F. Chopin's letter to his professor Józef Elsner
Paris, December 14, 1831
Dear Mr. Elsner,
your letter has been for me a proof of the paternal interest and the sincere wishes that you have wished to reserve for the most affectionate of your students. In the year 1830, although I had realized how much I still lacked and how much ground I still had to cover, if I had allowed myself to be tempted to correct any of the models you had given me, I nevertheless dared to think: I will approach him a little and if not a Lokietek, some Laskonogi (works of Elsner) will come from my brain. But today, having completely lost this hope, I am forced to think of carving out a path in the world as a pianist, postponing for later the highest artistic prospects that you justly present to me in your letter. To be a great composer requires an enormous experience which, as you have taught me, is not acquired only by listening to the works of others, but even more so to one's own. Some gifted youths, students of the Paris Conservatory, wait with crossed arms for their works, symphonies, and cantatas to be performed, which only Cherubini and Lessueur have seen on paper. (And I am not speaking of the small theaters to which it is also difficult to gain access, and even when one arrives, as Tomasz in Leopoldstadt, no artistic recognition is obtained despite talent). Meyerbeer, positively known for ten years as an opera composer, had to work for three years, pay, and stay in Paris before arriving (at the moment when people were getting tired of Auber) to perform Robert le diable, an opera that is currently a sensation. In my opinion, to enter the musical world, happy is he who can be both composer and performer. Already in Germany, here and there, I am known as a pianist; some musical gazettes have mentioned my concerts, expressing the hope of seeing me soon occupy a place among the first virtuosos of my instrument (which means: disce, puer, faciam te gran signore).
Today a unique opportunity presents itself to me to maintain an innate promise: why should I not seize it? In Germany, I have found no one who could teach me anything about the piano, because although many felt that I was lacking something, they could not tell me what. For my part, I do not have a beam in my eye that prevents me from seeing higher. Three years is a long time! Even too long, as Kalkbrenner himself recognized upon studying me better (Kalkbrenner had proposed to Chopin to become his pupil for three years to improve Chopin's playing style), something which should prove to you that a virtuoso, who truly deserves his fame, knows no envy... However, I would have accepted these three years of work if in this way I could have taken a great step toward what is my intention. I have very firm purposes; I will never be a copy of Kalkbrenner: he will not be able to erase my desire and understanding, perhaps too bold, but noble: to create a new world for myself; and if I work, it will be because I want to stand more solidly on my own feet. It was easier for Ries, already known as a pianist, to gather laurels in Berlin and Frankfurt for his Fidélio, and for a long time Spohr was known as a violinist before writing Jessonda, Faust, etc. I hope that you will not deny me your blessing, knowing which principles I am inspired by and what my projects are.
Surely my parents will tell you that my concert has been moved to the 25th. The preparations are causing me great distress, and if it were not for Paer, Kalkbrenner, and especially Norblin (who greets you politely), I could not give it in such short notice (here in Paris they think two months is too little). Baillot, very kind and pleasant, will play a Beethoven Quintet, and Kalkbrenner in a Duo with me and the accompaniment of four pianos. I only know Reicha by sight; you know how much I was interested; but I know some of his students who have given me another impression of him. He does not like music: he does not even go to the Conservatory concerts; he does not want to discuss music with anyone; during lessons he only looks at the clock, etc.; Cherubini himself speaks only of cholera and the revolution. These gentlemen are dried-up puppets, for whom one can have respect and whose works can serve as teaching material. As for Fétis, whom I know and from whom one can actually learn many things, he now lives outside the city and comes to Paris only to give lessons; otherwise, for a long time now, he would be at Santa Pelagia due to his debts, which are greater than the income of the "Revue Musicale". In fact, in Paris, one could be arrested for debts at home; therefore, he does not live at his own domicile in Paris, but stays outside the city, where the law cannot reach him for a certain time. It is incredible how many people here are interested in various genres of music. There are
three orchestras: those of the Accademia, the Italian Opera, and Fédeau are excellent; Rossini manages his Opera which is the best structured in Europe. Lablache, Rubini, Pasta (who has now departed), Malibran, Devrient-Schroder, Santini, etc., enchant high society three times a week. Nourrit, Levasseur, Dérivis, Mme Cinti-Damoreau, Mlle Dorus make the Grand Opera shine. Cholet, Mlle Casimir, Prevost are the attraction of the Opéra Comique; in short, only here can one realize what singing truly is. Today, undoubtedly not Pasta, but Malibran (Garcia) is the foremost singer in Europe. A marvel! Walenty Radziwill is in ecstasy for her and more than once we think how even She would admire him! [unintelligible] She thanks you very much for the memory and on every visit she asks me: "And what is our Mr. Elsner (sic) doing, tell me his news," and immediately speaks of his Requiem, which she sent to him. We all here love and admire her, starting from myself and ending with her godson Antoni Orlowski, who, apparently, will not yet be able to have his operetta performed because the subject is not among the best, and furthermore the theater is closed until the New Year. The King does not scatter money; among artists in general it is a lean time, only the English pay.
I would continue writing until tomorrow; but I have already been quite boring. Please accept the assurance of my gratitude and esteem, I remain until death your affectionate pupil
F.F Chopin
I kiss the hand of the lady and the young lady Elsner and send my best wishes for the New Year.