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

Niecks believes there is a return of the early freshness and poetry in the last three Mazurkas, op. 63. “They are, indeed, teeming with interesting matter,” he writes. “Looked at from the musician’s point of view, how much do we not see novel and strange, beautiful and fascinating withal? Sharp dissonances, chromatic passing notes, suspensions and anticipations, displacement of accent, progressions of perfect fifths—the horror of schoolmen—sudden turns and unexpected digressions that are so unaccountable, so out of the line of logical sequence, that one’s following the composer is beset with difficulties.

But all this is a means to an end, the expression of an individuality with its intimate experiences. The emotional content of many of these trifles—trifles if considered only by their size—is really stupendous.” Spoken like a brave man and not a pedant!

Full of vitality is the first number of op. 63. In B major, it is sufficiently various in figuration and rhythmical life to single it from its fellows. The next, in F minor, has a more elegiac ring. Brief and not difficult of matter or manner is this dance. The third, of winning beauty, is in C sharp minor—surely a pendant to the C sharp minor Valse. I defy anyone to withstand the pleading, eloquent voice of this Mazurka. Slender in technical configuration, yet it impressed Louis Ehlert so much that he was impelled to write: “A more perfect canon in the octave could not have been written by one who had grown gray in the learned arts.”

The four Mazurkas, published posthumously in 1855, that comprise op. 67

were composed by Chopin at various dates. To the first, in G, Klindworth affixes 1849 as the year of composition. Niecks gives a much earlier date, 1835. I fancy the latter is correct, as the piece sounds like one of Chopin’s more youthful efforts. It is jolly and rather superficial. The next, in G minor, is familiar. It is very pretty, and its date is set down by Niecks as 1849, while Klindworth gives 1835.

Here again Niecks is correct, although I suspect that Klindworth transposed his figures accidentally. No. 3, in C, was composed in 1835.

On this both biographer and editor agree. It is certainly an early effusion of no great value, although a good dancing tune. No. 4 A minor, of this opus, composed in 1846, is more mature, but in no wise remarkable.

Opus 68, the second of the Fontana set, was composed in 1830. The first, in C, is commonplace; the one in A minor, composed in 1827, is much better, being lighter and well made; the third, in F major, 1830, weak and trivial, and the fourth, in F minor, 1849, interesting because it is said by Julius Fontana to be Chopin’s last composition. He put it on paper a short time before his death, but was too ill to try it at the piano. It is certainly morbid in its sick insistence in phrase repetition, close harmonies and wild departure—in A—from the first figure. But it completes the gloomy and sardonic loop, and we wish, after playing this veritable song of the tomb, that we had parted from Chopin in health, not disease. This page is full of the premonitions of decay. Too weak and faltering to be febrile, Chopin is here a debile, prematurely exhausted young man. There are a few accents of a forced gayety, but they are swallowed up in the mists of dissolution—the dissolution of one of the most sensitive brains ever wrought by nature.

Here we may echo, without any savor of Liszt’s condescension or de Lenz’s irony: “Pauvre Frederic!”

Klindworth and Kullak have different ideas concerning the end of this Mazurka. Both are correct. Kullak, Klindworth and Mikuli include in their editions two Mazurkas in A minor. Neither is impressive. One, the date of composition unknown, is dedicated “a son ami Emile Gaillard;”

the other first appeared in a musical publication of Schotts’ about 1842 or 1843—according to Niecks. Of this set I prefer the former; it abounds in octaves and ends with a long trill There is in the Klindworth edition a Mazurka, the last in the set, in the key of F

sharp. It is so un-Chopinish and artificial that the doubts of the pianist Ernst Pauer were aroused as to its authenticity. On inquiry—Niecks quotes from the London monthly “Musical Record,” July 1, 1882—Pauer discovered that the piece was identical with a Mazurka by Charles Mayer. Gotthard being the publisher of the alleged Chopin Mazurka, declared he bought the manuscript from a Polish countess—possibly one of the fifty in whose arms Chopin died—and that the lady parted with Chopin’s autograph because of her dire poverty. It is, of course, a clear case of forgery.

Of the four early Mazurkas, in G major and B flat major—dating from 1825—D major—composed in 1829-30, but remodelled in 1832—and C

major—of 1833—the latter is the most characteristic. The G major is of slight worth. As Niecks remarks, it contains a harmonic error. The one in B flat starts out with a phrase that recalls the A minor Mazurka, numbered 45 in the Breitkopf & Hartel edition. This B flat Mazurka, early as it was composed, is, nevertheless, pretty. There are breadth and decision in the C major Mazurka. The recasting improves the D major Mazurka. Its trio is lifted an octave and the doubling of notes throughout gives more weight and richness.

“In the minor key laughs and cries, dances and mourns the Slav,” says Dr. J. Schucht in his monograph on Chopin. Chopin here reveals not only his nationality, but his own fascinating and enigmatic individuality.

Within the tremulous spaces of this immature dance is enacted the play of a human soul, a soul that voices the sorrow and revolt of a dying race, of a dying poet. They are epigrammatic, fluctuating, crazy, and tender, these Mazurkas, and some of them have a soft, melancholy light, as if shining through alabaster—true corpse light leading to a morass of doubt and terror. But a fantastic, dishevelled, debonair spirit is the guide, and to him we abandon ourselves in these precise and vertiginous dances.

XIV. CHOPIN THE CONQUEROR

The Scherzi of Chopin are of his own creation; the type as illustrated by Beethoven and Mendelssohn had no meaning for him. Whether in earnest or serious jest, Chopin pitched on a title that is widely misleading when the content is considered. The Beethoven Scherzo is full of a robust sort of humor. In it he is seldom poetical, frequently given to gossip, and at times he hints at the mystery of life. The demoniacal element, the fierce jollity that mocks itself, the almost titanic anger of Chopin would not have been regarded by the composer of the Eroica Symphony as adapted to the form. The Pole practically built up a new musical structure, boldly called it a Scherzo, and, as in the case of the Ballades, poured into its elastic mould most disturbing and incomparable music.

Chopin seldom compasses sublimity. His arrows are tipped with fire, yet they do not fly far. But in some of his music he skirts the regions where abide the gods. In at least one Scherzo, in one Ballade, in the F

minor Fantaisie, in the first two movements of the B flat minor Sonata, in several of the Eludes, and in one of the Preludes, he compasses grandeur. Individuality of utterance, beauty of utterance, and the eloquence we call divine are his; criticism then bows its questioning brows before this anointed one. In the Scherzi Chopin is often prophet as well as poet. He fumes and frets, but upon his countenance is the precious fury of the sibyls. We see the soul that suffers from secret convulsions, but forgive the writhing for the music made. These four Scherzi are psychical records, confessions committed to paper of outpourings that never could have passed the lips. From these alone we may almost reconstruct the real Chopin, the inner Chopin, whose conventional exterior so ill prepared the world for the tragic issues of his music.

The first Scherzo is a fair model. There are a few bars of introduction—the porch, as Niecks would call it—a principal subject, a trio, a short working-out section, a skilful return to the opening theme, and an elaborate coda. This edifice, not architecturally flawless, is better adapted to the florid beauties of Byzantine treatment than to the severe Hellenic line. Yet Chopin gave it dignity, largeness and a classic massiveness. The interior is romantic, is modern, personal, but the facade shows gleaming minarets, the strangely builded shapes of the Orient. This B minor Scherzo has the acid note of sorrow and revolt, yet the complex figuration never wavers. The walls stand firm despite the hurricane blowing through and around them.

Ehlert finds this Scherzo tornadic. It is gusty, and the hurry and over-emphasis do not endear it to the pianist. The first pages are filled with wrathful sounds, there is much tossing of hands and cries to heaven, calling down its fire and brimstone. A climax mounts to a fine frenzy until the lyric intermezzo in B is reached. Here love chants with honeyed tongues. The widely dispersed figure of the melody has an entrancing tenderness. But peace does not long prevail against the powers of Eblis, and infernal is the Wilde Jagd of the finale.

After shrillest of dissonances, a chromatic uproar pilots the doomed one across this desperate Styx.

What Chopin’s programme was we can but guess. He may have outlined the composition in a moment of great ebullition, a time of soul laceration arising from a cat scratch or a quarrel with Maurice Sand in the garden over the possession of the goat cart.

The Klindworth edition is preferable. Kullak follows his example in using the double note stems in the B major part. He gives the A sharp in the bass six bars before the return of the first motif. Klindworth, and other editions, prescribe A natural, which is not so effective.

This Scherzo might profit by being played without the repeats. The chromatic interlocked octaves at the close are very striking.

I find at times—as my mood changes—something almost repellant in the B minor Scherzo. It does not present the frank physiognomy of the second Scherzo, op. 31, in B flat minor. Ehlert cries that it was composed in a blessed hour, although de Lenz quotes Chopin as saying of the opening, “It must be a charnel house.” The defiant challenge of the beginning has no savor of the scorn and drastic mockery of its forerunner. We are conscious that tragedy impends, that after the prologue may follow fast catastrophe. Yet it is not feared with all the portentous thunder of its index. Nor are we deceived. A melody of winning distinction unrolls before us. It has a noble tone, is of a noble type. Without relaxing pace it passes and drops like a thunderbolt into the bowels of the earth. Again the story is told, and tarrying not at all we are led to a most delectable spot in the key of A major. This trio is marked by genius. Can anything be more bewitching than the episode in C sharp minor merging into E major, with the overflow at the close? The fantasy is notable for variety of tonality, freedom in rhythmical incidents and genuine power. The coda is dizzy and overwhelming. For Schumann this Scherzo is Byronic in tenderness and boldness. Karasowski speaks of its Shakespearian humor, and indeed it is a very human and lovable piece of art. It holds richer, warmer, redder blood than the other three and like the A flat Ballade, is beloved of the public. But then it is easier to understand.

Opus 39, the third Scherzo in C sharp minor, was composed or finished at Majorca