Chapter VII: Part II: His Music (3)

Of exceeding loveliness is the B flat major prelude, No. 21. It is superior in content and execution to most of the nocturnes. In feeling it belongs to that form. The melody is enchanting. The accompaniment figure shows inventive genius. Klindworth employs a short appoggiatura, Kullak the long, in the second bar. Judge of what is true editorial sciolism when I tell you that Riemann--who evidently believes in a rigid melodic structure--has inserted an E flat at the end of bar four, thus maiming the tender, elusive quality of Chopin's theme. This is cruelly pedantic. The prelude arrests one in ecstasy; the fixed period of contemplation of the saint or the hypnotized sets in, and the awakening is almost painful. Chopin, adopting the relative minor key as a pendant to the picture in B flat, thrills the nerves by a bold dissonance in the next prelude, No. 22. Again, concise paragraphs filled with the smoke of revolt and conflict The impetuosity of this largely moulded piece in G minor, its daring harmonics,--read the seventeenth and eighteenth bars,--and dramatic note make it an admirable companion to the Prelude in F minor. Technically it serves as an octave study for the left hand.

In the concluding bar, but one, Chopin has in the F major Prelude attempted a most audacious feat in harmony. An E flat in the bass of the third group of sixteenths leaves the whole composition floating enigmatically in thin air. It deliciously colors the close, leaving a sense of suspense, of anticipation which is not tonally realized, for the succeeding number is in a widely divorced key. But it must have pressed hard the philistines. And this prelude, the twenty-third, is fashioned out of the most volatile stuff. Aerial, imponderable, and like a sun-shot spider web oscillating in the breeze of summer, its hues change at every puff. It is in extended harmonics and must be delivered with spirituality. The horny hand of the toilsome pianist would shatter the delicate, swinging fantasy of the poet. Kullak points out a variant in the fourteenth bar, G instead of B natural being used by Riemann. Klindworth prefers the latter.

We have reached the last prelude of op. 28. In D minor, it is sonorously tragic, troubled by fevers and visions, and capricious, irregular and massive in design. It may be placed among Chopin's greater works: the two Etudes in C minor, the A minor, and the F sharp minor Prelude. The bass requires an unusual span, and the suggestion by Kullak, that the thumb of the right hand may eke out the weakness of the left is only for the timid and the small of fist. But I do not counsel following his two variants in the fifth and twenty-third bars. Chopin's text is more telling. Like the vast reverberation of monstrous waves on the implacable coast of a remote world is this prelude. Despite its fatalistic ring, its note of despair is not dispiriting. Its issues are larger, more impersonal, more elemental than the other preludes. It is a veritable Appassionata, but its theatre is cosmic and no longer behind the closed doors of the cabinet of Chopin's soul. The Seelenschrei of Stanislaw Przybyszewski is here, explosions of wrath and revolt; not Chopin suffers, but his countrymen. Kleczynski speaks of the three tones at the close. They are the final clangor of oppressed, almost overthrown, reason. After the subject reappears in C minor there is a shift to D flat, and for a moment a point of repose is gained, but this elusive rest is brief. The theme reappears in the tonic and in octaves, and the tension becomes too great; the accumulated passion discharges and dissolves in a fierce gust of double chromatic thirds and octaves. Powerful, repellant, this prelude is almost infernal in its pride and scorn. But in it I discern no vestige of uncontrolled hysteria. It is well-nigh as strong, rank and human as Beethoven. The various editorial phraseology is not of much moment. Riemann uses thirty-second notes for the cadenzas, Kullak eighths and Klindworth sixteenths.

Niecks writes of the Prelude in C sharp minor, op. 45, that it "deserves its name better than almost any one of the twenty-four; still I would rather call it improvisata. It seems unpremeditated, a heedless outpouring, when sitting at the piano in a lonely, dreary hour, perhaps in the twilight. The quaver figure rises aspiringly, and the sustained parts swell out proudly. The piquant cadenza forestalls in the progression of diminished chords favorite effects of some of our more modern composers. The modulation from C sharp minor to D major and back again--after the cadenza--is very striking and equally beautiful."

Elsewhere I have called attention to the Brahmsian coloring of this prelude. Its mood is fugitive and hard to hold after capture. Recondite it is and not music for the multitude.

Niecks does not think Chopin created a new type in the Preludes. "They are too unlike each other in form and character." Yet notwithstanding the fleeting, evanescent moods of the Preludes, there is designedly a certain unity of feeling and contrasted tonalities, all being grouped in approved Bach-ian manner. This may be demonstrated by playing them through at a sitting, which Arthur Friedheim, the Russian virtuoso, did in a concert with excellent effect. As if wishing to exhibit his genius in perspective, Chopin carved these cameos with exceeding fineness, exceeding care. In a few of them the idea overbalances the form, but the greater number are exquisite examples of a just proportion of manner and matter, a true blending of voice and vision. Even in the more microscopic ones the tracery, echoing like the spirals in strange seashells, is marvellously measured. Much in miniature are these sculptured Preludes of the Polish poet.

VIII. IMPROMPTUS AND VALSES

To write of the four Impromptus in their own key of unrestrained feeling and pondered intention would not be as easy as recapturing the first "careless rapture" of the lark. With all the freedom of an improvisation the Chopin impromptu has a well defined form. There is structural impulse, although the patterns are free and original. The mood-color is not much varied in three, the first, third and fourth, but in the second there is a ballade-like quality that hints of the tragic. The A flat Impromptu, op. 29, is, if one is pinned down to the title, the happiest named of the set. Its seething, prankish, nimble, bubbling quality is indicated from the start; the D natural in the treble against the C and E flat--the dominant--in the bass is a most original effect, and the flowing triplets of the first part of this piece give a ductile, gracious, high-bred character to it. The chromatic involutions are many and interesting. When the F minor part is reached the ear experiences the relief of a strongly contrasted rhythm. The simple duple measure, so naturally ornamented, is nobly, broadly melodious. After the return of the first dimpling theme there is a short coda, a chiaroscura, and then with a few chords the composition goes to rest. A bird flew that way! Rubato should be employed, for, as Kleczynski says, "Here everything totters from foundation to summit, and everything is, nevertheless, so beautiful and so clear." But only an artist with velvety fingers should play this sounding arabesque.

There is more limpidezza, more pure grace of line in the first Impromptu than in the second in F sharp, op. 36. Here symmetry is abandoned, as Kullak remarks, but the compensation of intenser emotional issues is offered. There is something sphinx-like in the pose of this work. Its nocturnal beginning with the carillon-like bass--a bass that ever recalls to me the faint, buried tones of Hauptmann's "Sunken Bell," the sweetly grave close of the section, the faint hoof-beats of an approaching cavalcade, with the swelling thunders of its passage, surely suggests a narrative, a programme. After the D major episode there are two bars of anonymous modulation--these bars creak on their hinges--and the first subject reappears in F, then climbs to F sharp, thence merges into a glittering melodic organ-point, exciting, brilliant, the whole subsiding into an echo of earlier harmonies. The final octaves are marked fortissimo which always seems brutal. Yet its logic lies in the scheme of the composer. Perhaps he wished to arouse us harshly from his dreamland, as was his habit while improvising for friends--a glissando would send them home shivering after an evening of delicious reverie.

Niecks finds this Impromptu lacking the pith of the first. To me it is of more moment than the other three. It is irregular and wavering in outline, the moods are wandering and capricious, yet who dares deny its power, its beauty? In its use of accessory figures it does not reveal so much ingenuity, but just because the "figure in the carpet" is not so varied in pattern, its passion is all the deeper. It is another Ballade, sadder, more meditative of the tender grace of vanished days.

The third Impromptu in G flat, op. 51, is not often played. It may be too difficult for the vandal with an average technique, but it is neither so fresh in feeling nor so spontaneous in utterance as its companions. There is a touch of the faded, blase, and it is hardly healthy in sentiment. Here are some ophidian curves in triplets, as in the first Impromptu, but with interludes of double notes, in coloring tropical and rich to morbidity. The E flat minor trio is a fine bit of melodic writing. The absence of simplicity is counterbalanced by greater freedom of modulation and complexity of pattern. The impromptu flavor is not missing, and there is allied to delicacy of design a strangeness of sentiment--that strangeness which Edgar Poe declared should be a constituent element of all great art.

The Fantaisie-Impromptu in C sharp minor, op. 66, was published by Fontana in 1855, and is one of the few posthumous works of Chopin worthy of consideration. It was composed about 1834. A true Impromptu, but the title of Fantaisie given by Fontana is superfluous. The piece presents difficulties, chiefly rhythmical. Its involuted first phrases suggest the Bellini-an fioriture so dear to Chopin, but the D flat part is without nobility. Here is the same kind of saccharine melody that makes mawkish the trio in the "Marche Funebre." There seems no danger that this Fantaisie-Impromptu will suffer from neglect, for it is the joy of the piano student, who turns its presto into a slow, blurred mess of badly related rhythms, and its slower movement into a long drawn sentimental agony; but in the hands of a master the C sharp minor Impromptu is charming, though not of great depth.

The first Impromptu, dedicated to Mlle. la Comtesse de Lobau, was published December, 1837; the second, May, 1840; the third, dedicated to Madame la Comtesse Esterhazy, February, 1843. Not one of these four Impromptus is as naive as Schubert's; they are more sophisticated and do not smell of nature and her simplicities.

Of the Chopin Valses it has been said that they are dances of the soul and not of the body. Their animated rhythms, insouciant airs and brilliant, coquettish atmosphere, the true atmosphere of the ballroom, seem to smile at Ehlert's poetic exaggeration. The valses are the most objective of the Chopin works, and in few of them is there more than a hint of the sullen, Sargasson seas of the nocturnes and scherzi. Nietzsche's la Gaya Scienza--the Gay Science--is beautifully set forth in the fifteen Chopin valses. They are less intimate, in the psychic sense, but exquisite exemplars of social intimacy and aristocratic abandon. As Schumann declared, the dancers of these valses should be at least countesses. There is a high-bred reserve despite their intoxication, and never a hint of the brawling peasants of Beethoven, Grieg, Brahms, Tschaikowsky, and the rest. But little of Vienna is in Chopin. Around the measures of this most popular of dances he has thrown mystery, allurement, and in them secret whisperings and the unconscious sigh. It is going too far not to dance to some of this music, for it is putting Chopin away from the world he at times loved. Certain of the valses may be danced: the first, second, fifth, sixth, and a few others. The dancing would be of necessity more picturesque and less conventional than required by the average valse, and there must be fluctuations of tempo, sudden surprises and abrupt languors. The mazurkas and polonaises are danced to-day in Poland, why not the valses? Chopin's genius reveals itself in these dance forms, and their presentation should be not solely a psychic one. Kullak, stern old pedagogue, divides these dances into two groups, the first dedicated to "Terpsichore," the second a frame for moods. Chopin admitted that he was unable to play valses in the Viennese fashion, yet he has contrived to rival Strauss in his own genre. Some of these valses are trivial, artificial, most of them are bred of candlelight and the swish of silken attire, and a few are poetically morbid and stray across the border into the rhythms of the mazurka. All of them have been edited to death, reduced to the commonplace by vulgar methods of performance, but are altogether sprightly, delightful specimens of the composer's careless, vagrant and happy moods.

Kullak utters words of warning to the "unquiet" sex regarding the habitual neglect of the bass. It should mean something in valse tempo, but it usually does not. Nor need it be brutally banged; the fundamental tone must be cared for, the subsidiary harmonies lightly indicated. The rubato in the valses need not obtrude itself as in the mazurkas.

Opus 18, in E flat, was published in June, 1834, and dedicated to Mile. Laura Harsford. It is a true ballroom picture, spirited and infectious in rhythms. Schumann wrote rhapsodically of it. The D flat section has a tang of the later Chopin. There is bustle, even chatter, in this valse, which in form and content is inferior to op. 34, No. I, A flat. The three valses of this set were published December, 1838. There are many editorial differences in the A flat Valse, owing to the careless way it was copied and pirated. Klindworth and Kullak are the safest for dynamic markings. This valse may be danced as far as its dithyrhambic coda. Notice in this coda as in many other places the debt Schumann owes Chopin for a certain passage in the Preambule of his "Carneval."

The next Valse in A minor has a tinge of Sarmatian melancholy, indeed, it is one of Chopin's most desponding moods. The episode in C rings of the mazurka, and the A major section is of exceeding loveliness; Its coda is characteristic. This valse is a favorite, and who need wonder? The F major Valse, the last of this series, is a whirling, wild dance of atoms. It has the perpetuum mobile quality, and older masters would have prolonged its giddy arabesques into pages of senseless spinning. It is quite long enough as it is. The second theme is better, but the appoggiatures are flippant. It buzzes to the finish. Of it is related that Chopin's cat sprang upon his keyboard and in its feline flight gave him the idea of the first measures. I suppose as there is a dog valse, there had to be one for the cat.

But as Rossini would have said, "Ca sent de Scarlatti!"

The A minor Valse was, of the three, Chopin's favorite. When Stephen Heller told him this too was his beloved valse, Chopin was greatly pleased, inviting the Hungarian composer, Niecks relates, to luncheon at the Cafe Riche.

Not improvised in the ballroom as the preceding, yet a marvellous epitome is the A flat Valse, op. 42, published July, 1840. It is the best rounded specimen of Chopin's experimenting with the form. The prolonged trill on E flat, summoning us to the ballroom, the suggestive intermingling of rhythms, duple and triple, the coquetry, hesitation, passionate avowal and the superb coda, with its echoes of evening--have not these episodes a charm beyond compare? Only Schumann in certain pages of his "Carneval" seizes the secret of young life and love, but his is not so finished, so glowing a tableau.

Regarding certain phrasing of this valse Moriz Rosenthal wrote to the London "Musical Standard":

In Music there is Liberty and Fraternity, but seldom Equality,
and in music Social Democracy has no voice. Notes have a right
to the Aftertone (Nachton), and this right depends upon their
role in the key. The Vorhalt (accented passing note) will
always have an accent. On this point Riemann must without
question be considered right. Likewise the feeling player will
mark those notes that introduce the transition to another key.
We will consider now our example and set down my accents:

[Musical score excerpt]

In the first bar we have the tonic chord of its major key as
bass, and are thus not forced to any accent. In the second bar
we have the dominant harmony in the bass, and in the treble,
C, which falls upon the down beat as Vorhalt to the next tone
(B flat), so it must be accented. Also in the fourth bar the B
flat is Vorhalt to the B flat, and likewise requires an
accent. In bars 6, 7 and 8 the notes, A flat, B flat and C,
are without doubt the characteristic ones of the passage, and
the E flat has in each case only a secondary significance.

That a genius like Chopin did not indicate everything
accurately is quite explainable. He flew where we merely limp
after. Moreover, these accents must be felt rather than
executed, with softest touch, and as tenderly as possible.

The D flat Valse--"le valse du petit chien"--is of George Sand's own prompting. One evening at her home in the Square d'Orleans, she was amused by her little pet dog, chasing its tail. She begged Chopin, her little pet pianist, to set the tail to music. He did so, and behold the world is richer for this piece. I do not dispute the story. It seems well grounded, but then it is so ineffably silly! The three valses of this op. 64 were published September, 1847, and are respectively dedicated to the Comtesse Delphine Potocka, the Baronne Nathaniel de Rothschild and the Baronne Bronicka.

I shall not presume to speak of the execution of the D flat Valse; like the rich, it is always with us. It is usually taken at a meaningless, rapid gait. I have heard it played by a genuine Chopin pupil, M. Georges Mathias, and he did not take it prestissimo. He ran up the D flat scale, ending with a sforzato at the top, and gave a variety of nuance to the composition. The cantabile is nearly always delivered with sloppiness of sentiment. This valse has been served up in a highly indigestible condition for concert purposes by Tausig, Joseffy--whose arrangement was the first to be heard here--Theodore Ritter, Rosenthal and Isidor Philipp.

The C sharp minor Valse is the most poetic of all. The first theme has never been excelled by Chopin for a species of veiled melancholy. It is a fascinating, lyrical sorrow, and what Kullak calls the psychologic motivation of the first theme in the curving figure of the second does not relax the spell. A space of clearer skies, warmer, more consoling winds are in the D flat interlude, but the spirit of unrest, ennui returns. The elegiac imprint is unmistakable in this soul dance. The A flat Valse which follows is charming. It is for superior souls who dance with intellectual joy, with the joy that comes of making exquisite patterns and curves. Out of the salon and from its brilliantly lighted spaces the dancers do not wander, do not dance into the darkness and churchyard, as Ehlert imagines of certain other valses.

The two valses in op. 69, three valses, op. 70, and the two remaining valses in E minor and E major, need not detain us. They are posthumous. The first of op. 69 in F minor was composed in 1836; the B minor in 1829; G flat, op. 70, in 1835; F minor in 1843, and D flat major, 1830. The E major and E minor were composed in 1829. Fontana gave these compositions to the world. The F minor Valse, op. 69, No. 1, has a charm of its own. Kullak prints the Fontana and Klindworth variants. This valse is suavely melancholy, but not so melancholy as the B minor of the same opus. It recalls in color the B minor mazurka. Very gay and sprightly is the G flat Valse, op. 70, No. I. The next in F minor has no special physiognomy, while the third in D flat contains, as Niecks points out, germs of the op. 42 and the op. 34 Valses. It recalls to me the D flat study in the supplementary series. The E minor Valse, without opus, is beloved. It is very graceful and not without sentiment. The major part is the early Chopin. The E major Valse is published in the Mikuli edition. It is commonplace, hinting of its composer only in places. Thus ends the collection of valses, not Chopin's most signal success in art, but a success that has dignified and given beauty to this conventional dance form.

IX. NIGHT AND ITS MELANCHOLY MYSTERIES:--THE NOCTURNES

Here is the chronology of the nocturnes: Op. 9, three nocturnes, January, 1833; op. 15, three nocturnes, January, 1834; op. 27, two nocturnes, May, 1836; op. 32, two nocturnes, December, 1837; op. 37, two nocturnes, May, 1840; op. 48, two nocturnes, November, 1841; op. 55, two nocturnes, August, 1844; op. 62, two nocturnes, September, 1846. In addition there is a nocturne written in 1828 and published by Fontana, with the opus number 72, No. 2, and the lately discovered one in C sharp minor, written when Chopin was young and published in 1895. This completes the nocturne list, but following Niecks' system of formal grouping I include the Berceuse and Barcarolle as full fledged specimens of nocturnes.

John Field has been described as the forerunner of Chopin. The limpid style of this pupil and friend of Clementi, his beautiful touch and finished execution, were certainly admired and imitated by the Pole. Field's nocturnes are now neglected--so curious are Time's caprices--and without warrant, for not only is Field the creator of the form, but in both his concertos and nocturnes he has written charming, sweet and sane music. He rather patronized Chopin, for whose melancholy pose he had no patience. "He has a talent of the hospital," growled Field in the intervals between his wine drinking, pipe smoking and the washing of his linen--the latter economical habit he contracted from Clementi. There is some truth in his stricture. Chopin, seldom exuberantly cheerful, is morbidly sad and complaining in many of the nocturnes. The most admired of his compositions, with the exception of the valses, they are in several instances his weakest. Yet he ennobled the form originated by Field, giving it dramatic breadth, passion and even grandeur. Set against Field's naive and idyllic specimens, Chopin's efforts are often too bejewelled for true simplicity, too lugubrious, too tropical--Asiatic is a better word--and they have the exotic savor of the heated conservatory, and not the fresh scent of the flowers reared in the open by the less poetic Irishman. And, then, Chopin is so desperately sentimental in some of these compositions. They are not altogether to the taste of this generation; they seem to be suffering from anaemia. However, there are a few noble nocturnes; and methods of performance may have much to answer for the sentimentalizing of some others. More vigor, a quickening of the time-pulse, and a less languishing touch will rescue them from lush sentiment. Chopin loved the night and its soft mysteries as much as did Robert Louis Stevenson, and his nocturnes are true night pieces, some with agitated, remorseful countenance, others seen in profile only, while many are whisperings at dusk. Most of them are called feminine, a term psychologically false. The poetic side of men of genius is feminine, and in Chopin the feminine note was over emphasized--at times it was almost hysterical--particularly in these nocturnes.

The Scotch have a proverb: "She wove her shroud, and wore it in her lifetime." In the nocturnes the shroud is not far away. Chopin wove his to the day of his death, and he wore it sometimes but not always, as many think.

One of the most elegiac of his nocturnes is the first in B flat minor. It is one of three, op. 9, dedicated to Mme. Camille Pleyel. Of far more significance than its two companions, it is, for some reason, neglected. While I am far from agreeing with those who hold that in the early Chopin all his genius was completely revealed, yet this nocturne is as striking as the last, for it is at once sensuous and dramatic, melancholy and lovely. Emphatically a mood, it is best heard on a gray day of the soul, when the times are out of joint; its silken tones will bring a triste content as they pour out upon one's hearing. The second section in octaves is of exceeding charm. As a melody it has all the lurking voluptuousness and mystic crooning of its composer. There is flux and reflux throughout, passion peeping out in the coda.

The E flat nocturne is graceful, shallow of content, but if it is played with purity of touch and freedom from sentimentality it is not nearly so banal as it usually seems. It is Field-like, therefore play it as did Rubinstein, in a Field-like fashion.

Hadow calls attention to the "remote and recondite modulations" in the twelfth bar, the chromatic double notes. For him they only are one real modulation, "the rest of the passage is an iridescent play of color, an effect of superficies, not an effect of substance." It was the E flat nocturne that unloosed Rellstab's critical wrath in the "Iris." Of it he wrote: "Where Field smiles, Chopin makes a grinning grimace; where Field sighs, Chopin groans; where Field shrugs his shoulders, Chopin twists his whole body; where Field puts some seasoning into the food, Chopin empties a handful of cayenne pepper. In short, if one holds Field's charming romances before a distorting, concave mirror, so that every delicate impression becomes a coarse one, one gets Chopin's work. We implore Mr. Chopin to return to nature."

Rellstab might have added that while Field was often commonplace, Chopin never was. Rather is to be preferred the sound judgment of J. W. Davison, the English critic and husband of the pianist, Arabella Goddard. Of the early works he wrote:

Commonplace is instinctively avoided in all the works of
Chopin--a stale cadence or a trite progression--a hum-drum
subject or a worn-out passage--a vulgar twist of the melody or
a hackneyed sequence--a meagre harmony or an unskilful
counterpoint--may in vain be looked for throughout the entire
range of his compositions, the prevailing characteristics of
which are a feeling as uncommon as beautiful; a treatment as
original as felicitous; a melody and a harmony as new, fresh,
vigorous and striking as they are utterly unexpected and out
of the original track. In taking up one of the works of Chopin
you are entering, as it were, a fairyland untrodden by human
footsteps--a path hitherto unfrequented but by the great
composer himself.

Gracious, even coquettish, is the first part of the B major Nocturne of this opus. Well knit, the passionate intermezzo has the true dramatic Chopin ring. It should be taken alla breve. The ending is quite effective.

I do not care much for the F major Nocturne, op. 15, No. I. The opus is dedicated to Ferdinand Hiller. Ehlert speaks of "the ornament in triplets with which he brushes the theme as with the gentle wings of a butterfly," and then discusses the artistic value of the ornament which may be so profitably studied in the Chopin music. "From its nature, the ornament can only beautify the beautiful." Music like Chopin's, "with its predominating elegance, could not forego ornament. But he surely did not purchase it of a jeweller; he designed it himself, with a delicate hand. He was the first to surround a note with diamond facets and to weave the rushing floods of his emotions with the silver beams of the moonlight. In his nocturnes there is a glimmering as of distant stars. From these dreamy, heavenly gems he has borrowed many a line. The Chopin nocturne is a dramatized ornament. And why may not Art speak for once in such symbols? In the much admired F sharp major Nocturne the principal theme makes its appearance so richly decorated that one cannot avoid imagining that his fancy confined itself to the Arabesque form for the expression of its poetical sentiments. Even the middle part borders upon what I should call the tragic style of ornament. The ground thought is hidden behind a dense veil, but a veil, too, can be an ornament."

In another place Ehlert thinks that the F sharp major Nocturne seems inseparable from champagne and truffles. It is certainly more elegant and dramatic than the one in F major, which precedes it. That, with the exception of the middle part in F minor, is weak, although rather pretty and confiding. The F sharp Nocturne is popular. The "doppio movemento" is extremely striking and the entire piece is saturated with young life, love and feelings of good will to men. Read Kleczynski. The third nocturne of the three is in G minor, and contains some fine, picturesque writing. Kullak does not find in it aught of the fantastic. The languid, earth-weary voice of the opening and the churchly refrain of the chorale, is not this fantastic contrast! This nocturne contains in solution all that Chopin developed later in a nocturne of the same key. But I think the first stronger--its lines are simpler, more primitive, its coloring less complicated, yet quite as rich and gloomy. Of it Chopin said: "After Hamlet," but changed his mind. "Let them guess for themselves," was his sensible conclusion. Kullak's programme has a conventional ring. It is the lament for the beloved one, the lost Lenore, with the consolation of religion thrown in. The "bell-tones" of the plain chant bring to my mind little that consoles, although the piece ends in the major mode. It is like Poe's "Ulalume." A complete and tiny tone poem, Rubinstein made much of it. In the fourth bar and for three bars there is a held note F, and I heard the Russian virtuoso, by some miraculous means, keep this tone prolonged. The tempo is abnormally slow, and the tone is not in a position where the sustaining pedal can sensibly help it. Yet under Rubinstein's fingers it swelled and diminished, and went singing into D, as if the instrument were an organ. I suspected the inaudible changing of fingers on the note or a sustaining pedal. It was wonderfully done.

The next nocturne, op. 27, No. I, brings us before a masterpiece. With the possible exception of the C minor Nocturne, this one in the sombre key of C sharp minor is the great essay in the form. Kleczynski finds it "a description of a calm night at Venice, where, after a scene of murder, the sea closes over a corpse and continues to serve as a mirror to the moonlight." This is melodramatic. Willeby analyzes it at length with the scholarly fervor of an English organist. He finds the accompaniment to be "mostly on a double pedal," and remarks that "higher art than this one could not have if simplicity of means be a factor of high art." The wide-meshed figure of the left hand supports a morbid, persistent melody that grates on the nerves. From the piu mosso the agitation increases, and here let me call to your notice the Beethoven-ish quality of these bars, which continue until the change of signature. There is a surprising climax followed by sunshine and favor in the D flat part, then after mounting dissonances a bold succession of octaves returns to the feverish plaint of the opening. Kullak speaks of a resemblance to Meyerbeer's song, Le Moine. The composition reaches exalted states. Its psychological tension is so great at times as to border on a pathological condition. There is unhealthy power in this nocturne, which is seldom interpreted with sinister subtlety. Henry T. Finck rightfully thinks it "embodies a greater variety of emotion and more genuine dramatic spirit on four pages than many operas on four hundred."

The companion picture in D flat, op. 27, No. 2, has, as Karasowski writes, "a profusion of delicate fioriture." It really contains but one subject, and is a song of the sweet summer of two souls, for there is obvious meaning in the duality of voices. Often heard in the concert room, this nocturne gives us a surfeit of sixths and thirds of elaborate ornamentation and monotone of mood. Yet it is a lovely, imploring melody, and harmonically most interesting. A curious marking, and usually overlooked by pianists, is the crescendo and con forza of the cadenza. This is obviously erroneous. The theme, which occurs three times, should first be piano, then pianissimo, and lastly forte. This opus is dedicated to the Comtesse d'Appony.

The best part of the next nocturne,--B major, op. 32, No. I, dedicated to Madame de Billing--is the coda. It is in the minor and is like the drum-beat of tragedy. The entire ending, a stormy recitative, is in stern contrast to the dreamy beginning. Kullak in the first bar of the last line uses a G; Fontana, F sharp, and Klindworth the same as Kullak. The nocturne that follows in A flat is a reversion to the Field type, the opening recalling that master's B flat Nocturne. The F minor section of Chopin's broadens out to dramatic reaches, but as an entirety this opus is a little tiresome. Nor do I admire inordinately the Nocturne in G minor, op. 37, No. 1. It has a complaining tone, and the choral is not noteworthy. This particular part, so Chopin's pupil Gutmann declared, is taken too slowly, the composer having forgotten to mark the increased tempo. But the Nocturne in G, op. 37, No. 2, is charming. Painted with Chopin's most ethereal brush, without the cloying splendors of the one in D flat, the double sixths, fourths and thirds are magically euphonious. The second subject, I agree with Karasowski, is the most beautiful melody Chopin ever wrote. It is in true barcarolle vein; and most subtle are the shifting harmonic hues. Pianists usually take the first part too fast, the second too slowly, transforming this poetic composition into an etude. As Schumann wrote of this opus:

"The two nocturnes differ from his earlier ones chiefly through greater simplicity of decoration and more quiet grace. We know Chopin's fondness in general for spangles, gold trinkets and pearls. He has already changed and grown older; decoration he still loves, but it is of a more judicious kind, behind which the nobility of the poetry shimmers through with all the more loveliness: indeed, taste, the finest, must be granted him."

Both numbers of this opus are without dedication. They are the offspring of the trip to Majorca.

Niecks, writing of the G major Nocturne, adjures us "not to tarry too long in the treacherous atmosphere of this Capua--it bewitches and unmans." Kleczynski calls the one in G minor "homesickness," while the celebrated Nocturne in C minor "is the tale of a still greater grief told in an agitated recitando; celestial harps"--ah! I hear the squeak of the old romantic machinery--"come to bring one ray of hope, which is powerless in its endeavor to calm the wounded soul, which...sends forth to heaven a cry of deepest anguish." It doubtless has its despairing movement, this same Nocturne in C minor, op. 48, No. I, but Karasowski is nearer right when he calls it "broad and most imposing with its powerful intermediate movement, a thorough departure from the nocturne style." Willeby finds it "sickly and labored," and even Niecks does not think it should occupy a foremost place among its companions. The ineluctable fact remains that this is the noblest nocturne of them all. Biggest in conception it seems a miniature music drama. It requires the grand manner to read it adequately, and the doppio movemento is exciting to a dramatic degree. I fully agree with Kullak that too strict adherence to the marking of this section produces the effect of an "inartistic precipitation" which robs the movement of clarity. Kleczynski calls the work The Contrition of a Sinner and devotes several pages to its elucidation. De Lenz chats most entertainingly with Tausig about it. Indeed, an imposing march of splendor is the second subject in C. A fitting pendant is this work to the C sharp minor Nocturne. Both have the heroic quality, both are free from mawkishness and are of the greater Chopin, the Chopin of the mode masculine.

Niecks makes a valuable suggestion: "In playing these nocturnes--op. 48--there occurred to me a remark of Schumann's, when he reviewed some nocturnes by Count Wielhorski. He said that the quick middle movements which Chopin frequently introduced into his nocturnes are often weaker than his first conceptions; meaning the first portions of his nocturnes. Now, although the middle part in the present instances are, on the contrary, slower movements, yet the judgment holds good; at least with respect to the first nocturne, the middle part of which has nothing to recommend it but a full, sonorous instrumentation, if I may use this word in speaking of one instrument. The middle part of the second--D flat, molto piu lento--however, is much finer; in it we meet again, as we did in some other nocturnes, with soothing, simple chord progressions. When Gutmann studied the C sharp minor Nocturne with Chopin, the master told him that the middle section--the molto piu lento in D flat major--should be played as a recitative. 'A tyrant commands'--the first two chords--he said, 'and the other asks for mercy.'"

Of course Niecks means the F sharp minor, not the C sharp minor Nocturne, op. 48, No. 2, dedicated, with the C minor, to Mlle. L. Duperre.

Opus 55, two nocturnes in F minor and E flat major, need not detain us long. The first is familiar. Kleczynski devotes a page or more to its execution. He seeks to vary the return of the chief subject with nuances--as would an artistic singer the couplets of a classic song. There are "cries of despair" in it, but at last a "feeling of hope." Kullak writes of the last measures: "Thank God--the goal is reached!" It is the relief of a major key after prolonged wanderings in the minor. It is a nice nocturne, neat in its sorrow, yet not epoch-making. The one following has "the impression of an improvisation." It has also the merit of being seldom heard. These two nocturnes are dedicated to Mlle. J. W. Stirling.

Opus 62 brings us to a pair in B major and E major inscribed to Madame de Konneritz. The first, the Tuberose Nocturne, is faint with a sick, rich odor. The climbing trellis of notes, that so unexpectedly leads to the tonic, is charming and the chief tune has charm, a fruity charm. It is highly ornate, its harmonies dense, the entire surface overrun with wild ornamentation and a profusion of trills. The piece--the third of its sort in the key of B--is not easy. Mertke gives the following explication of the famous chain trills:

[Musical score excerpt]

Although this nocturne is luxuriant in style, it deserves warmer praise than is accorded it. Irregular as its outline is, its troubled lyrism is appealing, is melting, and the A flat portion, with its hesitating, timid accents, has great power of attraction. The E major Nocturne has a bardic ring. Its song is almost declamatory and not at all sentimental--unless so distorted--as Niecks would have us imagine. The intermediate portion is wavering and passionate, like the middle of the F sharp major Nocturne. It shows no decrease in creative vigor or lyrical fancy. The Klindworth version differs from the original, as an examination of the following examples will show, the upper being Chopin's:

[Musical score excerpt]

The posthumous nocturne in E minor, composed in 1827, is weak and uninteresting. Moreover, it contains some very un-Chopin-like modulations. The recently discovered nocturne in C sharp minor is hardly a treasure trove. It is vague and reminiscent The following note was issued by its London publishers, Ascherberg & Co.:

The first question, suggested by the announcement of a new
posthumous composition of Chopin's, will be "What proof is
there of its authenticity?" To musicians and amateurs who
cannot recognize the beautiful Nocturne in C sharp minor as
indeed the work of Chopin, it may in the first place be
pointed out that the original manuscript (of which a facsimile
is given on the title-page) is in Chopin's well-known
handwriting, and, secondly, that the composition, which is
strikingly characteristic, was at once accepted as the work of
Chopin by the distinguished composer and pianist Balakireff,
who played it for the first time in public at the Chopin
Commemoration Concert, held in the autumn of 1894 at Zelazowa
Wola, and afterward at Warsaw. This nocturne was addressed by
Chopin to his sister Louise, at Warsaw, in a letter from
Paris, and was written soon after the production of the two
lovely piano concertos, when Chopin was still a very young
man. It contains a quotation from his most admired Concerto in
F minor, and a brief reference to the charming song known as
the Maiden's Wish, two of his sister's favorite melodies. The
manuscript of the nocturne was supposed to have been destroyed
in the sacking of the Zamojski Palace, at Warsaw, toward the
end of the insurrection of 1863, but it was discovered quite
recently among papers of various kinds in the possession of a
Polish gentleman, a great collector, whose son offered Mr.
Polinski the privilege of selecting from such papers. His
choice was three manuscripts of Chopin's, one of them being
this nocturne. A letter from Mr. Polinski on the subject of
this nocturne is in the possession of Miss Janotha.

Is this the nocturne of which Tausig spoke to his pupil Joseffy as belonging to the Master's "best period," or did he refer to the one in E minor?

The Berceuse, op. 57, published June, 1845, and dedicated to Mlle. Elise Gavard, is the very sophistication of the art of musical ornamentation. It is built on a tonic and dominant bass--the triad of the tonic and the chord of the dominant seventh. A rocking theme is set over this basso ostinato and the most enchanting effects are produced. The rhythm never alters in the bass, and against this background, the monotone of a dark, gray sky, the composer arranges an astonishing variety of fireworks, some florid, some subdued, but all delicate in tracery and design. Modulations from pigeon egg blue to Nile green, most misty and subtle modulations, dissolve before one's eyes, and for a moment the sky is peppered with tiny stars in doubles, each independently tinted. Within a small segment of the chromatic bow Chopin has imprisoned new, strangely dissonant colors. It is a miracle; and after the drawn-out chord of the dominant seventh and the rain of silvery fire ceases one realizes that the whole piece is a delicious illusion, but an ululation in the key of D flat, the apotheosis of pyrotechnical colorature.

Niecks quotes Alexandre Dumas fils, who calls the Berceuse "muted music," but introduces a Turkish bath comparison, which crushes the sentiment. Mertke shows the original and Klindworth's reading of a certain part of the Berceuse, adding a footnote to the examples:

[Two musical score excerpts from Op. 57, one from the original version, one from Klindworth's edition]

[Footnote: Das tr (flat) der Originale (Scholtz tr natural-flat) zeigt, dass Ch. den Triller mit Ganzton und nach Mikuli den Trilleranfang mit Hauptton wollte.] The Barcarolle, op. 60, published September, 1846, is another highly elaborated work. Niecks must be quoted here: "One day Tausig, the great piano virtuoso, promised W. de Lenz to play him Chopin's Barcarolle, adding, 'That is a performance which must not be undertaken before more than two persons. I shall play you my own self. I love the piece, but take it rarely.' Lenz got the music, but it did not please him--it seemed to him a long movement in the nocturne style, a Babel of figuration on a lightly laid foundation. But he found that he had made a mistake, and, after hearing it played by Tausig, confessed that the virtuoso had infused into the 'nine pages of enervating music, of one and the same long-breathed rhythm, so much interest, so much motion, so much action,' that he regretted the long piece was not longer."

Tausig's conception of the barcarolle was this: "There are two persons concerned in the affair; it is a love scene in a discrete gondola; let us say this mise-en-scene is the symbol of a lover's meeting generally."

"This is expressed in thirds and sixths; the dualism of two notes--persons--is maintained throughout; all is two-voiced, two-souled. In this modulation in C sharp major--superscribed dolce sfogato--there are kiss and embrace! This is evident! When, after three bars of introduction, the theme, 'lightly rocking in the bass solo,' enters in the fourth, this theme is nevertheless made use of throughout the whole fabric only as an accompaniment, and ON this the cantilena in two parts is laid; we have thus a continuous, tender dialogue."

The Barcarolle is a nocturne painted on a large canvas, with larger brushes. It has Italian color in spots--Schumann said that, melodically, Chopin sometimes "leans over Germany into Italy"--and is a masterly one in sentiment, pulsating with amorousness. To me it sounds like a lament for the splendors, now vanished, of Venice the Queen. In bars 8, 9, and 10, counting backward, Louis Ehlert finds obscurities in the middle voices. It is dedicated to the Baronne de Stockhausen.

The nocturnes--including the Berceuse and Barcarolle--should seldom be played in public and not the public of a large hall. Something of Chopin's delicate, tender warmth and spiritual voice is lost in larger spaces. In a small auditorium, and from the fingers of a sympathetic pianist, the nocturnes should be heard, that their intimate, night side may be revealed. Many are like the music en sourdine of Paul Verlaine in his "Chanson D'Automne" or "Le Piano que Baise une Main Frele." They are essentially for the twilight, for solitary enclosures, where their still, mysterious tones--"silent thunder in the leaves" as Yeats sings--become eloquent and disclose the poetry and pain of their creator.

X. THE BALLADES:--FAERY DRAMAS

W. H. Hadow has said some pertinent things about Chopin in "Studies in Modern Music." Yet we cannot accept unconditionally his statement that "in structure Chopin is a child playing with a few simple types, and almost helpless as soon as he advances beyond them; in phraseology he is a master whose felicitous perfection of style is one of the abiding treasures of the art."

Chopin then, according to Hadow, is no "builder of the lofty rhyme," but the poet of the single line, the maker of the phrase exquisite. This is hardly comprehensive. With the more complex, classical types of the musical organism Chopin had little sympathy, but he contrived nevertheless to write two movements of a piano sonata that are excellent--the first half of the B flat minor Sonata. The idealized dance forms he preferred; the Polonaise, Mazurka and Valse were already there for him to handle, but the Ballade was not. Here he is not imitator, but creator. Not loosely-jointed, but compact structures glowing with genius and presenting definite unity of form and expression, are the ballades--commonly written in six-eight and six-four time. "None of Chopin's compositions surpasses in masterliness of form and beauty and poetry of contents his ballades. In them he attains the acme of his power as an artist," remarks Niecks.

I am ever reminded of Andrew Lang's lines, "the thunder and surge of the Odyssey," when listening to the G minor Ballade, op. 23. It is the Odyssey of Chopin's soul. That 'cello-like largo with its noiseless suspension stays us for a moment in the courtyard of Chopin's House Beautiful. Then, told in his most dreamy tones, the legend begins. As in some fabulous tales of the Genii this Ballade discloses surprising and delicious things. There is the tall lily in the fountain that nods to the sun. It drips in cadenced monotone and its song is repeated on the lips of the slender-hipped girl with the eyes of midnight--and so might I weave for you a story of what I see in the Ballade and you would be aghast or puzzled. With such a composition any programme could be sworn to, even the silly story of the Englishman who haunted Chopin, beseeching him to teach him this Ballade. That Chopin had a programme, a definite one, there can be no doubt; but he has, wise artist, left us no clue beyond Mickiewicz's, the Polish bard Lithuanian poems. In Leipzig, Karasowski relates, that when Schumann met Chopin, the pianist confessed having "been incited to the creation of the ballades by the poetry" of his fellow countryman. The true narrative tone is in this symmetrically constructed Ballade, the most spirited, most daring work of Chopin, according to Schumann. Louis Ehlert says of the four Ballades: "Each one differs entirely from the others, and they have but one thing in common--their romantic working out and the nobility of their motives. Chopin relates in them, not like one who communicates something really experienced; it is as though he told what never took place, but what has sprung up in his inmost soul, the anticipation of something longed for. They may contain a strong element of national woe, much outwardly expressed and inwardly burning rage over the sufferings of his native land; yet they do not carry with a positive reality like that which in a Beethoven Sonata will often call words to our lips." Which means that Chopin was not such a realist as Beethoven? Ehlert is one of the few sympathetic German Chopin commentators, yet he did not always indicate the salient outlines of his art. Only the Slav may hope to understand Chopin thoroughly. But these Ballades are more 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.