Chopin and Other Musical Essays | Page 5

his second concert at Warsaw: "The élite of the musical world will be there; but I have little confidence in their musical judgment--Elsner of course excepted." Elsewhere he complains of a patriotic admirer who had written that the Poles would some day be as proud of Chopin as the Germans were of Mozart. And when in addition to this the editor of a local paper told him he had in type a sonnet on him, Chopin was greatly alarmed, and begged him not to print it; for he knew that such homage would create envy and enemies, and he declared that after that sonnet was published he would not dare to read any longer what the papers said about him.
Chopin's want of confidence in the judgment of his countrymen showed that, after all, the national Polish element in his compositions was not the main cause why they were not rated at once at their true value. It was their novelty of form, harmonic depth and freedom of modulation, that made them for a long time cav?are to the general. This was again proved when he went to Paris. Chopin was a Pole only on his mother's side, his father having been a Frenchman, who had emigrated to Poland. It might have been supposed, therefore, that there would be a French element in Chopin's genius which would make it palatable to the Parisians. But this did not prove to be the case. In the remarkable group of musicians, poets, and artists who were assembled at that time in Paris, and who mutually inspired one another--a group which included Liszt, Meyerbeer, Hiller, Mendelssohn, Berlioz, Heine, George Sand, the Countess D'Agoult, Delacroix, etc.--there were no doubt not a few who knew what a rare genius their friend Chopin was. George Sand wrote in her autobiography: "He has not been understood hitherto, and to the present day he is underestimated. Great progress will have to be made in taste and in the appreciation of music before it will be possible for Chopin's work to become popular." Heine also wrote that his favorite pianist was Chopin, "who, however," he adds, "is more of a composer than a virtuoso. When Chopin is at the piano I forget all about the technical side of playing and become absorbed in the sweet profundity, the sad loveliness of his creations, which are as deep as they are elegant. Chopin is the great inspired tone-poet who properly should be named only in company with Mozart, Beethoven, and Rossini."
But aside from these select spirits and a small circle of aristocratic admirers, mostly Poles, Chopin was not understood by the Paris public. At first he could not even make his living there, and was in consequence on the point of emigrating to America when a friend dragged him to a soirée at Rothschild's, where his playing was so much admired that he was at once engaged as a teacher by several ladies present. In a very short time he became the fashionable teacher in aristocratic circles, where his refined manners made him personally liked. As he refused to take any but talented pupils, teaching was not so irksome to him as it might have been. Nevertheless one cannot but marvel at the obtuseness of the Parisians who put into the utilitarian harness an artist who might have enchanted them every evening with a concert, had their taste been more cultivated. He did play once, when he first arrived, but the receipts did not even meet the expenses, and the audience received his work so coldly that his artistic sensibilities were wounded, and he did not again appear in public for fourteen years. Occasionally he played for the select aristocratic circles into which he had been introduced; but even here he did not often meet with the genuine appreciation and sympathy which the artist craves. "Whoever could read in his face," says Liszt, "could see how often he felt convinced that among all these handsome, well-dressed gentlemen, among all the perfumed, elegant ladies, not one understood him."
As for the French critics they seem to have been as obtuse as their German colleagues. To give only one instance: M. Fétis, author of the well-known musical dictionary, states in his article on Chopin, that this composer is overrated to-day, and his popularity largely due to the fact that he is fashionable. And in his article on Heller, he asserts, more pointedly still, that "the time will undoubtedly come when the world will recognize that Heller, much more than Chopin, is the modern poet of the pianoforte." In this opinion Fétis probably stands alone; but many who have not studied Chopin's deepest works carefully, are still convinced that the pianoforte compositions of Mozart, Beethoven, and Schumann, are of greater importance than Chopin's. So far am I