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Updated: May 12, 2025
A more reliable witness is Franchomme, who in a letter to me summed up the information which he had given me on this subject by word of mouth as follows: It was in 1837 that he formed the liaison with George Sand; it was in 1847 that the rupture took place; it was on the 17th October that my dear friend said farewell to us. The rupture between Chopin and Madame Sand came about in this way.
Divers fragments de Handel, chante par Madame Viardot- Garcia. Solo pour Violoncello, par M. Franchomme. Nocturne, Preludes, Mazurkas et Impromptu. Le Chene et le Roseau, chante par Madame Viardot-Garcia, accompagne par Chopin. Maurice Bourges, who a week later reports on the concert, states more particularly what Chopin played. Maurice Bourges's account is not altogether free from strictures.
When Franchomme, who knew what had been done, visited Chopin a few days afterwards, the invalid lamented as on previous occasions his impecuniosity, and in answer to the questions of his astonished friend stated that he had received nothing.
Schumann thinks "Chopin sketched the whole of it, and that Franchomme said 'Yes' to everything." It is for the salon of 1833, when it was published. It is empty, tiresome and only slightly superior to compositions of the same sort by De Beriot and Osborne.
Liszt and Karasowski, who follows him, say that the Countess sang the Hymn to the Virgin by Stradella, and a Psalm by Marcello; on the other hand, Gutmann most positively asserted that she sang a Psalm by Marcello and an air by Pergolesi; whereas Franchomme insisted on her having sung an air from Bellini's Beatrice di Tenda, and that only once, and nothing else.
My sister rejoices at the idea of seeing Madame Franchomme again, and I also do so most sincerely. This shall be as God wills. Kindest regards to M. and Madame Forest. How much I should like to be some days with you! Is Madame de Lauvergeat also at the sea- side? Do not forget to remember me to her, as well as to M. de Lauvergeat. Embrace your little ones. Write me a line. Yours ever.
It seems to me that Chopin sketched the whole of it, and that Franchomme said "yes" to everything; for what Chopin touches takes his form and spirit, and in this minor salon-style he expresses himself with grace and distinction, compared with which all the gentility of other brilliant composers together with all their elegance vanish into thin air.
And in a letter dated Edinburgh, August 6, and Calder House, August 11, he writes to Franchomme: "I have a Broadwood piano in my room, and the Pleyel of Miss Stirling in the salon."
But another real question is, that I hope you have no friends to deplore in all these terrible affairs. And the health of Madame Franchomme and of the little children? Write me a line, and address it to London, care of Mr. Broadwood, 33, Great Pulteney Street, Golden Square. I wish I were able to compose a little, were it only to please these good ladies Madame Erskine and Mdlle. Stirling.
Nothing, however, shows his love for the great German master more unmistakably and more touchingly than the words which on his death-bed he addressed to his dear friends the Princess Czartoryska and M. Franchomme: "You will play Mozart together, and I shall hear you." And why did Chopin regard Mozart as the ideal type, the poet par excellence?
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