Chopin and Other Musical Essays - Henry T. Finck

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on second thought, that "to be a poet one need not have written ponderous volumes; one or two poems suffice to make a reputation, and Chopin has written such." Elsner who was unusually liberal in his views of art, and who discovered and valued his pupil's originality long before Schumann did, nevertheless bowed before the fetish of Jumboism in so far as to write to Chopin in Paris that he was anxious, before he departed this Vale of Tears, to hear an opera from his pen, both for his benefit, and for the glory of his country. Chopin took this admonition to heart sufficiently to ask a friend to prepare for him a libretto; but that is as far as the project ever went. Chopin must have felt instinctively that his individual style of miniature painting would be as ineffective on the operatic stage, where bold, al fresco painting is required, as his soft and dreamy playing would have been had he taken his piano from the parlor and placed it in a meadow.

      Besides Chopin's abhorrence of musical warfare and his avoidance of the larger and more imposing forms of the opera, symphony, and oratorio, there were other causes which retarded the recognition of his transcendent genius. The unprecedented originality of his style, and the distinct national coloring of his compositions, did not meet with a sympathetic appreciation in Germany and Vienna, when he first went there to test his musical powers. Some of the papers indeed had a good word for him, but, as in the case of Liszt and later of Rubinstein, it was rather for the pianist than for the composer. On his first visit to Vienna he was greatly petted, and he found it easy to get influential friends who took care that his concerts should be a success, because he played for their benefit, asking no pecuniary recompense. But when, some years later, he repeated his visit, and tried to play for his own pecuniary benefit, the influential friends were invisible, and the concert actually resulted in a deficit.

      Chopin's letters contain unmistakable evidence of the fact that, with some exceptions, the Germans did not understand his compositions. At his first concert in Vienna, he writes, "The first allegro in the F minor concerto (not intelligible to all) was indeed rewarded with 'Bravo!' but I believe this was rather because the audience wished to show that they appreciated serious music than because they were able to follow and appreciate such music." And regarding the fantasia on Polish airs he says that it completely missed its mark: "There was indeed some applause by the audience, but obviously only to show the pianist that they were not bored." The ultra-Germans, he writes in another letter, did not appear to be quite satisfied; and he relates that one of these, on being asked, in his presence, how he liked the concert, at once changed the subject of conversation, obviously in order not to hurt his feelings. In a third letter, in which he gives his parents an account of his concert in Breslau, in 1830, he says that, "With the exception of Schnabel, whose face was beaming with pleasure, and who patted me on the shoulder every other moment, none of the other Germans knew exactly what to make of me;" and he adds, with his delicious irony, that "the connoisseurs could not exactly make out whether my compositions really were good or only seemed so."

      Criticisms culled from contemporary newspaper notices and other sources emphasize the fact that the Germans were at that time blind to the transcendent merits of Chopin's genius. The professional critics, after their usual manner, found fault with the very things which we to-day admire most in him—the exotic originality of the style, and the delightful Polish local color in which all his fabrics are "dyed in the wool," as it were. How numerous these adverse criticisms were, may best be inferred from the frequency with which Schumann defended Chopin in his musical paper and sneered at his detractors. "It is remarkable," he writes, "that in the very droughty years preceding 1830, in which one should have thanked Heaven for every straw of superior quality, criticism, which it is true, always lags behind unless it emanates from creative minds, persisted in shrugging its shoulders at Chopin's compositions—nay, that one of them had the impudence to say that all they were good for was to be torn to pieces." In another article, after speaking in the most enthusiastic terms of Chopin's trio, in which "every note is music and life," he exclaims, "Wretched Berlin critic, who has no understanding for these things, and never will have—poor fellow!" And seven years later, in 1843, he writes, with fine contempt for his critical colleagues, that "for the typical reviewers Chopin never did write, anyway." And this, be it remembered, was only six years before Chopin's death.

      Not a few of the composers and composerlings of the period joined the professional critics in their depreciation of Chopin's works. Field called his "a talent of the sick chamber." Moscheles, while admitting Chopin's originality, and the value of his pianistic achievements, confessed that he disliked his "harsh, inartistic, incomprehensible modulations," which often appeared "artificial and forced" to him—these same modulations which to-day transport us into the seventh heaven of delight! Mendelssohn's attitude toward Chopin was somewhat vacillating. He defended him in a letter against his sister's criticisms, and assured her that if she had heard some of Chopin's compositions "as he himself played them" for him, she too would have been delighted. He adds that Chopin had just completed "a most graceful little nocturne," of which he remembered much, and was going to play it for his brother Paul. Nevertheless, he did not recommend the pupils at the Leipsic Conservatory to study Chopin's works, and various utterances of his are on record showing that he had a decided artistic antipathy for the exotic products of Chopin's pen. To give only one instance. In one of the letters to Moscheles, first printed in Scribner's Magazine for February, 1888, he complains that "a book of mazurkas by Chopin, and a few new pieces of his are so mannered that they are hard to stand."

      I have dwelt so much on the attitude of the Germans toward Chopin, because I am convinced that in this attitude lies one of the main reasons why no one has hitherto dared to place him in the front rank of composers, side by side with Bach, Beethoven, and Wagner. For the Germans are the tonangebende (the standard-setting) nation in music to-day, and, as there seems to be a natural antipathy between the Slavic and the Teutonic mind, the Germans are apt, like Mendelssohn, to regard as mannerism what is simply the exotic fragrance which betrays a foreign nationality. The ultro-Teutons still persist in their depreciation of Chopin. In the latest edition of Brockhaus's "Conservations-Lexicon" we read, apropos to Chopin's larger works, that "he was deficient in the profounder musical attainments"(!) Dr. Hanslick, generally considered the leading German critic of the period, in a 534-page collection of criticisms, discussing twenty concert seasons in Vienna, has only about half a dozen and by no means complimentary references to Chopin. And even the late Louis Ehlert, in his appreciative essay on Chopin, comes to the conclusion that Chopin is certainly not to be ranked with such giants as Bach and Beethoven. This is Teutonism, pure and simple. No doubt Chopin is, in some respects, inferior to Bach and Beethoven, but in other respects he is quite as unquestionably superior to them. He wrote no mammoth symphonies, but there is a marvellous wealth and depth of ideas in his smaller works—enough to supply half a dozen ordinary symphony and opera writers with ideas for a lifetime. His works may be compared to those men of genius in whose under-sized bodies dwelt a gigantic mind.

      Schumann appears to have been the only contemporary composer who did not underrate Chopin. Whether he would have gone so far as to rank him with the greatest of the German composers, I cannot say, for he avoids direct comparisons. But if imitation is the sincerest form of flattery, then Schumann flattered Chopin more than any other master, for his pianoforte works are much more in the manner of Chopin than of Bach or Beethoven. I do not mean direct imitation, but that unconscious adoption of Chopin's numerous innovations in the treatment of the piano and of musical style, which are better evidence of influence than the borrowing of an idea or two. He himself testified to the "intimate artistic relations" between him and Chopin. Moreover, his praise of Chopin is always pitched in such a high key that it would seem as if praise could no higher go. It was he who first proclaimed Chopin's genius authoritatively, and to this fact he often referred subsequently, with special pride. The very first article in his volumes of criticisms is devoted to Chopin's variations on "La Ci Darem'," published as "opus 2." In those days, Schumann used to give his criticisms a semi-dramatic form. On this occasion he represents his alter ego, Eusebius, as rushing into the room with a new composition, and the exclamation "Hats off, gentlemen! a genius!" He then analyzes the variations in glowing poetic language and rapturously exclaims at the end that "there is genius in every bar." And this was only one of the early works of Chopin, in which he has by no means attained his full powers. Of another quite early work, the second concerto, he writes that it is a composition "which none of us can approach except it be with the lips to kiss the

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