Tag Archives: Frédéric Chopin

Chopin on Schumann

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Robert Schumann’s celebrated assessment of Frédéric Chopin—“Hut ab, ihr Herren, ein Genie!” (Hats off, gentlemen, a genius!)—appeared in his 1831 review of Chopin’s variations on ‘Là ci darem la mano, op. 2. This rhapsodic description, cast as a conversation between imaginary characters, somehow reached Chopin’s hands. While relations between the two composers were cordial, a letter from Chopin to a friend hints at his unvarnished reaction:

“I received a few days ago a ten-page review from a German in Kassel who is full of enthusiasm for [the variations]. After a long-winded preface he proceeds to analyze them bar by bar, explaining that they are not ordinary variations but a fantastic tableau. In the second variation he says that Don Giovanni runs around with Leporello; in the third he kisses Zerlina while Massetto’s rage is pictured in the left hand—and in the fifth bar of the Adagio he declares that Don Giovanni kisses Zerlina on the D-flat…I could die of laughing at this German’s imagination.”

This according to “Schumann and Chopin: from Carnaval to Kreisleriana” by Judith Chernaik (The musical times CLVII/1934 [spring 2016] pp. 67–78). This issue of The musical times, along with many others, is covered in our new RILM Abstracts of Music Literature with Full Text collection.

Below, Alice Burla performs the work in question.

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Chopin’s sympathetic nerves

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“I know a distinguished pianist, of tremendously nervous temperament; he often has trouble urinating, and often is subject to all the trouble in the world without being at liberty to satisfy his needs; yet whistling or a few chords on the piano frees this obstruction in an instant.”

So wrote Jan Matuszyński in an 1837 doctoral thesis for the École de Médecine in Paris, referring to his best friend and former school- and then flat-mate, Frédéric Chopin. Matuszyński’s topic, the concept of sympathetic nerves, was in the vanguard of Parisian physiological theory in the 1830s.

His thesis in his study of the suffering pianist was that “the intimate connection existing between the human ear and the abdominal viscera by the sympathetic nerves permits these organs to have a significant influence upon the organ of hearing.”

This according to “Reflecting on reflex, or, Another touching new fact about Chopin” by James Q. Davies (Keyboard perspectives II [2009] pp. 55–82). Below, the composer’s celebrated “Raindrop” prelude, which may now be open to reinterpretation.

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