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Chopin's love for George Sand was not instantaneous like that of Romeo for Juliet. Karasowski remembers having read in one of those letters of the composer which perished in 1863: "Yesterday I met George Sand...; she made a very disagreeable impression upon me." Hiller in his Open Letter to Franz Liszt writes:
Both admired each other sincerely as musicians. If Chopin did not care much for Liszt's compositions, he had the highest opinion of him as a pianist. We have seen in the letter of June 20, 1833, addressed to Hiller and conjointly written by Chopin and Liszt, how delighted Chopin was with Liszt's manner of playing his studies, and how he wished to be able to rob him of it.
If Herr Joachim thinks it expedient to profess that he has developed his fine style in the company of Herr Hiller, or of R. Schumann, this may rest upon its merits, provided he always plays in such wise that one may recognise the good results of several years intimate intercourse with Liszt.
Well, well!" "Perhaps it's a good thing to give the town a little rest, Mr. Hiller," said Mr. Maynard, laughing. "No, sir; no, sir; them children of yours never does anything vicious. Full of mischief they may be, full of fun they may be, but never really naughty. No, no!" Mr. Maynard expressed a laughing appreciation of these compliments, and then they started once more.
"Kindness!" repeated Harry, sneeringly; "as if kindness could have any effect on a Hiller!" "They can tell when they are kindly treated as well as any one else," said George. "And another thing," said Ben. Lake; "these Regulators must be a foolish set of fellows to suppose that the Hillers are going to stand still and be whipped.
All those who may have died long since, yet the memory of whose work and whose creations still lives, are the true masters of the violin, and its mastery is the record of their accomplishment. As a child I remember the well-known composers of the day were Marschner, Hiller, Nicolai and others yet most of what they have written has been forgotten.
Hiller had guessed, the picture left by the Earthman had been burned. Anyway, Pegasus was proof the Earthman wasn't infallible. This was one project he hadn't been able to sabotage. His eye caught the glimmer of white on the bulkhead behind the spacemonk. He didn't remember that. He got up and walked over to it, peering to see in the dimness.
The Hiller story of how Mendelssohn, Chopin, Liszt and Heller teased this grouty old gentleman on the Boulevard des Italiens is capital reading, if not absolutely true. Yet Chopin admired Kalkbrenner's finished technique despite his platitudinous manner. Heine said or rather quoted Koreff that Kalkbrenner looked like a bonbon that had been in the mud.
Fortunately, on such occasions I was spared the visits of our orchestra directors, and their worthy conductor Reissiger, and even those of F. Hiller, who was so versed in classical music. I did this in order to provide a guide to the simple understanding of the work, and thereby hoped to appeal not to the critical judgment, but solely to the feelings, of the audience.
While he was waiting for the creation of an entirely new plot for his next opera, Hiller devoted himself to the study of chamber music, to which his large and well-furnished room lent itself most admirably.
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