t including the
Beethoven Sonatas, not strictly born of the instrument, I do not fear
to maintain that this Fantaisie is one of the greatest of piano pieces.
Never properly appreciated by pianists, critics, or public, it is,
after more than a half century of neglect, being understood at last. It
was published November, 1843, and probably composed at Nohant, as a
letter of the composer indicates. The dedication is to Princesse C. de
Souzzo--these interminable countesses and princesses of Chopin! For
Niecks, who could not at first discern its worth, it suggests a Titan
in commotion. It is Titanic; the torso of some Faust-like dream, it is
Chopin's Faust. A macabre march, containing some dangerous dissonances,
gravely ushers us to ascending staircases of triplets, only to
precipitate us to the very abysses of the piano. That first subject, is
it not almost as ethically puissant and passionate as Beethoven in his
F minor Sonata? Chopin's lack of tenaciousness is visible here.
Beethoven would have built a cathedral on such a foundational scheme,
but Chopin, ever prodigal in his melody making, dashes impetuously to
the A flat episode, that heroic love chant, erroneously marked dolce
and played with the effeminacies of a salon. Three times does it
resound in this strange Hall of Glancing Mirrors, yet not once should
it be caressed. The bronze fingers of a Tausig are needed. Now are
arching the triplets to the great, thrilling song, beginning in C
minor, and then the octaves, in contrary motion, split wide asunder the
very earth. After terrific chordal reverberations there is the rapid
retreat of vague armies, and once again is begun the ascent of the
rolling triplets to inaccessible heights, and the first theme sounds in
C minor. The modulation lifts to G flat, only to drop to abysmal
depths. What mighty, desperate cause is being espoused? When peace is
presaged in the key of B, is this the prize for which strive these
agonized hosts? Is some forlorn princess locked behind these solemn,
inaccessible bars? For a few moments there is contentment beyond all
price. Then the warring tribe of triplets recommence, after clamorous G
flat octaves reeling from the stars to the sea of the first theme.
Another rush into D flat ensues, the song of C minor reappears in F
minor, and the miracle is repeated. Oracular octaves quake the
cellarage of the palace, the warriors hurry by, their measured tramp is
audible after they vanish, and the tri