While Chopin was strong and healthy, as during the first years of his residence in Paris, he used to play on an Erard piano; but after his friend Camillo Pleyel had made him a present of one of his splendid instruments, remarkable for their metallic ring and very light touch, he would play on no other makerʼs. If he were engaged for a _soirée_ at one of his Polish or French friends, he would often send his own instrument, if there did not happen to be a Pleyel in the house. “Quand je suis mal disposé,” said Chopin, “je joue sur un piano dʼErard et jʼy trouve facilement un son fait. Mais quand je me sens en verve et assez fort, pour trouver mon propre son à moi, il me faut un piano de Pleyel.”
Chopin sacredly cherished art as one of heavenʼs best gifts, as a gentle comforter in sorrow, and would never put it to any common-place purpose. There are, unfortunately, plenty of famous artists who regard their art merely as a means of subsistence. What Schiller says of men of science is no less true of artists:—
“Einem ist sie die hohe, die himmlische Göttin, dem Andern Eine Tüchtige Kuh, die ihn mit Butter versorgt.”
Throughout his life art was to Chopin a lofty goddess. He was frequently asked by wealthy and aristocratic personages to give instruction to them or to their relations, but the largest honorarium could not induce him to teach anyone devoid of talent; although at that time he had long ceased to receive anything from his parents, was very particular about the appointments of his household, fond of giving presents, and always dispensed a most liberal hospitality. In a pleasant manner—and, indeed, no other was possible to him—Chopin would refuse on the score of not increasing the number of his pupils. Young people of talent he would encourage with the sincerest kindness, lending them books, music, and sometimes money even, when he found their means were limited; many he taught gratuitously. One of his most talented pupils was Filtsch,[36] a young Hungarian; Chopin thought a great deal of him, and always delighted in his company. His premature death made a deep and painful impression on our master. All who knew Filtsch intimately, and had heard his beautiful playing, say that he would have fulfilled the most splendid hopes, and unite in deploring his death as a sad loss to the musical world.