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The reader will also remember that Chopin, in his letters to Fontana, alludes twice to books of poetry one by Mickiewicz which was sent him to Majorca, the other by Witwicki which he had lost sight of. Indeed, anything Polish had an especial charm and value for Chopin. Absence from his native country so far from diminishing increased his love for it.

Niecks asks if this is not the fragment of a concerto for two pianos, which Chopin, in a letter written at Vienna, December 21, 1830, said he would play in public with his friend Nidecki, if he succeeded in writing it to his satisfaction. And is there any significance in the fact that Chopin, when sending this manuscript to Fontana, probably in the summer of 1841, calls it a concerto?

"The same markings which were indistinctly revealed to the eyes of Fontana and Huyghens in 1636 and 1659 will continue to be displayed to the astronomers of succeeding generations, though with greater fullness and perspicuity owing to improved means.

Zorzi was, of course, the small hero of the hour, especially among the women. General Pepe commanded the sortie, with Ulloa, Fontana and Cosenz as his lieutenants; Ugo Bassi, the patriot monk of Bologna, marched at the head of a battalion with the crucifix, the only arms he ever carried, in his hand.

Besides there are op. 67 and 68 published by Fontana after Chopin's death, consisting of eight Mazurkas, and there are a miscellaneous number, two in A minor, both in the Kullak, Klindworth and Mikuli editions, one in F sharp major, said to be written by Charles Mayer in Klindworth's and four others, in G, B flat, D and C major. This makes in all fifty-six to be grouped and analyzed.

Kaiser of Leyden followed in 1872 with a representation founded upon data of his own providing in 1862-64; and Terby, in his valuable Aréographie, presented to the Brussels Academy in 1873 a careful discussion of all important observations from the time of Fontana downwards, thus virtually adding to knowledge by summarising and digesting it.

From the money obtained you will give Grzymala 500 francs, the rest, 2,500 francs, you will send me as soon as possible. Love me and write. Pardon me if I overwhelm you too much with commissions, but do not be afraid, these are not the last. I think you do willingly what I ask you. My love to Johnnie. Chopin to Fontana; Marseilles, March 10, 1839: Thanks for your trouble.

The castle disappeared, and the artificers, intoxicated with joy, carried Fontana on their shoulders in triumph to his own house, amidst the sound of drums and trumpets, and the plaudits of an immense crowd.

Karasowski, it is true, quotes four letters of Chopin to Fontana as written from Nohant in 1838, but internal evidence shows that they must have been written three years later. We know from Mendelssohn's and Moscheles' allusions to Chopin's visit to London that he was at that time ailing.

It is in the minor and is like the drum-beat of tragedy. The entire ending, a stormy recitative, is in stern contrast to the dreamy beginning. Kullak in the first bar of the last line uses a G; Fontana, F sharp, and Klindworth the same as Kullak. The nocturne that follows in A flat is a reversion to the Field type, the opening recalling that master's B flat Nocturne.