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A moment after this, there was a knock at my door, and this same man entered. It was W , the poet of nature, who is only a poor tailor, but who has a truly poetical mind. Rellstab and others in Berlin have mentioned him with honor; there is something healthy in his poems, among which several of a sincerely religious character may be found.
The indisputable superiority to Herz and the rest of the shallow-pated variationists caused Schumann's passionate admiration. It has, however, given us an interesting page of music criticism. Rellstab, grumpy old fellow, was near right when he wrote of these variations that "the composer runs down the theme with roulades, and throttles and hangs it with chains of shakes."
Indeed, the composer's demands on the technique of the executant were so novel at the time when the studies made their first public appearance that one does not wonder at poor blind Rellstab being staggered, and venting his feelings in the following uncouthly- jocular manner: "Those who have distorted fingers may put them right by practising these studies; but those who have not, should not play them, at least not without having a surgeon at hand."
But as I had embarked upon this Berlin enterprise in contradiction to all my inmost wishes, and prompted solely by the desire of winning the success so vital to my position, I made up my mind to make a personal appeal to Rellstab.
But critics are not all safe guides, and even to-day we find many unmusical men in responsible newspaper positions, so it is not surprising to find an occasional misunderstanding occur. In Vienna, for instance, we find the influential but self-important Rellstab writing that it is "a shame that she is in the hands of a father who allows such nonsense as Chopin's to be played."
The former sounds more varied, but we may suppose the latter to be correct because of Mikuli. Yet this exquisite flight into the blue, this nocturne which should be played before sundown, excited the astonishment of Mendelssohn, the perplexed wrath of Moscheles and the contempt of Rellstab, editor of the "Iris," who wrote in that journal in 1834 of the studies in op. 10:
There was plenty of such entertainment in winter, and we had our part in much of it. Rellstab, the well-known editor of Voss's journal, made a clever collection of such jokes in his Christmas Wanderings. We could read, and whatever was offered by that literary St. Nicholas and highly respected musical critic for cultivated Berlin our mother was quite willing we should enjoy.
In short, if one holds Field's charming romances before a distorting, concave mirror, so that every delicate impression becomes a coarse one, one gets Chopin's work. We implore Mr. Chopin to return to nature." Rellstab might have added that while Field was often commonplace, Chopin never was.
Besides the "hard, inartistic modulations, the startling progressions and abrupt changes of mood" that jarred on the old-fashioned Moscheles, and dipped in vitriol the pen of Rellstab, there is in the Mazurkas the greatest stumbling block of all, the much exploited rubato. Berlioz swore that Chopin could not play in time which was not true and later we shall see that Meyerbeer thought the same.
Indeed, it was in Berlin that the extraordinary respect entertained for such a commemoration of Gluck had its origin. I was told that Meyerbeer went to Rellstab with the score of Armida in order to obtain hints as to its correct interpretation.
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