Frederic Chopin, v. 1 (of 2)

le of the arts. In the home of the great masters, where sweet melodies are heard in every mouth, h

essed a good opera house, and the best singers and instrumentalists were heard in the concert halls. But the repertoires consisted almost exclusively of Italian music, especially of the works of that most prolific writer and universal favourite, Gioacch

who had surpassed all other composers, showed little readiness to study his wonderful creations; besides which, the players of that time were seldom technically qualified for the difficult task of adequately render

works at the Vienna "Spirituel oder Gesellschafts-Concerten," or the production of one of the last quartets by Schuppanzigh, who received but little thanks for his p

ity was the master sincerely reverenced and warmly admired. Through their exertions to make his works accessible to the general pu

an music. But every lofty genius is aware of the real measure of its own greatness: mediocre ability over-estimates itself, great talent knows what are its capacities, but gen

ws: "At the beginning of the third decade of the present century, when the flood of Italian music was at its height, Beethoven was one day conversing with some friends on the almost desperate prospects of musi

iumphs of Field as a virtuoso, and of Hummel as a composer and tasteful player. Among a younger generation of musicians, Kalkbrenner bore the palm; after him came Moscheles, Herz, Thalberg, and Mendelsohn. Liszt had not made a name till some years later. Felix Mendelssohn had attracted

atum they offered prizes for the best symphony, which were competed for from time to time, as, in 1834, when Lachner won the first prize. Attracted by the honour and pecuniary advantages there was no lack of competitors, but although most of the compositions displayed knowled

Kreutzer?s works, "Das Nachtlager von Granada" has alone been preserved, of Marschner?s (the greatest opera composer of the three we have mentioned) "Der Templar und die Judin" and "Hans Heiling" have remained on the stage. Lortzing, a writer of comic operas, came out later,

talini was the greatest singer. Spohr, in his autobiography, says a great deal in disparagement of Paganini, not, indeed, from jealousy, for, being himself one of the greatest violinists musical history can produce, he adhered as closely to the princ

ed by his playing. He never ceased to speak with enthusiasm of the Paganini even

of all the honour paid to the great Italian, it was felt that Polish patriotism was in question, and this showed itself very warmly. A competition was proposed, w

st of equal powers." That evening he made up his mind to pay a long visit to Paganini?s fatherland; no less did the singers attract him "to the land where the citrons bloom," for Italy had at that day a more brilliant array of voca

ey not only required a fine, rich organ, but an artistic culture, such as in these days, unfortunately, is rare. What a stimulus

nna, St. Petersburg, or Stockholm, had an Italian opera house; even in such cities as Dresden and Münich t

c beauty, and it is possible that the voice of praise might have rendered him insensible to other influ

gers, he felt stirred by the desire of writing an opera. In 1770, he composed "Midritate Rè di Ponta," and the success of this work made him resolve to devote his energies thenceforth more especially to the stage. In no othe

s wealthy family, Meyerbeer?s first operatic attempts had been produced at the Royal Theatre in Berlin, but had excited little interest. To the somewhat dispirited young writer, Salieri?s advice seemed very acceptable. He acted upon it, and when he had been some months in Milan, wrote an operetta, which had a

tic composer." For him, however, a different though a still splendid destiny was in store. The non-fulfilment of

Paris, Chopin should have held aloof from the stage. In Italy, a new opera can be mounted without much expense, for the public care little about costumes and scenery. They attend the opera solely for the music; if this finds favour and the singers are good a new work may be performed, several nights in succession, and the fortune of the composer is made. But in Paris a new opera necessitates a large outlay, be

nt and celebrity. In the winter famous performers from all parts of Europe resorted to the capital of the continent to let their light shine before the leaders of fashion. To keep abreast of such competitors Chopin was compelled to study continuously, and only a virtuoso knows what this means. Ne

its eyes. He thought fondly of parents and sisters, and of his adored Constantia with all the passionate ardour of his poetic soul. Her sweet voice was ever ringing in his ears, and in his dreams he saw her eyes suffused with tears; while the ring which she had slipped on his finger at parting was his dearest jewel. His letters to his confidentia

y, he was appointed regimental surgeon in 1830, just when the war of freedom broke out in Poland. Four years later he graduated at Tübingen, and received the diploma of doctor of medicine and surgery. At the same time he wrote a treatise on "Plica Polonica," which was highly commended. He next went to P

e, was made professor at the "Ecole de Médicine." Proud of this position, he devoted himself to his pro