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The name of the imaginary society was the Davids-bund, probably from King David and his celebrated harp, or perhaps in virtue of David's victories over the Philistines of his day. As an illustration of Schumann's style and method of treating musical subjects, we can not do better than give his article on Chopin's "Don Juan Fantasia": "Eusebius entered not long ago.
Chopin's portrait by Ary Scheffer, his piano, and his Paris furniture perished, and his papers were believed to be among the lost. But all the while the family was keeping their very existence secret until, after forty years, it was thought proper to give them to the public. M. Karlovicz was entrusted with this honour, and La Revue Musicale of Paris chosen as the medium.
Reminds me of Monsieur's master musician playing a rhapsody in the dark, d'you remember? Listen! Gods, it's 'De puis le jour, from Louise!" Yet in the next breath he added: "Cheerful girl you have, Jack, she's switched off from her love song to Chopin's funeral march!"
This "Love Song" is one of the very best of American morceaux, and is altogether commendable. Opus 107 includes three "characteristic pieces." "The Zephyr" is dangerously like Chopin's fifteenth Prelude, with a throbbing organ-point on the same A flat. On this alien foundation, however, Bartlett has built with rich harmony. The "Harlequin" is graceful and cheery.
She vomited before she got the lid up and the colors looked like the hard, tactile brushstrokes of thick orange palpable paint of a Van Gogh. Both her trembling head and her strained and feral vomiting moans seemed to be to the rhythms of Chopin's Funeral March.
Of Chopin's procedures in friendship much may be learned from his letters; in them is to be seen something of his insinuating, cajoling ways, of his endeavours to make the person addressed believe himself a privileged favourite, and of his habit of speaking not only ungenerously and unlovingly, but even unjustly of other persons with whom he was apparently on cordial terms.
Chopin's text is more telling. Like the vast reverberation of monstrous waves on the implacable coast of a remote world is this prelude. Despite its fatalistic ring, its note of despair is not dispiriting. Its issues are larger, more impersonal, more elemental than the other preludes.
I know that I have committed a transgression, but the veil tempted me." "It is of no matter. A few moments, and you will be gone. I am waiting for some one. You may talk till that person comes." Her voice was now in its natural tone; and he was convinced that if her face were half as sweet, she must possess rare beauty. "Hush!" as the band began to breathe forth Chopin's polonaise.
It is much more likely that Mayer's mazurka was copied in the style of Chopin's handwriting, and after Mayer's death in 1862 sold as Chopin's autograph to Mr. Surveying the mazurkas in their totality, we cannot but notice that there is a marked difference between those up to and those above Op. 41.
De Lenz relates that Chopin dedicated the C sharp minor Scherzo to his pupil Gutmann, because this giant, with a prize fighter's fist, could "knock a hole in the table" with a certain chord for the left hand sixth measure from the beginning and adds quite naively: "Nothing more was ever heard of this Gutmann he was a discovery of Chopin's."
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