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Updated: May 21, 2025
In reading the work carefully, two points strike us in relation to his printed authorities: first, that the list of those quoted by Lenz in his "Catalogue" and "Leben des Meisters" comprises nearly all those cited by Marx; the principal additions being the works of Lenz, Oulibichef, and A. B. Marx, the latter of which he exhibits great skill in finding and making opportunities to advertise; and secondly, that, where the Russian writer, through haste, carelessness, or the want of means to verify facts and correct errors, falls into mistakes, the Berlin Professor generally agrees with him.
Lenz says that Madame Marliani was a Spanish countess and a fine lady; and George Sand describes her as good-natured and active, endowed with a passionate head and maternal heart, but destined to be unhappy because she wished to make the reality of life yield to the ideal of her imagination and the exigences of her sensibility.
This piece winds up with extreme bravura. The "lingering" mentioned by de Lenz is tempo rubato, so fatally misunderstood by most Chopin players. De Lenz in a note quotes Meyerbeer as saying Meyerbeer, who quarrelled with Chopin about the rhythm of a mazurka "Can one reduce women to notation? They would breed mischief, were they emancipated from the measure."
These coincidences are, nevertheless, so numerous, that we may say in general, what Lenz knew of the history of the man Beethoven and his works is known to Marx, what was unknown to the former is equally unknown to the latter. Marx, however, occasionally quotes passages from Schindler, Wegeler, and Ries at length, to which Lenz only gives references.
It is worth noting in this connection that J.M.R. Lenz published in 1776 a story entitled "Die beiden Alten", in which a son shuts up his father in a cellar and sends a man to kill him. But the man's heart fails him and the prisoner escapes, to reappear like a ghost among his kin.
De Lenz further quotes him: "Of the Mazurkas, one must harness a new pianist of the first rank to each of them." Yet Liszt told Niecks he did not care much for Chopin's Mazurkas. "One often meets in them with bars which might just as well be in another place. But as Chopin puts them perhaps nobody could have put them."
It seemed out of keeping entirely that she should be any relation to old money-making Lenz.
I see already we shall become more intimate, a recommendation from Liszt is worth something, you are the first pupil whom he has recommended to me; we are friends, we were comrades." Lenz had, of course, too imaginative a turn of mind to leave facts in their native nakedness, but this tendency of his is too apparent to need pointing out.
M. Mathias remarks that his master had extraordinary vigour, but only in flashes. Mikuli's preface to his edition of the works of Chopin affords more explicit information. We read there: We may summarise these various depositions by saying with Lenz that, being deficient in physical strength, Chopin put his all in the cantabile style, in the connections and combinations, in the detail.
Kleczynski calls the work The Contrition of a Sinner and devotes several pages to its elucidation. De Lenz chats most entertainingly with Tausig about it. Indeed, an imposing march of splendor is the second subject in C. A fitting pendant is this work to the C sharp minor Nocturne.
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