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Chopin, replying that he need not put himself to the trouble of going in search of these artists if he wished to make their acquaintance, forthwith sat down at the piano and assumed the attitude, imitated the style of playing, and mimicked the mien and gestures, first of Liszt and then of Pixis. Next evening Chopin and Nowakowski went together to the theatre.
After the death of Mendelssohn some foreign musicians living in Paris proposed to send a letter of condolence to Mrs. Mendelssohn. One part of the letter ran thus: "May it be permitted to us, German artists, far from our country, to offer," &c. The signatures to it were: Rosenhain, Kalkbrenner, Panofka, Heller, Halle, Pixis, and Wolff.
Some of the pieces were dictated by trouble, others by hope." It was also during this period of retirement that he perfected his pupil Pixis, who, with his father, lived at Schoenfeld a whole summer for the express purpose of receiving Viotti's instruction.
"Chopin was lively, merry, nay, exceedingly comical in his imitations of Pixis, Liszt, and a hunchbacked pianoforte-player." Some days afterwards, when Moscheles saw him at his own house, he found him an altogether different Chopin:
The former having left the box during one of the intervals, the latter looked round after awhile and saw Pixis sitting beside him. Nowakowski, thinking Chopin was at his favourite game, clapped Pixis familiarly on the shoulder and said: "Leave off, don't imitate now!" The surprise of Pixis and the subsequent confusion of Nowakowski may be easily imagined.
Evidently composed before Chopin's op. 1 and before 1830, they are musically light waisted, although written by one who already knew the keyboard. The last, a valse, is the brightest of the set. The theme is German. The Fantaisie, op 13, in A, on Polish airs, preceded by an introduction in F sharp minor, is dedicated to the pianist J. P. Pixis. It was published in April, 1834.
Viotti had but few pupils, but among them were a number of highly gifted artists. Rode, Robrechts, Cartier, Mdlle. Gerbini, Alday, La-barre, Pixis, Mari, Mme. Paravicini, and Vacher are well-known names to all those interested in the literature of the violin.
Grandes Variations de bravoure sur la marche des Puritans de Bellini, composees pour le concert de Madame la Princesse Belgiojoso au benefice des pauvres, par MM. Liszt, Thalberg, Pixis, H. Herz, Czerny et Chopin." Liszt wrote an orchestral accompaniment, never published.
Grandes variations de bravoure sur la marche des Puritains de Bellini, composees pour le concert de Madame la Princesse Belgiojoso au benefice des pauvres, par M.M. Liszt, Thalberg, Pixis, H. Herz, Czerny, et Chopin. This co-operative undertaking was set on foot by the Princess, and was one of her many schemes to procure money for her poor exiled countrymen.
They say that through persevering study under the direction of Chopin and Liszt she became an excellent pianist, but that the hard work brought on a chest complaint to which she succumbed on July 30, 1834. The GAZETTE MUSICALE of August 17, 1834, which notices her death, describes her as a pupil of Liszt, Chopin, and Pixis, without commenting on her abilities. Spohr admired her as a child.
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