By J. Cuthbert Hadden
First showing in 1903, this is often might be the 1st really well-balanced account of Chopin as a guy and Chopin as a composer, in English. the writer describes Chopin s lifestyles and actions from his early days in Warsaw to the times he spent in London, Paris, Vienna, and in different places. the writer provides debts of the passion with which Chopin s works have been bought, early experiences, Chopin s personal reactions to the areas he visited and the folk he observed, and masses extra. additionally incorporated are various letters, a bibliography, a listing of Chopin s released works (at the time of writing), and an index. even supposing there is not any scarcity of biographies of Chopin, the current booklet is written at a time of heightened curiosity, and is stuffed with the energy and keenness which show a extra sincere notion of the impact the composer has on audiences around the world, than many scholarly debts do this present day. definitely a needs to for the fanatic of Chopin, and absolutely a good way for the newcomer to get to understand the main points concerning the guy in the back of the tune.
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0 God, move the earth that it may swallow the humanity of this century! ” And then the beloved one—the “ideal,” Constance! “What happened to her? Where is she? Poverty-stricken perhaps in the hands of the Muscovites; a Muscovite strangles her, murders her. Ah, my life! Here am I, alone. Come to me. ” If Chopin indeed wrote this and the other kindred stuff quoted by Count Tarnowski, then he was on the verge of insanity: one step more and reason would have been unseated. But I refuse to believe that he wrote it.
The newspaper notices were all that Chopin could desire. The leading organ of musical criticism at that time was the Wiener Theater Zeitung, which every artist used to dread as much as authors dreaded the old slashing Saturday Review. Said this powerful journal: He plays very quietly, with little emphasis, and with none of that rhetorical aplomb which is considered by virtuosi indispensable . . He was recognised as an artist of whom the best may be expected as soon as he has heard more . . He knows how to please, although in his case the desire to make good music predominates noticeably over the desire to give pleasure.
Thomas Campbell toasted Napoleon because he had ordered a publisher to be shot. At this particular tide in his affairs Chopin would probably have shot the rascal himself. From his correspondence one has very little difficulty in seeing that he looked upon the whole race of publishers pretty much as Byron did when he classed them with Barabbas. They appear to have treated him, as a rule, with becoming consideration; but the only terms in his vocabulary 46 Chapter Four which he can find to apply to them are “Jews” and “animals,” which, to say the least, is not complimentary.