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  • Frédéric Chopin and George Sand: Letters and Music Songs.
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Letter from George Sand to Eugène Delacroix, - Musée Delacroix

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Sign in. You could not be signed in. We see here the conflicting influences of Bach and of Italian opera; of Polish folk-song and of pianistic virtuosity; his tragic devotion to George Sand and his utter inability to understand her; the crystalline clarity of his artistic instinct, and the imperfect thinking which enabled him, after living for years among French intellectuals, to retain almost unmodified the provincial prejudices of his youth.

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Pat Boone- Love Letters in the Sand (lyrics)

Before leaving Vienna he was wracked by indecision, and had written to his friend John Matuszynski: 'Shall I go? Shall I stay? Shall I put an end to myself? Advise me.

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By December , Chopin was comfortable enough in his new surroundings to write home to Tytus: 'Paris is everything you might wish: you can enjoy yourself, be bored, laugh, cry, do anything you like and no one will look at you because thousands of people are doing the same. But contrary to popular belief, writes Orga, his friendship with the latter was always one-sided. And if Chopin respected Liszt's virtuosity, he thought he wasted too much time on worthless trifles.

Perhaps Chopin was just jealous of Liszt's success? For his part, it seems that Liszt took Chopin with a pinch of salt. Chopin's defining Parisian relationship was with George Sand, who he met in Though hampered by her burning of much of their correspondence, biographers have explored and psychoanalysed this unlikely relationship from every angle. The nineteenth century view was of a woman of notoriety, who harried the composer to his death.

James Huneker's idiosyncratic work, Chopin: The Man and His Music , published in , is a period piece of moral outrage: 'She used him for literary copy and threw him over after she had wrung out all the emotional possibilities. I do not doubt that she undermined his feeble health. Samson offers a more rational analysis. Although the full story will never be known, it seems clear that it was a maternal response, a need to protect, which dominated her feelings for him. Yet she did not dominate him.

As [poet and friend, Adam] Mickiewicz said, Chopin is her evil genius, her moral vampire. Chopin's predilection to preciousness and sulks must have been a form of psychological water-torture. Sand's exasperation and claustrophobia is all too clear from some of her letters, in which she complained about his hypersensitive jealousy: 'Chopin's love for me is of an exclusive and jealous character.

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Did you hear about the strange case of Chopin’s dirty letters?

It is a little fantastic and sickly, like him. He is frightened of so many things that I have suggested he should play without candles or audience on a dumb piano. Chopin's music benefited from his extreme sensitivity, but in everyday life that very same sensitivity made him desperately self-conscious.


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In truth, he was perhaps ruled by his nerves even more than his illness, and his dandyism was part of an elaborate shell behind which he could hide. More than one hundred and fifty years after his death, he remains something of an enigma. But his short life and fast times are a writer's dream, and the recent discovery of unpublished letters in Polish archives offers the tantalising promise of new revelations and theories.