CHAPTER XX

An Epitaph for a Poet

The death of an artist is the moment of his transfiguration. There are many who were thought great, whose work nevertheless returns at once to the dust. For others, on the contrary, the state of glory only begins with death. Perhaps, as Delacroix said, in art everything is a matter of the soul. We have not yet reached agreement as to the meaning and value of that little word. But if it were necessary to give a working idea of it, nothing would furnish it better than music. “A cry made manifest,” Wagner called it. Doubtless that means: the most spontaneous expression of oneself. The artist is he who has need to give form to his cry.

Each one sets about it in his own manner. With a life expended sumptuously like that of Liszt, contrast that of Chopin, entirely reserved, not to be plucked by any hand, but so much the more filled with perfume. All that he did not give forth, his love which none could seize, his modesty and his timidity, that constant fever for perfection, his elegancies, his exile’s home-sickness, and even his moments of communication with the unknowable,—all these things are potent in his work. To-day that is still the secret of its strength; music received what men and women disdained. It is for music that he refused himself. How one understands the desolation of Schumann when he learned of the death of the swan, and this beautiful metaphor gushed spontaneously from his pen: “The soul of music has passed over the world.”

Just this must the crowds have dimly felt as they pressed to the Temple of the Madeleine on the 30th of October, 1849. Thirteen days had been required to prepare for the funeral that they wished to be as solemn as the life of the dead had not been. But he was not even a Chevalier of the Legion of Honour, this Monsieur Frederick Chopin! No matter. “Nature had a holiday air,” reported the papers. Many lovely toilettes. (He would have been flattered.) All the leaders of the musical and literary world, Meyerbeer at their head, Berlioz, Gautier, Janin. Only George Sand was missing. M. Daguerry, the Curé of the Madeleine, spent two weeks in obtaining permission for women to sing in his church. It is to the obsequies of Chopin that we owe this tolerance. Without that, it would have been impossible to give Mozart’s _Requiem_. It was played by the orchestra of the Conservatoire, conducted by Giraud. The soloists were hidden by a black drapery behind the altar: Pauline Viardot and Mme. Castellan, Lablache and Alexis Dupont. Lefébure-Wély was at the organ. During the Offertory, they played two _Preludes_, that in E minor (no. 4) and the 6th, in B minor, written at Majorca in that dusk when Chopin had seen death while the rain fell in torrents on the Chartreuse of Valdemosa.

The coffin was then lowered in the midst of the congregation, while the famous _Funeral March_, orchestrated by Reber, sounded for the first time. The cords of the pall were held by Prince Czartoryski, Franchomme, Delacroix and Gutmann. Meyerbeer walked behind the hearse. They set out, down the Boulevards, for the cemetery of Père-Lachaise. There the body of Chopin was buried, except the heart, which was sent to Warsaw, where it has since remained in the church of the Holy Cross. A beautiful symbol which accords with that faithful heart.

No eulogy was pronounced. In the moments of meditation that followed the descent of the bier a friendly hand was seen to throw on the coffin that Polish earth that had been given to Chopin on the day he left his country. Exactly nineteen years had passed since then. During all those years the native soil had remained in the silver cup awaiting this supreme use. But now Poland no longer existed. Nowhere but in this delicate handful of earth,—and the work of Chopin: a few score pages in which were to burn for three-quarters of a century the mysticism of a Nation.

* * * * *

On the next 17th of October, in 1850, Miss Stirling went early in the morning to Michon, the florist, who had served Chopin, and bought all the violets she could find. Then she went to Père-Lachaise and placed them on the tomb with a wreath in the name of the family of the dead. At noon, Mass was celebrated in the chapel at the cemetery. Those who were present then went back to the tomb, where Clésinger’s monument was unveiled. It is a mediocre allegory, made by a man who hated Chopin. How could such a thing have been beautiful? Only the medallion has a little life. These words are engraved on the pedestal: “To Frederick Chopin, his friends.” Deputy Wolowski tried to make a speech, but his throat tightened and nothing was heard. All those who were brought together there had been friends of the dead. They were still listening to his voice, his piano, his consumptive cough. One of them recalled a saying of his: “None can take from me that which belongs to me.”

To-day, these remains, pelted by the rain, this sorry Muse bent over its lyre with broken strings, blend well enough with the trees of Mont St.-Louis. There are strollers in this park of the dead. They stop before the bust of de Musset, the handsome boy-lover who spelt his sorrows into such charming rhymes. They make a little pilgrimage to the tomb of Abélard and Héloïse, where a pious Abbess has had these words cut: “The love that united their spirits during their life, and which is preserved during their separation by the most tender and spiritual of letters, has reunited their bodies in this tomb.” This reassures the silent lovers who come secretly to throw a flower at the foot of these two stone symbols lying side by side. But no one is seen on the narrow path that leads from the central avenue to the grave of Chopin. For he did not exemplify the career of a great lover, this musician of souls. No soul was found that could be attuned to his. It never found its lute-maker.

That word makes me think of a letter he wrote to Fontana fourteen months before he died, and in which he throws some light on the depths of his being: “The only unhappiness,” he wrote, “consists in this: that we issue from the workshop of a celebrated master, some _sui generis_ Stradivarius, who is no longer there to mend us. Inexpert hands do not know the secret of drawing new tones from us, and we push back into our depths what no one has been able to evoke, for want of a lute-maker.”

There is a beautiful epitaph for a poet: dead for want of a lute-maker. But where is he, this lute-maker of our lives?

_Etoy, October 17, 1926._ _77th Anniversary of the death of Chopin._

SOURCES

_The sources from which one can gather an authentic documentation of the life of Chopin are extremely scarce. During his life, few people took the trouble to preserve his letters, although he wrote but few. Some, doubtless, attached but little value to them. Others caused them to disappear because they exposed too intimate a part of their lives._

_An historic anecdote has it that Alexandre Dumas_ fils, _in the course of a sentimental pilgrimage to Poland in the spring of 1851, fell by chance upon the complete file of letters written by George Sand to Chopin. Dumas brought the file back to France and, having restored it to the novelist, saw her re-read her letters and then throw them into the fire. Doubtless she thus thought to bury in eternal oblivion the sad remains of a love whose raptures and whose pains alike would not return to her. The burning, in 1863, of the Warsaw house of Mme. Barcinska, Chopin’s youngest sister, destroyed other precious relics._

_So there remains to us but a very small number of the composer’s letters. Even these were altered at will by their first editor, Maurice Karasowski. Many biographers, however, have placidly copied them, without taking the trouble to collate them with the original texts, or even with the faithful and inexpurgated German translation which M. B. Scharlitt published at Leipzig in 1911. M. Henri Bidou has been the first to restore to us some of these letters in their libelled original form. Karasowski’s work is important, nevertheless, because the author, writing between 1860 and 1863, was intimately associated with Chopin’s sisters and niece, and he gathered from their lips the family traditions. Parts of this I have used particularly those concerned with the composer’s childish years and his death, being convinced that the pious legend is based on fact._

_Other episodes, notably the journey to Berlin and his love for Constance Gladkowska, have been borrowed from the work of Count Wodzinski. I have also adopted certain picturesque details furnished by this same biographer, as well as some family information concerning his relation, Marie Wodzinska. Let me say this much once for all, in order not to load my text with references. The curious reader will find all these on a later page in the list of Works Consulted._

_The first complete and soundly documented work on the life of Chopin was published by F. Niecks, in London, in 1888. Niecks too had known a number of friends and pupils of the master. His study has therefore an individual flavour which has not been superseded by later works. Elsewhere have been issued a whole series of works on the musician, particularly in Polish, German and English. I cite first of all the monumental_ Chopin _of Ferdynand Hoesick. But if we exclude the imaginative and erroneous little books published in France during the latter half of the nineteenth century (and up to our own day) we must go to the work of M. E. Ganche to discover the first complete and serious study of the Polish musician that has been published in French. The recent volume of M. H. Bidou rectifies certain points in it and amplifies certain others. It is an indispensable work for those who wish to fathom Chopin’s music._

_As I lately attempted with Liszt, I have sought here only to discover a face and to replace it in its frame. With this object, I have always allowed my characters to speak and act. I have scrupulously refrained from_ invention. _On the other hand, I have not hesitated to_ interpret, _believing, as I have said several times elsewhere, that every fact draws its enduring value from artistic interpretation. My effort has been only to group events in a certain order, to disentangle the lines of the heart and those of the spirit without trying to explain that which, in the soul of Chopin, has remained always inexplicable; not to lift, indeed, from my subject that shadow that gives him his inner meaning and his nebulous beauty._

PRINCIPAL WORKS CONSULTED

Franz Liszt: _F. Chopin._ Leipzig (Breitkopf). 1852 and 1923.

George Sand: _Histoire de ma vie._ 4 vol. Calmann-Lévy. Paris.

—_Un hiver à Majorque._ 1 vol., _ibid._ 1843.

—_Correspondance._

Maurice Karasowski: _F. Chopin._ Warsaw, 1862, and new ed. Berlin, 1877 and 1925.

Comte Wodzinski: _Les trois romans de F. Chopin._ Calmann, Paris, 1886.

Robert Schumann: _Etudes sur la musique et les musiciens._ Trad. H. de Curzon. Paris, 1898.

M. Karlowicz: _Souvenirs inédits de F. Chopin._ Paris, and Leipzig, 1904. Trad. F. Disière.

Friedrich Niecks: _F. Chopin as a Man and a Musician._ London. (Novello), 1882, 2 vol.

Kleczinski: _F. Chopin. De l’interpretation de ses œuvres._ Paris, 1906.

Wladimir Karénine: _George Sand, sa vie et ses œuvres._ Plon, 1899–1926. 4 vol. (An important and remarkable work, including a quantity of unpublished documents of which I have made much use.)

Bernard Scharlitt: _F. Chopin’s gesammelte Briefe._ Leipzig, 1911. (Only authentic and complete text of the letters.)

Samuel Rocheblave: _George Sand et sa fille._ Paris, 1905.

Elie Poirée: _Chopin._ Paris, 1907.

Edouard Ganche: _Frédéric Chopin, sa vie et ses œuvres._ Paris, 10th ed. (_Mercure de France_), 1923.

Ferdynand Hoesick: _Chopin_, 3 vol. Warsaw, 1911.

I. Paderewski: _A la mémoire de F. Chopin_ (speech). 1911.

Eugène Delacroix: _Journal._ Plon, Paris. 3 vol., new ed., 1926.

Opienski: _Chopin._ Lwow, 1910 (Altenberg).

Henri Bidou: _Chopin._ (Libr. Alcan). Paris, 1926.

Aurore Sand: _Journal Intime de George Sand._ Calmann-Lévy, Paris, 1926.

INDEX

Abélard, 260

Academy of Singing (Berlin), 27

Académie Royale (Paris), 57

_Adagio in E major_ (Chopin), 37

_Adagio_ of _Concerto in F minor_ (op. 21) (Chopin), 34, 50, 173

Adélaïde, Madame, 177

_Agnes_ (Paër), 35

Agoult, Countess Marie d’, 93, 101–103, 171–172

Aix-la-Chapelle, 71

Albert, Prince, 233

Alexandre, Czar (Emperor), 23

Allard, Monsieur, 229, 230

_Allegro_ (Moschelès), 23

_Allgemeine Musikalisches_ (Vienna), 32

Amboise, 67

America, 64

Ancona, 218

_Andante Spianato_, 73

Antonin, Château d’, 23–24, 35

_Appassionata, The_ (Beethoven), 19

Apollonius of Tyre, 160

Apponyi, Count, 68

Arago, 153, 203

Archbishop of Paris, 55

Artillery and Engineers, School of (Warsaw), 20

Auber, Daniel François Esprit, 70

Augusta, Princess (Infante), 43–44

Augustine, 197–198, 214, 237

Aulary, Monsieur, 231

Austerlitz, battle of, 18

Avignon, 127

Bach, Johann Sebastian, 33, 69, 150, 174, 229

Baillot, violinist, 62

Balearic Isles, _see also_ Majorca, Palma, Valdemosa, 127–142

_Ballade in G minor_ (op. 23) (Chopin), 85–86, 132, 145

Balzac, Honoré de, 19, 103–107

Barberini, Place (Rome), 190

_Barber of Seville, The_ (Rossini), 57

Barbès, 230

_Barcarolle_ (op. 60) (Chopin), 230–231

Barcelona, 128, 142

Baudelaire, Pierre-Charles, 163

Bayer, Mme. Constance, 48

Beauvau, Hôtel de (Marseilles), 145

Beethoven, Ludwig van, 19, 26, 31, 32, 35, 51, 62, 69, 74, 165, 174

Bellini, Vincenzo, 73

Belvédère, Palais de (Warsaw), 45

_Berceuse_ (op. 57) (Chopin), 230–231

Berlin, 27

Berlioz, Hector, 19, 65, 68, 72, 101, 165, 169, 258

Berry (France), 147 _et seq._, 240

Berry, Mme. la Duchesse de, 56

_Bertram_ (Meyerbeer), 109

Blache, Dr., 251 _et seq._

Blanc, Louis, 195, 203

Böhmischen Köchin, Café zur (Vienna), 47

Bologna, 228

Bona Sforza, 77

Bonstetten, Charles-Victor de, 77

Bossuet, Jaques Bénigne, 19

Bourges, Michel de, 100–101

Brault, Adèle, 197

Breslau, 33, 43

Brest, 229

Broadwood, piano, 232

Broadwood, piano manufacturer, 235

Bruhl, 79

Buloz, publisher, 131, 153

Bulwer, Lord, 234

Byron, George Gordon, Lord, 19, 159, 285

Byron, Lady, 234

Calamatta, Louis, 156

Calder House (Scotland), 235

Callot, Jacques, 176

Carlist Party (Paris), 55

Carlsbad, 76

Carlyle, Thomas, 234

Carthusians, Order of, 130

Castellan, Mme., 258

Catalani, Angelica, 243

Cauvières, Dr., 145

Chaillot, rue de (Paris), 246

Chambres des Députés (Paris), 249

Champs Elysées (Paris), 248

Chartreuse of Valdemosa. _See_ Valdemosa

Chateaubriand, François-René, Vicomte de, 56

Chatiron, Hippolyte, 149, 181

Chaussée d’Antin (Paris), 68, 154

Cherubini, Marie-Louis-Charles-Zénobi-Salvador, 58

_Chmiel_, improvisation from (Chopin), 31

Chopin: Compositions, Pieces, Transcriptions, etc. _Adagio_ of _Concerto in F minor_ (op. 21), 34, 50, 173 _Adagio in E major_, 37 _Ballade in G minor_ (op. 23), 85–86, 132, 145 _Barcarolle_ (op. 60), 231 _Berceuse_ (op. 57), 231 _Chmiel_, improvisation from, 31 _Concerto In E minor_ (op. 11), 40, 50, 58, 70, 72 _Concerto in F minor_ (op. 21), 34, 37, 50, 62, 84 _Etude_ (no. 5), 176 _Etude in C minor_ (op. 10, no. 12), 53 _Etude in E major_ (no. 3), 70 _Etude in G sharp minor_, 161 _Fantasia in E minor_, 178 _Fantasia on Polish Airs_, 40 _Funeral March_, 150, 259 _Grand Fantasia on Polish Airs_, 70 _Grande Polonaise_, 84 _Grande Valse in E flat major_, 70 _Impromptu_ (op. 29), 108 _Mazurkas_ (op. 41), 149 _Mazurka in A flat major_, 150 _Mazurka in B major_, 150, 202 _Mazurka in B minor_ (op. 30), 108 _Mazurka in C minor_ (op. 30), 108 _Mazurka in C sharp major_ (op. 30), 108 _Mazurka in C sharp minor_ (op. 63), 150, 202 _Mazurka in D flat major_ (op. 30), 108 _Mazurka in E minor_, 150 _Mazurka in F minor_ (op. 63), 202 _Mazurka in G major_, 150 _Mazurka in G minor_ (op. 30), 108 _Nocturne_ (op. 37, no. 2), 149 _Nocturne in C minor_ (op. 48), 150, 190–191 _Nocturne in G major_, 150 _Polonaise Brillante_, 73 _Polonaise in F minor_, 36 _Polonaise for piano and violoncello_, 36 _Potpourri on the setting moon_, 41 _Prelude in B minor_ (no. 6), 258 _Prelude in E minor_ (no. 4), 258 _Prelude in B minor_ (op. 6), 139 _Premier Rondo, in C minor_ (op. 1), 23 _Revolutionary, The_ (_Etude in C minor_, op. 10, no. 12), 53 _Rondeau in E flat major_, 70 _Rondo à la Krakoviak_, 31, 37, 70 _Second Scherzo_ (op. 31), 108 _Siberian, The_, 161, 162 _Sonata in B flat minor_, 150 _Sonata in E flat minor_, 149 _Sonata in G flat minor_, 178 _Sonata in G minor, for piano and violoncello_, 230 _Sonata with violoncello_, 202 _Tarantella_, 178 _Three Mazurkas_ (op. 33), 108 _Trio, for piano, violin, and violoncello_, 70 _Twelve Etudes_ (2nd vol., op. 25), 70 _Two Nocturnes_ (op. 32), 108 _Valses Brillantes_ (op. 34), 108, 178 _Valse de l’Adieu, in A flat major_ (op. 69, no. 1), 81 _Variations_ on the _La ci darem_, 26–27, 31, 32, 62 _Waltz in D flat major_ (op. 70, no. 3), 34, 50 _Waltz of the Little Dog, The_ (op. 64, no. 1), 231 _White Lady, The_, variations from, 31

Chopin, Emilie, 20

Chopin, Isabelle, 20, 66

Chopin, Louise, 18, 20, 60–62. _See also_ Jedrzeïewicz, Louise

Chopin, Nicolas, 18, 20, 22, 26, 30, 46, 59, 76–77, 80, 193–194

Chopin, Mme. Nicolas, 18, 19, 76–77, 194, 247–251. _See also_ Krzyzanowska, Justine

Cichowski, Monsieur, 82

Cimarosa, Domenico, 27

Clary, Prince, 33

Clary, Princess, 33

Clésinger, Jean-Baptiste-Auguste-Stello, 205–227, 233, 256, 260 _et seq._

Clésinger, Mme., 214–227, 233, 237, 239, 241. _See also_ Sand, Solange

Coignet, Jules-Louis-Philippe, 186

Cologne, 71

_Concerto in E minor_ (op. 11) (Chopin), 40, 50, 58, 70, 72

_Concerto in F minor_ (op. 21) (Chopin), 34, 37, 50, 62, 84

Congress of Naturalists (Berlin), 27

Conservatory of Music (Paris), 73, 258

Conservatory of Music (Warsaw), 22, 23, 30

Constantin, Grand Duke, Governor of Warsaw, 21, 45

Cramer, pianist, 58

Crans, Mlle. Saladin de, 77

Cruveillé, Dr., 251 _et seq._

Custine, Marquis de, 71, 93

Czartoryski, Prince Adam, 68, 159, 195, 205, 243, 259

Czartoryska, Princess Marceline, 195, 205, 208, 240, 243, 252–255

Czerny, Charles, 32, 33

Czosnowska, Countess, 202

Daguerry, Monsieur, 258

_Daily News_ (London), 234

Dantan, Jean-Pierre, 182, 185

Dante, Alighieri, 46, 159

Danube, The, 41

Dautremont, tailor (Paris), 154

da Vinci, Leonardo, 67

de Garaudé, Monsieur, 231

Delacroix, Eugène, 156, 158, 163–167, 173, 180, 195, 205, 218, 243–246, 257, 259

de Laprade, Victor, 203

Delaroche, Hippolyte-Paul, 243

_Desdemona_ (_see also Othello_), 58

des Préaulx, M., 205–206

Dickens, Charles, 234

_Dictionnaire Philosophique_ (Voltaire), 252

di Mondi, Mlle. Antonia Molina, 230

Dobrzyçka, Mme., 43–44, 79

_Don Juan_ (Mozart), 175

Douglas, Marquis of, 234

Dover Street (London), 232 _et seq._

Dresden, 33, 43, 77–81

Dudevant, Aurore. _See_ Sand, George

Dudevant, Casimir, 101, 197, 214, 222

Dudevant, Maurice. _See_ Sand, Maurice

Dudevant, Solange. _See_ Sand, Solange

Dupont, Alexis, 258

Duport, hatmaker (Paris), 154

Düsseldorf, 71, 86

Duteil, family of, 149

Duvernet, Théophile-Imarigeon, 149, 222

_Dziady (The Feast of the Dead)_ (Miçkiewicz), 159

Ecole de Médecine. _See_ School of Medicine (Paris)

Edinburgh, 235, 238, 241

Elbe, 79

Elizabeth, Queen, 67

_El Mallorquin_, 128

Elsner, Joseph-Xavier, 22, 37, 41, 60–62

Enfer, rue d’ (Paris), 56

Erard, piano, 171, 232

Erard, Salle, 72

Erskine, Mrs. _See also_ Stirling, family, 232 _et seq._

Etienne, Mme., 244

_Etude_ (no. 5) (Chopin), 176

_Etude in C minor_ (op. 10, no. 12) (Chopin), 53

_Etude in E major_ (no. 3) (Chopin), 70

_Etude in G sharp minor_ (Chopin), 161

Eusebius, 26

_Euterpe_, 78

Everard. _See_ Bourges, Michel de

Faber, Monsieur, 202

Falmouth, Lord, 233–234

_Fantasia in E minor_ (Chopin), 78

_Fantasia on Polish Airs_ (Chopin), 40

_Farewells, The (Sonata in E flat major)_ (Beethoven), 19

_Faust_ (Gounod), 35

_Ferdinand Cortez_ (Spontini), 27

Festival of Music (Aix-la-Chapelle), 71

Fétis, music critic, 63

_Fidélio_ (Beethoven), 19

Field, pianist, 58, 70

Fleury, family of, 149

Fontana, Jules, 21, 127, 128, 132, 141, 145–146, 150, 153, 154–155, 159, 182, 185, 261

Fouquet, Nicolas, 67

France, Hôtel de (Paris), 102

Franchomme, violoncellist, 62, 159, 229, 230, 243, 251–252, 259

François I, 67

Françoise, the chambermaid, 200

_François Le Champi_ (Sand), 224

Frankfurt-am-Oder, 28

Frauenkirche, The (Dresden), 80

Frère, Charles-Théodore, 186

_Freyschutz Die_ (Handel), 27

_Funeral March_ (Chopin), 150, 259

Gainsborough, Lady, 233–234

Gallenberg, Count, 30

Gaubert, Dr., 126

Gautier, Théophile, 258

Gavard, Charles, 252

Gavard, Mlle., 252, 255

_Gazette Musicale_ (Paris), 178–180, 232

Geneva, 77, 102, 171

Genoa, 147

Geological Museum (Berlin), 28

_Germany_ (Heine), 91

Giotto, Ambrogio, 157

Giraud, Monsieur, 258

Gladkowska, Constance, 30, 33–42, 44, 46, 48–50, 66

Glasgow, 238

Goethe, Johann Wolfgang von, 19, 159

Gomez, Señor, 128, 132

_Grand Fantasia on Polish Airs_ (Chopin), 70

_Grande Polonaise_ (Chopin), 84

_Grande Polonaise_ (Kalkbrenner), 62

_Grande Valse in E flat major_ (Chopin), 70

Grenoble, 134

Grzymala, Count Albert, 65, 108–125, 127, 143, 153, 159, 205, 209–213, 235, 239–240, 242, 244

Gutmann, Monsieur, 70, 241, 243, 252–255, 259

Habeneck, conductor, 57

Hamilton, Duke of, 241

Handel, George Friedrich, 27

Hanska, Countess, 104, 107

Hartmann, Caroline, 70

Haslinger, music publisher (Vienna), 30, 44

Haydn, Joseph, 19, 202

Heine, Heinrich, 91, 102, 159, 173

Heller, Stephen, 168

Héloïse, 260

Hiller, Ferdinand, 62, 71, 102

_Histoire de ma Vie_ (Sand), 221, 227

Hogarth, William, 234

Holy Cross, Church of (Warsaw), 259

Hortense, Queen, 77

_House of the Wind, The_ (Majorca), 128–132

Houssaye, Arsène, 206

Hugo, Victor, 19

Hummel, Jean-Népomucène, 46, 50

Imperial Theatre (Vienna), 31

_Infernal Comedy_ (Miçkiewicz), 161

Ingres, Jean-Auguste-Dominique, 163

Inquisition, Palace of (Barcelona), 128

Invalides, Hôtel des (Paris), 249

_Invitation to the Waltz_ (von Weber), 187

Isambert, Mlle., singer, 62

Italian Opera House (Paris), 57

_Italienne à Alger, L’_ (Rossini), 57

Italy, 52, 218

Jagellons, dynasty of, 77

Janin, 258

Jardin des Plantes (Paris), 201

Jaroçki, Professor, 27–28

Jean, Prince of Lucca, future King of Saxony, 43–44

Jedrzeïewicz, Calasante, 193, 196, 247–250

Jedrzeïewicz, Louise, 193–195, 237–238, 247–250. _See also_ Chopin, Louise

Jelowiçki, Abbé Alexandre, 252–255

Jéna, battle of, 20

Jésuites, rue des (Warsaw), 22

_Journal_ (Delacroix), 218, 244–246

_Journal des Débats_ (Paris), 224

_Journal Intime_ (Sand), 99–100, 169, 208

Jules II, 67

Kalerji, Mme., 245

Kalisz, 43

Kalkbrenner, Frédéric-Guillaume, 58–63, 70, 243

_Karol, Prince_ (Sand), 185, 227. _See also Lucrezia Floriani_

Keats, John, 19

Keir, The Stirlings of, 236, 239

Kisting, piano factory, 27

Kleczynski, Professor, 170

Klengel, Alexandre, composer, 33

_Krakoviak. See Rondo à la Krakoviak_ (Chopin)

Krasinski, 159

_Kreutzer Sonata_ (Beethoven), 19

Kronprinz, Hôtel du (Berlin), 27

Krzyzanowska, Justine, 18. _See also_ Chopin, Mme. Nicolas

Kurpinski, 37

Kwiatkowsky, 159, 256

Lablache, Mme. Louis, 57, 258

La Châtre (France), 207

_Lady of the Lake, The_ (Rossini), 41

Laffitte, rue (Paris), 102

La Fontaine, Jean de, 19, 67, 172

Lambert, Hôtel (Paris), 205

Lamennais, Abbé de, 97, 102

Lannes, Maréchale, 68

Lefébure-Wély, 258

_Légion d’Honneur, La_, 258

Legouvé, Monsieur, 243

Leipzig, 81, 85

Leipzig, battle of, 79

_Lélia_ (Sand), 97

_Le Méléagre_, 142

Lenz, Monsieur W. de, 186–188

_Le Phénicien_, 128

Leroux, Pierre, 159–160, 180, 199

Le Verier, Monsieur, 202

Lichnowsky, Count, 32

Lind, Jenny, 232, 243

Linde, Mme., 23

Liszt, Franz, 19, 21, 31, 50, 62, 63, 65, 68, 70, 75, 86, 93, 101, 103, 139, 146, 167, 171–176, 178, 181, 186, 257

Lorraine (France), 18

Louis XVI, King, 56

Louis, Dr., 243, 251 _et seq._

Louis-Philippe, King, 177–178, 228–230

Louvre, The (Paris), 164

Lucca, Prince of. _See_ Jean

_Lucrezia Floriani_ (Sand), 185, 200–201, 209, 240

Luxembourg, Musée du (Paris), 205

Madeleine, Church of the (Paris), 240, 258

Majorca, 128–143, 149, 240, 258. _See also_ Balearic Isles, Palma, Valdemosa

Malfatti, Dr., 51

Malibran, Maria-Félicité Garcia, 57–58

Mallefille, Félicien, 103, 111, 116, 119, 121, 123–124, 127

Manchester, 238

_Manchester Guardian_, 238

Marainville (France), 18

Mardi Gras, 137

_Mare Au Diable, La_ (Sand), 224

Marliani, Mme., 108, 128, 131, 142–143, 147, 184, 185, 187, 226

Marie-Aurore of Saxe, Queen, 198

Marienbad, 87–88

Marmontel, 58

Marot, Clément, 67

Marseilles, 143–147, 149

Matuszinski, Dr. Jean, 47–49, 53, 71, 127, 130, 155, 192

Maurras, Charles, 34

_Mazurkas_ (op. 41) (Chopin), 149

_Mazurka in A flat major_ (Chopin), 150

_Mazurka in C sharp major_ (op. 30) (Chopin), 108

_Mazurka in C sharp minor_ (op. 63) (Chopin), 150, 202

_Mazurka in C minor_ (op. 30) (Chopin), 108

_Mazurka in D flat major_ (op. 30) (Chopin), 108

_Mazurka in E minor_ (Chopin), 150

_Mazurka in F minor_ (op. 63) (Chopin), 202

_Mazurka in G major_ (Chopin), 150

_Mazurka in G major_ (op. 63) (Chopin), 202

_Mazurka in G minor_ (op. 30) (Chopin), 108

_Mémoires_ (Sand), 224, 245

Mendelssohn, Bartholdy Felix, 27, 71, 72, 81, 86

Mendizabal, Don Juan Alvarez y, 130

Mérimée, Prosper, 95–96

_Merry Wives of Windsor, The_ (Shakespeare), 67

Meyerbeer, Giacomo, 64, 109, 231, 258–259

Michelangelo, Buomarroti, 67, 174

Miçkiewicz, 91, 102, 159–160

Milan, 77, 228

Mohilew, General, 53

Molière (Jean Baptiste Poquelin), 19

Molin, Dr., 243

Montpensier, Duke of, 229

Moschelès, Ignace, 23, 70, 177

Moscow, 53

Moses, 160

_Moses_ (Rossini), 33

Mostowska, Countess, 108

Mozart, Wolfgang von, 26, 29, 69, 158, 163–165, 174–175, 177, 229, 230, 255, 258

Munich, 53

Musset, Viscount Alfred de, 98–100, 105, 126, 147, 148, 221, 260

Nantes, 229

Naples, 146

Napoleon I, Emperor, 17, 79

Napoleon III, Emperor. _See_ Napoleon, Prince Louis

Napoleon, Prince Louis, 77, 98

Nidecki, 47

Niemcewicz, Julian-Orsin, 21

Nietzsche, Friedrich, 144, 165, 190–191

_Night Song_ (Nietzsche), 190

Noailles, Duke of, 243

_Nocturne_ (op. 37, no. 2) (Chopin), 149

_Nocturne in C minor_ (op. 48) (Chopin), 150, 190–191

_Nocturne in G major_ (Chopin), 150

Nohant, Château de, 101, 103–107, 147 _et seq._, 237, 239

Notre Dame de Paris, Church of (Paris), 249

Nourrit, Adolph, 102, 146

Obreskow, Mme., 247–248

O’Meara, Mlle., 69

Opera, The (Berlin), 27

Opera, The (Warsaw), 30, 35

Orleans, Duchess of, 177

Orleans, Duke of, 229

Orléans, Square d’ (Paris), 185 _et seq._, 242, 248

Orlowski, 70–71

Orsetti, family of, 77

Osborne, pianist, 62

Ostend, 250

_Othello_ (Rossini), 57

Paderewski, Ignace, 54

Paër, Fernando, 35, 58

Paganini, Nicolo, 51

Paix, rue de la, 240

Palma, 128, 142. _See also_ Majorca, Balearic Isles, Valdemosa

Panthéon, The (Paris), 249

Papet, Dr., 149

Paskewitch, General, 46, 53

Pasta, Giuditta Negri, 57, 58

Pelletan, 102

Père-Lachaise, Cemetery of (Paris), 259 _et seq._

Perpignan, 127

Perthuis, Count de, 170, 177

Philharmonic Orchestra (London), 232

Pierre, the gardener, 200

Pigalle, rue (Paris), 154 _et seq._

Pixis, violinist, 33

Plater, Count, 65

Pleyel, Camille, 62, 93, 127–128, 129, 130, 141, 146, 229

Pleyel, piano, 90, 91, 171, 232, 242

Pleyel, Salon, 62, 72, 178–180, 229–232

Poissonnière, Boulevard (Paris), 56 _et seq._, 228

_Polonaise Brillante_ (Chopin), 73

_Polonaise in F minor_ (Chopin), 36

_Polonaise for piano and violoncello_ (Chopin), 36

Poniatowski, Prince Joseph-Antoine, 79

Pont du Gard, 127

Posen, 28

Potoçka, Countess Delphine, 69, 73–75, 243, 245, 254–255

_Potpourri on the setting moon_ (Chopin), 41

Prague, 32–33

_Prelude in B minor_ (no. 6) (Chopin), 258

_Prelude in E minor_ (no. 4) (Chopin), 258

_Prelude in G minor_ (op. 6) (Chopin), 139

_Premier Rondo, in C minor_ (op. 1) (Chopin), 23

Preparatory Military Academy (Warsaw), 20

Probst, music publisher (Paris), 141, 146

_Prophet, The_ (Meyerbeer), 246

Prussia, Napoleon’s campaign in, 18

Prussia, Prince of, 233

_Quatuor Serioso_ (Beethoven), 19

_Quintette_ (Beethoven), 62

Racine, Jean, 19

Radziwill, Prince Antoine, 23–24, 35, 38

Radziwill, Princess, 35

Radziwill, Princess Elise, 24, 36

Radziwill, Princess Marceline, 68

Radziwill, Prince Valentin, 67

Radziwill, Princess Wanda, 24, 36

Ramorino, General, 56

Ravel, Maurice, 231

Reber, Monsieur, 255

_Rénovateur, Le_ (Paris), 72

Republican Party (Paris), 55

_Requiem_ (Mozart), 258

Revolution of 1830 (Poland), 45, 77

Revolution of 1848 (France), 228

_Revolutionary, The_ (_Etude in C minor_, op. 10, no. 12) (Chopin), 53

_Revue des Deux Mondes_ (Paris), 153

Richter, Johann-Paul von, 75

_Robert the Devil_ (Meyerbeer), 64, 231

Rochechouart, rue (Paris), 130

Roger, Monsieur, 231

Rollinat, François, 143, 149

Rome, 65, 228

_Rondeau in E flat major_ (Chopin), 70

_Rondo à la Krakoviak_ (Chopin), 31, 37, 70

Rossini, Gioachino, 31, 33, 41, 57, 58

Roth, Dr., 243

Rothschild, Baron James de, 68

Rothschild, Baroness, 233, 243

Rousseau, Théodore, 214

Rozières, Mlle. de, 181–182, 208, 215–217, 240

St.-Antoine, Place (Geneva), 77

Saint Bruno, 134

St.-Etienne, Church of (Vienna), 46

Sainte-Beuve, Charles-Augustin de, 96, 117, 161

St.-Etienne du Mont, Church of (Paris), 249

St.-Germain des Prés, Church of (Paris), 190

St.-Germain l’Auxerrois, Church of (Paris), 249

St. John, 159

St.-Louis, Mont (Paris), 260

St. Petersburg, 187

Saint-Saëns, Charles-Camille, 86

St.-Simon, Henri-Jean-Victor de Rouvroy, Duc de, 97

St. Simonien Party (Paris), 55

St.-Sulpice, Church of (Paris), 249

Salzburg, 53

Sand, George, 56, 94 _et seq._

Sand, Maurice, 102, 110, 126, 131, 137–138, 150, 153, 155, 166–167, 181, 188, 196–197, 203, 207, 208, 219, 237, 245

Sand, Solange, 102, 126, 132, 137, 150, 153, 155, 188, 197–199, 203, 205–227. _See also_ Clésinger, Mme.

Sandeau, Jules, 95, 104, 201

Sapieha, Princess, 195

Saxe, Maréchal de, 94

Saxony, King of. _See_ Jean, Prince of Lucca

Saxony, Queen of, 44

Scheffer, Ary, 236

Schlesinger, publisher (Paris), 146, 244

School of Medicine (Paris), 55, 71

Schubert, Franz, 146, 174–175

Schumann, Robert, 19, 23, 26, 29, 75, 81, 85, 86, 170, 174, 178

Scott, Sir Walter, 234

_Secret Marriage, The_ (Cimarosa), 27

_Secrétaire Intime, Le_ (Sand), 106

Seine, The, 41

Shakespeare, William, 67, 149, 174

Shelley, Percy Bysshe, 19

Shroeder-Devrient, 58

_Siberian, The_ (Chopin), 161–162

Simon, Dr., 243

Skarbeck, Countess, 18

Slavik, violinist, 51

Slowacki, 159

Smithson, Henrietta, 72

Socrates, 159

Somerset, Duchess of, 233

_Sonata in B flat minor_ (Chopin), 150

_Sonata in E flat major_ (Beethoven), 19

_Sonata in E flat minor_ (Chopin), 149

_Sonata in G flat minor_ (Chopin), 178

_Sonata in G minor for piano and violoncello_ (Chopin), 230

_Sonata with violoncello_ (Chopin), 202

Sontag, German singer, 38

Sowinski, pianist, 62, 65

Spain, King of, 243

Spontini, Gasparo Luigi Pacifico, 27

Sprée, The, 41

Stafford House (London), 233–234

Stamati, pianist, 62

_Stars, The_ (Schubert), 146

Stendhal (Marie Henri Beyle), 19, 127

Stirling, Jane, 228 _et seq._, 256 _et seq._

Stradivarius, 261

Strauss, Johann, 51

Stuttgart, 53

Sue, Eugène, 102

Sutherland, Duchess of, 233

Swedenborg, Emmanuel, 160

_Tarantella_ (Chopin), 178

Tempe, valley of, 50

Teplitz, 33

Théâtre Italien (Paris), 72

“Three Glorious Days” (Paris), 228

_Three Mazurkas_ (op. 33) (Chopin), 108

Tiber, The, 41

Tilsit, battle of, 18

Titus. _See_ Woyçieckowski, Titus

Tomeoni, Mlle., singer, 62

Torphichen, Lord, 235

Tours, 237

_Trio for piano, violin and violoncello_ (Chopin), 70

_Trio for piano, violin and violoncello_ (Mozart), 230

Tronchet, rue (Paris), 154

Tuileries, The (Paris), 249

_Twelve Etudes_ (2nd vol., op. 25) (Chopin), 70

Ukraine, 65

Urhan, violinist, 62

Val de Grâce Hospital (Paris), 249

Valdemosa, Chartreuse of, 129, 133–142, 258. _See also_ Palma, Majorca, Balearic Isles

_“Valse de l’Adieu” in A flat major_ (op. 69, no. 1) (Chopin), 81

_Valses Brillantes_ (op. 34) (Chopin), 108, 178

_Variations_ on the _La ci darem_ (Chopin), 26–27, 31, 32, 62

Vaucluse, 127

Vaudemont, Princess de, 68

Vendôme, Place (Paris), 251 _et seq._

Venice, 98

Veron, Louis-Désiré, 57

Veronese, Paul, 234

Viardot, Louis, 221

Viardot, Pauline, 159, 185, 187, 195, 258

Victoria, Queen, 234

Vienna, 31, 41, 46, 53, 238

Voltaire, François-Marie Arouet, 252

Wagner, Richard, 19, 59, 69, 257

Wagram, battle of, 18

_Waltz in D flat major_ (op. 70, no. 3) (Chopin), 34, 50

“_Waltz of the Little Dog_” (op. 64, no. 1) (Chopin), 231

Warsaw, 20, 33, 35, 36, 38, 44, 45–46, 53, 76, 89, 192, 228, 259

Warsaw, Duchy of, 18

Warsaw High School, 20

Wellington, Duke of, 233

Westminster, Duke of, 233

_White Lady, The_, improvisation from (Chopin), 31

Wieck, Clara, 70, 81

Wieck, Herr, 81

_Wiener Theaterzeitung_ (Vienna), 32

Wilna, 79

_Winter at Majorca_ (Sand), 132

Witwicki, Polish writer, 52

Wodzinska, Countess, 80–92

Wodzinska, Marie, 76–93, 182, 194

Wodzinska, Mlle. Thérèse, 84, 92

Wodzinski, Casimir, 80, 82, 90

Wodzinski, Count Antoine, 83, 181

Wodzinski, family, 21, 77–93, 181

Wodzinski, Félix, 80, 82

Wodzinski, Palatin, 79–80

Wola, suburb of Warsaw, 41

Wolowski, deputy, 260

Woyciechowski, Titus, 21, 34, 36–39, 43–46, 50, 53, 57, 58, 64, 251

Young French Party (Paris), 55

_zal_, 25

Zamboni, conductor, 57

_Zarathustra_ (Nietzsche), 191

Zelazowa, Wola, 18, 19

Zielinski, 41

Zullichau (Poland), 28

Zwinger Museum (Dresden), 79

Zywny, 22

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Transcriber’s Note

A closing quotation mark was added after: like an airy apparition on page 175