Chapter II: Part 2

To my mind, however, Devrient has drawn the best word portrait of her. After their first meeting he wrote: "How often we had pictured the kind of woman that would be a true second half to Felix; and now the lovely, gentle being was before us, whose glance and smile alone promised all that we could desire for the happiness of our spoilt favorite." Later, Devrient finished the picture: "Cécile was one of those sweet, womanly natures whose gentle simplicity, whose mere presence, soothed and pleased. She was slender, with strikingly beautiful and delicate features; her hair was between brown and gold; but the transcendent lustre of her great blue eyes, and the brilliant roses on her cheeks, were sad harbingers of early death. She spoke little and never with animation, and in a low, soft voice. Shakespeare's words, 'my gracious silence,' applied to her, no less than to Cordelia."

Thus, while Cécile does not seem to have been an extraordinarily gifted woman from an artistic or intellectual point of view, it is quite evident that she possessed a refinement that must have appealed forcibly to a man brought up in such genteel surroundings and as sensitive as Mendelssohn. Such a woman must have been, after all, better suited to his delicate genius than a wife of unusual gifts would have been. For it is a helpmeet, not another genius, that a man of genius really needs most. The woman who, without being prosy or commonplace and without allowing herself to retrograde in looks or in personal care, can run a household in a systematic, orderly fashion is the greatest blessing that Providence can bestow upon genius. Evidently Cécile was just such a woman. Her tact seems to have been as delicate as her beauty. Without, perhaps, having directly inspired any composition of her husband's, her gentleness, her simple grace, doubtless left their mark on many bars of his music.

It seems doubly cruel that death should have cut Felix down when he had enjoyed but ten happy years with his Cécile. Yet had his life been long, the pang of separation would soon have come to him. Devrient had not been mistaken when he spoke of "those sad harbingers of early death;" and Cécile survived Felix scarcely five years.

Felix's death occurred at Leipsic in 1847. In September, while listening to his own recently composed "Nacht Lied" he swooned away. His system, weakened by overwork, succumbed, nervous prostration followed, and on November 4 he died. Sudden death had carried off his grandfather, father, mother and favorite sister; and he had a presentiment that his end would come about in the same way. During the dull half-sleep preceding death he spoke but once, and then to Cécile in answer to her inquiry how he felt--"Tired, very tired."

Devrient tells how he went to the house of mutual friends in Dresden for news of Mendelssohn's condition, when Clara Schumann came in, a letter in her hand and weeping, and told them that Felix had died the previous evening. Devrient hastened to Leipsic, and Cécile sent for him. I cannot close this article more fittingly than with his description of their meeting in the presence of the illustrious dead--the cherished friend of one, the husband of the other.

"She received me with the tenderness of a sister, wept in silence, and was calm and composed as ever. She thanked me for all the love and devotion I had shown to her Felix, grieved for me that I should have to mourn so faithful a friend, and spoke of the love with which Felix always had regarded me. Long we spoke of him; it comforted her, and she was loath for me to depart. She was most unpretentious in her sorrow, gentle, and resigned to live for the care and education of her children. She said God would help her, and surely her boys would have the inheritance of some of their father's genius. There could not be a more worthy memory of him than the well-balanced, strong and tender heart of this mourning widow."

[1] The "-B" on the dressing-case stands for "-Bartholdy." When the Mendelssohn family changed from Judaism to Protestantism, it added the mother's family name.

Chopin and the Countess Delphine Potocka

"Her voice was destined to be the last which should vibrate upon the musician's heart. Perhaps the sweetest sounds of earth accompanied the parting soul until they blended in his ear with the first chords of the angels' lyres."

It is thus Liszt describes the voice of Countess Delphine Potocka as it vibrated through the room in which Chopin lay dying. Witnesses disagree regarding details. One of the small company that gathered about his bed says she sang but once, others that she sang twice; and even these vary when they name the compositions. Yet however they may differ on these minor points, they agree as to the main incident. That the beautiful Delphine sang for the dying Chopin is not a mere pleasing tradition; it is a fact. Her voice ravished the ear of the great composer, whose life was ebbing away, and soothed his last hours.

"Therefore, then, has God so long delayed to call me to Him. He wanted to vouchsafe me the joy of seeing you." These were the words Chopin whispered when he opened his eyes and saw, beside his sister Louise, the Countess Delphine Potocka, who had hurried from a distance as soon as she was notified that his end was drawing near. She was one of those rare and radiant souls who could bestow upon this delicate child of genius her tenderest friendship, perhaps even her love, yet keep herself unsullied and an object of adoration as much for her purity as for her beauty. Because she was Chopin's friend, because she came to him in his dying hours, because along paths unseen by those about them her voice threaded its way to his very soul, no life of him is complete without mention of her, and in the mind of the musical public her name is irrevocably associated with his. Each succeeding biographer of the great composer has sought to tell us a little more about her--yet little is known of her even now beyond the fact that she was very beautiful--and so eager have we been for a glimpse of her face that we have accepted without reserve as an authentic presentment of her features the famous portrait of a Countess Potocka who, I find, died some seven or eight years before Delphine and Chopin met.

But we have portraits of Delphine by Chopin himself, not drawn with pencil or crayon, or painted with brush, but her face as his soul saw it and transformed it into music. Listen to a great virtuoso play his two concertos. Ask yourself which of the six movements is the most beautiful. Surely your choice will fall on the slow movement of the second--dedicated to the Countess Delphine Potocka, and one of the composer's most tender and exquisite productions; or play over the waltzes--the one over which for grace and poetic sentiment you will linger longest will be the sixth, dedicated to the Countess Delphine Potocka.

Liszt, who knew Chopin, tells us that the composer evinced a decided preference for the _Adagio_ of the second concerto and liked to repeat it frequently. He speaks of the _Adagio_, this musical portrait of Delphine, as almost ideally perfect; now radiant with light, now full of tender pathos; a happy vale of _Tempe_, a magnificent landscape flooded with summer glow and lustre, yet forming a background for the rehearsal of some dire scene of mortal anguish, a contrast sustained by a fusion of tones, a softening of gloomy hues, which, while saddening joy, soothes the bitterness of sorrow.

What a lifelike portrait Chopin drew in this "beautiful, deep-toned, love-laden cantilena"! For was it not the incomparable Delphine who was destined to "soothe the bitterness of sorrow" during his final hours on earth?

But while hers was a soul strung with chords that vibrated to the slightest breath of sorrow, she could be vivacious as well. She was a child of Poland, that land of sorrow, but where sorrow, for very excess of itself, sometimes reverts to joy. And so she had her brilliant joyous moments. Chopin saw her in such moments, too, and, that the recollection might not pass away, for all time fixed her picture in her vivacious moods in the last movement, the _Allegro vivace_ of the concerto, with what Niecks, one of the leading modern biographers of the composer, calls its feminine softness and rounded contours, its graceful, gyrating, dance-like motions, its sprightliness and frolicsomeness. In the same way in the waltz, there is an obvious mingling of the gay and the sad, the tender and the debonair. Chopin thought he was writing a waltz. He really was writing "Delphine Potocka." He, too, was from Poland, and that circumstance of itself drew them to each other from the time when they first met in France.

One of Chopin's favorite musical amusements, when he was a guest at the houses of his favorite friends, was to play on the piano musical portraits of the company. At the salon of the Countess Komar, Delphine's mother, he played one evening the portraits of the two daughters of the house. When it came to Delphine's he gently drew her light shawl from her shoulders, spread it over the keyboard, and then played through it, his fingers, with every tone they produced, coming in touch with the gossamer-like fabric, still warm and hallowed for him from its contact with her.

It seems to have been about 1830 that Delphine first came into the composer's life. In that year the Count and Countess Komar and their three beautiful daughters arrived in Nice. Count Komar was business manager for one of the Potockas. The girls made brilliant matches. Marie became the Princess de Beauvau-Craon; Delphine became the Countess Potocka, and Nathalie, the Marchioness Medici Spada. The last named died a victim to her zeal as nurse during a cholera plague in Rome.

Chopin was a man who attracted women. His delicate physique,--he died of consumption,--his refined, poetic temperament, and his exquisite art as a composer combined with his beautiful piano playing, so well suited to the intimate circle of the drawing-room, to make his personality a thoroughly fascinating one. Moreover, he was, besides an artist, a gentleman, with the reserve yet charm of manner that characterizes the man of breeding. In men women admire two extremes,--splendid physical strength, or the delicacy that suggests a poetic soul. Chopin was a creator of poetic music and a gentle virtuoso. His appearance harmonized with his genius. He was one of his own nocturnes in which you can feel a vague presentiment of untimely death.

He is described as a model son, an affectionate brother and a faithful friend. His eyes were brown; his hair was chestnut, luxuriant and as soft as silk. His complexion was of transparent delicacy; his voice subdued and musical. He moved with grace. Born near Warsaw, in 1809, he was brought up in his father's school with the sons of aristocrats. He had the manners of an aristocrat, and was careful in his dress.

But despite his sensitive nature, he could resent undue familiarity or rudeness, yet in a refined way all his own. Once when he was a guest at dinner at a rich man's house in Paris, he was asked by the host to play--a patent violation of etiquette toward a distinguished artist. Chopin demurred. The host continued to press him, urging that Liszt and Thalberg had played in his house after dinner.

"But," protested Chopin, "I have eaten so little!" and thus put an end to the matter.

Some twenty or thirty of the best salons in Paris were open to him. Among them were those of the Polish exiles, some of whom he had known since their school-days at his father's. He was in the truest sense of the word a friend of those who entertained him--in fact, one of them. For a list of those among whom he moved socially read the dedications on his music. They include wealthy women, like Mme. Nathaniel de Rothschild, but also a long line of princesses and countesses. In the salon of the Potocka he was intimately at home, and it was especially there he drew his musical portraits at the piano. Delphine, his brilliant countrywoman, vibrated with music herself. She possessed "_une belle voix de soprano_," and sang "_d'après la méthode des maîtres d'Italie_."

In her salon were heard such singers as Rubini, Lablache, Tamburini, Malibran, Grisi and Persiani. Yet it was her voice Chopin wished to hear when he lay dying! Truly hers must have been a marvellous gift of song! At her salon it was his delight to accompany her with his highly poetical playing. From what is known of his delicate art as a pianist it is possible to imagine how exquisitely his accompaniments must have both sustained and mingled with that "_belle voix de soprano_." He had a knack of improvising a melody to any poem that happened to take his fancy, and thus he and Delphine would treat to an improvised song the elite of the musical, artistic, literary and social world that gathered in her salon. It is unfortunate that these improvisations were lightly forgotten by the composer, for he has left us few songs. Delphine "took as much trouble in giving choice musical entertainments as other people did in giving choice dinners." Her salon must have been a resort after the composer's own heart.

Liszt, who knew Delphine well during Chopin's lifetime, and from whose letters, as yet untranslated into English, I have been able to unearth a few references to her (the last in May, 1861, nearly twelve years after Chopin died, and the last definite reference to her which I have been able to discover), says that her indescribable and spirited grace made her one of the most admired sovereigns of the society of Paris. He speaks of her "ethereal beauty" and her "enchanting voice" which enchained Chopin. Delphine was, in fact, "famous for her rare beauty and fascinating singing."

No biography of Chopin contains so much as the scrap of a letter either from him to her, or from her to him. That he should not have written is hardly to be wondered at, considering that letter writing was most repugnant to him. He would take a long walk in order to accept or decline an invitation in person, rather than indite a brief note. Moreover, in addition to this trait, he was so often in the salon of the Countess Potocka that much correspondence with her was unnecessary. I have, however, discovered two letters from her to the composer. One, written in French, asks him to occupy a seat in her box at a Berlioz concert. The other is in Polish and is quite long. It is undated, and there is nothing to show from where it was written. Evidently, however, she had heard that he was ailing, for she begs him to send her a few words, _poste restante_, to Aix-la-Chapelle, letting her know how he is. From this request it seems that she was away from Paris (possibly in or near Poland), but expected to start for the French capital soon and wished to be apprised of his condition at the earliest moment. The anxious tone of the letter leads me to believe that it was written during the last year of the composer's life, when the insidious nature of the disease of which he was a victim had become apparent to himself and his friends. . . . "I cannot," she writes, "wait so long without news of your health and your plans for the future. Do not attempt to write to me yourself, but ask Mme. Etienne, or that excellent grandma, who dreams of chops, to let me know about your strength, your chest, your breathing."

Delphine also was well aware of the unsatisfactory state of his finances, for she writes that she would like to know something about "that Jew; if he called and was able to be of service to you." What follows is in a vein of sadness, showing that her own life was not without its sorrows. "Here everything is sad and lonely, but my life goes on in much the usual way; if only it will continue without further bitter sorrows and trials, I shall be able to support it. For me the world has no more happiness, no more joy. All those to whom I have wished well ever have rewarded me with ingratitude or caused me other _tribulations_." (The _italics_ are hers.) "After all, this existence is nothing but a great discord." Then, with a "_que Dieu vous garde_," she bids him _au revoir_ till the beginning of October at the latest.

Note that it was in October, 1849, that Chopin took to his deathbed; that in another passage of the letter she advised him to think of Nice for the winter; and that it was from Nice she was summoned to his bedside. It would seem as if she had received alarming advices regarding his health; had hastened to Paris and then to the Riviera to make arrangements for him to pass the winter there; and then, learning that the worst was feared, had hurried back to solace his last hours.

Then came what is perhaps the most touching scene that has been handed down to us from the lives of the great composers. When Delphine entered what was soon to be the death chamber, Chopin's sister Louise and a few of his most intimate friends were gathered there. She took her place by Louise. When the dying man opened his eyes and saw her standing at the foot of his bed, tall, slight, draped in white, resembling a beautiful angel, and mingling her tears with those of his sister, his lips moved, and those nearest him, bending over to catch his words, heard him ask that she would sing.

Mastering her emotion by a strong effort of the will, she sang in a voice of bell-like purity the canticle to the Virgin attributed to Stradella,--sang it so devoutly, so ethereally, that the dying man, "artist and lover of the beautiful to the very last," whispered in ecstasy, "How exquisite! Again, again!"

Once more she sang--this time a psalm by Marcello. It was the haunted hour of twilight. The dying day draped the scene in its mysterious shadows. Those at the bedside had sunk noiselessly on their knees. Over the mournful accompaniment of sobs floated the voice of Delphine like a melody from heaven.

Chopin died on October 17, 1849, just as the bells of Paris were tolling the hour of three in the morning. He was known to love flowers, and in death he literally was covered with them. The funeral was held from the Madeleine, where Mozart's "Requiem" was sung, the solos being taken by Pauline Viardot-Garcia, Castellan and Lablache. Meyerbeer is said to have conducted, but this has been contradicted. He was, however, one of the pallbearers on the long way from the church to Père la Chaise. When the remains were lowered into the grave, some Polish earth, which Chopin had brought with him from Wola nineteen years before and piously guarded, was scattered over the coffin. There is nothing to show what part, save that of a mourner, Delphine Potocka took in his funeral. But though it was the famous Viardot-Garcia whose voice rang out in the Madeleine, it was hers that had sung him to his eternal rest.

How long did Delphine survive Chopin? In 1853 Liszt met her at Baden, postponing his intended departure for Carlsruhe a day in order to dine with her. In May, 1861, he met her at dinner at the Rothschilds'. When Chopin's pupil, Mikuli, was preparing his edition of the composer's works, Delphine furnished him copies of several compositions bearing expression marks and other directions in the hand of Chopin himself. Mikuli dated his edition 1879. It would seem as if the Countess still were living at or about that time.

Besides the aid she thus gave in the preparation of the Mikuli edition of Chopin's works, there is other evidence that she treasured the composer's memory. In 1857, when he had been dead eight years, there was published a biographical dictionary of Polish and Slavonic musicians, a book now very rare. Although the Potocka was only an amateur, her name was included in the publication. Evidently the biographies of living people were furnished by themselves. Chopin's fame at that time did not approximate what it is now. Yet in the second sentence of her biography Delphine records that she was "the intimate friend of the illustrious Chopin."

Forgetting that the line of the Potockis is a long one, the public for years has associated with Chopin the famous pastel portrait of Countess Potocka in the Royal Berlin Gallery. The Countess Potocka of that portrait had a career that reads like a romance, but she was Sophie, not Delphine Potocka. My discovery of a miniature of Countess Sophie Potocka in Philadelphia, painted some fifteen or twenty years later than the Berlin pastel, and of numerous references to her in the diary of an American traveller who was entertained by her in Poland early in the last century, were among the interesting results of my search for information regarding Delphine, but they have no place here. Probably the public, which clings to romance, still will cling to the pastel portrait of Countess Potocka as that of the woman who sang to the dying Chopin--and so the portrait is reproduced here.

Barrias, the French historical painter, who was in Paris when Chopin lived there, painted "The Death of Chopin." It shows Delphine singing to the dying man. As Barrias had his reputation as a historical painter to sustain and as the likenesses of others on the canvas are correct, it is not improbable that he painted Delphine as he saw or remembered her. If so, this is the only known portrait of Chopin's faithful friend, the Countess Delphine Potocka. Of course no one who undertakes to write about Chopin (or only to read about him for that matter) can escape the episode with Mme. Dudevant,--George Sand,--who used man after man as living "copy," and when she had finished with him cast him aside for some new experience. But the story has been admirably told by Huneker and others and its disagreeable details need not be repeated here. It may have been love, even passion, while it lasted, but it ended in harsh discord; whereas Delphine, sweet and pure and tender, ever was like a strain of Chopin's own exquisite music vibrating in a sympathetic heart.

The Schumanns: Robert and Clara

Robert and Clara Schumann are names as closely linked in music as those of Robert and Elizabeth Barrett Browning in literature. Robert Schumann was a great composer, Clara Schumann a great pianist. In her dual rôle of wife and virtuosa she was the first to secure proper recognition for her husband's genius. Surviving him many years, she continued the foremost interpreter of his works, winning new laurels not only for herself but also for him. He was in his grave--yet she had but to press the keyboard and he lived in her. Despite the fact that tastes underwent a change and Wagner became the musical giant of the nineteenth century, Clara, faithful to the ideal of her youth and her young womanhood, saw to it that the fame of him whose name she bore remained undimmed. Hers was, indeed, a consecrated widowhood.

Robert was eighteen years old, Clara only nine, when they first met; but while he had not yet definitely decided on a profession, she, in the very year of their meeting, made her début as a pianist, and thus began a career which lasted until 1896, a period of nearly seventy years! When they first met, Schumann was studying law at the Leipsic University. Born in Zwickau, Saxony, in 1810, he showed both as a boy and as a youth not only strong musical proclivities, but also decided literary predilections. In the latter his father, a bookseller and publisher, who loved his trade, saw a reflection of his own tastes, and they were encouraged rather more sedulously than the boy's musical bent. It was in obedience to his father's wishes that he matriculated at Leipsic, although he composed and played the piano, and his desire to make music his profession was beginning to get the upper hand. His meeting with the nine-year-old girl decided him--so early in her life did she begin to influence his career!

Schumann had been invited by his friends, Dr. and Mrs. Carus, to an evening of music, and especially to hear the piano playing of a wonder-child--a "musical fairy," his hostess called her. In the course of the evening he accompanied Frau Carus in some Schubert songs, when, chancing to look up, he saw a child dressed in white, her pretty face framed in dark hair, her expressive eyes raised toward the singer in rapt admiration. The song over, and the applause having died away, he stepped up to the child, laid his hand kindly on her head, and asked, "Are you musical, too, little one?"

A curious smile played around her lips. She was about to answer, when a man came to her and led her to the piano, and the first thing Schumann knew the shapely little hands struck into Beethoven's F-minor Sonata and played it through with a firm, sure touch and fine musical feeling. No wonder she had smiled at his question.

"Was I right in calling her a Musical fairy'?" asked Frau Carus of Schumann.

"Her face is like that of a guardian angel in a picture that hangs in my mother's room at home," was his reply. Little he knew then that this child was destined to become his own good fairy and "guardian angel." Had he foreseen what she was to be to him, he could not more aptly have described her. The most important immediate result of the meeting was that he became a pupil of her father, Friedrich Wieck, whose remarkable skill as a teacher had carried his daughter so far at such an early age. The lessons stopped when Schumann went to Heidelberg to continue his studies, but he and Wieck, who was convinced of the young man's musical genius, corresponded in a most friendly manner.

Clara, who was born in Leipsic in 1819, became her father's pupil in her fifth year. It is she who chiefly reflected glory upon him as a master, but, among his other pupils, Hans von Bülow became famous, and Clara's half-sister Marie also was a noted pianist. Wieck's system was not a hard-and-fast one, but varied according to the individuality of each pupil. He was to his day what Leschetizky, the teacher of Paderewski, is now. Very soon after her meeting with Schumann, Clara made her public début, and with great success. Among those who heard and praised her highly during this first year of her public career was Paganini.

In 1830, two years after the first meeting of Robert and Clara, Schumann, his father having died, wrote to his mother and his guardian and begged them to allow him to choose a musical career, referring them to Wieck for an opinion as to his musical abilities. The mother wrote to Wieck a letter which is highly creditable to her heart and judgment, and Wieck's reply is equally creditable to him as a friend and teacher. Evidently his powers of penetration led him to entertain the highest hopes for Schumann. Among other things he writes that, with due diligence, Robert should in a few years become one of the greatest pianists of the day. Why Wieck's hopes in this particular were not fulfilled, and why, for this reason, Clara's gifts as a pianist were doubly useful to Schumann, we shall see shortly.

Schumann entered with enthusiasm upon the career of his choice. He left Heidelberg and took lodgings with the Wiecks in Leipsic. Clara, then a mere girl, though already winning fame as a concert pianist, certainly was too young for him to have fallen seriously in love with, or for her to have responded to any such feeling. Even at that early age, however, she exercised a strange power of attraction over him. His former literary tastes had given him a great fund of stories and anecdotes, and he delighted in the evenings to gather about him the children of the family, Clara among them, and entertain them with tales from the Arabian Nights and ghost and fairy stories.

Among his compositions at this time are a set of impromptus on a theme by Clara, and it is significant of his regard for her that later he worked them over, as if he did not consider them in their original shape good enough for her. Then we have from this period a letter which he wrote to the twelve-year-old girl while she was concertizing in Frankfort, and in which the expressions certainly transcend those of a youth for a child, or of an elder brother for a sister, if one cared to picture their relations as such. Indeed, he writes to her that he often thinks other "not as a brother does of a sister, nor as one friend of another, but as a pilgrim of a distant altar-picture." He asks her if she has composed much, adding, "In my dreams I sometimes hear music--so you must be composing." He confides in her about his own work, tells her that his theoretical studies (with Heinrich Dorn) have progressed as far as the three-part fugue; and that he has a sonata in B minor and a set of "Papillons" ready; then jokingly asks her how the Frankfort apples taste and inquires after the health of the F above the staff in the "jumpy Chopin variation," and informs her that his paper is giving out. "Everything gives out, save the friendship in which I am Fraulein C. W.'s warmest admirer."

For a letter from a man of twenty-one to a girl of twelve, the above is remarkable. If Clara had not afterward become Robert's wife, it would have interest merely as a curiosity. As matters eventuated, it is a charming prelude to the love-symphony of two lives. Moreover, there seems to have been ample ground for Schumann's admiration. Dorn has left a description of Clara as she was at this time, which shows her to have been unusually attractive. He speaks of her as a fascinating girl of thirteen, "graceful in figure, of blooming complexion, with delicate white hands, a profusion of black hair, and wise, glowing eyes. Everything about her was appetizing, and I never have blamed my pupil, young Robert Schumann, that only three years later he should have been completely carried away by this lovely creature, his former fellow-pupil and future wife." Her purity and her genius, added to her beauty, may well have combined to make Robert, musical dreamer and enthusiast on the threshold of his career, think of her, when absent, "as a pilgrim of a distant altar-picture."

She was clever, too, and through her concert tours was seeing much of the world for those days. In Weimar she played for Goethe, the great poet himself getting a cushion for her and placing it on the piano stool in order that she might sit high enough; and not only praising her playing, but also presenting her with his likeness in a medallion. The poet Grillparzer, after hearing her play in Vienna Beethoven's F-minor Sonata, wrote a delightful poem. "Clara Wieck and Beethoven's F-minor Sonata." It tells how a magician, weary of life, locked all his charms in a shrine, threw the key into the sea, and died. In vain men tried to force open the shrine. At last a girl, wandering by the strand and watching their vain efforts, simply dipped her white fingers into the sea and drew forth the key, with which she opened the shrine and released the charms. And now the freed spirits rise and fall at the bidding of their lovely, innocent mistress, who guides them with her white fingers as she plays. The imagery of this tribute to Clara's playing is readily understood. In Paris she heard Chopin and Mendelssohn. All these experiences tended to her early development, and there is little wonder if Schumann saw her older than she really was.

In 1834 Schumann's early literary tastes asserted themselves, but now in connection with music. He founded the "Neue Zeitschrift für Musik," which under his editorship soon became one of the foremost musical periodicals of the day. Among his own writings for it is the enthusiastic essay on one of Chopin's early works, in which Schumann, as he did later in the case of Brahms, discovered the unmistakable marks of genius. The name of Chopin brings me back to Wieck's prophecy regarding Schumann as a pianist. The latter in his enthusiasm devised an apparatus for finger gymnastics which he practised so assiduously that he strained one of his fingers and permanently impaired his technique, making a pianistic career an impossibility. Through this accident he was unable to introduce his own piano works to the public, so that the importance of the service rendered him by Clara, in taking his compositions into her repertoire, both before and after their marriage, was doubled.

One evening at Wieck's, Schumann was anxious to hear some new Chopin works which he had just received. Realizing that his lame finger rendered him incapable of playing, he called out despairingly:

"Who will lend me fingers?"

"I will," said Clara, and sat down and played the pieces for him. She "lent him her fingers;" and that is precisely what she did for him through life in making his piano and chamber music compositions known. Familiarity with Schumann's music enables us of to-day to appreciate its beauty. But for its day it was, like Brahms' music later, of a kind that makes its way slowly. Left to the general musical public, it probably would have been years in sinking into their hearts. Such music requires to be publicly performed by a sympathetic interpreter before receiving its meed of merit. Schumann had hoped to be his own interpreter. He saw that hope vanish, but a lovely being came to his aid. She saw his works come into life; their creation was part of her own existence; she fathomed his genius to its utmost depths; her whole being vibrated in sympathy with his, and when she sat down at the piano and pressed the keys, it was as though he himself were the performer. She was his fingers--fingers at once deft and delicate. She played with a double love--love for him and love for his music. And why should she not love it? She was as much the mother of his music as of his children. I have already indicated that Clara probably developed early. At all events, there are letters from Schumann to her, at fourteen, which leave no doubt that he was in love with her then, or that she could have failed to perceive this. In one of these letters he proposes this highly poetic, not to say psychological, method of communicating with her. "Promptly at eleven o'clock to-morrow morning," he writes, "I will play the _Adagio_ from the Chopin variations and will think strongly--in fact only--of you. Now I beg of you that you will do the same, so that we may meet and see each other in spirit. . . . Should you not do this, and there break to-morrow at that hour a chord, you will know that it is I."

However far the affair may or may not have progressed at this time, there was a curious interruption during the following year. Robert appears to have temporarily lost his heart to a certain Ernestine von Fricken, a young lady of sixteen, who was one of Wieck's pupils. Clara consoled herself by permitting a musician named Banck to pay her attention. For reasons which never have been clearly explained, Schumann suddenly broke with Ernestine and turned with renewed ardor to Clara, while Clara at once withdrew her affections from Banck and retransferred them to Schumann. We find him writing to her again in 1835:

"Through all the Autumn festivals there looks out an angel's head that closely resembles a certain Clara who is very well known to me." By the following year, Clara then being seventeen, things evidently had gone so far that, between themselves, they were engaged. "Fate has destined us for each other," he writes to her. "I myself knew that long ago, but I had not the courage to tell you sooner, nor the hope to be understood by you."

Wieck evidently had remained in ignorance of the young people's attachment, for, when on Clara's birthday the following year (1837) Schumann made formal application in writing for her hand, her father gave an evasive answer, and on the suit being pressed, he, who had been almost like a second father to Robert, became his bitter enemy. Clara, however, remained faithful to her lover through the three years of unhappiness which her father's sudden hatred of Robert caused them. In 1839 she was in Paris, and from there she wrote to her father:

"My love for Schumann is, it is true, a passionate love; I do not, however, love him solely out of passion and sentimental enthusiasm, but, furthermore, because I think him one of the best of men, because I believe no other man could love me as purely and nobly as he or so understandingly; and I believe, also, on my part that I can make him wholly happy through allowing him to possess me, and that I understand him as no other woman could."

This love obviously was one not lightly bestowed, but Wieck remained obdurate and refused his consent. Then Schumann took the only step that under the circumstances was possible. Wieck's refusal of his consent being a legal bar to the marriage, Robert invoked the law to set his future father-in-law's objections aside. The case was tried, decided in Schumann's favor, and on September 12, 1840, Robert Schumann and Clara Wieck were married in the village of Schönefeld, near Leipsic. That year Schumann composed no less than one hundred and thirty-eight songs, among them some of his most beautiful. They were his wedding gift to Clara.

After their marriage his inspiration blossomed under her very eyes. She was the companion of his innermost thoughts and purposes. Meanwhile his musical genius and critical acumen ever were at her command in her work as a pianist. Happily, too, a reconciliation was effected with Wieck, and we find Clara writing to him about the first performance of Schumann's piano quintet (now ranked as one of the finest compositions of its class), on which occasion she, of course, played the piano part.

Four years after their marriage the Schumanns removed to Dresden, remaining there until 1850, when they settled in Düsseldorf, where Robert had been appointed musical director. There was but one shadow over their lives. At times a deep melancholy came over him, and in this Clara discerned with dread possible symptoms of coming mental disorder. Her fears were only too well founded. Early in February, 1854, he arose during the night and demanded light, saying that Schubert had appeared to him and given him a melody which he must write out forthwith. On the 27th of the same month, he quietly left his house, went to the bridge across the Rhine and threw himself into the river. Boatmen prevented his intended suicide. When he was brought home and had changed his wet clothes for dry ones, he sat down to work on a variation as if nothing had happened. Within less than a week he was removed at his own request to a sanatorium at Endenich, where he died July 29, 1856.

Clara survived him forty years, wearing a crown of laurels and thorns--the laurels of a famous pianist, the thorns of her widowhood. It was a widowhood consecrated, as much as her wifehood had been, to her husband's genius. She died at Frankfort, May 19, 1896, and is buried beside her husband in Bonn.

Franz Liszt and his Carolyne

In the famous Wagner-Liszt correspondence, Liszt writes from Weimar, under date of April 8, 1853, "Daily the Princess greets me with the lines 'Nicht Gut, noch Geld, noch Göttliche Pracht.'" The lines are from "Götterdämmerung," the whole passage being--

"Nor goods, nor gold, nor godlike splendor;
Nor house, nor home, nor lordly state;
Nor hollow contracts of a treach'rous race,
Its cruel cant, its custom and decree.
Blessed, in joy and sorrow,
Let love alone be."

The lady who according to Liszt daily greeted him with these significant lines was the Princess Carolyne Sayn-Wittgenstein. Since 1848 she and her young daughter Marie had been living with Liszt at the Altenburg in Weimar. She remained there until 1860, twelve years, when she went to Rome, whither, in due time, Liszt followed her, to make the Eternal City one of his homes for the rest of his life. His last letter to her is dated July 6, 1886, the year and month of his death, so that for a period of nearly forty years he enjoyed the personal and intellectual companionship of this remarkable woman. Their relations form one of the great love romances of the last century.

Liszt's letters to the Princess, written in French and still untranslated, are in four volumes. They were published by the Princess's daughter, Princess Marie Hohenlohe, as a tribute to Liszt the musician and the man. They teem with his musical activities--information regarding the numerous celebrities with whom he was intimate, the musicians he aided, his own great works. But their rarest charm to me lies in the fact that from them the careful reader can glean the whole story of the romance of Liszt and Carolyne, from its very beginnings to his death.

We know the fascinating male figure in this romance--the extraordinary combination of unapproached virtuoso, great composer, and man of the world; but who was the equally fascinating woman?

Carolyne von Iwanowska was born near Kiew, Russian Poland, in February, 1819. When she still was young her parents separated, and she divided her time between them. Her mother possessed marked social graces, travelled much, was a favorite at many courts, and, as a pupil of Rossini's in singing, was admired by Spontini and Meyerbeer, and was sought after in the most select salons, including that of Metternich, the Austrian chancellor. From her Carolyne inherited her charm of manner.

Intellectually, however, she was wholly her father's child; and he was her favorite parent. He was a wealthy landed proprietor, and in the administration of his estates, he frequently consulted her. Moreover he had an active, studious mind, and he found in her an interested companion in his pursuits. Often they sat up until late into the night discussing various questions, and both of them--smoking strong cigars!

In 1836 her hand was asked in marriage by Prince Nicolaus von Sayn-Wittgenstein. She thrice refused, but finally accepted him at her father's instigation. The prince was a handsome but otherwise commonplace man, and not at all the husband for this charming, mentally alert and finely strung woman. The one happiness that came to her through this marriage was her daughter Marie.

Liszt came to Kiew on a concert tour in February, 1847. He announced a charity concert, for which he received a contribution of one hundred rubles from Princess Carolyne. He already had heard other, but she had been described to him as a miserly and peculiar person. The gift surprised him the more for this. He called on her to thank her, found her a brilliant conversationalist, was charmed with her in every way, and concluded that what the gossips considered peculiarities were merely the evidences of an original and positive mentality. Upon the woman, who was in revolt against the restraints of an unhappy married life, Liszt, from whose eyes shone the divine spark, who was as much _au fait_ in the salon as at the piano, and who already had been worshipped by a long succession of women, made a deep impression. Thus they were drawn to each other at this very first meeting.

When, a little later, Liszt took her into his confidence regarding his ambition to devote more time to composition, and communicated to her his idea of composing a symphony on Dante's "Divine Comedy" with scenic illustrations, she offered to pay the twenty thousand thalers which these would cost. Liszt subsequently changed his mind regarding the need of scenery to his "Dante," but the Princess's generous offer increased his admiration for her. It was a tribute to himself as well as to his art, and an expression of her confidence in his genius as a composer (shared at that time by but few) which could not fail to touch him deeply. It at once created a bond of artistic and personal sympathy between them. She was carried away by his playing, and the programme of his first concert which she attended was treasured by her, and after her death, forty years later, was found among her possessions by her daughter.

If it was not love at first sight between these two, it must have been nearly that. Liszt came to Kiew in February, 1847. The same month Carolyne invited him to visit her at one of her country seats, Woronince. Brief correspondence already had passed between them. To his fifth note he adds, as a postscript, "I am in the best of humor . . . and find, now that the world contains Woronince, that the world is good, very good!"

The great pianist continued his tour to Constantinople. When he writes to the Princess from there, he already "is at her feet." Later in the same year he is hers "heart and soul." Early the following year he quotes for her these lines from "Paradise Lost:"

"For contemplation he, and valour formed,
For softness she, and sweet attractive grace;
He for God only, she for God in him!"

She presents him with a baton set with jewels; he writes to her about the first concert at which he will use it. He transcribes Schubert's lovely song, "My sweet Repose, My Peace art Thou," and tells her that he can play it only for her. At the same time their letters to each other are filled with references to public affairs and literary, artistic and musical matters. They are the letters of two people of broad and cultivated taste, who are drawn to each other by every bond of intellect and sentiment. Is it a wonder that but little more than a year after they met, the Princess decided to burn her bridges behind her and leave her husband? Through his friend, Prince Felix Lichnowsky, Liszt arranged that they should meet at Krzyzanowitz, one of the Lichnowsky country seats in Austrian Silesia. "May the angel of the Lord lead you, my radiant morning star!" he exclaims. At the same time he has an eye to the practical side of the affair, and describes the place as just the one for their meeting point, because Lichnowsky will be too busy to remain there, and there will not be a soul about, save the servants.

It was shortly before the revolution of 1848. To gain permission to cross the border, the Princess pretended to be bound for Carlsbad, for the waters.

Liszt's valet met her and her daughter as soon as they were out of Russia, took them to Ratibor, where they were received by Lichnowsky, who conducted them to Liszt. After a few days at this place of meeting, they went to Graz, where they spent a fortnight in another of the Lichnowsky villas. Among the miscellaneous correspondence of Liszt is a letter from Graz to his friend Franz von Schober, councillor of legation at Weimar, where Liszt was settled as court conductor. In it he describes the Princess as "without doubt an uncommonly and thoroughly brilliant example of soul and mind and intelligence (with a prodigious amount of _esprit_ as well). You readily will understand," he adds, "that henceforth I can dream very little of personal ambition and of a future wrapped up in myself. In political relations serfdom may have an end; but the dominion of one soul over another in the spirit region--should that not remain indestructible?"--Oh, Liszt's prophetic soul! Thereafter his life was shaped by this extraordinary woman, for weal and, it must be confessed, for reasons which will appear later, partly for woe.

The Grandduchess of Weimar took the Princess under her protection, and she settled at Weimar in the Altenburg, while Liszt lived in the Hotel zum Erbprinzen. Many tender missives passed between them. "Bonjour, mon bon ange!" writes Liszt. "On vous aime et vous adore du matin au soir et du soir au matin."--"On vous attend et vous bénit, chère douce lumière de mon âme!"--"Je suis triste comme toujours et toutes les fois que je n'entends pas votre voix--que je ne regarde pas vos yeux."

One of the billets relates to an incident that has become historic. Wagner had been obliged, because of his participation in the revolution, to flee from Dresden. He sought refuge with Liszt in Weimar, but, learning that the Saxon authorities were seeking to apprehend him, decided to continue his flight to Switzerland. He was without means and, at the moment, Liszt, too, was out of funds. In this extremity, Liszt despatched a few lines to the Princess. "Can you send me by bearer sixty thalers? Wagner is obliged to flee, and I am unable at present to come to his aid. _Bonne et heureuse nuit_." The money was forthcoming, and Wagner owed his safety to the Princess. This is but one instance in which, at Liszt's instigation, she was the good fairy of poor musicians. About a year after the Princess settled in the Altenburg, Liszt, too, took up his residence there. From that time until they left it, it was the Mecca of musical Europe. Thither came Von Bülow and Rubinstein, then young men; Joachim and Wieniawski; Brahms, on his way to Schumann, who, as the result of this visit from Brahms, wrote the famous article hailing him as the coming Messiah of music; Berlioz, and many, many others. The Altenburg was the headquarters of the Wagner propaganda. From there came material and artistic comfort to Wagner during the darkest hours of his exile and poverty.

Wendelin Weissheimer, a German orchestral leader, a friend of Liszt and Wagner, and of many other notable musicians of his day, has given in his reminiscences (which should have been translated long ago) a delightful glimpse of life at the Altenburg. He describes a dinner at which Von Bronsart, the composer, and Count Laurencin, the musical writer, were the other guests. At table the Princess did the honors "most graciously," and her "divinity," Franz Liszt, was in "buoyant spirits." After the champagne, the company rose and went upstairs to the smoking-room and music salon, which formed one apartment, "for with Liszt, smoking and music-making were, on such occasions, inseparable." One touch in Weissheimer's description recalls the Princess's early acquired habit of smoking.

"He [Liszt] always had excellent Havanas, of unusual length, ready, and they were passed around with the coffee. The Princess also had come upstairs. When Liszt sat down at one of the two pianos, she drew an armchair close up to it and seated herself expectantly, also with one of the long Havanas in her mouth and pulling delectably at it. We others, too, drew up near Liszt, who had the manuscript of his 'Faust' symphony open before him. Of course he played the whole orchestra; of course the way in which he did it was indescribable; and--of course we all were in the highest state of exaltation. After the glorious 'Gretchen' division of the symphony, the Princess sprang up from the armchair, caught hold of Liszt and kissed him so fervently that we all were deeply moved. [In the interim her long Havana had gone out.]"