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However, the end was not yet come, indeed, was not to come till two days after. M. Gavard, in saying that he did not hear what the Countess Potocka sang, acts wisely, for those who pretended to have heard it contradict each other outright.
Moreover, in addition to this trait, he was so often in the salon of the Countess Potocka that much correspondence with her was unnecessary. I have, however, discovered two letters from her to the composer. One, written in French, asks him to occupy a seat in her box at a Berlioz concert. The other is in Polish and is quite long.
Marie married the Prince de Beauvau-Craon; Delphine became Countess Potocka, and Nathalie, Marchioness Medici Spada. The last named died young, a victim to the zeal in favor of the cholera-stricken of Rome. The other two sisters went to live in Paris, and became famous for their brilliant elegance.
He did so, and behold the world is richer for this piece. I do not dispute the story. It seems well grounded, but then it is so ineffably silly! The three valses of this op. 64 were published September, 1847, and are respectively dedicated to the Comtesse Delphine Potocka, the Baronne Nathaniel de Rothschild and the Baronne Bronicka.
Chopin had lain insensible from one of his swooning attacks for some time. His sister Louise was by his side, and the Countess Delphine Potocka, his beautiful countrywoman and a most devoted friend, watched him with streaming eyes. The dying musician became conscious, and faintly ordered a piano to be rolled in from the adjoining room. He turned to the countess, and whispered, feebly, "Sing."
Among the pianist-composers who have had the immense advantage of taking lessons from Chopin, to impregnate themselves with his style and manner, we must cite Gutmann, Lysberg, and our dear colleague G. Mathias. The Princesses de Chimay, Czartoryska, the Countesses Esterhazy, Branicka, Potocka, de Kalergis, d'Est; Mdlles.
As Barrias had his reputation as a historical painter to sustain and as the likenesses of others on the canvas are correct, it is not improbable that he painted Delphine as he saw or remembered her. If so, this is the only known portrait of Chopin's faithful friend, the Countess Delphine Potocka.
The European women fascinating par excellence are the Poles; and a celebrated enchantress of that charming and fantastic race of sirens, the Countess Delphine Potocka, always reminded me of Lady Caroline Lamb, in the descriptions given of her by her adorers. With Mr.
In that year the Count and Countess Komar and their three beautiful daughters arrived in Nice. Count Komar was business manager for one of the Potockas. The girls made brilliant matches. Marie became the Princess de Beauvau-Craon; Delphine became the Countess Potocka, and Nathalie, the Marchioness Medici Spada. The last named died a victim to her zeal as nurse during a cholera plague in Rome.
My discovery of a miniature of Countess Sophie Potocka in Philadelphia, painted some fifteen or twenty years later than the Berlin pastel, and of numerous references to her in the diary of an American traveller who was entertained by her in Poland early in the last century, were among the interesting results of my search for information regarding Delphine, but they have no place here.
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