Schumann on Music: A Selection from the Writings (Dover Books on Music) by Robert Schumann

Author:Robert Schumann [Schumann, Robert]
Language: eng
Format: epub
ISBN: 9780486143095
Publisher: Dover Publications
Published: 2012-11-13T02:00:00+00:00

II

If things were ordered according to that lunatic Florestan, one could call the above a review—and let it stand as an obituary for this periodical. Florestan should remember that we also have an obligation to Chopin, about whom we have heretofore said nothing.2 We, ourselves, may regard our silence as the ultimate homage, but the rest of the world may interpret it quite differently. If the homage of words is still outstanding (and a thousand hearts have offered him the most beautiful homage of all!), it is due partly to the hesitancy one feels when confronted with a phenomenon one would prefer to approach through the senses; partly to an awareness of one’s own inadequacy vis-à-vis the majesty of the subject and the impossibility of encompassing it from every side at once and in all its height and depth; partly to the inner artistic affinity we feel with this composer, and partly, at last, to the fact that Chopin, in his most recent compositions, appears to be striking out upon a higher path, if not a new one, about whose direction and presumable destination we hoped to get some clearer idea before rendering an accounting to our absent allies.

Genius creates empires, whose smaller states are distributed by higher authority among Talents. To the latter falls the task of organizing and perfecting details, while Genius remains preoccupied with grander productions. Just as Hummel, for example, followed the voice of Mozart, and clothed the master’s thoughts in a more brilliant, more buoyant covering, so Chopin follows the voice of Beethoven. Or, to dispense with the metaphor: just as Hummel adapted Mozart’s style to the purposes and pleasures of the piano virtuoso, so Chopin introduces the spirit of Beethoven into the concert hall.

He made his entrance, not with an orchestral army, as great geniuses do; he entered with a small following, but his own right down to the last hero. His teachers had been the best—Beethoven, Schubert and Field. The first, we may assume, developed his spirit in daring, the second his heart in tenderness, and the third his hand in dexterity. Thus he stood, equipped with profound knowledge of his art, confident of his own strength and armed with courage when, in the year 1830, the mighty voice of the people arose in the west. Hundreds of young men were awaiting this moment. But Chopin was one of the first to scale the wall, behind which lay a cowardly restoration, a dwarfish Philistinism fast asleep. Blows fell to right and left; the Philistines awoke, angrily, and cried: ‘What impudence!’ In the rear of the attackers others shouted: ‘What splendid courage!’

This was not all that fate ordained to distinguish Chopin from all others. There was also a strong and original nationality—namely, Polish! This was an important element in a favourable coincidence of time and circumstance. Now that the Poles are deep in mourning, their appeal to us artists is even stronger. It is probably just as well that neutral Germany did not immediately

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