Chopin – 40 Piano Compositions

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FORTY

PIANO

COMPOSITIONS

FREDERIC

CHOPIN

EEMTED

BY

JAMES

HUNEKER

OLIVER

DITSON

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FORTY

PIANO

COMPOSITIONS

FREDERIC

CHOPIN

EDITED

BY

JAMES

HUNEKER

Mi

)

_fi>3

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CONTENTS

PRELUDE

inC.Op.28,No.i

inG. Op.28,No.3

in

E

Minor.Op.28,No. 4

inBMinor.Op.28,No.6

in

Dk

Op.28,No.15.(TheRaindrop)

MAZURKA

in

Bk

Op.7,No.1

inB>Minor. Op.24,No.4

in

Dk

Op.30,No.3

inGftMinor.Op.33,No.1
iu_C.Op.33,No.3

inBMinor. Op.33,No.4

in

Ak

Op.50,No.2
in

A

Minor,Op._68,N©r~2

STUDY

in

Gk

Op.io.No.5.(TheBlackKeys)

in

Ak

Op.25,No.1.(The/EolianHarp)

in CftMinor.Op.25,No.7
in

Gk

Op.25,No.9.(TheButterfly)
inD>

NOCTURNE

inEb.Op.9,No.2

inFft.Op.15,No.2

in

Dk

Op.27,No.2

inBMajor.Op.32,No.1

in

G

Minor. Op.37,No.1
inG. Op.37,No.2

WALTZ

in

Ek

Op.18.{GrandeVaheBrillante) 75 .

in

Ak

Op.34,No.1.{VaheBrillante)

_JU//

in

A

Minor. Op.34,No.2 92

in

Ak

Op.42.{Grande Vahe) ₉₇

in

Dk

Op.64,No.1 105

inCftMinor. Op.64,No.2 109

in

Ak

Op.64,No.3 115

in

E

Minor. (Posthumous) 120

POLONAISE

inCftMinor.Op.26,No.1 124

in

A

Major.Op.40,No.1.{PolonaiseMilitaire) 128/'

IMPROMPTU

I

inA?Major.Op. 29 133

FANTAISIE-IMPROMPTU

inCftMinor. Op.66.(Posthumous)

BALLADE

III

inAt*Major,Op.47

SCHERZO

II

in Bl?Minor. Op.31 159

BERCEUSE

'n

Db

Major.Op.57 175

FUNERAL

MARCH

{MarcheFunehre)

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FREDERIC

CHOPIN

FREDERIC

Francois Chopinis the

greatest composer of music for the

pianoforte.Allthathadbeensaid
be-forehim bythe masters, Bach,Mozart,

or Beethoven, seems,afterlistening toChopin,
as ifw-itten in a languageforeign to the

in-strument.

When

he speaks,itisthespeechof

onefor

whom

thiscombination ofwood,wire,
ironandivoryisa

human

harp

—

aharpfrom

which themostexquisite,sombre,tragicpoetry

isplucked.ThisPoleis rightfully

named

the
poetof thekeyboard

—

atitlethathasbeenoften

debasedbyclaimsoflessermen.

He

isfirstthe

poet,then the musician;andhis achievements

asmusicianareof suchrare distinction as togive

himanicheinthePantheonofillustrious

com-posers.

As

was thecasewith his friendFranzLiszt,

Chopin's skill as a pianoforte virtuoso

over-shadowedhisgenuine meritsas acomposer
dur-inghistoo shortlife.

He

wasawonderfulpianist
andhe playedhis

own

music.Thisbewildered

hiscontemporaries: thecriticsoften failed to

dis-tinguishbetween histwogifts. Ifhe played so
marvellously,itwas argued, not withoutjustice,

perhapshismusicwill notsoundas beautiful
underotherfingers.Butitdid,andthisisone

of thetestsofitsuniversality; Liszt,Rubinstein,
Tausig, JosefFy, Pachmann, Paderewski, and

Rosenthalall playedandplay Chopin
beauti-fully,while sectsof warringcritics,wrangling
amateurs, cry "thisisso,"or "thatisnotso";

andyetno one

may

claim theuniqueChopin
tradition fortheverysimple reasonthatnosuch

elusivequalityexists.ThereisnoChopin
tradi-tion.Thereneverwas one,even

when

Chopin

lived,forheplayedhiscompositionsnotwodays,
or ways,alike.Thisconstitutesthe evanescent,
mysterious,poeticcharmofhismusic;itssecret

has never been unriddled.

And

neverwillitbe,
for hisisgreat artandgreatartalways plays the

roleof theSphinxtoitseagervotaries.
Thereisone rightwayto interpretChopin.

Plastic, entirelydream-likeinitsloveliness, his

musicyieldsonlytotheembraceof thepoet.

It

may

bewooed but never taken byassault.

The

poetry inherentinitsstructure,eveninits

technicalfiguration, setsitapart, aconsecrated

thing.

To

attack Chopinwith burlyfingersor

sledge-hammerwristsistodestroy thearomaof

hismeasures.

As

apoet he ranks with Shelley

inthe tenuity ofhismusicaltextures, inthe

su-premeloftinessofhis lyric flights; and he is

twain with Keatsintherichnessofhisharmonic
coloring, inthedeep-hued humanityofhis
me-lodic utterances.Thereforewethinkofhimfirst

asa poet.

As

amusicianChopintookupthethreads of

thatskeinwhichantedatesMozart,

Haydn,

and

PhilippEmanuelBach.

He

foundpiano music
givenovertotheemptyformalismof

Hummei

ortothebrilliantandinutilepassageworkof
Kalkbrenner.Bynature anaristocrat,theyoung

Pole did not disdain thegracefulframeworkof

Hummel

nor the elegantrhetoric ofKalkbrenner.

Buthehad something newtosay;theyhadnot.

He

wasanativeof old Sarmatiaandthepatriot
inhim wasmightilystirredbyhis nation'ssongs

andnation'swrongs.

He

found nearathand

sim-pledance formsandstraightway,filledwith
elo-quentmusic,idealizedthem;yet theylostnot
theirnative flavor, theirwood-notewild.

A

sworn

classicistinhisdevotiontoBach and Mozart,he

is stillthe prince of the Romantics;a severe

formalist,though hisformswere not those of
fugue orsonata,he neverthelesssetbeating the
pulseofEuropewithhisgayvalses and

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x

FREDERIC

CHOPIN

ofMelancholy.

No

oneeverheardChopinlaugh,

men

wereforedoomedtounhappiness; both
dis-Hissmile, rareandcharming,waslike thatofhis dained mediocrityandthereforesuppedtheirfill

Americanbrother-poet,EdgarAllan Poe.Both of misery.

II
Chopin was bornin Zelazowa-Wola,sixmiles

fromWarsaw,Poland,

March

i,1809.

He

died

in Paris October17, 1849. Butin thosebrief
forty years, intheinterval, asWalterPater has

it,helivedanexistencedevotedtoart,alitethat

literallyburned awayhisfrai!frame.By no means

thedelicate,effeminatechildof the sentimental
biographer,thelittleFredericwasneverrobust.

Ifpetted

much

byhis mother and sisters,he

managedtoenjoy himselfinamanlierwaywith

hisboyish comrades, thepupil'sofhisfather's
school. This father was a Frenchman,

trans-plantedfrom Nancv, andprobably of Polish
ori-gin.Frederic'smother, JustinaKrzyzanowska,

was,itneed hardly be added,apurePole.For

hertheyouthfulpianistentertainedalovethat

wascharacteristic.Shebecametheleading

mo-tiveofhislife;all hisactionsweregovernedif

notactuallybyher, at least indeferencetoher

wishes.

One

ofthethings hefearedmostafter

hebecameafriendofthe novelist,GeorgeSand,
washismother'scriticism.Thistrait,intensified
laterinlife,was undoubtedlythe reasonfor

many

ofhisactions.

As

he reverencedhismother, so
he reverenced his mother's sex;andwhilehis
privatelifewasnot conventional, he always

for-borefromcertainassociations.Temperamentally
the

man

had notasteforthe thingsmostprized
by the world.

He

never married; he never
gath-eredriches;andthehonorsheapedupon himas
a virtuoso,thefamethatgreetedhimalmostat

thetomb'sportal,boreforhim no messageof

joy.

He

wasadreamerof dreams.

Precociousmusically,andsensitive asMozart,
Chopinearlyamusedhimselfand his
compan-ionswithhiscleverimprovising.Hisfathersoon
decidedthat therewasa realgifttodevelopand
engagedaBohemian

named

Adalbert

Zwyny

to
teach hisson therudiments ofart.This
instruc-torwasa violinist as well as pianistandChopin

throve sowellunderhis tutelagethathe played

apiano concertobyGyrowetzin1818ata

pub-licconcertand was morepreoccupied with his
newcollarthan with his success. "Everybody

was lookingat

my

collar,"heremarkednaively

to hismother.

The

Polisharistocracynotedthe

giftsof thelittlefellow,participatedinhis

edu-cation,andpresentlyhe begantostudy
compo-sitionwithJosephEisner,the chief influence for
goodinhismusicalcareer.Eisnerwasold

fash-ioned but sound.

He

wasasevere masterand
rigidinhisdiscipline.Ifhe gavethebovhis

own

wayinthematter of piano-playing, he never

al-lowed himtorelaxin hisstudy oftheclassics.

Chopin

many

timesreferredwithrefreshing
grat-itude to his old master.

And

to him heowed

allthesanityandlucidityofhismusic;itwould

have been an easy matterforthelad tohave
re-mained a brilliant improviser and rhapsodist,

Eisner taughtChopinto cast hisdreamsinto a

durablemould.

Chopin'syouth wasspentifnot happily,
cer-tainlynot unpleasantly.

He

wasin fairlygood
health, studied diligentlywithout too great a
strainuponhisnerves,anddoted

much

onhis

sisters.

When

atlasthewenttoVienna

—

hehad

been onceasfaras Berlin

—

greatwasthe

house-hold'ssorrow.

He

bravelyliveditdown,petted

thoughhe was,andactuallytempt:dthefates
byappealingtothesuffragesof anelectViennese
audienceAugust11, 1829.

On

thatoccasionhe
playedhis Variations,

Opus

1,on

"La

cidarem

lamano" andseveralimprovisations.Hissuccess
wasan unqualified one,andithehadfollowedit

upitmighthaveresulted in apermanent

resi-dence at Vienna. But after a second concert

ChopinreturnedtoWarsaw.

He

hadseen the world,hadtastedofthefruit

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FREDERIC

CHOPIN

ConstantiaGladowska, and

who

knowsbuthis
wantofdecisionindeclaringhispassionwas the
causeofhissecondvisittoVienna!Certainlyhe

becamedispirited,andaftertwovery nattering
concerts in

Warsaw

hewentto Breslau,

Dres-den andPrague,arriving inViennaduring the

summer

of1₈₃1.Chopinhad heard Rubini, the

tenor,Henriette Sontag,thesoprano,andbeing
devoted to Italian singing,enjoyedaswell as
profitedbytheirart.

Hummel

sethimwild with
enthusiasmandhemusthave envied Thalberg,
then thelion pianist, forhe speaksslightinglyof

himinhisletters.Viennawas not so pleasanta
place asformerly,for his friends, fearing the

revo-lution,hadgone to

Germany

and France.

He

soonleftforStuttgartandhearing ofthecapture
of

Warsaw

by the Russians,September8,1831

,

wrote the RevolutionaryStudyin

C

minor,

Opus

10,No.12.

Itwas October, 1831,that Chopinfirstsaw
Paris, his

home

until thedayofhis deathand

thespotwhere

now

reposehisremains.His
ca-reertherewasan eventfuloneforhim, yet
out-wardlynotrich inadventure.

As

in

Warsaw

the

twodeterminingfadlorsofhislifewerehislove

for hismother andConstantiaGladowskasoin
Paris Chopin's nature expanded.

He

enjoyed

social aswell asartistictriumphsand he met
GeorgeSand.Thiswasahappeningofprime
im-portanceforhim.

The

celebrated novelisthad
oftenboastedthatsheplayed thepartofa
step-motherto

men

of genius;thatwithout heraid

theymightneverhavefullyrealizedthemselves.

Bethisas itmay,Chopin's attachmenttothe

fascinating

woman

becameapartofhislife.

When

at lasttheybecame badfriends,he drooped,

with-ered, died. Sensitivehewasto amorbiddegree

andhereallypassedfromthecareofhismother
tothatofGeorgeSand.

When

shefailedhim, he
couldlivenolonger.

Such wasthestrangebeing

who

enchantedhis
hearers inthedrawing-roomsof theFrench

capi-tal.

A

debutatthehouse ofBaron Rothschild
decidedhisfuture.

He

becamethe"rage." Liszt

admiredhim,finallyadoredhim; andwhile

Ber-liozandMeyerbeerdeclaredthathe did not play

intime

—

thatismetronomically

—

they could
not withholdtheir

meed

ofpraise.

They

simply
could not comprehendhis use of temporubato

—

a greatlymisunderstood thingto-day.

He

was
aphenomenon. Heine swore that Chopinwas
supernatural;andhischarmingspirituelle

physi-ognomy

and fairy-likeplaying certainly aided
theillusion.Thalbergcomplainedthathis
per-formances lacked weight,andthisvvasno doubt

thetruth. For modernears,accustomedtothe
heavymasses oforchestraltonethatourvirtuosi
extortfrom their instruments, Chopin'sliquid

tonesand gossamerflightswouldpossiblyseem
unsubstantial.Buttherewasthepoetin hiswork
Therewas revealedasoulof tendernessandalso

the heroicsoul.

When

he dashed into his fiery

Eroica Polonaise he suggested the "cannons

buriedinflowers"as

Schumann

phrasedit;when

he sang withfaintironyoneofhiscapriciously

perversemazurkashishearersdivinedthat anew

art,anarthithertoundreamedof, vvasbeing
re-vealed.Hiswas indeedanewart,withits
em-ploymentof dispersed harmonies, novel use of
thepedal,anddangerous rhythmic freedom.

And

thisslenderwonder-worker, the magician ofall

thosespells,wasconstrainedfrompublic
appear-ancesbecauseofhisnervoustimidity!Itwashis
friendLiszt

who

foughtinthemusical arenaand

strangledlionswith superbeffrontery.Chopin's
naturewastoo intimate

—

"thepublicsuffocates
me,"he confessed.

Yetitmustnot be imaginedthatwithallthis
delicacyof physiqueand temperamenthewasa

sentimental,hecfticdawdler.

He

laboredoverhis

compositions,filingforhours, days, weeks,and
monthsatonepiece.

He

gave

many

lessons,but
savednomoney.

A

fewvisitstoEngland,a trip to

theislandofMajorcaintheMediterranean Sea

with theSandfamily,wherehenearlyperishedof
lung trouble,andhisrupture with

Madame

Sand

—

thisabout comprises the historyof Chopin.

Hislifeiswrit largeinhismusic.

To

itwe must

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FREDERIC

CHOPIN

III

To

make

aviable selectionfromChopin'smusic

isa perilous task;itisaquestionofalittletaken
whilegreat richesremain behind. Five Sonatas

fairlysetbeforeus themany-sidedBeethoven,

vet a Ballade,Scherzo, Etude, Prelude, Valse,

droppingofrainthrough thedilapidatedroof of

hisancientabode onthe islandevokedthe

rhyth-micfoundationofthisPrelude.

The

firstPrelude
should berepeated.

The

onein

G

with the
run-ningbass figureisverypretty insentiment.

And

Sonata, Polonaise,

Impromptu

orNocturneof itmustnot be forgottenbythestudentthatthere
Chopinwill surelysend us tothe

many

other aretwenty-two other Preludes,allasbeautiful.

neglected ones of thesame titles. Necessityis

cruel,sothe editorofa collectioniscompelledto

sacrificethemoreextendedanddifficult
compo-sitions,makinghischoicearepresentativerather

thanacomplete one.Chopin wasso versatile,he
presentedinso

many

disguises a singlethought,

thathe ends by bewildering.

The

presentedition

isthereforeanattempttopresent thecomposer
inhismostfavorablelight.

And

thisstatement

isnot to be takenin an apologeticsense.For

example,ifnecessary,theScherzoin

B

minor,

Opus

20,could havebeenincluded.Butits
relent-lessmockingspirit, itsdrasticirony

may

befound

within themoreconfinedwallsof the

B

minor
Mazurka.

Nor

isthatoverwhelmingPolonaise

in

F

sharpminorhere, for technicallyitisonly

possible inthehandsofa virtuoso.

The

editor

hasfoundthatthe

E

flatminorPolonaise,

Opus

The

Nocturnes, chosenfortheirvarietyand

wealth ofmood,give usChopin onhissecretside.

He

loved thetwilight morethan thedawn

—

dreamers ofhistypedonotriseearly

—

andin

thesixNocturneswe

may

findnearlyallhehad
to savinthis fascinating form.

The

Nocturne
in

F

sharpischarged withfeeling-yetitmust

not be deliveredsentimentally.

The

onein

D

flat
is very poetic, a companion piece forthat in

G

majorwith its clingingdouble notes,its

at-mosphereoflanguorousreverie.

The

Nocturne
in

G

minorisvery popular.

The

secondtheme

issaid tobe thetranscriptionof

monks

chanting

insomebare,ruinedchoir.

The

fiveStudiesare

themorepleasing, the technicalproblemsbeing
hidden by thegracefuldevicesof thecomposer.

The

firstonein

G

flatisfamiliar intheconcert

room

andwithitscompanioninthesame keyis

26,No.2,contains insufficientabundancethe very brilliantandeffective.

The

iEolian

Harp

revolt,thefireandhatredof thelaterPolonaise. Studyin

A

flatisanotherfavorite;buttheone

The

othertwo Polonaises,in

C

sharpminor and in

D

flatdeservestobe heardmorefrequently.

A

major, giveacompletepictureofChopin'sca- Itisastudyincontrastedrhythmsandlegatoand
priciousmelancholyandhismartialvigor:indeed staccato touches. Sprightly,graceful,charming,
the

A

major Polonaise,surnamedtheMilitary, thisdaintypiecerepayscarefulstudy.

isquite asheroicasthemorecelebratedonein

A

flatmajor, the

Drum

Polonaise.

Thiscollectionopens with the Preludes.These
tiny,questioningtone-poemswerecomposedby

Chopin

—

someofthem, notall

—

whilehelay
ailing atMajorca.

The

onein

D

flatisjustly

cele-bratedanditiscalledtheRaindrop.Chopin,so
relates

Madame

Sand,sawinawaking dreamher

andthetwochildrendrowned

—

shewas absent
during the progress ofastorm,tropical in its

severity

—

anditwasthe drip-drip of therain
uponthefacesofthedeadthatsentthetoo

imagi-nativepoet shiveringto his piano.Probably the

Out

of

many

Mazurkaseightarechosen.Inno
formhasChopinmanifestedhis originalityasin

these epigrammatic dances

—

they have been

calledDancesofthe Soul.Varietyin

mood

and
tonalityisduly considered.

Thus

opposedtothe
saucy

Mazurka

in Bflat,thesad hesitancyof

theoneinBflatminorproves an admirablefoil.

The

A

minor

Mazurka

hasthatmorbidflavor
whichbetokensasoulweary oflife;but thetwo

in

D

flatand

A

flatareexcellent antidotes.

The

Funeral

March

needs no

comment

here. Itstill

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FREDERIC

CHOPIN

analysis.

The

twoImpromptusare

studiesincon-trast;thefirst allclarity,itsoutlinesnever blurred

;

the secondisredolent ofcapriceandpessimism.

With

the

A

flatBallade

we

come uponthelarger

forms of the master,aformspecifically hisown.

Inithisdramaticdespair, hisdefiance tofate,his

meltinglyricismandhis brilliant flightsarefelt.

ThisBalladeiswonderful.It requireswell-trained
fingersandaboldheart tosubdueit.

The

stu-dentmustgive especialstudytopedalingand

phrasing.

"The

pedalisthe breathof the

piano-forte."

The

Polonaiseshave been mentioned.

The

Valses, too,

demand

noextendedcommentary.

They

range thegamutof the

Warsaw

Chopinto

theChopinofParis.

And

theyalldance.

They

are
averitableDanceof theNerves.

The

more

cele-bratedarethetwoin

A

flat,

Opus

42,and

C

sharp
minor,

Opus

64,No.2.

The

firstandthelastin

A

minor,

Opus

34,and

E

minor [posthumous]

exhale melancholy.Buttheonein

D

flat

—

named

theValseof theLittle

Dog

—

andthosein

G

flat

andAflataredelightful in theirswingingrhythms

andsubtleavoidanceof the banalaccent.

With

the

famousScherzoinBflatminor
thevolumeiscom-plete.ThisByronic

poem

fulloffire,fury,and

sweetnessistheveryepitomeofChopin's
inner-mostnature.His wasahaughtyifshrinking sou!

andthehatredhefeltfor hiscountry's oppressors

mingledwithhis

own

senseofimpotence

—

these
opposingqualitiesgavebirth to thismagnificent
work.

The

original connotation of Scherzo is

jesting,butas

Schumann

justlyasks:

"How

is

Gravitytoclotheitself ifJest goes aboutindark

veils?"

We

may

claim thenthatthefortynumbersin

thisvolumearefairlyrepresentative ofChopin's

genius.MusicsuchastheBarcarolle, the

F

minor
Fantaisie,theKrakowiakor theAllegro de
Con-certisnotfortheamateur, so does notcomewithin
thescopeof theseselections. Variouseditions

have been consultedforthefingering,phrasing,
dynamics, pedaling,tempt,etc.Allthatthe

stu-dentrequires forbiographical orcriticalstudyof

Chopin

may

befoundinthecomprehensive
biog-raphybyFrederickNiecks,inFranzLiszt's

bril-liantmonograph,inthe Letters editedbyMoritz

Karosowski,in

Henry

T. Finck's"Chopin,"and
inthetwosmallpamphletsentitled respectively

:

"

The Works

of FredericChopin andtheirProper
Interpretation,"and"Chopin's GreaterWorks."

They

arewrittenby Jean Kleczynski ofWarsaw.

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THE

CHOPIN

PLAYER

Thesoundstortureme:Iseetheminmybrain;
Theyspinaflickeringwebofliving threads,

Likebutterfliesuponthegardenbeds,

Nets ofbright sound.Ifollow them:in vain.
Imustnotbrushtheleastdustfromtheirwings:
Theydie ofatouch;butImustcapture them,

Or

theywillturntoa caressing flame,

And

lickmysoulupwiththeir flutterings.
Thesounds tortureme:Icountthemwithmyeyes,

I feelthemlikeathirstbetweenmylips

Isitmybody ormysoul thatcries

Withlittlecoloredmouths ofsound,anddrips
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Dyingdelicatelyatmyfingertips ?

ARTHUR

SYMONS

FredericChopinisthe proudestpoetic spiritof

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