Chopin: The Man and His Music - James Huneker (open ebook .TXT) 📗

And then follows that deadly Marche Funebre! Ernest Newman, in his remarkable “Study of Wagner,” speaks of the fundamental difference between the two orders of imagination, as exemplified by Beethoven and Chopin on the one side, Wagner on the other. This regarding the funeral marches of the three. Newman finds Wagner’s the more concrete imagination; the “inward picture” of Beethoven, and Chopin “much vaguer and more diffused.” Yet Chopin is seldom so realistic; here are the bell-like basses, the morbid coloring. Schumann found “it contained much that is repulsive,” and Liszt raves rhapsodically over it; for Karasowski it was the “pain and grief of an entire nation,” while Ehlert thinks “it owes its renown to the wonderful effect of two triads, which in their combination possess a highly tragical element.

The middle movement is not at all characteristic. Why could it not at least have worn second mourning? After so much black crepe drapery one should not at least at once display white lingerie!” This is cruel.

The D flat Trio is a logical relief after the booming and glooming of the opening. That it is “a rapturous gaze into the beatific regions of a beyond,” as Niecks writes, I am not prepared to say. We do know, however, that the march, when isolated, has a much more profound effect than in its normal sequence. The presto is too wonderful for words.

Rubinstein, or was it originally Tausig who named it “Night winds sweeping over the churchyard graves”? Its agitated, whirring, unharmonized triplets are strangely disquieting, and can never be mistaken for mere etude passage work. The movement is too sombre, its curves too full of half-suppressed meanings, its rush and sub-human growling too expressive of something that defies definition. Schumann compares it to a “sphinx with a mocking smile.” To Henri Barbadette “C’est Lazare grattant de ses ongles la pierre de son tombeau,” or, like Mendelssohn, one may abhor it, yet it cannot be ignored. It has Asiatic coloring, and to me seems like the wavering outlines of light-tipped hills seen sharply en silhouette, behind which rises and falls a faint, infernal glow. This art paints as many differing pictures as there are imaginations for its sonorous background; not alone the universal solvent, as Henry James thinks, it bridges the vast, silent gulfs between human souls with its humming eloquence. This sonata is not dedicated.

The third Sonata in B minor, op. 58, has more of that undefinable “organic unity,” yet, withal, it is not so powerful, so pathos-breeding or so compact of thematic interest as its forerunner. The first page, to the chromatic chords of the sixth, promises much. There is a clear statement, a sound theme for developing purposes, the crisp march of chord progressions, and then—the edifice goes up in smoke. After wreathings and curlings of passage work, and on the rim of despair, we witness the exquisite budding of the melody in D. It is an aubade, a nocturne of the morn—if the contradictory phrase be allowed. There is morning freshness in its hue and scent, and, when it bursts, a parterre of roses. The close of the section is inimitable. All the more sorrow at what follows: wild disorder and the luxuriance called tropical. When B major is compassed we sigh, for it augurs us a return of delight. The ending is not that of a sonata, but a love lyric. For Chopin is not the cool breadth and marmoreal majesty of blank verse. He sonnets to perfection, but the epical air does not fill his nostrils.

Vivacious, charming, light as a harebell in the soft breeze is the Scherzo in E flat. It has a clear ring of the scherzo and harks back to Weber in its impersonal, amiable hurry. The largo is tranquilly beautiful, rich in its reverie, lovely in its tune. The trio is reserved and hypnotic. The last movement, with its brilliancy and force, is a favorite, but it lacks weight, and the entire sonata is, as Niecks writes, “affiliated, but not cognate.” It was published June, 1845, and is dedicated to Comtesse E. de Perthuis.

So these sonatas of Chopin are not sonatas at all, but, throwing titles to the dogs, would we forego the sensations that two of them evoke?

There is still another, the Sonata in G minor, op. 65, for piano and ‘cello. It is dedicated to Chopin’s friend, August Franchomme, the violoncellist. Now, while I by no means share Finck’s exalted impression of this work, yet I fancy the critics have dealt too harshly with it. Robbed of its title of sonata—though sedulously aping this form—it contains much pretty music. And it is grateful for the ‘cello.

There is not an abundant literature for this kingly instrument, in conjunction with the piano, so why flaunt Chopin’s contribution? I will admit that he walks stiffly, encased in his borrowed garb, but there is the andante, short as it is, an effective scherzo and a carefully made allegro and finale. Tonal monotony is the worst charge to be brought against this work.

The trio, also in G minor, op. 8, is more alluring. It was published March, 1833, and dedicated to Prince Anton Radziwill. Chopin later, in speaking of it to a pupil, admitted that he saw things he would like to change. He regretted not making it for viola, instead of violin, ‘cello and piano.

It was worked over a long time, the first movement being ready in 1833.

When it appeared it won philistine praise, for its form more nearly approximates the sonata than any of his efforts in the cyclical order, excepting op. 4. In it the piano receives better treatment than the other instruments; there are many virtuoso passages, but again key changes are not frequent or disparate enough to avoid a monotone.

Chopin’s imagination refuses to become excited when working in the open spaces of the sonata form. Like creatures that remain drab of hue in unsympathetic or dangerous environment, his music is transformed to a bewildering bouquet of color when he breathes native air. Compare the wildly modulating Chopin of the ballades to the tame-pacing Chopin of the sonatas, trio and concertos! The trio opens with fire, the scherzo is fanciful, and the adagio charming, while the finale is cheerful to loveliness. It might figure occasionally on the programmes of our chamber music concerts, despite its youthful puerility.

There remain the two concertos, which I do not intend discussing fully.

Not Chopin at his very best, the E minor and F minor concertos are frequently heard because of the chances afforded the solo player. I have written elsewhere at length of the Klindworth, Tausig and Burmeister versions of the two concertos. As time passes I see no reason for amending my views on this troublous subject. Edgar S. Kelly holds a potent brief for the original orchestration, contending that it suits the character of the piano part. Rosenthal puts this belief into practice by playing the older version of the E minor with the first long tutti curtailed. But he is not consistent, for he uses the Tausig octaves at the close of the rondo. While I admire the Tausig orchestration, these particlar octaves are hideously cacaphonic. The original triplet unisons are so much more graceful and musical.

The chronology of the concertos has given rise to controversy. The trouble arose from the F minor Concerto, it being numbered op. 21, although composed before the one in E minor. The former was published April, 1836; the latter September, 1833. The slow movement of the F

minor Concerto was composed by Chopin during his passion for Constantia Gladowska. She was “the ideal” he mentions in his letters, the adagio of this concerto. This larghetto in A flat is a trifle too ornamental for my taste, mellifluous and serene as it is. The recitative is finely outlined. I think I like best the romanze of the E minor Concerto. It is less flowery. The C sharp minor part is imperious in its beauty, while the murmuring mystery of the close mounts to the imagination. The rondo is frolicksome, tricky, genial and genuine piano music. It is true the first movement is too long, too much in one set of keys, and the working-out section too much in the nature of a technical study.

The first movement of the F minor far transcends it in breadth, passion and musical feeling, but it is short and there is no coda. Richard Burmeister has supplied the latter deficiency in a capitally made cadenza, which Paderewski plays. It is a complete summing up of the movement. The mazurka-like finale is very graceful and full of pure, sweet melody. This concerto is altogether more human than the E minor.

Both derive from Hummel and Field. The passage work is superior in design to that of the earlier masters, the general character episodical,—but episodes of rare worth and originality. As Ehlert says, “Noblesse oblige—and thus Chopin felt himself compelled to satisfy all demands exacted of a pianist, and wrote the unavoidable piano concerto. It was not consistent with his nature to express himself in broad terms. His lungs were too weak for the pace in seven league boots, so often required in a score. The trio and ‘cello sonata were also tasks for whose accomplishment Nature did not design him. He must touch the keys by himself without being called upon to heed the players sitting next him. He is at his best when without formal restraint, he can create out of his inmost soul.”

“He must touch the keys by himself!” There you have summed up in a phrase the reason Chopin never succeeded in impressing his individuality upon the sonata form and his playing upon the masses. His was the lonely soul. George Sand knew this when she wrote, “He made an instrument speak the language of the infinite. Often in ten lines that a child might play he has introduced poems of unequalled elevation, dramas unrivalled in force and energy. He did not need the great material methods to find expression for his genius. Neither saxophone nor ophicleide was necessary for him to fill the soul with awe. Without church organ or human voice he inspired faith and enthusiasm.”

It might be remarked here that Beethoven, too, aroused a wondering and worshipping world without the aid of saxophone or ophicleide. But it is needless cruelty to pick at Madame Sand’s criticisms. She had no technical education, and so little appreciation of Chopin’s peculiar genius for the piano that she could write, “The day will come when his music will be arranged for orchestra without change of the piano score;” which is disaster-breeding nonsense. We have sounded Chopin’s weakness when writing for any instrument but his own, when writing in any form but his own.

The E minor Concerto is dedicated to Frederick Kalkbrenner, the F minor to the Comtesse Deiphine Potocka. The latter dedication demonstrates that he could forget his only “ideal” in the presence of the charming Potocka! Ah! these vibratile and versatile Poles!

Robert Schumann, it is related, shook his head wearily when his early work was mentioned. “Dreary stuff,” said the composer, whose critical sense did not fail him even in so personal a question. What Chopin thought of his youthful music may be discovered in his scanty correspondence. To suppose that the young Chopin sprang into the arena a fully equipped warrior is one of those nonsensical notions which gains currency among persons unfamiliar with the law of musical evolution. Chopin’s musical ancestry is easily traced; as Poe had his Holley Chivers, Chopin had his Field. The germs of his second period are all there; from op. 1 to opus 22 virtuosity for virtuosity’s sake is very evident. Liszt has said that in every young artist there is the virtuoso fever, and Chopin being