Chopin: The Man and His Music by James Huneker (e book reader free TXT) 📖

truly touched by the universal than any other of his works. They belong as much to the world as to Poland.

 

The G minor Ballade after “Konrad Wallenrod,” is a logical, well knit and largely planned composition. The closest parallelism may be detected in its composition of themes. Its second theme in E flat is lovely in line, color and sentiment. The return of the first theme in A minor and the quick answer in E of the second are evidences of Chopin’s feeling for organic unity. Development, as in strict cyclic forms, there is not a little. After the cadenza, built on a figure of wavering tonality, a valse-like theme emerges and enjoys a capricious, butterfly existence. It is fascinating. Passage work of an etherealized character leads to the second subject, now augmented and treated with a broad brush. The first questioning theme is heard again, and with a perpendicular roar the presto comes upon us. For two pages the dynamic energy displayed by the composer is almost appalling. A whirlwind I have called it elsewhere. It is a storm of the emotions, muscular in its virility. I remember de Pachmann—a close interpreter of certain sides of Chopin—playing this coda piano, pianissimo and prestissimo.

The effect was strangely irritating to the nerves, and reminded me of a tornado seen from the wrong end of an opera glass. According to his own lights the Russian virtuoso was right: his strength was not equal to the task, and so, imitating Chopin, he topsy-turvied the shading. It recalled Moscheles’ description of Chopin’s playing: “His piano is so softly breathed forth that he does not require any strong forte to produce the wished for contrast.”

 

This G minor Ballade was published in June, 1836, and is dedicated to Baron Stockhausen. The last bar of the introduction has caused some controversy. Gutmann, Mikuli and other pupils declare for the E flat; Klindworth and Kullak use it. Xaver Scharwenka has seen fit to edit Klindworth, and gives a D natural in the Augener edition. That he is wrong internal testimony abundantly proves. Even Willeby, who personally prefers the D natural, thinks Chopin intended the E flat, and quotes a similar effect twenty-eight bars later. He might have added that the entire composition contains examples—look at the first bar of the valse episode in the bass. As Niecks thinks, “This dissonant E flat may be said to be the emotional keynote of the whole poem. It is a questioning thought that, like a sudden pain, shoots through mind and body.”

 

There is other and more confirmatory evidence. Ferdinand Von Inten, a New York pianist, saw the original Chopin manuscript at Stuttgart. It was the property of Professor Lebert (Levy), since deceased, and in it, without any question, stands the much discussed E flat. This testimony is final. The D natural robs the bar of all meaning. It is insipid, colorless.

 

Kullak gives 60 to the half note at the moderato. On the third page, third bar, he uses F natural in the treble. So does Klindworth, although F sharp may be found in some editions. On the last page, second bar, first line, Kullak writes the passage beginning with E flat in eighth notes, Klindworth in sixteenths. The close is very striking, full of the splendors of glancing scales and shrill octave progressions. “It would inspire a poet to write words to it,” said Robert Schumann.

 

“Perhaps the most touching of all that Chopin has written is the tale of the F major Ballade. I have witnessed children lay aside their games to listen thereto. It appears like some fairy tale that has become music. The four-voiced part has such a clearness withal, it seems as if warm spring breezes were waving the lithe leaves of the palm tree. How soft and sweet a breath steals over the senses and the heart!”

 

And how difficult it seems to be to write of Chopin except in terms of impassioned prose! Louis Ehlert, a romantic in feeling and a classicist in theory, is the writer of the foregoing. The second Ballade, although dedicated to Robert Schumann, did not excite his warmest praise. “A less artistic work than the first,” he wrote, “but equally fantastic and intellectual. Its impassioned episodes seem to have been afterward inserted. I recollect very well that when Chopin played this Ballade for me it finished in F major; it now closes in A minor.” Willeby gives its key as F minor. It is really in the keys of F major—A minor.

Chopin’s psychology was seldom at fault. A major ending would have crushed this extraordinary tone-poem, written, Chopin admits, under the direct inspiration of Adam Mickiewicz’s “Le Lac de Willis.” Willeby accepts Schumann’s dictum of the inferiority of this Ballade to its predecessor. Niecks does not. Niecks is quite justified in asking how “two such wholly dissimilar things can be compared and weighed in this fashion.”

 

In truth they cannot. “The second Ballade possesses beauties in no way inferior to those of the first,” he continues. “What can be finer than the simple strains of the opening section! They sound as if they had been drawn from the people’s store-house of song. The entrance of the presto surprises, and seems out of keeping with what precedes; but what we hear after the return of tempo primo—the development of those simple strains, or rather the cogitations on them—justifies the presence of the presto. The second appearance of the latter leads to an urging, restless coda in A minor, which closes in the same key and pianissimo with a few bars of the simple, serene, now veiled first strain.”

 

Rubinstein bore great love for this second Ballade. This is what it meant for him: “Is it possible that the interpreter does not feel the necessity of representing to his audience—a field flower caught by a gust of wind, a caressing of the flower by the wind; the resistance of the flower, the stormy struggle of the wind; the entreaty of the flower, which at last lies there broken; and paraphrased—the field flower a rustic maiden, the wind a knight.”

 

I can find “no lack of affinity” between the andantino and presto. The surprise is a dramatic one, withal rudely vigorous. Chopin’s robust treatment of the first theme results in a strong piece of craftmanship.

The episodical nature of this Ballade is the fruit of the esoteric moods of its composer. It follows a hidden story, and has the quality—as the second Impromptu in F sharp—of great, unpremeditated art. It shocks one by its abrupt but by no means fantastic transitions.

The key color is changeful, and the fluctuating themes are well contrasted. It was written at Majorca while the composer was only too noticeably disturbed in body and soul.

 

Presto con fuoco Chopin marks the second section. Kullak gives 84 to the quarter, and for the opening 66 to the quarter. He also wisely marks crescendos in the bass at the first thematic development. He prefers the E—as does Klindworth—nine bars before the return of the presto. At the eighth bar, after this return, Kullak adheres to the E

instead of F at the beginning of the bar, treble clef. Klindworth indicates both. Nor does Kullak follow Mikuli in using a D in the coda.

He prefers a D sharp, instead of a natural. I wish the second Ballade were played oftener in public. It is quite neglected for the third in A flat, which, as Ehlert says, has the voice of the people.

 

This Ballade, the “Undine” of Mickiewicz, published November, 1841, and dedicated to Mlle. P. de Noailles, is too well known to analyze. It is the schoolgirls’ delight, who familiarly toy with its demon, seeing only favor and prettiness in its elegant measures. In it “the refined, gifted Pole, who is accustomed to move in the most distinguished circles of the French capital, is pre-eminently to be recognized.” Thus Schumann. Forsooth, it is aristocratic, gay, graceful, piquant, and also something more. Even in its playful moments there is delicate irony, a spiritual sporting with graver and more passionate emotions.

Those broken octaves which usher in each time the second theme, with its fascinating, infectious, rhythmical lilt, what an ironically joyous fillip they give the imagination!

 

“A coquettish grace—if we accept by this expression that half unconscious toying with the power that charms and fires, that follows up confession with reluctance—seems the very essence of Chopin’s being.”

 

“It becomes a difficult task to transcribe the easy transitions, full of an irresistible charm, with which he portrays Love’s game. Who will not recall the memorable passage in the A flat Ballade, where the right hand alone takes up the dotted eighths after the sustained chord of the sixth of A flat? Could a lover’s confusion be more deliciously enhanced by silence and hesitation?” Ehlert above evidently sees a ballroom picture of brilliancy, with the regulation tender avowal. The episodes of this Ballade are so attenuated of any grosser elements that none but psychical meanings should be read into them.

 

The disputed passage is on the fifth page of the Kullak edition, after the trills. A measure is missing in Kullak, who, like Klindworth, gives it in a footnote. To my mind this repetition adds emphasis, although it is a formal blur. And what an irresistible moment it is, this delightful territory, before the darker mood of the C sharp minor part is reached! Niecks becomes enthusiastic over the insinuation and persuasion of this composition: “the composer showing himself in a fundamentally caressing mood.” The ease with which the entire work is floated proves that Chopin in mental health was not daunted by larger forms. There is moonlight in this music, and some sunlight, too. The prevailing moods are coquetry and sweet contentment.

 

Contrapuntal skill is shown in the working out section. Chopin always wears his learning lightly; it does not oppress us. The inverted dominant pedal in the C sharp minor episode reveals, with the massive coda, a great master. Kullak suggests some variants. He uses the transient shake in the third bar, instead of the appoggiatura which Klindworth prefers. Klindworth attacks the trill on the second page with the upper tone—A flat. Kullak and Mertke, in the Steingraber edition, play the passage in this manner: [Musical score excerpt from the original version of the Op. 47. Ballade]

 

Here is Klindworth:

 

[Musical score excerpt of the same passage in Klindworth’s edition]

 

Of the fourth and glorious Ballade in F minor dedicated to Baronne C.

de Rothschild I could write a volume. It is Chopin in his most reflective, yet lyric mood. Lyrism is the keynote of the work, a passionate lyrism, with a note of self-absorption, suppressed feeling—truly Slavic, this shyness!—and a concentration that is remarkable even for Chopin. The narrative tone is missing after the first page, a rather moody and melancholic pondering usurping its place. It is the mood of a man who examines with morbid, curious insistence the malady that is devouring his soul. This Ballade is the companion of the Fantaisie-Polonaise, but as a Ballade “fully worthy of its sisters,” to quote Niecks. It was published December, 1843. The theme in F minor has the elusive charm of a slow, mournful valse, that returns twice, bejewelled, yet never overladen. Here is the very apotheosis of the ornament; the figuration sets off the idea in dazzling relief. There are episodes, transitional passage work, distinguished by novelty and the finest art. At no place is there display for display’s sake. The cadenza in A is a pause for breath, rather a sigh, before the rigorously logical imitations which presage the re-entrance of the theme. How wonderfully the introduction comes in for its share of thoughtful treatment. What a harmonist! And consider the D flat scale runs in the left hand; how suave, how satisfying