Frederic Chopin: His Life, Letters, and Works, v. 2 (of 2)

by Maurycy Karasowski

[56] Mons. Woyciechowskiʼs estate, where he is still living.

[57] Girolamo Ramorino, illegitimate son of Marshal Lannes, was born in Genoa, 1792; he left his country for political reasons, and entered the French army, to take part in the war against Austria and Russia. During the Restoration he lived in Savoy. When the revolution broke out in Piedmont in 1821, he bravely and successfully commanded the insurgent forces. When the disturbances were over he went to France, and in 1830, to Warsaw, when he became colonel in the Polish army. He distinguished himself in several battles and soon obtained the rank of General. At the end of August, 1831, he was ordered to lead 20,000 men against the Russian general, Rosen, on the right bank of the Vistula, and to victual Warsaw. But he failed shamefully. He might easily have beaten Rosen and relieved Warsaw; but, owing to his carelessness, and neglect of the Commander-in-chiefʼs orders, he did not reach the besieged city in time. Instead, therefore, of an ovation he deserved the utmost contempt and reprobation, as the main cause of the miseries which from that time fell thick and fast upon Poland. But Nemesis at length overtook him. In the beginning of 1849, he entered the Sardinian army, and took the command of the fifth (Lombard) division; but he once more disobeyed orders, and opened the way for the Austrians into Piedmont. He was imprisoned, tried by court-martial, and shot at Piazza dʼArmi, near Turin, May 22nd, 1849.

[58] Countess Emilie Plater, a young Polish heroine, who, during the revolution of 1831, served as a soldier, assumed manʼs attire and entered General Gielgudʼs division. (The French altered the name to Gigult.) She died during a flight. Her biography has been fully written by Straszewicz.

[59] The authorship of this piece is regarded as doubtful.

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INDEX.

• Accent, Exaggeration of, [288].
• Adagio in the E minor Concerto, op. 11, 99.
• Adagio in 2nd Concerto, 113, 136.
• Aelomelodicon, 33.
• Allgemeine Musikalische Zeitung, [216].
• Art Forms, Lisztʼs observations on, [335].
  
• Bach, Sebastian, [289], [290], [329].
• Ballade, op. 23, [241].
• Ballads, op. 23, 38, 47, 52, [344].
• Barcarole, op. 60, [301].
• Beethoven, 129, [330], [340].
• Beethovenʼs Adagio from the C sharp minor Sonata, [279].
• Beethovenʼs Last Trio, 102.
• Beethovenʼs Opinions, 142.
• Beethovenʼs Pianoforte Concertos, 142.
• Beethovenʼs Sonatas, 141.
• Beethovenʼs Violin Concerto, 142.
• Belleville, Mlle., [359], [360].
• Berceuse, op. 57, [301].
• Berlioz, [328].
• Blahetka, Leopolda, 77.
• Bolero, op. 19, [241].
• Brodzinski, Casimir, 125.
• Broken Chords, 138.
  
• Catalini, 19, 145.
• Cavaignac, Gottfried, [327].
• Chmiel, 69.
• Chopin as a Teacher, [273].
• Chopinʼs Imitative Talent, [276].
• Chopin, (Emily), 11.
• Chopin, (Justine), 8.
• Chopin, (Louisa), 11.
• Chopin, (Nicholas), 3.
• Chord, Detached, 21.
• Chord, Slurred, 21.
• Cibini, Fräulein, 167.
• Clary, The Princess Aloysia von, 83.
• Classic School, [328].
• Clementiʼs “Gradus ad Parnassum,” [285].
• Compositions published in Warsaw, 101.
• Concerto in E minor, 119, [217], [246].
• Concerto in F minor, 107, 118, 165, [233].
• Concertos, 133.
• Constantine, 20, 171.
• Counterpoint, Knowledge of, 28.
• Cramer, 143.
• Czerny, 97, 166, [201].
  
• “Dame Blanche,” 69.
• Damereau-Cinti, Madame, [236].
• Dance Forms, [339].
• Dances, 91.
• Der Freischütz, 41, 140.
• Diminished Chord, 138.
• Don Juan Variations, [336].
• Dudevant, Aurora, [261].
• Dunst, [355].
  
• Earliest Compositions, 19.
• Elsner (Joseph Xaver), 15, 21, [212], [233], [352], [354], [367].
• Elsnerʼs Echo Variations, 156.
• Elsnerʼs Masses, [195].
• Etudes, op. 10, 133.
• Etude in A flat, No. 10, op. 10, 139.
• Etudes, [348].
  
• Fantasia on Polish Airs, 55, 107, 120, 133, 137, [336].
• Fantasie Impromptu, op. 66, [348].
• Fantasie Polonaise, op. 61, [343].
• Faust, 86.
• Feeling in Pianoforte playing, [286].
• Fétis, [228].
• Fidelio, 140.
• Field, John, 132, 133, 143.
• Fingering, Novelty of, [242].
• Fioritures, [337].
• Floriani, Lucrezia, [303].
• Flotow, 144.
• Fontana, Julius, 35.
• Form, Newness of, 131.
• “Fra Diavolo,” 169.
• Franchomme, [338].
• Fuchsʼ, Aloys, Collection of Autograph Works, [206].
• Funeral March in the Sonata, op. 35, [321], [338].
  
• Gazette Polska, [353].
• Gladkowska, 117, [359], [361].
• Glasgow, [312].
• Gluck, [329].
• Grande Polonaise Brillante, op. 22, [241].
• Grzymala, Franz, 38.
• Gutmann, [307], [320].
• Gyrowetzʼs Pianoforte Concerto, 18.
  
• Handel, [329].
• Handelʼs “Ode on St. Ceciliaʼs Day,” 50.
• Handelʼs Oratorio, 41.
• Haydn, [329].
• Heine, [263], [334].
• Heinefetter, Sabine, 169, 185.
• Herz, 143, [231].
• Hesse, 155, [201].
• Hiller, [231], [233].
• Hummel, 60, 143, [196], [336].
• Hummelʼs influence, 129.
• Hummelʼs “La Sentinelle,” [352].
  
• Impromptu, op. 29, [241].
• Impromptu, op. 36, [275].
• Improvisation, 23, 29, 58, 68, 71, 95, [260], [279].
• Independence of fingers, [285].
• Introduction et Polonaise Brillante pour Piano et ʼCello, op. 3, 129.
• Iris, The, 133.
  
• Jewish Wedding March, 25.
  
• Kalkbrenner, 143, [221], [231].
• Kalkbrennerʼs Concerto, 24.
• Klengel, August Alexander, 79, 81, 97, 143, 159, 160, 161.
• Klengelʼs 48 Canons and Fugues, 97.
• Köhler, 155.
• Kreutzer, 146.
• Kreutzer, “Das Nachtlager von Granada,” 144.
• Kurjer Szafarski, 24, 25.
• Kurpinski, [340], [353].
• Kurpinskiʼs Szarlatan, [235].
  
• Lablache, [235].
• Lachner, 144.
• “La ci darem la mano,” op. 2, 130.
• La Mara, [287].
• Larghetto from the 2nd Concerto, 137.
• Left Hand in Pianoforte Playing, [289].
• Leiden Christi, 15.
• Likl, 175.
• Lind, Jenny, [314].
• Linde (Madame von), 13.
• Lipinski, Charles, 145.
• Liszt, 135, [260], [277], [278], [279], [280], [328], [332].
• Lortzing, 144.
• Louis Ferdinand, Prince, 102.
  
• Majorca, [266].
• Majufes, 25, [201].
• Malfatti, 166, 170.
• Malibran, [235].
• “Marquise de Brinvilliers,” The, [236].
• Marschner, “Der Templar und die Jüdin,” 144.
• Marschner, “Hans Heiling,” 144.
• “Matrimonio Segreto,” 50.
• Matuszynski, Johann, 151, [300].
• Maysederʼs Solos, 66.
• Mazurka, Chopinʼs Last, [348].
• Mazurkas, 91, 180, [287], [339].
• Mazurkas, op. 6 and 7, 131, [339].
• Mazurkas, op. 17, [339].
• Mazurkas, op. 24, [241], [339].
• Mazurkas, op. 30, [339].
• Mazurkas, op. 33, [339].
• Mazurkas, op. 41, [275].
• Mazurkas, op. 50, [339].
• Mazurkas, op. 56, [339].
• Mazurkas, op. 59, [301], [331].
• Mazurkas, op. 63, [301], [339].
• Mazurkas, op. 67 and 68, [348].
• Mazovians, The, 31.
• Memory, Astonishing, of Chopin and Liszt, [280].
• Mendelssohn, 143, [249].
• Mendelssohn on Chopinʼs Pianoforte playing, [253].
• Mendelssohn, Songs without words, No. 1, Book 2, 139.
• Merk, [202].
• Meyerbeer, 148, [321].
• Meyerbeer, “Les Huguenots,” 144.
• Meyerbeer, “Ritter des Kreuzes,” 144.
• Meyerbeerʼs “Robert le Diable,” 144, [235].
• Mickiewicz, [343], [344].
• Miemcewicz (Julius Ursin), 18.
• Miltitz, Baron, Mass, 160.
• Mistake, The, or the “Imaginary Rogue,” 23.
• Moscheles, 143,
• Moscheles on Chopinʼs Early Works, [242].
• Moscheles on Chopinʼs Pianoforte playing, [276].
• Moschelesʼ Variations on the Alexander March, 112.
• Mozart, 147, [329].
• Mozart, Chopinʼs admiration for, [320].
• Mozartʼs “Midritate Rè di Ponto,” 147.
• Musset, Alfred de, 126.
• Mutes of Portici, The, 169.
  
• Nidecki, Thomas, 71.
• Nocturne, Marche Funebre, Trois Ecossaises, op. 72, [348].
• Nocturnes, op. 9, 132, [345].
• Nocturnes, op. 15, [241], [345].
• Nocturnes, op. 27, [241], [346].
• Nocturnes, op. 37, [275], [346].
• Nocturnes, op. 48, 62, 72, [346].
• Nourrit, Adolphe, [273].
• Nowakowskiʼs Symphony, [353].
  
• Official Journal, [353].
• Oginski, Prince Michael, [340].
• Onslowʼs “Die Hausirer” (“Le Colporteur”), 50.
• Organ, Chopinʼs Preference for the, 8.
• Orlowski, Anton, 169, [355].
• Overture to “William Tell,” 119.
  
• Paerʼs Agnese, 114.
• Paganini, 145, 146.
• Pasta, [235].
• Pianoforte playing, 92.
• Pichon, M., 25.
• Pixisʼ Concerto, 100.
• Polish Courier, [353], [354].
• Polish folk-songs, [331].
• Polish Songs, Sixteen, op. 74, [348].
• Polonaise, op. 3, [338].
• Polonaise, op. 22, [337].
• Polonaises, op. 26, [241], [342].
• Polonaises, op. 40, [275], [341], [342].
• Polonaises, op. 44, [341].
• Polonaises, op. 53, [301], [341].
• Polonaises, op. 71, [342], [348].
• Polonaise in F minor, op. 71, 105.
• Polonaise Fantasia, op. 61, [301].
• Polonaise, Origin of the, [340].
• Potocka, The Countess Delphine, [248], [318], [319].
• Preludes, [347].
• Preludes in B minor and E minor, [321].
  
• Radziwill, Prince Anton, 36.
• Radziwillʼs, (Prince), Faust, 104.
• Rellstab, 133.
• Ries, Die Räuberbraut, [227].
• “Robert le Diable,” [338].
• Romanticism, [343].
• Romantic School, [328].
• Rondeau pour deux Pianos, op. 73, [348].
• Rondo à la Mazur, op. 5, 34, 137.
• Rondo Cracovienne, 65, 95, 108, 133, 137, [350].
• Rondo, op. 1, ded. to Madame Linde, 13, 34, 128.
• Rondo in C for 2 Pianos, op. 73, 43, [351].
• Rossini, 140.
• Rubini, [235].
  
• Salieri, 148.
• Sammler, The Vienna, 98.
• Sand, George, [261], [265], [297], [298], [302], [307], [310], [311], [315], [327].
• Sarmatian Melodies, 126.
• Scherzi, [346], [347].
• Scherzo, op. 20, [241].
• Scherzo in C sharp minor, op. 39, [275].
• Schmitt, Aloys, 187.
• Schnabel, 154.
• Scholtz, Herman, on Chopinʼs Earliest Compositions, 136.
• Schubert, 143, [330], [340].
• Schulhoff, Julius, [293].
• Schumann, Article in the Allgemeine Musikalische Zeitung, 129.
• Schumannʼs “Gesammelte Schriften über Musik und Musiker,” 134.
• Schumann, Neue Zeitschrift für Musik, [243].
• Schumann on Chopinʼs “Ballade,” [257].
• Schumannʼs Romance in F sharp, 139.
• Schuppanzigh, 141.
• Slavonic folk-songs, 30, 32.
• Slawick, 177, [201].
• Soliva, 115.
• Sonata in C minor, op. 4, 64, 129, 137, [338].
• Sonata in B flat minor, op. 35, [338].
• Sonata in B minor, op. 58, [301], [338].
• Sonata in G minor, op. 65, [301], [338].
• Sonntag, Mlle., [358], [360].
• Spohr, [227], [340].
• Spohrʼs “Azor and Zemire,” 144.
• Spohrʼs disparagement of Paganini, 145.
• Spohrʼs Faust, 144.
• Spohrʼs “Jessonda,” 144.
• Spohrʼs Octett, 99.
• Spohrʼs Quintett for Piano, Clarionet, Bassoon, French Horn and Flute, [364].
• Spontiniʼs “Ferdinand Cortez,” 47, 50.
• Stadler, The Abbé, [194].
• Stirlingʼs, Miss, Chopin Museum, [212].
• Stradellaʼs Hymn to the Virgin, [319].
• Studies, 138, [348].
• Study in C minor, 138, [218].
  
• Tarantelle, op. 43, [275].
• Tarnowski, Count Stanislas, [303].
• Tempo rubato, [289].
• Thalberg, 143, 187.
• Thies, Alexander, [297].
• “Third of May, The,” [349].
• Touch, Cultivation of, [285].
• Trio in G minor, op. 8, 43, 44, 129.
  
• Urban, [245].
  
• Valse, op. 42, [275].
• Valses, op. 69, and 70, [348].
• Variations on “La ci darem la mano,” op. 2, 64, 129, 137.
• Variations brillantes, op. 12, 133.
• Variations, ded. to Woyciechowski, 94, 106.
• Veltheim, Charlotte, 68.
• Vienna, The Imperial Library of, [198].
• Violoncello, Chopinʼs preference for, [337].
  
• Wagner, 139.
• Waltzes, op. 18, 34, 42, 64, 69, 70, [344].
• Warsaw Courier, [354], [356].
• Warsaw Gazette, [352], [353], [354].
• Weber, [340].
• Weber, Dionys, 143.
• Weiglʼs “Schweizerfamilie,” 144.
• Wély, Lefébure, [321].
• Wieck, Clara, 131, [252].
• Wieck, Frederic, Letter of, [251].
• Wiener Theater Zeitung, 76, 97, [364].
• Wildt, Franz, 169, 185.
• Winter’s “Das unterbrochene Opferfest,” 46, 144.
• Wodzynski, Maria, [255].
• Worlitzer, 112.
• Wockow, Fräulein, 116, 117, [359].
• Würfel, 165.
  
• Zeitschrift für Literatur, 98.
• Zwyny, (Adalbert), 14.

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