To tear Chopin away from so many gdteries, to associate him with a simple, uniform, and constantly studious life, him who had been brought up on the knees of princesses, was to deprive him of that which made him live, of a factitious life, it is true, for, like a painted woman, he laid aside in the evening, in returning to his home, his verve and his energy, to give the night to fever and sleeplessness; but of a life which would have been shorter and more animated than that of the retirement and of the intimacy restricted to the uniform circle of a single family. In Paris he visited several salons every day, or he chose at least every evening a different one as a milieu. He had thus by turns twenty or thirty salons to intoxicate or to charm with his presence.
Chopin in his social relations: His predilection
fashionable salon society (accounts by Madame Girardin and
Berlioz); his neglect of the society of artists (Ary Scheffer,
Marmontel, Heller, Schulhoff, the Paris correspondent of the
musical world); aphorisms by Liszt on Chopin in his social
aspect.—Chopin’s friendships.—George sand, Liszt, Lenz, Heller,
Marmontel, and Hiller on his character (irritability, fits of
anger—scene with Meyerbeer—gaiety and raillery, love of
society, and little taste for reading, predilection for things
polish).—His polish, German, English, and Russian friends.—The
party made famous by Liszt’s account.—His intercourse with
musicians (Osborne, Berlioz, Baillot, Cherubini, Kalkbrenner,
Fontana, Sowinski, Wolff, Meyerbeer, Alkan, etc.).—His
friendship with Liszt.—His dislike to letter-writing.