To but one popular poet was it given to interpret in a hundred lyrics13 the heart of his peasant Scotland. To but one English dramatist to create for our sympathy Lear, Cordelia, Othello and Desdemona, and to evoke14 from his fecund15 brain the philosophical16 musings of Hamlet, the whimsical humor of Falstaff, the gossamer18 beauties of ?Midsummer Night's Dream,? and the terrible realism of Macbeth and Richard. To but one epic19 poet was it given to breathe a quickening breath into the pale shades of those mighty20 dead, Hector, Agamemnon, Achilles, and many an otherwise forgotten hero. To but one musician was it given to perfect in ?The Well-tempered Clavichord21? the great organ Fugue, to but one master of his art to show the attainable22 in those purely23 classical forms, the Symphony and the Sonata24.
But what in a summary are the features of Chopin warranting his present vogue25, and assuring his future fame? They are many, and each is an unimpeachable26 witness to his worth.
Prior to his day, Bach and Beethoven had explored the known world of harmony. They knew the geography of its vast continents, the choreography of its countries, the topography of its mountains and valleys and plains. They had measured its waterways, had sounded its seas, had sailed by its limiting shores; and then Ludwig Spohr, suspecting other lands beyond the uncharted west, had ventured as from Gibraltar even to the Azores, or the Canaries, the Fortunate Islands of old. Schumann had gone even farther, but not to the utmost of daring for this was the deed of Chopin. He, the Columbus of composers, gave to Harmony a new world. He, and he alone, first dreamed and then beheld27 its isles29 of Paradise, tropic and enticing30, embowered and restful, fit for lone5 and pensive31 musing17 till suddenly the sun is darkened, the winds make wail32, and a dread33 note of thunder foretells34 the bursting storm. Many times a voyager, many times an explorer, he brought continually, for the world's wonder and delight, the fantastic, the weird35, the exquisite36. Ah! his was no haphazard37 sailing on the ocean of sound; no rudderless drifting with wind and tide! Every appliance of the skilled navigator, the quadrant, the sextant, the compass, were his guides. In day or in night he knew the altitude of the sun or else of the polar star. He had calculated to a nicety the deflections of the needle. Though seemingly lost was he on the limitless waves, latitude38 and longitude39, to the fraction of a degree, were clear to his never-beclouded mind. He it was who opened the way for all future discoverers and, inevitably40, for rash and turbulent adventurers, even for Richard Strauss that Cortes, that Pizarro of them all.
An erudite originality42, and the passionate43 abandon of the author of ?Norma,? characterize Chopin the melodist. In the new world by him discovered, his own before-mentioned world of the ideal, were birds of rare and differing plume44, winged with the delicate greens of half-grown forest leaves, or breasted with the morn's red kindling45 ere the sun, or throated with the orange of the fading eve, or mottled with the melancholy46 grey which tells the night. And some there were a purity of white more spotless than the farthest, feathery cloud; and some whose tufty blue was borrowed from no sky like ours. Of these creatures of the composer's realm, each was vocal47 with the mood whereof his beauty was the symbol. Amidst the morning wood, one lifted to the sun a brief yet brilliant song of transport; another's notes were cadenced48 from beside the splash of shaded waterfalls when noon was burning all the fields. Another at the day's down-sinking breathed a tender plaint, or trembled forth49 a melancholy, sweet farewell; and when the round and tropic moon had touched the listening groves50 to silver, a rarer than the nightingale would warble from the branching palms.
These all were the teachers that made Chopin a melodist; but he was more than a melodist, more than the harmonist we have indicated; he was a great, national tone-poet whose romantic measures characterized his Poland better than did the lines of her chiefest versifiers. The individuality of Chopin the composer was distinguishable as that of Beethoven and Wagner. He was above the mere51 perfector of types. His Scherzos, his Preludes52, his Ballades, his Fantaisies are original conceptions. On the rhythm of the Polish dance he reared his dainty Mazurkas. Graceful53 and ethereal, they yielded like the slender pine to every swaying wind. Framed to endure, no blast could overthrow54 them. On the same national foundation uprose his Polonaises, an architecture of his own devising. Fantastic but not grotesque55, uniquely and wholly expressive56, those solid structures argued immovability, but the tempest proved them pliant57 and yet enduringly based as the deep-rooted giants of the wood.
The master of the mechanical difficulties of Bach and Clementi, must encounter others quite different in the Etudes of Chopin. The mind of such a one follows not swiftly the odd and rapid chromatics swarming58 through certain of them. His muscles tire in the midst of extended and unusual chords filling whole pages. His fingers, trained to anticipate conventional harmonic successions in the passage work, are here hindered by the unusual become the usual, the exception become the universal rule; and yet the musical worth of these intractable measures, whose like abounds59 everywhere in Chopin, compels the pianist of our day to conquer them.
But, more important than the mechanical, there is in Chopin a mental technique peculiar60 to himself. It informed his playing with an ineffable61 charm which haunted the memory of pupils and listeners, and yet lives, a tradition of the old Paris days.
Unlike Shakespeare and Beethoven, the Pole was not privileged to sound the harp62 of universal life; therefore the universal note is denied him, and therefore his chief interpreters may not be chosen from the gifted of every nation. It cannot be denied that for the music of the vehement63, unreasoning passion which in an instant transforms the shaft64 of love to the stiletto, the Italian temperament65 is alone adequate. It is acknowledged that for the rendition of the semi-barbaric native rhythms, the wild, lawless onrushings and the tearful, or dreamy, or voluptuous66 lingerings of Hungarian music, the blood of the Magyars must surge from the heart to the finger tips.
These examples prove that the mental technique of our composer, a matter of phrasing and pedaling and accent, and, most intangible of requirements, the Chopin rubato, is most easily and completely mastered by the Slav genius. Of the world's goodly company of virtuosi, only a few exponents67 of the Polish musician wholly reveal his invaluable68 contributions to art.
In her own eyes the Amazonian Sand towered a genius in every way superior to the sickly and effeminate-mannered Chopin, but she attained69 not to the duty of a great novelist. No permanent types have sprung from her ambitious and busy pen. Those fretting70, fuming71, shadow-chasing Byronic heroes and heroines have lived their mortal days, and discriminating72 Time denies them an immortality74 vouchsafed75 the works of the man she abandoned.
Chopin's career as composer ends with the Sand affair. Of what followed little remains76 to be told. An unimportant visit to London and Edinburgh where broken health and spirits were serious obstacles to brilliant artistic77 success. A few friendships formed, a few old ones cemented, then back to Paris which first he entered a sojourner78. Yes, back to Paris, the gay and frivolous79 and cynical80 Paris, that dances to the waiting grave and laughs and scoffs81 until the sad receiving of the tomb.
And now at last the untimely end. He who had blended the sheen of stars with the rainbow mist of waterfalls; he who had swung the forging hammer, and rivalled the delicate, meshy gold of Vulcan; he who had prisoned the loud thunder, the swift lightning, the angry, the plaintive82, the whispering wind; he who had outridden the ocean's fury, and slept on the polished breast of mountain lakes; he, the Endymion of melancholy groves beloved of Luna; he, the portrayer83 of battles dread with the doings of conquering foes84, was himself to yield, leaving for our musical heritage the gloom and glory of his works.
Let us draw near, but not to the concert hall, and the applauding crowd greeting the advent41 of the young Polish virtuoso85. Yes, let us draw near, but not to the dazzling salon86 and yonder listening group, the elite87 of fashion and culture and fame, gathered around the Erard. Let us draw nearer than these; nearer than the studio of the composer, and the wrapt company of the inner circle: Sand and Hiller and Heine and Meyerbeer and Delacroix and Liszt, who himself has described the scene. Ah, let us, with hushed hearts and noiseless foot-fall, approach and enter, for this is the place of parting where human angels neglect no ministration of love and soothing88 song as a finished life sinks, like the master's diminuendo, to waken and swell89 and rush and thunder, filled with the vigor90 of immortal73 day.
Far from the charm of English vales and meadows; far from the skylark and the cloud he saw and loved above their freshening green; afar from all the sweet allurements91 of his native isle28 he sleeps, the English Shelley, where the blue of Italy is bending o'er the ruined olden, and the risen new whose ancient and eternal name is Rome. And close beside, where Winter spreads the flowers of northern June, is lying Adonais, poet wept in tearful poesy, the youthful Keats whom Beauty, in the guise92 of Death, drew to her own enamoured breast.
Walled from the covetous93 human waves, safe from the encroaching human tide, Père la Chaise, a mass of bloom and verdure, lies asleep while the Parisian metropolis94 roars and surges on. Of all the multitudes here gathered to the silence, one at least is alien for never a branch is moaning, never a breeze, for Polish liberty; and never a bird is inspired by such sad, sweet threnody95; and never a strip of Polish sky, clear, or cloud-bedarkened, or heavy with the drops of sorrow, is bending o'er chiseled96 marble of a tomb. Amidst the dead of every high and noble calling, the dead whose deeds enhance the fame of France, that alien's dust is in the jealous keeping of a nation richer because of Poland and her greatest bard97.
Sixty years have gone since the October day when, within the walls of the Madelaine, the master's funeral measures dirged his death. Since that memorable98 time many pianoforte composers, men of talent and men of genius, have arisen. These, by their indebtedness to the years of Chopin's productivity, prove him the one epoch-making composer for their instrument since Beethoven, and the one probably without a successor in kind.
The certainty that the principal Sonatas99 of Beethoven, and the Ballades and other chief works of Chopin, overtop all else written for the piano, provokes the question, Which of these composers is foremost in this realm of music? The question at once lends itself to argument. Evidently Chopin abounds in technical difficulties unattempted by Beethoven, and these difficulties are a proof of worth because in fact the unusual but necessary conveyers of a message new to the musical world. It must be conceded that Chopin's daring chromaticisms, transitions and modulations are the inevitable100 expressions of a genius novel but not forced. Then again, Chopin wrote for the piano not as he found it, but with prophetic knowledge of its future possibilities; to the extent of all this he outrivals Beethoven.
It must not be supposed that harmonic complexity101 is of itself superior to broad and bold simplicity102. This truth Handel well knew. He, the master of Fugue, with all contrapuntal devices at command, is renowned103 for a Doric beauty the despair of the Byzantine and the Rococo104. As a harmonist, Beethoven felt not the urge of the unusual; the immense possibilities which he perceived in Bach were enough for his grand and stately measures. Taking from that unexhausted mine, he cut and polished; then, brilliant on their every facet105, he strewed106 the gems107 along his pages. Because of his many-sided excellence108, we hold Beethoven a harmonist superior to Chopin, himself a delver109 in the Bachian mine. The music of Chopin is recognizable almost from the opening bar, but, as a creator and developer of characteristic themes, Beethoven is unequalled. While Chopin is one of the most inspired melodists, Beethoven sings himself more into the soul.
Although a solitaire, Beethoven was really a man of widest, deepest sympathies. Against his own bosom110 he felt the heart beat of humanity, and, love-enlightened, he divined that heart, even its total meaning. The heaven-reaching heights of joy, and the black profound of woe111, and every intermediate, throbbed112 contagious into his own breast. Therefore is he the universal man, interpreter of his own ideal world and interpreter of nations, while, on his human side, the intense Chopin is the epitome113 of Poland. That this universal man was not containable within the possibilities of the pianoforte, was plainly no fault of his; nevertheless, that much of the universal which informs the chief Sonatas of Beethoven, entitles them to supremacy114 over the greatest of the other.
As the second of pianoforte composers, what giants Chopin leaves in his rear! Haydn, Mozart, Schubert, Von Weber, Mendelssohn, Schumann, and behind them many of lesser115 stature116, Hummel, Clementi, Moscheles and such; and, still further back, the great average, the ephemeral multitude. Of all their pushing of pens, little will remain when, on some distant to-morrow, the stirred pulse and the suffused117 eye prove the tone-poems of the Polish musician an unfading charm, an undimmed worth, an eternal beauty, in the realms of art.
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1
sifting
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| n.筛，过滤v.筛( sift的现在分词 )；筛滤；细查；详审 | |
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treasury
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| n.宝库；国库，金库；文库 | |
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anthem
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| n.圣歌，赞美诗，颂歌 | |
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contagious
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| adj.传染性的，有感染力的 | |
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lone
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| adj.孤寂的，单独的；唯一的 | |
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prolific
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| adj.丰富的，大量的；多产的，富有创造力的 | |
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limbo
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| n.地狱的边缘；监狱 | |
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amplitude
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| n.广大；充足；振幅 | |
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eloquent
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| adj.雄辩的，口才流利的；明白显示出的 | |
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mingle
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| vt.使混合，使相混；vi.混合起来；相交往 | |
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domain
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| n.(活动等)领域，范围；领地，势力范围 | |
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longevity
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| n.长命；长寿 | |
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lyrics
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| n.歌词 | |
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evoke
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| vt.唤起，引起，使人想起 | |
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fecund
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| adj.多产的，丰饶的，肥沃的 | |
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philosophical
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| adj.哲学家的，哲学上的，达观的 | |
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musing
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| n. 沉思，冥想 adj. 沉思的, 冥想的 动词muse的现在分词形式 | |
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gossamer
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| n.薄纱，游丝 | |
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epic
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| n.史诗，叙事诗；adj.史诗般的，壮丽的 | |
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mighty
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| adj.强有力的；巨大的 | |
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clavichord
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| n.（敲弦）古钢琴 | |
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attainable
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| a.可达到的，可获得的 | |
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purely
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| adv.纯粹地，完全地 | |
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sonata
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| n.奏鸣曲 | |
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Vogue
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| n.时髦，时尚；adj.流行的 | |
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unimpeachable
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| adj.无可指责的；adv.无可怀疑地 | |
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beheld
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| v.看，注视( behold的过去式和过去分词 )；瞧；看呀；（叙述中用于引出某人意外的出现）哎哟 | |
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isle
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| n.小岛，岛 | |
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isles
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| 岛( isle的名词复数 ) | |
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enticing
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| adj.迷人的；诱人的 | |
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pensive
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| a.沉思的,哀思的,忧沉的 | |
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wail
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| vt./vi.大声哀号，恸哭；呼啸，尖啸 | |
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dread
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| vt.担忧，忧虑；惧怕，不敢；n.担忧，畏惧 | |
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foretells
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| v.预言，预示( foretell的第三人称单数 ) | |
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weird
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| adj.古怪的，离奇的；怪诞的，神秘而可怕的 | |
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exquisite
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| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
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haphazard
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| adj.无计划的，随意的，杂乱无章的 | |
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latitude
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| n.纬度，行动或言论的自由(范围)，(pl.)地区 | |
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longitude
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| n.经线，经度 | |
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inevitably
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| adv.不可避免地；必然发生地 | |
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advent
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| n.(重要事件等的)到来，来临 | |
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originality
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| n.创造力，独创性；新颖 | |
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passionate
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| adj.热情的，热烈的，激昂的，易动情的，易怒的，性情暴躁的 | |
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plume
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| n.羽毛；v.整理羽毛，骚首弄姿，用羽毛装饰 | |
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45
kindling
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| n. 点火, 可燃物 动词kindle的现在分词形式 | |
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melancholy
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| n.忧郁，愁思；adj.令人感伤（沮丧）的，忧郁的 | |
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vocal
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| adj.直言不讳的；嗓音的；n.[pl.]声乐节目 | |
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cadenced
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| adj.音调整齐的，有节奏的 | |
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49
forth
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| adv.向前；向外，往外 | |
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50
groves
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| 树丛，小树林( grove的名词复数 ) | |
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mere
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| adj.纯粹的；仅仅，只不过 | |
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preludes
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| n.开端( prelude的名词复数 )；序幕；序曲；短篇作品 | |
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graceful
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| adj.优美的，优雅的；得体的 | |
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54
overthrow
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| v.推翻，打倒，颠覆；n.推翻，瓦解，颠覆 | |
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55
grotesque
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| adj.怪诞的，丑陋的；n.怪诞的图案，怪人（物） | |
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expressive
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| adj.表现的，表达…的，富于表情的 | |
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pliant
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| adj.顺从的；可弯曲的 | |
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58
swarming
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| 密集( swarm的现在分词 )； 云集； 成群地移动； 蜜蜂或其他飞行昆虫成群地飞来飞去 | |
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abounds
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| v.大量存在，充满，富于( abound的第三人称单数 ) | |
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peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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ineffable
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| adj.无法表达的，不可言喻的 | |
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harp
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| n.竖琴；天琴座 | |
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vehement
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| adj.感情强烈的；热烈的；(人)有强烈感情的 | |
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shaft
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| n.(工具的)柄，杆状物 | |
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temperament
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| n.气质，性格，性情 | |
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voluptuous
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| adj.肉欲的，骄奢淫逸的 | |
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exponents
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| n.倡导者( exponent的名词复数 )；说明者；指数；能手 | |
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invaluable
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| adj.无价的，非常宝贵的，极为贵重的 | |
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attained
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| （通常经过努力）实现( attain的过去式和过去分词 )； 达到； 获得； 达到（某年龄、水平、状况） | |
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fretting
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| n. 微振磨损 adj. 烦躁的, 焦虑的 | |
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fuming
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| 愤怒( fume的现在分词 )； 大怒； 发怒； 冒烟 | |
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discriminating
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| a.有辨别能力的 | |
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immortal
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| adj.不朽的；永生的，不死的；神的 | |
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immortality
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| n.不死，不朽 | |
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vouchsafed
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| v.给予，赐予( vouchsafe的过去式和过去分词 )；允诺 | |
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remains
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| n.剩余物，残留物；遗体，遗迹 | |
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artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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sojourner
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| n.旅居者，寄居者 | |
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frivolous
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| adj.轻薄的；轻率的 | |
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80
cynical
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| adj.(对人性或动机)怀疑的，不信世道向善的 | |
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scoffs
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| 嘲笑，嘲弄( scoff的第三人称单数 ) | |
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plaintive
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| adj.可怜的，伤心的 | |
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portrayer
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| n.肖像画家 | |
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foes
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| 敌人，仇敌( foe的名词复数 ) | |
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85
virtuoso
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| n.精于某种艺术或乐器的专家，行家里手 | |
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86
salon
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| n.[法]沙龙；客厅；营业性的高级服务室 | |
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elite
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| n.精英阶层；实力集团；adj.杰出的，卓越的 | |
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88
soothing
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| adj.慰藉的；使人宽心的；镇静的 | |
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89
swell
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| vi.膨胀，肿胀；增长，增强 | |
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vigor
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| n.活力，精力，元气 | |
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91
allurements
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| n.诱惑( allurement的名词复数 )；吸引；诱惑物；有诱惑力的事物 | |
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guise
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| n.外表，伪装的姿态 | |
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covetous
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| adj.贪婪的，贪心的 | |
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metropolis
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| n.首府；大城市 | |
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threnody
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| n.挽歌，哀歌 | |
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chiseled
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| adj.凿刻的，轮廓分明的v.凿，雕，镌( chisel的过去式 ) | |
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bard
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| n.吟游诗人 | |
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98
memorable
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| adj.值得回忆的，难忘的，特别的，显著的 | |
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sonatas
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| n.奏鸣曲( sonata的名词复数 ) | |
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100
inevitable
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| adj.不可避免的，必然发生的 | |
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101
complexity
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| n.复杂(性)，复杂的事物 | |
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102
simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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103
renowned
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| adj.著名的，有名望的，声誉鹊起的 | |
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rococo
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| n.洛可可；adj.过分修饰的 | |
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facet
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| n.(问题等的)一个方面；(多面体的)面 | |
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106
strewed
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| v.撒在…上( strew的过去式和过去分词 )；散落于；点缀；撒满 | |
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107
gems
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| growth； economy； management； and customer satisfaction 增长 | |
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excellence
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| n.优秀，杰出，(pl.)优点，美德 | |
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109
delver
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| 有耐性而且勤勉的研究者，挖掘器 | |
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bosom
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| n.胸，胸部；胸怀；内心；adj.亲密的 | |
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111
woe
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| n.悲哀，苦痛，不幸，困难；int.用来表达悲伤或惊慌 | |
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throbbed
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| 抽痛( throb的过去式和过去分词 )； （心脏、脉搏等）跳动 | |
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113
epitome
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| n.典型，梗概 | |
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114
supremacy
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| n.至上；至高权力 | |
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115
lesser
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| adj.次要的，较小的；adv.较小地，较少地 | |
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stature
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| n.（高度）水平，（高度）境界，身高，身材 | |
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suffused
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| v.（指颜色、水气等）弥漫于，布满( suffuse的过去式和过去分词 ) | |
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