Page:Pratt - The history of music (1907).djvu/540

 Technically, Chopin was almost wholly a lyric artist, usually choosing forms that are song-like in essence. Within this field he followed methods that were not radically different from classical practice, except that his melodies were more flexible, more expanded, much fuller of sensuous warmth. But he drew his song-patterns from new sources, having often singular pathos or picturesqueness. And he treated his materials in detail without being governed by the ordinary conventions of harmony or counterpoint. He had but slight impulse to true thematic development and but small power in the architectonic handling of complex tonal processes. But, on the other hand, he had extreme facility in melodic invention, an absolutely fresh insight into the capacities of the piano, and a marvelous gift for decoration and color. Some intimations of progress in these directions had already appeared, but the advance that he achieved was superbly rapid and sure. The art of pianism as an independent specialty took on a new importance under his hand.

Frédéric Chopin (d. 1849) was born in 1810 at a village not far from Warsaw. As a young man his father had come to Poland in 1787 from Nancy (E. France) and, after business and military experience, was from about 1805 a private tutor, from 1810 teacher in the new Lyceum and later in a school of his own. His mother was of a good Polish family. Of the four children, two older sisters lived to become talented writers. Chopin's early years fell amidst dark times for his country. The infamous partitions of Poland (1772-95) had given most of it to Russia and were still bitterly resented—the constant unrest culminating in 1830 in the first of several fruitless insurrections. Probably the Chopin family suffered from the situation, since their livelihood depended upon people in high society.

Chopin received a fair education, the best of it being in music. His first master was the Bohemian Zywny, a worthy teacher of the old school. At 9 he played a piano-concerto in public, and soon after began some composition. At 14 he entered the Lyceum, where he was noted for his spirits and his dramatic talent, and began lessons with Elsner, the head of the young conservatory and a wise, intelligent teacher. At 15 (1825) he put forth his first published work, though he had previously written several dances. Leaving the Lyceum in 1827, he concentrated upon music to such purpose that many other works were produced, and in 1829, when he was induced to play at Vienna, he scored a real success. In 1830 he gave three memorable farewell concerts at Warsaw and then set out for Breslau, Dresden, Prague, Vienna, Munich and Stuttgart, whence in the fall of 1831 he passed on to Paris. At Stuttgart he heard of the capture of Warsaw by the Russians and the collapse of the insurrection.

His nationality, his high-bred, aristocratic ways, and the charm of his art speedily brought him into notice. His virtuosity was not unrivaled, but his