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lack of sonority and his comparative feebleness as an interpreter of others' works were made up by the beauty of his own ideas and the perfection with which he set them forth. He at once became intimate with leading musicians, including such varied types as the aged Cherubini, the ambitious Rossini, the facile Auber, the poetic young Bellini, the caustic and eccentric Berlioz, the laborious Meyerbeer, the egotistic Kalkbrenner (from whom he had some quasi-lessons), the ardent Liszt, the buoyant Mendelssohn (then on his grand tour), and many others. His genius was effusively acclaimed by Schumann in Leipsic. From 1832 he began concert-giving and teaching, besides publishing from time to time. Though much courted by 'society,' and aspiring "to create a new art-era," he had not the physical or mental verve to be a leader or to command a steady income. (He is said even to have meditated coming to America!) His public appearances as a player ceased with 1835, when the weakness of his constitution began to be seen. In 1834 he attended the festival at Aix-la-Chapelle, and in 1835 and '36 visited Dresden and Leipsic, coming into close contact with the Mendelssohn circle and with Schumann. In 1837 he made a trip to England, partly for his health.

Frédéric Chopin

Late in 1836 began his strange and regrettable intimacy with 'George Sand' (Mme. Dudevant), the restless, sophistical and coarse novelist. With her in 1838-9 he went to Majorca, where he fell seriously ill—the beginning of the fatal consumption. Afterwards they lived in Paris or Nohant. During this period he issued many of his finest works, and occasionally played at concerts for his friends and admirers. In 1847 he and George Sand parted; probably she was tired of him. Late in that year came out his last work, and early in 1848 he played once more in a private concert. The approach of the Revolution drove him to England, where, in spite of his failing health, he made some private appearances at London, Manchester, Glasgow and Edinburgh. Returning to Paris, he died there in 1849, and was accorded a stately funeral at the Madeleine.

The most salient of his personal characteristics were his sentimental sensitiveness and his instinctive refinement. He had great fascination for many persons, was considerate and often impulsively generous, at times displayed ardent enthusiasms, but was prone also to periods of extreme dejection. Intellectually, he was acute and appreciative, occasionally indulging in keen criticism. He lacked vigor of purpose and loftiness of aim—a typical poet of the introspective order. His life moved wholly within the ways and the feelings of aristocratic society, which was his world.