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There are variations in the Fantaisie which end with a merry and vivacious Kujawiak. The F minor Fantaisie will be considered later. Neither by its magnificent content, construction nor opus number does it fall into this chapter. The Allegro de Concert in A, op. 46, was published in November, 1841, and dedicated to Mlle. Friederike Muller, a pupil of Chopin.
But my success with Friederike was all the greater; we danced like mad through the many couples of peasants until at one moment we got so excited that, losing all self-control, we embraced each other while her real lover was playing the dance music.
Grievously shocked, I at once withdrew my offer, as having been made without due deliberation, and strove as far as possible to allay the excitement thus produced. On the other hand, Friederike Meyer's inexplicable fate still caused me much involuntary anxiety. After she had spent several months of the previous winter in Venice, apparently to her benefit, I had written to her from St.
He managed to meet the consternation, perhaps also the reproaches, of his elderly friend with quiet composure; and to the end of his life he continued his regular daily visits to 'Mam'selle Thome, who at times would coyly pretend to sulk. It was only poor Friederike who seemed obliged at times to atone for her brother's sudden unfaithfulness.
I was also induced to spend my evenings with him, owing to the friendly and genial hospitality his wife showed me. A very great change had come over my uncle's life since my first acquaintance with him at Jeannette Thome's. The home which he, together with his sister Friederike, had found in his friend's house seemed, as time went on, to have brought in its train duties that were irksome.
After a lapse of a year I was taken by him to Leipzig, and handed over for some days to the Wagners, my own father's relatives, consisting of my uncle Adolph and his sister Friederike Wagner. This extraordinarily interesting man, whose influence afterwards became ever more stimulating to me, now for the first time brought himself and his singular environment into my life.
Friederike Meyer as the Princess and Herr Schneider as Tasso appealed to us greatly, but Hans could not get over the shameful execution of Liszt's work by the conductor, Ignaz Lachner. Before going to the theatre Friedrike gave us a luncheon at the restaurant in the Botanical Gardens. In the end the mysterious Herr von Guaita also joined us there.
For some time, although I kept up no correspondence, the memory of this episode remained firmly imprinted on my mind. Two years later, while making a rapid journey through the old district, I once more visited Friederike: the poor child approached me utterly shamefaced.
He took Friederike at once under his protection, and treated her with the greatest care, thus relieving me from the pangs of anxiety aroused by this strange case. I spent some time with Herr von Guaita, talking with him about the possibility of producing one of my operas in Frankfort.
I went to see Conductor Esser at once, and heard from him that Tristan was really being studied vigorously. With Frau Dustmann, on the other hand, I became immediately involved in very unpleasant disagreements through my relation to her sister Friederike, which it was easy to misunderstand. It was impossible to make her see how things really stood.
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