  STAY AT MARSEILLES (FROM MARCH TO MAY, 1839) AS DESCRIBED IN CHOPIN'S AND MADAME SAND'S LETTERS.—HIS STATE OF HEALTH.—COMPOSITIONS AND THEIR PUBLICATION.—PLAYING THE ORGAN AT A FUNERAL SERVICE FOR NOURRIT.—AN EXCURSION TO GENOA.—DEPARTURE FOR NOHANT. As George Sand and her party were obliged to stop at Marseilles, she had Chopin examined by Dr. Cauviere. This celebrated physician thought him in great danger, but, on seeing him recover rapidly, augured that with proper care his patient might nevertheless live a long time. Their stay at Marseilles was more protracted than they intended and desired; in fact, they did not start for Nohant till the 22nd of May. Dr. Cauviere would not permit Chopin to leave Marseilles before summer; but whether this was the only cause of the long sojourn of the Sand party in the great commercial city, or whether there were others, I have not been able to discover. Happily, we have first-hand information—namely, letters of Chopin and George Sand—to throw a little light on these months of the pianist-composer's life. As to his letters, their main contents consist of business matters—wranglings about terms, abuse of publishers, &c. Here and there, however, we find also a few words about his health, characteristic remarks about friends and acquaintances, interesting hints about domestic arrangements and the like—the allusion (in the letter of March 2, 1839) to a will made by him some time before, and which he wishes to be burned, will be read with some curiosity. An extract or two from the letter which George Sand wrote on March 8, 1839, to Francois Rollinat, launches us at once in medias res. At last we are in Marseilles. Chopin has stood the passage very well. He is very weak here, but is doing infinitely better in all respects, and is in the hands of Dr. Cauviere, an excellent man and excellent physician, who takes a paternal care of him, and who answers for his recovery. We breathe at last, but after how many troubles and anxieties!...Write to me here to the address of Dr. Cauviere, Rue de Rome, 71. Chopin charges me to shake you heartily by the hand for him. Maurice and Solange embrace you. They are wonderfully well. Maurice has completely recovered. Chopin to Fontana; Marseilles, March 2, 1839:— You no doubt learned from Grzymala of the state of my health and my manuscripts. Two months ago I sent you from Palma my Preludes. After making a copy of them for Probst and getting the money from him, you were to give to Leo 1,000 francs; and out of the 1,500 francs which Pleyel was to give you for the Preludes I wrote you to pay Nougi and one term to the landlord. In the same letter, if I am not mistaken, I asked you to give notice of my leaving the apartments; for were this not done before April, I should be obliged to retain them for the next quarter, till July. The second batch of manuscripts may have now reached you; for it must have remained a long time at the custom-house, on the sea, and again at the custom-house. I also wrote to Pleyel with the Preludes that I give him the Ballade (which I sold to Probst for Germany) for 1,000 francs. For the two Polonaises I asked 1,500 francs for France, England, and Germany (the right of Probst is confined to the Ballade). It seems to me that this is not too dear. In this way you ought to get, on receiving the second batch of manuscripts, from Pleyel 2,500 francs, and from Probst, for the Ballade, 500 or 600 francs, I do not quite remember, which makes altogether 3,000 francs. I asked Grzymala if he could send me immediately at least 500 francs, which need not prevent him from sending me soon the rest. Thus much for business. Now if, which I doubt, you succeed in getting apartments from next month, divide my furniture amongst you three: Grzymala, Johnnie, and you. Johnnie has the most room, although not the most sense, judging from the childish letter he wrote to me. For his telling me that I should become a Camaldolite, let him take all the shabby things. Do not overload Grzymala too much, and take to your house what you judge necessary and serviceable to you, as I do not know whether I shall return to Paris in summer (keep this to yourself). At all events, we will always write one another, and if, as I expect, it be necessary to keep my apartments till July, I beg of you to look after them and pay the quarterly rent. For your sincere and truly affectionate letter you have an answer in the second Polonaise. [FOOTNOTE: See next foot- note.] It is not my fault that I am like a mushroom that poisons when you unearth and taste it. I know I have never in anything been of service to anyone, but also not of much to myself. I told you that in the first drawer of my writing-desk near the door there was a paper which you or Grzymala or Johnnie might unseal on a certain occasion. Now I beg of you to take it out and, WITHOUT READING IT, BURN IT. Do this, I entreat you, for friendship's sake. This paper is now of no use. If Anthony leaves without sending you the money, it is very much in the Polish style; nota bene, do not say to him a word about it. Try to see Pleyel; tell him I have received no word from him, and that his pianino is entrusted to safe hands. Does he agree to the transaction I proposed to him? The letters from home reached me all three together, with yours, before going on board the vessel. I again send you one. I thank you for the friendly help you give me, who am not strong. My love to Johnnie, tell him that I did not allow them, or rather that they were not permitted, to bleed me; that I wear vesicatories, that I am coughing a very little in the morning, and that I am not yet at all looked upon as a consumptive person. I drink neither coffee nor wine, but milk. Lastly, I keep myself warm, and look like a girl. Chopin to Fontana; Marseilles, March 6, 1839:— My health is still improving; I begin to play, eat, walk, and speak, like other men; and when you receive these few words from me you will see that I again write with ease. But once more of business. I would like very much that my Preludes should be dedicated to Pleyel (surely there is still time, for they are not yet printed) and the Ballade to Robert Schumann. The Polonaises, as they are, to you and to Kessler. If Pleyel does not like to give up the dedication of the Ballade, you will dedicate the Preludes to Schumann. [FOOTNOTE: The final arrangement was that Op. 38, the "Deuxieme Ballade," was dedicated to Robert Schumann; Op. 40, the "Deux Polonaises," to Julius Fontana; the French and the English edition of Op. 28, "Vingt-quatre Preludes," to Camille Pleyel, and the German editon to J. C. Kessler.] Garczynski called upon me yesterday on his way back from Aix; he is the only person that I have received, for I keep the door well shut to all amateurs of music and literature. Of the change of dedication you will inform Probst as soon as you have arranged with Pleyel. From the money obtained you will give Grzymala 500 francs, the rest, 2,500 francs, you will send me as soon as possible. Love me and write. Pardon me if I overwhelm you too much with commissions, but do not be afraid, these are not the last. I think you do willingly what I ask you. My love to Johnnie. Chopin to Fontana; Marseilles, March 10, 1839:— Thanks for your trouble. I did not expect Jewish tricks from Pleyel; but if it is so, I beg of you to give him the enclosed letter, unless he makes no difficulties about the Ballade and the Polonaises. On the other hand, on receiving for the Ballade 500 francs from Probst, you will take it to Schlesinger. If one has to deal with Jews, let it at least be with orthodox ones. Probst may cheat me still worse; he is a bird you will not catch. Schlesinger used to cheat me, he gained enough by me, and he will not reject new profit, only be polite to him. Though a Jew, he nevertheless wishes to pass for something better. Thus, should Pleyel make the least difficulties, you will go to Schlesinger, and tell him that I give him the Ballade for France and England for 800 francs, and the Polonaises for Germany, England, and France for 1,500 francs (should he not be inclined to give so much, give them for 1,400, 1,300, and even for 1,200 francs). If he mentions the Preludes, you may say that it is a thing long ago promised to Pleyel—he wished to be the publisher of them; that he asked them from me as a favour before my departure from Paris—as was really the case. You see, my very dear friend, for Pleyel I could break with Schlesinger, but for Probst I cannot. What is it to me if Schlesinger makes Probst pay dearer for my manuscripts? If Probst pays dear for them to Schlesinger, it shows that the latter cheats me, paying me too little. After all, Probst has no establishment in Paris. For all my printed things Schlesinger paid me at once, and Probst very often made me wait for money. If he will not have them all, give him the Ballade separately, and the Polonaises separately, but at the latest within two weeks. If he does not accept the offer, then apply to Probst. Being such an admirer of mine, he must not pay less than Pleyel. You will deliver my letter to Pleyel only if he makes any difficulties. Dear me! this Pleyel who is such an adorer of mine! He thinks, perhaps, that I shall never return to Paris alive. I shall come back, and shall pay him a visit, and thank him as well as Leo. I enclose a note to Schlesinger, in which I give you full authority to act in this matter. I feel better every day; nevertheless, you will pay the portier these fifty francs, to which I completely agree, for my doctor does not permit me to move from here before summer. Mickiewicz's "Dziady" I received yesterday. What shall you do with my papers? The letters you will leave in the writing-desk, and send the music to Johnnie, or take it to your own house. In the little table that stands in the anteroom there are also letters; you must lock it well. My love to Johnnie, I am glad he is better. Chopin to Fontana; March 17, 1839:— I thank you for all your efforts. Pleyel is a scoundrel, Probst a scape-grace. He never gave me 1,000 francs for three manuscripts. Very likely you have received my long letter about Schlesinger, therefore I wish you and beg of you to give that letter of mine to Pleyel, who thinks my manuscripts too dear. If I have to sell them cheap, I would rather do so to Schlesinger than look for new and improbable connections. For Schlesinger can always count upon England, and as I am square with Wessel, he may sell them to whomsoever he likes. The same with the Polonaises in Germany, for Probst is a bird whom I have known a long time. As regards the money, you must make an unequivocal agreement, and do not give the manuscripts except for cash. I send you a reconnaissance for Pleyel, it astonishes me that he absolutely wants it, as if he could not trust me and you. Dear me, this Pleyel who said that Schlesinger paid me badly! 500 francs for a manuscript for all the countries seems to him too dear! I assure you I prefer to deal with a real Jew. And Probst, that good-for-nothing fellow, who pays me 300 francs for my mazurkas! You see, the last mazurkas brought me with ease 800 francs—namely, Probst 300 francs, Schlesinger 400, and Wessel 100. I prefer giving my manuscripts as formerly at a very low price to stooping before these...I prefer being submissive to one Jew to being so to three. Therefore go to Schlesinger, but perhaps you settled with Pleyel. Oh, men, men! But this Mrs. Migneron, she too is a good one! However, Fortune turns round, I may yet live and hear that this lady will come and ask you for some leather; if, as you say, you are aiming at being a shoemaker. I beg of you to make shoes neither for Pleyel nor for Probst. Do not yet speak to anyone of the Scherzo [Op. 39]. I do not know when I shall finish it, for I am still weak and cannot write. As yet I have no idea when I shall see you. My love to Grzymala; and give him such furniture as he will like, and let Johnnie take the rest from the apartments. I do not write to him, but I love him always. Tell him this, and give him my love. Wodzinski still astonishes me. When you receive the money from Pleyel, pay first the landlord's rent, and send me immediately 500 francs. I left on the receipt for Pleyel the Op. blank, for I do not remember the following number. Madame Sand to Madame Marliani; Marseilles, April 22, 1839:— Further on in the letter, after inviting Madame Marliani and her husband to come to Nohant in May, she proceeds thus:— He [M. Marliani] loves the country, and I shall be a match for him as regards rural pleasures, while you [Madame Marliani] will philosophise at the piano with Chopin. It can hardly be said that he enjoys himself in Marseilles; but he resigns himself to recover patiently. The following letter of Chopin to Fontana, which Karasowski thinks was written at Valdemosa in the middle of February, ought to be dated Marseilles, April, 1839:— As they are such Jews, keep everything till my return. The Preludes I have sold to Pleyel (I received from him 500 francs). He is entitled to do with them what he likes. But as to the Ballades and Polonaises, sell them neither to Schlesinger nor to Probst. But whatever may happen, with no Schonenberger [FOOTNOTE: A Paris music-publisher] will I have anything to do. Therefore, if you gave the Ballade to Probst, take it back, even though he offered a thousand. You may tell him that I have asked you to keep it till my return, that when I am back we shall see. Enough of these...Enough for me and for you. My very life, I beg of you to forgive me all the trouble; you have really been busying yourself like a friend, and now you will have still on your shoulders my removal. I beg Grzymala to pay the cost of the removal. As to the portier, he very likely tells lies, but who will prove it? You must give, in order to stop his barking. My love to Johnnie, I will write to him when I am in better spirits. My health is improved, but I am in a rage. Tell Johnnie that from Anthony as well as from me he will have neither word nor money. Yesterday I received your letter, together with letters from Pleyel and Johnnie. If Clara Wieck pleased you, that is good, for nobody can play better than she does. When you see her give her my compliments, and also to her father. Did I happen to lend you Witwicki's songs? I cannot find them. I only ask for them in case you should chance to have them. Chopin to Fontana; Marseilles, March 25 [should no doubt be April 25], 1839:— I received your letter, in which you let me know the particulars of the removal. I have no words to thank you for your true, friendly help. The particulars were very interesting to me. But I am sorry that you complain, and that Johnnie is spitting blood. Yesterday I played for Nourrit on the organ, you see by this that I am better. Sometimes I play to myself at home, but as yet I can neither sing nor dance. Although the news of my mother is welcome, its having been originated by Plat... is enough to make one consider it a falsehood. The warm weather has set in here, and I shall certainly not leave Marseilles before May, and then go somewhere else in the south of France. It is not likely that we shall soon have news from Anthony. Why should he write? Perhaps to pay his debts? But this is not customary in Poland. The reason Raciborski appreciates you so much is that you have no Polish habits, nota bene, not those Polish habits you know and I mean. You are staying at No. 26 [Chaussee d'Antin]. Are you comfortable? On what floor, and how much do you pay? I take more and more interest in these matters, for I also shall be obliged to think of new apartments, but not till after my return to Paris. I had only that letter from Pleyel which he sent through you— it is a month ago or more. Write to the same address, Rue et Hotel Beauveau. Perhaps you did not understand what I said above about my having played for Nourrit. His body was brought from Italy and carried to Paris. There was a Requiem Mass for his soul. I was asked by his friends to play on the organ during the Elevation. Did Miss Wieck play my Etude well? Could she not select something better than just this etude, the least interesting for those who do not know that it is written for the black keys? It would have been far better to do nothing at all. [FOOTNOTE: Clara Wieck gave a concert in Paris on April 16, 1839. The study in question is No. 5 of Op. 10 (G flat major). Only the right hand plays throughout on black keys.] In conclusion, I have nothing more to write, except to wish you good luck in the new house. Hide my manuscripts, that they may not appear printed before the time. If the Prelude is printed, that is Pleyel's trick. But I do not care. Mischievous Germans, rascally Jews...! Finish the litany, for you know them as well as I do. Give my love to Johnnie and Grzymaia if you see them.—Your FREDERICK. One subject mentioned in this letter deserves a fuller explanation than Chopin vouchsafes. Adolphe Nourrit, the celebrated tenor singer, had in a state of despondency, caused by the idea that since the appearance of his rival Duprez his popularity was on the wane, put an end to his life by throwing himself out of a window at Naples on the 8th of March, 1839. [FOOTNOTE: This is the generally-accepted account of Nourrit's death. But Madame Garcia, the mother of the famous Malibran, who at the time was staying in the same house, thought it might have been an accident, the unfortuante artist having in the dark opened a window on a level with the floor instead of a door. (See Fetis: Biographie universelle des Musiciens.)] Madame Nourrit brought her husband's body to Paris, and it was on the way thither that a funeral service was held at Marseilles for the much-lamented man and singer. Le Sud, Journal de la Mediterranee of April 25, 1839, [FOOTNOTE: Quoted in L. M. Quicherat's Adolphe Nourrit, sa vie, son talent, son caractere] shall tell us of Chopin's part in this service:— At the Elevation of the Host were heard the melancholy tones of the organ. It was M. Chopin, the celebrated pianist, who came to place a souvenir on the coffin of Nourrit; and what a souvenir! a simple melody of Schubert, but the same which had so filled us with enthusiasm when Nourrit revealed it to us at Marseilles—the melody of Les Astres. [FOOTNOTE: Die gestirne is the original German title of this song.] A less colourless account, one full of interesting facts and free from conventional newspaper sentiment and enthusiasm, we find in a letter of Chopin's companion. Madame Sand to Madame Marliani; Marseilles, April 28, 1839:— The day before yesterday I saw Madame Nourrit with her six children, and the seventh coming shortly...Poor unfortunate woman! what a return to France! accompanying this corpse, and she herself super-intending the packing, transporting, and unpacking [charger, voiturer, deballer] of it like a parcel! They held here a very meagre service for the poor deceased, the bishop being ill-disposed. This was in the little church of Notre-Dame-du-Mont. I do not know if the singers did so intentionally, but I never heard such false singing. Chopin devoted himself to playing the organ at the Elevation, what an organ! A false, screaming instrument, which had no wind except for the purpose of being out of tune. Nevertheless, YOUR LITTLE ONE [votre petit] made the most of it. He took the least shrill stops, and played Les Astres, not in a proud and enthusiastic style as Nourrit used to sing it, but in a plaintive and soft style, like the far-off echo from another world. Two, at the most three, were there who deeply felt this, and our eyes filled with tears. The rest of the audience, who had gone there en masse, and had been led by curiosity to pay as much as fifty centimes for a chair (an unheard-of price for Marseilles), were very much disappointed; for it was expected that he would make a tremendous noise and break at least two or three stops. They expected also to see me, in full dress, in the very middle of the choir; what not? They did not see me at all; I was hidden in the organ-loft, and through the balustrade I descried the coffin of poor Nourrit. Thanks to the revivifying influences of spring and Dr. Cauviere's attention and happy treatment, Chopin was able to accompany George Sand on a trip to Genoa, that vaga gemma del mar, fior delta terra. It gave George Sand much pleasure to see again, now with her son Maurice by her side, the beautiful edifices and pictures of the city which six years before she had visited with Musset. Chopin was probably not strong enough to join his friends in all their sight-seeing, but if he saw Genoa as it presents itself on being approached from the sea, passed along the Via Nuova between the double row of magnificent palaces, and viewed from the cupola of S. Maria in Carignano the city, its port, the sea beyond, and the stretches of the Riviera di Levante and Riviera di Ponente, he did not travel to Italy in vain. Thus Chopin got at last a glimpse of the land where nine years before he had contemplated taking up his abode for some time. On returning to Marseilles, after a stormy passage, on which Chopin suffered much from sea-sickness, George Sand and her party rested for a few days at the house of Dr. Cauviere, and then set out, on the 22nd of May, for Nohant. Madame Sand to Madame Marliani; Marseilles, May 20, 1839:— We have just arrived from Genoa, in a terrible storm. The bad weather kept us on sea double the ordinary time; forty hours of rolling such as I have not seen for a long time. It was a fine spectacle, and if everybody had not been ill, I would have greatly enjoyed it... We shall depart the day after to-morrow for Nohant. Address your next letter to me there, we shall be there in eight days. My carriage has arrived from Chalon at Arles by boat, and we shall post home very quietly, sleeping at the inns like good bourgeois. |
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