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 hem;" and later on, the Preludes, the most inspired of his works, led Schumann to exclaim that Chopin "is and remains the boldest and noblest artistic spirit of the time."
Schumann would have found it difficult to induce any of his countrymen to endorse his exalted opinion of Chopin, but the Hungarian Liszt joined hands with him heartily, and pronounced Chopin "an artist of the first rank." "His best works," he says, "contain numerous combinations of which it must be said that they did nothing less than create an epoch in the treatment of musical style. Bold, brilliant, enchanting, his pieces conceal their depth behind so much grace, their erudition behind so much charm, that it is difficult to emancipate one's self from their overpowering magic and estimate them according to their theoretic value. This fact is already recognized by some competent judges, and it will be more and more generally realized when the progress made in art during the Chopin epoch is carefully studied."
That Elsner, Chopin's teacher, detected his pupil's originality, has already been stated. Fortunately he allowed it a free rein instead of trying to check and crush it, as teachers are in the habit of doing. But there are some passages in Chopin's early letters which seem to indicate that the general public and the professional musicians in his native Poland were not so very much in advance of the Germans in recognizing his musical genius. Liszt doubts whether Chopin's national compositions were as fully appreciated by his countrymen as the work of native poets; and Chopin writes to a friend, apropos of
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