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I wondered what would happen when he returned to his bright kingdom. I was selfish enough to wish that he might never return to his kingdom, and that we might ride and ride for ever in the forest. And then we came to a circular clearing, with an iron cross in the middle, where roads met, a place such as occurs magically in some ballade of Chopin's.
Chopin's Polonaises Op. 26, 40, 53, and 61 are pre-eminently political, they are the composer's expression of his patriotic feelings. It is not difficult to recognise in them proud memories of past splendours, sad broodings over present humiliations, bright visions of a future resurrection. They are full of martial chivalry, of wailing dejection, of conspiracy and sedition, of glorious victories.
Her two brothers had boarded years before at the pension which Chopin's father kept at Warsaw. The acquaintance with the brothers was renewed in Paris, and when, in 1835, Chopin visited Dresden after a long journey to see his parents, he met the sister, Maria, then nineteen years old, and fell deeply and seriously in love with her.
Accounts, for instance, such as L. Enault and Karasowski have given of Chopin's first meeting with George Sand can be recommended only to those who care for amusing gossip about the world of art, and do not mind whether what they read is the simple truth or not, nay, do not mind even whether it has any verisimilitude.
On the other hand, if she had called, Chopin's friends would have kept her away from him, from the man who told Franchomme two days before his death, "She said to me that I would die in no arms but hers." Surely unless she was monstrous in her egotism, and she was not George Sand did not hear this sad speech without tears and boundless regrets. Alas! all things come too late for those who wait.
It should be played, for variety, unisono, with both hands, omitting, of course, the octave bass. Von Bulow writes cannily enough, that the second study in A minor being chromatically related to Moscheles' etude, op. 70, No. 3, that piece should prepare the way for Chopin's more musical composition.
At any rate, in the summer of 1841 we find her again at Nohant. But as it is my intention to treat of Chopin's domestic life at Nohant and in Paris with some fulness in special chapters, I shall now turn to his artistic doings. In 1839 there appeared only one work by Chopin, Op. 28, the "Preludes," but in the two following years as many as sixteen namely, Op. 35-50.
We should not drink in these thirds, sixths, &c., without taking an antidote of Bach or Beethoven. Both the nocturnes of Op. 32 are pretty specimens of Chopin's style of writing in the tender, calm, and dreamy moods. It is very simple, ornaments being very sparingly introduced.
The true gist of music it never can be; it can never truly translate what is most essential and characteristic in its expression. It is but something that we have half unconsciously imputed to music; nothing that really exists in music." The shadowy miming of Chopin's soul has nevertheless a significance for this generation.
There can be no doubt that what Chopin aimed at chiefly, or rather, let us say, what his physical constitution permitted him to aim at, was quality not quantity of tone. Of course, a true artist's touch has besides its mechanical also its spiritual aspect. With regard to this it is impossible to overlook the personal element which pervaded and characterised Chopin's touch.
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