Schumann, a much esteemed pianist in Berlin, who only went to Paris for a short time to receive instruction from Chopin.
Chopin was not only respected but loved by all his pupils for his warm sympathy and exceedingly fascinating manners. To Polish artists he was especially amiable and kind, and ever ready to serve them in any way; thus, showing that his love for his fatherland was as warm as when a dreamy, gentle boy, his parentsʼ house in Poland was all the world to him. So it came to pass that many artists, who were only spending a short time in Paris, but were anxious to acquire fame and popularity, gave themselves out as Chopinʼs pupils, although he did not even know their names. When asked if such a one were his pupil, he would answer, “I never taught him, but if it is any benefit to him to be called my pupil, let him enjoy it in peace.” Chopin was not only a kind, but also a conscientious teacher. He never gave more than four or, at the utmost, five lessons a day for his healthʼs sake, but he attended regularly to those and never put off his pupils, except when he was very ill, or when friends and acquaintances from Poland came to see him. Carriages were frequently sent for him by those of his pupils living at a distance, but in the last years of his life they were obliged to come to him, and when he became so weak that he could scarcely sit up, he would give lessons lying on a chaise longue before a pianette, with the pupil seated at another instrument. If a passage were played wrongly or not according to his taste, he would raise himself up and play it, and then lie down again.
SCHULHOFF INTRODUCED TO CHOPIN. His noble character and truly artistic nature appeared on all occasions; the following episode is a proof of his excellent disposition. Julius Schulhoff came to Paris when a young man, and completely unknown. One day he heard that Chopin, who was at that time in very bad health and difficult of access, was going to Mercierʼs[37] piano manufactory to see a newly invented transpositeur. This was in 1844. Schulhoff availed himself of this opportunity for making the masterʼs acquaintance, and was among the little band awaiting the arrival of Chopin, who came accompanied by an old friend, a Russian bandmaster. Seizing a favourable moment, Schulhoff asked a lady present to introduce him. To her request that he should play something to Chopin, the great artist, who was frequently tormented by the visitations of dilettanti, reluctantly acceded by a slight nod. Schulhoff sat down to the piano, while Chopin, with his back to him, leant against it. But after the first few chords he turned his head to Schulhoff, who was playing his new “Allegro brillant en forme de Sonate,” which he afterwards dedicated to Chopin as op. 1.[38] Chopin drew nearer and nearer, listening with growing interest to the refined, poetical playing of the young Bohemian; his pale face lighted up, and by look and gesture he testified his warm approval. When Schulhoff had finished, Chopin held out his hand, saying, “Vous êtes un vrai artiste—un collègue.” A few days afterwards Schulhoff paid him a visit, and begged him to accept the dedication of the “Allegro;” the master thanked him in his most winning manner, and some ladies present heard him say, “Je suis très flatté de lʼhonneur que vous me faites.”
