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Little need be added to what has already been said in another chapter of the third composer of the group we were speaking of. Chopin, the reader will remember, told Moscheles that he loved his music, and Moscheles admitted that he who thus complimented him was intimately acquainted with it. From Mikuli we learn that Moscheles' studies were very sympathetic to his master.
Of them we learn something in Davison's Essay on the Works of F. Chopin, from which I must quote a few passages: Moscheles, Mr. Cipriani Potter, Mr. Kiallmark, Madame de Belleville-Oury, Mr. November 7, 1804; d. He is said to have had a thorough appreciation and understanding of Chopin's genius, and even in his last years played much of that master's music.
In one of the letters to Moscheles, first printed in Scribner's Magazine for February, 1888, he complains that "a book of mazurkas by Chopin, and a few new pieces of his are so mannered that they are hard to stand."
In this form the composer-pianist Moscheles heard it and was impressed by its beauty. The fascinating Scherzo and dreamy Nocturne followed. When all were elaborated and perfected, the complete work was performed by the garden house orchestra for a crowded audience, who abundantly expressed their delight.
The composer was the intimate friend of most of the celebrities of his time in art and literature. Victor Hugo, Lamartine, George Sand, Balzac, Alfred de Musset, Delacroix, Jules Janin, and Théophile Gautier were his familiar intimates; and the reunions between these and other gifted men, who then made Paris so intellectually brilliant, are charmingly described by Liszt and Moscheles.
Be this as it may, his correspondence with Moscheles, Devrient, and others, as well as the general testimony of his friends, shows us unmistakably that his home-life was blessed in an exceptional degree with intellectual sympathy, and the tenderest, most thoughtful love. In 1841 Mendelssohn became Kapellmeister of the Prussian court.
Moscheles, a great pianist in an age of great players, gave it up in despair, and confessed that he could not play Chopin's music. The latter teaches the fingers to serve his own artistic uses, without regard to the notions of the schools. It is said that M. Kalkbrenner advised Chopin to attend his classes at the Paris Conservatoire, that the latter might learn the proper fingering.
Karasowski, it is true, quotes four letters of Chopin to Fontana as written from Nohant in 1838, but internal evidence shows that they must have been written three years later. We know from Mendelssohn's and Moscheles' allusions to Chopin's visit to London that he was at that time ailing.
His Efforts soothe the Sufferings of Beethoven's Deathbed. Friendship for Mendelssohn. Moscheles becomes connected with the Leipzig Conservatorium. Death in 1870. Moscheles as Pianist and Composer. Sympathy with the Old as against the New School of the Piano. His Powerful Influence on the Musical Culture and Tendencies of his Age.
His first instruction was gained in Geneva, N.Y., from a pupil of Moscheles. He began composition early, and works of his written at the age of fourteen were performed at his boarding-school. He graduated at Hobart College in 1876, whence he went to Stuttgart to study music and architecture. A year later he was in New York studying the organ with Samuel P. Warren. He was appointed organist at St.
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