Brought up from a child in the faith of the Romish Church he did not like to talk or argue about religion, but kept his opinions to himself. He rarely took any prominent part in discussions on politics or literature, although he enjoyed listening to them. He never obtruded his ideas on anyone, but if his beloved art were attacked he was instantly up in arms. In the cause of Romanticism he broke many a lance, and gave abundant proof, particularly during the first years of his residence in Paris, of his thorough devotion to the principles of that school. Its most important representatives at that time were Berlioz and Liszt, the ablest, boldest, and most persevering opponents of the Classic school. In 1832 Chopin, who had grown up amid the clamour of this contest, adopted the views of Berlioz and Liszt, and joined the party who openly discarded the old-fashioned style, from which they held as much aloof as from charlatanism. All through the controversy over the Romantic school, some of the productions of which were real masterpieces, Chopin remained staunch to his opinions. He would not make the slightest concession to those who did not follow art for its own sake, but only used it as a means of obtaining money, fame, or honour. Much as he enjoyed the society of fellow artists, he renounced it unhesitatingly if convinced that they were going too far in their resistance to all innovation, and were endeavouring to restrict his own creative efforts. To him art was sacred, and he would never praise a composition or an interpretation which he did not think really worthy of being commended.
CHOPINʼS CARE IN COMPOSITION. Chopin needed no recourse to artificial means to secure the triumph and popularity of his works. To his most intimate friends he would sometimes say, “I believe that my works will stand on their intrinsic merits; whether these be recognized now or in the future is immaterial.” A thorough training in youth, a habit of reflection, and his great reverence for the beauties of the classics, effectually preserved him from blindness and error. The extraordinary care and conscientiousness with which he finished his works protected him from the attacks of those superficial or hostile critics who sought eagerly for the smallest mistake. Early accustomed to the sternest self-examination, he threw into his waste-paper basket many compositions which others would perhaps have proudly handed to their printer. He never undertook a work unsuited to his capacities or began anything which he was not sure he could successfully carry out.
Educated by German masters and on German principles, Chopin had a decided preference for the music of that country. Handel, Gluck, Bach, Haydn, and Mozart were his ideals of perfection; and although he felt the spell of Beethovenʼs genius, he had less sympathy with its gigantic conceptions than with the fascinating charm and lovely melodies of Mozartʼs compositions. There seemed to him in Beethovenʼs works a want of delicate finish, the proportions were too colossal, and the storms of passion too violent. About the year 1835, Schubert began to be known in Paris, principally by his songs. Like all impartial musicians, Chopin was charmed by their wealth of melody; but he regretted that in his larger works, the exuberance of the composerʼs fancy frequently led him to overstep the limits of form, and thus impair the effect.
When Chopin first began to attract the attention of the musical world in Paris, there were odd stories current about his parentage. Some thought he was a German; others, on account of his name, a Frenchman. He always protested energetically against these suppositions, declaring, with the pride of a good patriot, that he was a Pole. His nationality and his love for his country were shown both in word and deed, appearing not only in his generosity, and his voluntarily sharing the exile of his unfortunate countrymen, but also in his choice of friends and his preference for Polish pupils. However, he was not at all addicted to boasting of his patriotism. Although of French descent on his fatherʼs side and perfectly familiar with the language, his accent still betrayed the nationality of his mother.
Just as he drew musical inspiration from the Polish folk-songs, so he loved to imitate the simple speech of the peasants, which he could render to perfection in its crispness and terseness, if he were in good spirits. When, for example, in a circle of intimate friends his playing had created a melancholy impression, he could at once disperse it by a counterfeit of the peasant dialect, especially that of the Mazovians and Cracovians. If a discussion arose as to the comparative merits of the different modern languages, he would always extol his mother tongue to the skies, and could never say enough in praise of its beauty, wealth, sweetness, aptness of expression, and masculine power.
CHOPINʼS SUPERSTITION. In common with many imaginative natures, Chopin was, in a greater or less degree, according to his state of health, very superstitious. Loitering along the Boulevards, one evening after a soirée, in company with some friends, among them A. Szmitkowski, to whom he dedicated his glorious mazurkas, op. 59, he was joking about his financial troubles. “I wish,” he said, “that some good genius would put twenty thousand francs into my desk. That would set me up once for all, and I could indulge in the comfort I am so fond of.” That night he dreamt that his wish was realized. A few days after, on opening a secret drawer of his desk in which he kept his money and some much-prized memorials, he actually found the desired sum. Miss Stirling, his pupil and devoted follower, had given it to Szmitkowski to put there, after having heard from him of Chopinʼs wish and strange dream.
Chopin had a dislike to the numbers seven and thirteen; he would never undertake anything of importance on a Monday or Friday, sharing a belief almost universal in Poland that these are unlucky days (ferelne.)
Devoted from childhood to his art, he lived constantly in the tone-world, and when not listening to music, he thought and dreamed of it. It is easy to understand that incessant practice would irritate and chafe his naturally susceptible nerves, and that his feelings, fancies, and even his whole spiritual nature, gradually grew into a state of etherial delicacy. How painful, too, must have been the discord, when he was brought into contact with rough reality. He would then confide to his instrument his inmost thoughts, which became more and more melancholy, until at last his heart broke. Liszt says of Chopin, “To the modern calm simplicity of devotion Chopin united the reverent homage paid to art by the early Mediæval masters. Like them he regarded the exercise of his art as a high and holy calling, and like them too he was proud of having been dedicated by nature to be its priest, and he brought to its service a pious worship which at once ennobles and blesses the artist.” These feelings found expression AN OLD POLISH CUSTOM. even in his last hours, as a reference to Polish customs will explain. It is still a practice, though less common than formerly, for the dying person to choose the clothes for his burial; many, indeed, have them prepared long beforehand. Thus are revealed the most secret and cherished thoughts, and by worldly but believing people the garments of the cloister are often selected for their last dress, especially by women. Men are more generally buried in their uniform with their arms laid beside them.
Chopin, although not only a composer, but one of the greatest of pianists (the first of his day as many think) gave proportionately the fewest concerts; yet he wished to be laid in the grave in the clothes he had worn on those occasions. A deep feeling, springing from the inexhaustible fountain of his artistic enthusiasm, doubtless prompted this last desire. It was fulfilled. As he lay covered with flowers and palm branches in the familiar dress, the admirers who surrounded his coffin could but exclaim, Frederic Chopin remained true to himself, for his last thoughts were of his art.