MUSIC AND MUSICIANS IN POLAND BEFORE AND IN CHOPIN'S TIME.

THE golden age of Polish music, which coincides with that of Polish literature, is the sixteenth century, the century of the Sigismonds. The most remarkable musician of that time, and probably the greatest that Poland produced previous to the present century, was Nicolas Gomolka, who studied music in Italy, perhaps under Palestrina, in whose style he wrote. Born in or about the beginning of the second half of the sixteenth century, he died on March 5, 1609. During the reigns of the kings of the house of Saxony (1697-1763) instrumental music is said to have made much progress. Be this as it may, there was no lack of opportunities to study good examples. Augustus the Strong (I. of Saxony and II of Poland) established a special Polish band, called, in contradistinction to the Grosse Kammermusik (Great Chamber-band) in Dresden, Kleine Kammermusik (Little Chamber-band), whose business it was to be in attendance when his majesty went to Poland. These visits took place usually once a year, and lasted from, August to December, but sometimes were more frequent, and shorter or longer, just as occasion might call for. Among the members of the Polish band—which consisted of a leader (Premier), four violins, one oboe, two French horns, three bassoons, and one double bass—we meet with such well-known men as Johann Joachim Quanz and Franz Benda. Their conductor was Alberto Ristori, who at the same time held the post of composer to the Italian actors, a company that, besides plays, performed also little operas, serenades, intermezzi, &c. The usual retinue of the King on his visits to Poland included also a part of the French ballet and comedy. These travels of the artistic forces must have been rich in tragic, comic, and tragi-comic incidents, and would furnish splendid material for the pen of a novelist. But such a journey from the Saxon capital to Warsaw, which took about eight days, and cost on an average from 3,000 to 3,500 thalers (450 to 525 pounds), was a mere nothing compared with the migration of a Parisian operatic company in May, 1700. The ninety-three members of which it was composed set out in carriages and drove by Strasburg to Ulm, there they embarked and sailed to Cracow, whence the journey was continued on rafts. [FOOTNOTE: M. Furstenau, Zur Geschichte der Music und des Theaters am Hofe zu Dresden.] So much for artistic tours at the beginning of the eighteenth century. Frederick Augustus (II of Saxony and III of Poland, 1733-1763) dissolved the Polish band, and organised a similar body which was destined solely for Poland, and was to be resident there. It consisted in 1753 of an organist, two singers, twenty instrumentalists (almost all Germans), and a band-servant, their salary amounting to 5,383 thalers, 10 groschen (a little more than 805 pounds). Notwithstanding this new arrangement, the great Dresden band sometimes accompanied the King to Poland, and when it did not, some of its members at least had to be in attendance for the performance of the solos at the chamber concerts and in the operas. Also such singers, male and female, as were required for the operas proposed for representation had to take to the road. Hasse and his wife Faustina came several times to Poland. That the constellation of the Dresden musical establishment, in its vocal as well as instrumental department, was one of the most brilliant imaginable is sufficiently proved by a glance at the names which we meet with in 1719: Lotti, Heinichen, Veracini, Volumier, Senesino, Tesi, Santa Stella Lotti, Durastanti, &c. Rousseau, writing in 1754, calls the Dresden orchestra the first in Europe. And Burney says in 1772 that the instrumental performers had been some time previously of the first class. No wonder, then, if the visits of such artists improved the instrumental music of Poland.

From Sowinski's Les Musiciens Polonais we learn that on great occasions the King's band was reinforced by those of Prince Czartoryski and Count Wielhorski, thus forming a body of 100 executants. This shows that outside the King's band good musicians were to be found in Poland. Indeed, to keep in their service private bands of native and foreign singers and players was an ancient custom among the Polish magnates; it obtained for a long time, and had not yet died out at the beginning of this century. From this circumstance, however, we must not too rashly conclude that these wealthy noblemen were all animated by artistic enthusiasm. Ostentatiousness had, I am afraid, more to do with it than love of art for art's sake. Music was simply one of the indispensable departments of their establishments, in the splendour and vastness of which they tried to outdo each other and vie with sovereign rulers. The promiscuous enumeration of musicians, cooks, footmen, &c., in the lady's description of a nobleman's court which I referred to in the proem, is in this respect very characteristic. Towards the middle of the last century Prince Sanguszko, who lived at Dubno, in Volhynia, had in his service no less than two bands, to which was sometimes joined a third belonging to Prince Lubomirski. But, it will be asked, what music did they play? An author of Memoirs of the reign of Augustus III tells us that, according to the Polish fashion, they had during meal-times to play national airs, polonaises, mazurkas, &c., arranged for wind-instruments, with or without violins. For special occasions the Prince got a new kind of music, then much in favour—viz., a band of mountaineers playing on flutes and drums. And while the guests were sitting at the banquet, horns, trumpets, and fifes sounded fanfares. Besides the ordinary and extraordinary bands, this exalted personage had among his musical retainers a drummer who performed solos on his instrument. One is glad to learn that when the Prince was alone or had little company, he took delight in listening to trios for two violins and bass, it being then the fashion to play such ensemble pieces. Count Ilinski, the father of the composer John Stanislas Ilinski, engaged for his private theatre two companies, one from Germany and one from Italy. The persons employed in the musical department of his household numbered 124. The principal band, conducted by Dobrzyrnski pere, a good violinist and conductor, consisted of four violins, one viola, one violoncello, one double bass, one flute, one oboe, one clarinet, and one bassoon. Villagers were trained by these players to assist them. Then there was yet another band, one of wind instruments, under the direction of Karelli, a pupil of the Russian composer Bartnianski [Footnote: The Russian Palestrina, whose name is oftener met with in the forms of Bortnianski and Bortniansky]. The chorus was composed of twenty four voices, picked from the young people on Count Ilinski's estates. However questionable the taste of many of these noble art patrons may have been, there were not wanting some who cultivated music with a purer spirit. Some of the best bands were those of the Princes D. Radziwill, Adam Czartoryski, F. Sulkowski, Michael Lubomirski, Counts Ilinski, Oginski, and Wielhorski. Our inquiry into the cultivation of music at the courts of the Polish magnates has carried us beyond the point we had reached in our historical survey. Let us now retrace our steps.

The progress of music above spoken of was arrested by the anarchy and the civil and other wars that began to rage in Poland with such fury in the middle of the last century. King Stanislas Poniatowski (1764-1795) is credited with having exercised great influence on the music of Poland; at any rate, he patronised the arts and sciences right royally. The Italian opera at Warsaw cannot have been of mean standing, seeing that artists such as the composers Paisiello and Cimarosa, and the great violinist, composer, and conductor Pugnani, with his pupil Viotti (the latter playing second violin in the orchestra), were members of the company. And the King's band of foreign and native players has been called one of the best in Europe. Still, all this was but the hothouse bloom of exotics. To bring about a natural harvest of home produce something else was wanted than royal patronage, and this something sprang from the series of disasters that befell the nation in the latter half of the last century, and by shaking it to its very heart's core stirred up its nobler self. As in literature, so in music, the national element came now more and more into action and prominence.

Up to 1778 there had been heard in Poland only Italian and French operas; in this year, for the first time, a Polish opera was put on the stage. It is true the beginning was very modest. The early attempts contained few ensemble pieces, no choruses, and no complex finales. But a new art does not rise from the mind of a nation as Minerva is said to have risen from the head of Jupiter. Nay, even the fact that the first three composers of Polish operas (Kamienski, Weynert, and Kajetani) were not Poles, but foreigners endeavouring to write in the Polish style, does not destroy the significance of the movement. The following statistics will, no doubt, take the reader by surprise:—From the foundation of the national Polish opera in 1778 till April 20, 1859, 5,917 performances of 285 different operas with Polish words took place in Poland. Of these 92 were national Polish operas, the remaining 193 by Italian, French, and German composers; 1,075 representations being given of the former, 4,842 of the latter. The libretti of 41 of the 92 Polish operas were originals, the other 51 were translations. And, lastly, the majority of the 16 musicians who composed the 92 Polish operas were not native Poles, but Czechs, Hungarians, and Germans [FOOTNOTE: Ladislas von Trocki, Die Entwickelung der Oper in Polen. (Leipzig, 1867.)]

A step hardly less important than the foundation of a national opera was the formation, in 1805, of a Musical Society, which had for its object the improvement as well as the amusement of its members. The idea, which originated in the head of one of the Prussian officials then in Warsaw, finding approval, and the pecuniary supplies flowing in abundantly, the Oginski Palace was rented and fitted up, two masters were engaged for the teaching of solo and choral singing, and a number of successful concerts were given. The chief promoters seem to have been Count Krasinski and the two Prussian officials Mosqua and E. Th. A. Hoffmann. In the last named the reader will recognise the famous author of fantastic tales and of no less fantastic musical criticisms, the conductor and composer of operas and other works, &c. According to his biographer, J. E. Hitzig, Hoffmann did not take much interest in the proceedings of the Musical Ressource (that was the name of the society) till it bought the Mniszech Palace, a large building, which, having been damaged by fire, had to undergo extensive repairs. Then, indeed, he set to work with a will, planned the arrangement and fitting-up of the rooms, designed and partly painted the decorations—not without freely indulging his disposition for caricature—and when all was ready, on August 3, 1806 (the King of Prussia's birthday), conducted the first concert in the splendid new hall. The activity of the society was great, and must have been beneficial; for we read that they had every Sunday performances of quartets and other kinds of chamber music, that ladies frequently came forward with pianoforte sonatas, and that when the celebrated violinist Moser, of Berlin, visited Warsaw, he made them acquainted with the finest quartets of Mozart and Haydn. Still, I should not have dwelt so long on the doings of the Musical Ressource were it not that it was the germ of, or at least gave the impulse to, even more influential associations and institutions that were subsequently founded with a view to the wider diffusion and better cultivation of the musical art in Poland. After the battle of Jena the French were not long in making their appearance in Warsaw, whereby an end was put to Prussia's rule there, and her officials were sent about, or rather sent out of, their business. Thus the Musical Ressource lost many of its members, Hoffmann and Mosqua among others. Still, it survived, and was reconstructed with more national elements. In Frederick Augustus of Saxony's reign it is said to have been transformed into a school of singing.

The year 1815 brought into existence two musical institutions that deserve to be noticed—society for the cultivation of church music, which met at the College of the Pianists, and had at its head Count Zabiello as president and Elsner as conductor; and an association, organised by the last-named musician, and presided over by the Princess Sophia Zamoyska, which aimed at the advancement of the musical art in Poland, and provided for the education of music teachers for schools, organists for churches, and singers for the stage. Although I try to do my best with the unsatisfactory and often contradictory newspaper reports and dictionary articles from which I have to draw my data, I cannot vouch for the literal correctness of my notes. In making use of Sowinski's work I am constantly reminded of Voltaire's definition of dictionaries: "Immenses archives de mensonges et d'un peu de verite." Happy he who need not consult them! In 1816 Elsner was entrusted by the minister Staszyc with the direction of a school of dramatic singing and recitation; and in 1821, to crown all previous efforts, a conservatorium was opened, the programme of which might almost have satisfied a Berlioz. The department of instrumental music not only comprised sections for the usual keyed, stringed, and wind instruments, but also one for instruments of percussion. Solo and choral singing were to be taught with special regard to dramatic expression. Besides these and the theoretical branches of music, the curriculum included dancing, Polish literature, French, and Italian. After reading the programme it is superfluous to be informed that the institution was chiefly intended for the training of dramatic artists. Elsner, who was appointed director, selected the teaching staff, with one exception, however, that of the first singing-master, for which post the Government engaged the composer Carlo Evasio Soliva, a pupil of Asioli and Frederici.

The musical taste and culture prevailing in Poland about 1819 is pretty accurately described by a German resident at Cracow. So far as music was concerned Poland had hitherto been ignored by the rest of Europe, and indeed could lay no claim to universal notice in this respect. But the improved culture and greater insight which some had acquired in foreign lands were good seeds that began to bear fruit. As yet, however, the greater part of the public took little or no interest in the better class of music, and was easily pleased and satisfied with polonaises, mazurkas, and other trivial things. In fact, the music in Cracow, notwithstanding the many professional musicians and amateurs living there, was decidedly bad, and not comparable to the music in many a small German town. In Warsaw, where the resources were more plentiful, the state of music was of course also more prosperous. Still, as late as 1815 we meet with the complaint that what was chiefly aimed at in concerts was the display of virtuosity, and that grand, serious works were neglected, and complete symphonies rarely performed. To remedy this evil, therefore, 150 amateurs combined and organised in 1818 a concert institution. Their concerts took place once a week, and at every meeting a new and entire symphony, an overture, a concerto, an aria, and a finale, were performed. The names of Beethoven, Haydn, Mozart, Cherubini, Spohr, Mehul, Romberg, &c., were to be found on their programmes. Strange to say, there were no less than seven conductors: Lessel, Lentz, Wurfel, Haase, Javurek, Stolpe, and Peschke, all good musicians. The orchestra consisted in part of amateurs, who were most numerous among the violins, tenors, and violoncellos. The solo department seems to have been well stocked. To confine ourselves to one instrument, they could pride themselves on having four excellent lady pianists, one of whom distinguished herself particularly by the wonderful dexterity with which she played the most difficult compositions of Beethoven, Field, Ries, and Dussek. Another good sign of the improving taste was a series of twenty-four matinees given on Sundays from twelve to two during the winter of 1818-1819 by Carl Arnold, and much patronised by the highest nobility. The concert-giver, a clever pianist and composer, who enjoyed in his day a good reputation in Germany, Russia, and Poland, produced at every matinee a new pianoforte concerto by one of the best composers—sometimes one of his own—and was assisted by the quartet party of Bielawski, a good violinist, leader in the orchestra, and professor at the Conservatorium. Although Arnold's stay was not of long duration, his departure did not leave the town without good pianists. Indeed, it is a mistake to suppose that Warsaw was badly off with regard to musicians. This will be evident to the reader as soon as I have named some of those living there in the time of Chopin. Wenzel W. Wurfel, one of the professors at the Conservatorium, who stayed in Warsaw from 1815 to 1824, and afterwards went to Vienna, where he became conductor at the Karnthnerthor Theater, was an esteemed pianist and composer, and frequently gave concerts, at one of which he played Field's Concerto in C.

[FOOTNOTE: Wenzel Wilhelm Wurfel, in most dictionaries called Wilhelm Wurfel (exceptions are: E. Bernsdorf's "Neues Universal-Lexikon der Tonkunst", and Dr. Hugo Riemann's "Opern-Handbuch"). A Warsaw correspondent of a German musical paper called him Waclaw Wurfel. In Whistling's "Handbuch der musikalischen Literatur" his Christian names are only indicated by initials—W. W.]

If we scan the list of professors at the Conservatorium we find other musicians whose reputation was not confined to the narrow limits of Warsaw or even Poland. There was, for instance, the pianist and composer Franz Lessel, the favourite pupil of Haydn; and, further, that interesting character Heinrich Gerhard Lentz, who, born and educated at Cologne, went in 1784 to Paris, played with success his first concerto at the Concert Spirituel, published some of his compositions and taught in the best families, arrived in London in 1791, lived in friendly intercourse with Clementi and Haydn, and had compositions of his performed at Solomon's concerts, returned to Germany in 1795, stayed with Prince Louis Ferdinand of Prussia till Dussek supplanted him, and so, wandering about, reached Warsaw, where he gave lessons, founded a pianoforte manufactory, became professor of the organ at the Conservatorium, married twice, and died in 1839. The only other professor at the Conservatorium about whom I shall say a few words is C. E. Soliva, whose name and masters I have already mentioned. Of his works the opera "La testa di bronzo" is the best known. I should have said "was," for nobody now knows anything of his. That loud, shallow talker Count Stendhal, or, to give him his real name, Marie Henry Beyle, heard it at Milan in 1816, when it was first produced. He had at first some difficulty in deciding whether Soliva showed himself in that opera a plagiarist of Mozart or a genius. Finally he came to the conclusion that—

By this time the reader must have found out that Warsaw was not such a musical desert as he may at first have imagined. Perfect renderings of great orchestral works, it is true, seem to have been as yet unattainable, and the performances of operas failed likewise to satisfy a pure and trained taste. Nay, in 1822 it was even said that the opera was getting worse. But when the fruits of the Conservatorium had had time to ripen and could be gathered in, things would assume a more promising aspect. Church music, which like other things had much deteriorated, received a share of the attention which in this century was given to the art. The best singing was in the Piarist and University churches. In the former the bulk of the performers consisted of amateurs, who, however, were assisted by members of the opera. They sang Haydn's masses best and oftenest. In the other church the executants were students and professors, Elsner being the conductor. Besides these choirs there existed a number of musical associations in connection with different churches in Warsaw. Indeed, it cannot be doubted that great progress was made in the first thirty years of this century, and had it not been for the unfortunate insurrection of 1830, Poland would have succeeded in producing a national art and taking up an honourable position among the great musical powers of Europe, whereas now it can boast only of individual artists of more or less skill and originality. The musical events to which the death of the Emperor Alexander I. gave occasion in 1826, show to some extent the musical capabilities of Warsaw. On one day a Requiem by Kozlowski (a Polish composer, then living in St. Petersburg; b. 1757, d. 1831), with interpolations of pieces by other composers, was performed in the Cathedral by two hundred singers and players under Soliva. On another day Mozart's Requiem, with additional accompaniments by Kurpinski (piccolos, flutes, oboes, clarinets, and horns to the Dies irae and Sanctus; harps to the Hostias and Benedictus; and a military brass-band to the closing chorus!!!), was given in the same place by two hundred and fifty executants under the last-mentioned musician. And in the Lutheran church took place a performance of Elsner's Requiem for male voices, violoncellos, bassoons, horns, trumpets, trombones, and drums.

Having made the reader acquainted with the musical sphere in which Chopin moved, I shall take up the thread of the narrative where I left it, and the reader may follow without fear of being again detained by so long an interruption.