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Updated: June 21, 2025
For the dissipations of the "average sensual man" he had an abiding contempt. He never smoked, in fact disliked it. His friend Sand differed greatly in this respect, and one of the saddest anecdotes related by De Lenz accuses her of calling for a match to light her cigar: "Frederic, un fidibus," she commanded, and Frederic obeyed. Mr.
In the southern Congo basin iron and copper are worked; also wood and ivory carving and pottery making are pursued. In equatorial West Africa, Lenz and Du Chaillu found iron workers with charcoal, and also carvers of bone and ivory.
Philip Hale mentions a letter from Balzac to his Countess Hanska, dated March 15, 1841, which concludes: "George Sand did not leave Paris last year. She lives at Rue Pigalle, No. 16...Chopin is always there. Elle ne fume que des cigarettes, et pas autre chose" Mr. Hale states that the italics are in the letter. So much for De Lenz and his fidibus! I am impelled here to quote from Mr.
Halle naturally concluded that Chopin could not have studied the works of Beethoven thoroughly. This conjecture is confirmed by what we learn from Lenz, who in 1842 saw a good deal of Chopin, and thanks to his Boswellian inquisitiveness, persistence, and forwardness, made himself acquainted with a number of interesting facts.
Franchomme said to me that Meyerbeer was not a great friend of Chopin's; but that the latter, though he did not like his music, liked him as a man. If Lenz reports accurately, Meyerbeer's feelings towards Chopin were, no doubt, warmer than Chopin's towards Meyerbeer.
It blew violently, and the rain soon changed to snow, frozen by a bitter north blast. Crossing the dreary heath of Lenz was both magnificent and dreadful. By the time we reached Wiesen, all the forests were laden with snow, the roads deep in snow-drifts, the whole scene wintrier than it had been the winter through. At Wiesen we should have stayed, for evening was fast setting in.
The first volume of "Beethoven, eine Kunststudie" is a "Leben des Meisters," a mere sketch, made up from the same works as the "Catalogue," with a very few additions from other sources. As a biographer, Lenz fails as signally as in his capacity of critic.
'Goetz von Berlichingen' had won its way into favor as a book for the reader. The dramatic works of Klinger, Lenz, Wagner and the like, were for the most part too extravagant and amorphous for representation, and Shakspere's day had not yet come.
Between 1770 and 1780, Lenz and Maler Müller composed, the former his "Hoellenrichter," the latter his dramatized Life of Dr. Faustus. Schreiber, Soden, Klinger, Schink, followed them, the last-named with several productions referring to the subject.
Lenz sat down at the piano, tried the gue of it an expression at which Chopin, who was leaning languidly on the piano and looking with his intelligent eyes straight in his visitor's face, smiled and then struck up the Mazurka in B flat major. When he came to a passage in which Liszt had taught him to introduce a volata through two octaves, Chopin whispered blandly:
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