Lyrics:

Frédéric Chopin

22 February 1810 - 17 October 1849


Frédéric François Chopin


was a Polish composer and virtuoso pianist. He was one of the great masters of Romantic music.[6]
Chopin was born in the village of Zelazowa Wola, in the Duchy of Warsaw, to a French-expatriate father and Polish mother. He was regarded as a child-prodigy pianist.[7][8] On 2 November 1830, at the age of twenty, he left Warsaw for Austria, intending to go on to Italy. The outbreak of the Polish November Uprising seven days later, and its subsequent suppression by Russia, led to Chopin's becoming one of many expatriates of the Polish Great Emigration.[9]
In Paris, Chopin made a comfortable living as a composer and piano teacher, while giving few public performances. Though an ardent Polish patriot,[10][11] in France he used the French versions of his given names and eventually, to avoid having to rely on Imperial Russian documents, became a French citizen.[12][13][14] After some ill-fated romantic involvements with Polish women, from 1837 to 1847 he had a turbulent relationship with the French novelist, Aurore Dupin, better known by her pseudonym, George Sand. For the greater part of his life Chopin suffered from poor health and he died in Paris in 1849, aged thirty-nine, from pulmonary tuberculosis.[15][16]
Chopin's compositions were written primarily for the piano as a solo instrument. Though they are technically demanding,[17] the emphasis in his style is on nuance and expressive depth. Chopin invented musical forms such as the ballade[18] and was responsible for major innovations in the piano sonata, mazurka, waltz, nocturne, polonaise, étude, impromptu and prélude.


Childhood


Frédéric Chopin was born some fifty kilometers west of Warsaw, in Zelazowa Wola in Sochaczew County, in what was then part of the Duchy of Warsaw. His father, Mikolaj (in French, Nicolas) Chopin, originally a Frenchman from Lorraine, had emigrated to Poland in 1787 at the age of sixteen and had served in Poland's National Guard during the Kosciuszko Uprising. The elder Chopin subsequently worked as a tutor to children of the aristocracy, which included the Skarbeks—one of whose poorer relations, Justyna Krzyzanowska, he married.[19]
Justyna's brother would become the father of American Union General Wlodzimierz Krzyzanowski.[20][21]
Mikolaj and Justyna were married in the 16th-century basilica in Brochów, where Frédéric Chopin would be baptised. The couple's second child (and only son), christened 'Fryderyk Franciszek Chopin', was born on 1 March 1810. A parish church document found in 1892[22] gives his birth date as 22 February 1810, but he usually gave 1 March as his date of birth.[22]


In 1817–27 Chopin's family lived adjacent to the Kazimierz Palace in this Warsaw University building, now adorned (center) with Fryderyk's profile


In October 1810, when Chopin was seven months old, the family moved to Warsaw. His father accepted an offer from the celebrated lexicographer Samuel Linde, to teach French at a secondary school, the Warsaw Lyceum. The school was housed in the Saxon Palace, and the Chopin family lived on the palace grounds. In 1817 Grand Duke Constantine requisitioned the Saxon Palace for military purposes, and the Lyceum was moved to the Kazimierz Palace,[23] on the grounds of present-day Warsaw University. The family lived in a spacious second-floor apartment in an adjacent building. Chopin attended the Warsaw Lyceum from 1823 to 1826.
The Polish spirit, culture and language pervaded the Chopins' home, and as a result the son would never, even in Paris, perfectly master the French language.[24] Louis Enault, a biographer, borrowed George Sand's phrase to describe Chopin as being 'more Polish than Poland'.[25]


Others in Chopin's family were musically inclined. Chopin's father played the flute and violin; his mother played the piano and gave lessons to boys in the elite boarding house that the Chopins maintained. As a result Fryderyk early became conversant with music in its various forms.[26]
Józef Sikorski, a musician and Chopin's contemporary, recalls in his Memoirs about Chopin (Wspomnienie Chopina) that, as a child, Chopin wept with emotion when his mother played the piano. By six, he was already trying to reproduce what he heard or to make up new melodies.[8] He received his earliest piano lessons not from his mother but from his older sister Ludwika (in English, 'Louise').[26]
Chopin's first professional piano tutor, from 1816 to 1822, was the Czech, Wojciech Zywny.[27] Though the youngster's skills soon surpassed his teacher's, Chopin later spoke highly of Zywny. Seven-year old 'little Chopin' (Szopenek) began giving public concerts that soon prompted comparisons with Mozart as a child and with Beethoven.[26]


That same year, seven-year old Chopin composed two Polonaises, in G minor and B-flat major. The first was published in the engraving workshop of Father Izydor Józef Cybulski (composer, engraver, director of an organists' school, and one of the few music publishers in Poland); the second survives as a manuscript prepared by Mikolaj Chopin. These small works were said to rival not only the popular polonaises of leading Warsaw composers, but the famous Polonaises of Michal Kleofas Oginski. A substantial development of melodic and harmonic invention and of piano technique was shown in Chopin's next known Polonaise, in A-flat major, which the young artist offered in 1821 as a name-day gift to Zywny.[26]



About this time, at the age of eleven, Chopin performed in the presence of Alexander I, Tsar of Russia, who was in Warsaw, opening the Sejm (Polish parliament).[8]
As a child, Chopin showed an intelligence that was said to absorb everything and make use of everything for its development. He early showed remarkable abilities in observation and sketching, a keen wit and sense of humor, and an uncommon talent for mimicry.[26] A story from his school years recounts a teacher being pleasantly surprised by a superb portrait that Chopin had drawn of him in class.[28]
In those years, Chopin was sometimes invited to the Belweder Palace as playmate to the son of Russian Poland's ruler, Grand Duke Constantine Pavlovich of Russia, and charmed the irascible duke with his piano-playing.[26] (A few years later, the Grand Duke would flee the Belweder, just in the nick of time, at the very opening of the November 1830 Uprising, escaping the Polish officer cadets who rode up through the Royal Baths Park from their barracks in an effort to capture him.) Julian Ursyn Niemcewicz attested to 'Little Chopin's' popularity in his dramatic eclogue, 'Nasze Verkehry' ('Our Intercourse,' 1818), in which the eight-year old Chopin features as a motif in the dialogues.[26]
While in his mid-teens, during vacations spent at the village of Szafarnia (where he was a guest of Prince Antoni Radziwill), Chopin was exposed to folk melodies that he would later transmute into original compositions. His letters home from Szafarnia (the famous 'Szafarnia Courier' letters) amused his family with their spoofing of the Warsaw newspapers and demonstrated the youngster's literary talent.[28]
An anecdote describes how Chopin helped quiet rowdy children by first improvising a story and then lulling them to sleep with a berceuse (lullaby) — after which he woke everyone with an ear-piercing chord.[28]
[edit]Education


Chopin, tutored at home until he was thirteen, enrolled in the Warsaw Lyceum in 1823, but continued studying piano under Zywny's direction. In 1825, in a performance of the work of Ignaz Moscheles, he entranced the audience with his free improvisation, and was acclaimed the 'best pianist in Warsaw.'[26]
In the autumn of 1826, Chopin began a three-year course of studies with the Polish composer Józef Elsner at the Warsaw Conservatory, which was affiliated with the University of Warsaw (hence Chopin is counted among that university's alumni). Chopin's first contact with Elsner may have been as early as 1822; it is certain that Elsner was giving Chopin informal guidance by 1823 and, in 1826, Chopin officially commenced the study of music theory, figured bass, and composition with Elsner.


In 1827–30 Chopin lived with his family in the south annex of the Krasinski Palace, before leaving Poland forever.
In year-end evaluations, Elsner noted Chopin's 'remarkable talent' and 'musical genius.' As had Zywny, Elsner observed, rather than influenced or directed, the development of Chopin's blossoming talent. Elsner's teaching style was based on his reluctance to 'constrain' Chopin with 'narrow, academic, outdated' rules, and on his determination to allow the young artist to mature 'according to the laws of his own nature.'[29]
In 1827, the family moved to lodgings just across the street from Warsaw University, in the Krasinski Palace at Krakowskie Przedmiescie 5 (in what is now the Warsaw Academy of Fine Arts). Chopin would live there until he left Warsaw in 1830. (In 1837-39, artist and poet Cyprian Norwid would study painting there; later he would pen the poem, 'Chopin's Piano,' about Russian troops' 1863 defenestration of the instrument.[30])
In 1829, Polish portraitist Ambrozy Mieroszewski executed a set of five portraits of Chopin family members (the youngest daughter, Emilia, had died in 1827): Chopin's parents, his elder sister Ludwika, younger sister Izabela, and, in the first known portrait of him, the composer himself. (The originals perished in World War II; only black-and-white photographs remain.) In 1913, historian Édouard Ganche would write that this painting of the precocious composer showed 'a youth threatened by tuberculosis. His skin is very white, he has a prominent Adam's apple and sunken cheeks, even his ears show a form characteristic of consumptives.' Chopin's younger sister Emilia had already died of tuberculosis at the age of fourteen, and their father would succumb to the same disease in 1844.[29]
According to musicologist and Chopin biographer Zdzislaw Jachimecki, comparison of the juvenile Chopin with any earlier composer is difficult because of the originality of the works that Chopin was composing already in the first half of his life. At a comparable age, Bach, Mozart and Beethoven had still been apprentices, while Chopin was perceived by peers and audiences to be already a master who was pointing the path of the coming age.[29]
Chopin himself never gave thematic titles to his instrumental works, but identified them simply by genre and number.[31] His compositions were, however, often inspired by emotional and sensual experiences in his own life. One of his first such inspirations was a beautiful young singing student at the Warsaw Conservatory and later a singer at the Warsaw Opera, Konstancja Gladkowska. In letters to his friend Tytus Woyciechowski, Chopin indicated which of his works, and even which of their passages, were influenced by his erotic transports. His artist's soul was also enriched by friendships with such leading lights of Warsaw's artistic and intellectual world as Maurycy Mochnacki, Józef Bohdan Zaleski and Julian Fontana.[32]
[edit]Young man



In September 1828, Chopin struck out for the wider world in the company of a family friend, the zoologist Feliks Jarocki, who planned to attend a scientific convention in Berlin. There, Chopin enjoyed several unfamiliar operas directed by Gaspare Spontini, went to several concerts, and saw Carl Friedrich Zelter, Felix Mendelssohn and other celebrities. On his return trip, he was the guest of Prince Antoni Radziwill, governor of the Grand Duchy of Posen — himself an accomplished composer and aspiring cellist. For the Prince and his piano-playing daughter Wanda, Chopin composed his Polonaise for Cello and Piano, in C major, Op. 3.[33]
Back in Warsaw, in 1829, Chopin heard Niccolò Paganini play and met the German pianist and composer Johann Nepomuk Hummel. In August the same year, three weeks after completing his studies at the Warsaw Conservatory, Chopin made a brilliant debut in Vienna. He gave two piano concerts and received many favorable reviews — in addition to some that criticized the 'small tone' that he drew from the piano. This was followed by a concert, in December 1829, at the Warsaw Merchants' Club, where Chopin premièred his Piano Concerto No. 2 in F minor, Op. 21, and by his first performance, on 17 March 1830, at the National Theater, of his Piano Concerto No. 1 in E minor, Op. 11. In this period he also began writing his first Études (1829–1832).[8]


The National Theatre, Warsaw, where Chopin premièred his Piano Concerto No. 1 in E minor on 17 March 1830
Chopin's successes as a performer and composer opened the professional door for him to western Europe, and on 2 November 1830, seen off by friends and admirers, with a ring from Konstancja Gladkowska on his finger and carrying with him a silver cup containing soil from his native land, Chopin set out, writes Jachimecki, 'into the wide world, with no very clearly defined aim, forever.'[33]
Later that month, in Warsaw, the November Uprising broke out, and Chopin's friend and traveling companion, Tytus Woyciechowski, returned to Poland to enlist. Chopin, now alone in Vienna, writes Jachimecki, 'afflicted by nostalgia, disappointed in his hopes of giving concerts and publishing, matured and acquired spiritual depth. From a romantic... poet... he grew into an inspired national bard who intuited the past, present and future of his country. Only now, at this distance, did he see all of Poland from the proper perspective, and understand what was great and truly beautiful in her, the tragedy and heroism of her vicissitudes.'[33] When in September 1831 Chopin learned, while traveling from Vienna to Paris, that the uprising had been crushed, he poured 'profanities and blasphemies' in his native Polish language into the pages of a little journal that he kept secret to the end of his life. These outcries of a tormented heart found musical expression in his Scherzo in B minor, Op. 20, and his 'Revolutionary Étude', in C minor, Op. 10, No. 12.[33]
[edit]Paris



Chopin arrived in Paris in late September 1831, still uncertain whether he would settle there for good.[33] With a view to easing his entry into the Parisian musical community, he began taking lessons from the prominent pianist Friedrich Kalkbrenner. In February 1832 Chopin gave a concert that garnered universal admiration. The influential musicologist and critic François-Joseph Fétis wrote in Revue musicale: 'Here is a young man who, taking nothing as a model, has found, if not a complete renewal of piano music, then in any case part of what has long been sought in vain, namely, an extravagance of original ideas that are unexampled anywhere...'[34] Only three months earlier, in December 1831, Robert Schumann, in reviewing Chopin's Variations on 'La ci darem la mano', Op. 2 (from Mozart's opera Don Giovanni), had written: 'Hats off, gentlemen! A genius.'[35]
After his Paris concert début in February 1832, Chopin realised that his light-handed keyboard technique was not optimal for large concert spaces. However, later that year he was introduced to the wealthy Rothschild banking family, whose patronage opened doors for him to other private salons.[8]
In Paris, Chopin found artists and other distinguished company, as well as opportunities to exercise his talents and achieve celebrity, and before long he was earning a handsome income teaching piano to affluent students from all over Europe.[36] Chopin formed friendships with Hector Berlioz, Franz Liszt, Vincenzo Bellini, Ferdinand Hiller, Felix Mendelssohn, Heinrich Heine, Eugène Delacroix, Prince Adam Jerzy Czartoryski, Alfred de Vigny, and Charles-Valentin Alkan.[36]
However, Chopin seldom performed publicly in Paris. In later years he would generally give only a single annual concert at the Salle Pleyel, a venue that could seat an audience of three hundred. He played more frequently at salons — social gatherings of the aristocracy and artistic and literary elite of the period — but preferred to play, in his own Parisian apartment, for small circles of friends. His precarious health prevented his touring extensively as a traveling virtuoso, and beyond playing once in Rouen, he seldom ventured out of the capital.[36] His high income from teaching and composing freed him from the strains of concert-giving, to which he had an innate repugnance.[8] Arthur Hedley has observed that 'As a pianist Chopin was unique in acquiring a reputation of the highest order on the basis of a minimum of public appearances—few more than thirty in the course of his lifetime.'[37]


In 1835 Chopin went to Carlsbad, where, for the last time in his life, he met with his parents. En route through Saxony on his way back to Paris, he met old friends from Warsaw, the Wodzinskis. He had met their daughter Maria, now sixteen, in Poland five years earlier, and fell in love with the charming, artistically talented, intelligent young woman.[38] The following year, in September 1836, upon returning to Dresden after having vacationed with the Wodzinskis at Marienbad, Chopin proposed marriage to Maria. She accepted, and her mother Countess Wodzinska approved in principle, but Maria's tender age and Chopin's tenuous health (in the winter of 1835–1836 he had been so ill that word had circulated in Warsaw that he had died) forced an indefinite postponement of the wedding. The engagement remained a secret to the world and never led to the altar. Chopin finally placed the letters from Maria and her mother in a large envelope, on which he wrote the Polish words 'Moja bieda' ('My sorrow').[36]

Chopin's feelings for Maria left their traces in his Waltz in A-flat major 'The Farewell Waltz', Op. 69, No. 1, written on the morning of his September departure from Dresden. On his return to Paris, he composed the Étude in F minor, the second in the Op. 25 cycle, which he referred to as 'a portrait of Maria's soul.' Along with this, he sent Maria seven songs that he had set to the words of Polish Romantic poets Stefan Witwicki, Józef Zaleski and Adam Mickiewicz.[39]
After Chopin's matrimonial plans ended, Polish countess Delfina Potocka appeared episodically in Chopin's life as muse and romantic interest. For her he composed his Waltz in D flat major, Op. 64, No. 1 — the famous 'Minute Waltz.'[36]
During his years in Paris, Chopin participated in a small number of public concerts. The list of the programs' participants provides an idea of the richness of Parisian artistic life during this period. Examples include a concert on 23 March 1833, in which Chopin, Liszt and Hiller performed J. S. Bach's concerto for three harpsichords; and, on 3 March 1838, a concert in which Chopin, his pupil Adolphe Gutman, Alkan, and Alkan's teacher Pierre Joseph Zimmerman performed Alkan's arrangement, for eight hands, of Beethoven's 7th symphony.
Chopin was also involved in the composition of Liszt's Hexaméron; Chopin's was the sixth (and last) variation on Bellini's theme.
[edit]George Sand


In 1836, at a party hosted by Countess Marie d'Agoult, mistress of friend and fellow composer Franz Liszt, Chopin met French author and feminist Amandine Aurore Lucille Dupin, the Baroness Dudevant, better known by her pseudonym, George Sand. Sand's earlier romantic involvements had included Jules Sandeau, Prosper Mérimée, Alfred de Musset, Louis-Chrystosome Michel, Charles Didier, Pierre-François Bocage and Félicien Mallefille.[40]
Chopin initially felt an aversion for Sand.[36] He declared to Ferdinand Hiller: 'What a repulsive woman Sand is! But is she really a woman? I am inclined to doubt it.'[41] Sand, however, in a candid thirty-two page letter to Count Wojciech Grzymala, a friend to both her and Chopin, admitted strong feelings for the composer. In her letter she debated whether to abandon a current affair in order to begin a relationship with Chopin, and attempted to gauge the currency of his previous relationship with Maria Wodzinska, which she did not intend to interfere with should it still exist.[42] By the summer of 1838, Chopin's and Sand's involvement was an open secret.[36]
A notable episode in their time together was a turbulent and miserable winter on Majorca (8 November 1838 to 13 February 1839), where they, together with Sand's two children, had gone in the hope of improving Chopin's deteriorating health. However, after discovering the couple were not wed, the deeply religious people of Majorca became inhospitable,[citation needed] making accommodations difficult to find; this compelled the foursome to take lodgings in a scenic yet stark and cold former Carthusian monastery in Valldemossa.



Chopin also had problems having his Pleyel piano sent to him. It arrived from Paris on 20 December but was held up by customs. (Chopin wrote on 28 December: 'My piano has been stuck at customs for 8 days... They demand such a huge sum of money to release it that I can't believe it.') In the meantime Chopin had a rickety rented piano on which he practiced and may have composed some pieces.
On 3 December, he complained about his bad health and the incompetence of the doctors in Majorca: 'I have been sick as a dog during these past two weeks. Three doctors have visited me. The first said I was going to die; the second said I was breathing my last; and the third said I was already dead.'
On 4 January 1839, George Sand agreed to pay 300 francs (half the demanded amount) to have the Pleyel piano released from customs. It was finally delivered on 5 January. From then on Chopin was able to use the long-awaited instrument for almost five weeks, time enough to complete some works: some Preludes, Op. 28; a revision of the Ballade No. 2, Op. 38; two Polonaises, Op. 40; the Scherzo No. 3, Op. 39; the Mazurka in E minor from Op. 41; and he probably revisited his Sonata No. 2, Op. 35. The winter in Majorca is still considered one of the most productive periods in Chopin's life.
During that winter, the bad weather had such a serious effect on Chopin's health and chronic lung disease that, in order to save his life, the entire party were compelled to leave the island. The beloved French piano became an obstacle to a hasty escape. Nevertheless, George Sand managed to sell it to a French couple (the Canuts), whose heirs are the custodians of Chopin's legacy on Majorca and of the Chopin cell-room museum in Valldemossa.


Stylized rendition of Delacroix's joint portrait of Chopin and Sand. She sews as he plays.
The party of four went first to Barcelona, then to Marseille, where they stayed for a few months to recover. In May 1839, they headed to Sand's estate at Nohant for the summer. In autumn they returned to Paris, where initially they lived apart; Chopin soon left his apartment at 5 rue Tronchet to move into Sand's house at 16 rue Pigalle. The four lived together at this address from October 1839 to November 1842, while spending most summers until 1846 at Nohant.[43] In 1842, they moved to 80 rue Taitbout in the Square d'Orléans, living in adjacent buildings.[44]
It was around this time that we have evidence of Chopin's playing an instrument other than the piano. At the funeral of the tenor Adolphe Nourrit, who had jumped to his death in Naples but whose body was returned to Paris for burial, Chopin played an organ transcription of Franz Schubert's lied Die Gestirne.[45]


During the summers at Nohant, particularly in the years 1839 through 1843, Chopin found quiet but productive days during which he composed many works. They included his great Polonaise in A flat major, Op. 53, the 'Heroic', one of his most famous pieces. It is to Sand that we owe the most compelling description of Chopin's creative processes, of the rise of his inspirations and of their painstaking working-out, sometimes amid real torments, amid weeping and complaints, with hundreds of changes in the initial concept—only to return to the first idea.[44] She describes an evening with their friend Delacroix in attendance:
Chopin is at the piano, quite oblivious of the fact that anyone is listening. He embarks on a sort of casual improvisation, then stops. 'Go on, go on,' exclaims Delacroix, 'That's not the end!' 'It's not even a beginning. Nothing will come ... nothing but reflections, shadows, shapes that won't stay fixed. I'm trying to find the right colour, but I can't even get the form ...' 'You won't find the one without the other,' says Delacroix, 'and both will come together.' 'What if I find nothing but moonlight?' 'Then you will have found the reflection of a reflection.' The idea seems to please the divine artist. He begins again, without seeming to, so uncertain is the shape. Gradually quiet colours begin to show, corresponding to the suave modulations sounding in our ears. Suddenly the note of blue sings out, and the night is all around us, azure and transparent. Light clouds take on fantastic shapes and fill the sky. They gather about the moon which casts upon them great opalescent discs, and wakes the sleeping colours. We dream of a summer night, and sit there waiting for the song of the nightingale ...[46]
As the composer's illness progressed, Sand gradually became less of a lover and more of a nurse to Chopin, whom she called her 'third child.' But the nursing began to pall on her. In the years to come she would keep up her friendship with Chopin, but she often gave vent to affectionate impatience, at least in letters to third parties, in which she referred to Chopin as a 'child,' a 'little angel,' a 'sufferer' and a 'beloved little corpse.'[44]



In 1845, even as a further deterioration occurred in Chopin's health, a serious problem emerged in his relations with Sand. Those relations were further soured in 1846 by problems involving her daughter Solange and the young sculptor Auguste Clésinger. In 1847, Sand published her novel Lucrezia Floriani, whose main characters — a rich actress and a prince in weak health — could be interpreted as Sand and Chopin; the story was uncomplimentary to Chopin, who could not have missed the allusions as he helped Sand correct the printer's galleys. In 1847, he did not visit Nohant. Mutual friends attempted to reconcile them, but the composer was unyielding.[44]
One of these friends was the mezzo-soprano Pauline Viardot. Sand had based her 1843 novel Consuelo on Viardot, and the three had spent many hours at Nohant. As well as being an outstanding opera singer, Viardot was also an excellent pianist, who had initially wanted the piano to be her career and had taken lessons with Liszt and Anton Reicha. Her friendship with Chopin was based on mutual artistic esteem and similarity of temperament.[47] She and Chopin had often played together; he had advised her on piano technique and had even assisted her in writing a series of songs based on the melodies of his mazurkas. He in turn had gained from Viardot some first-hand knowledge of Spanish music.[47]
The year 1847 brought to an end, without any dramatics or formalities, the relations between Sand and Chopin that had lasted ten years, since 1837.[44]
Count Wojciech Grzymala, who had followed Chopin's romance with George Sand from the first day to the last, would later opine: 'If he had not had the misfortune of meeting G.S. [George Sand], who poisoned his whole being, he would have lived to be Cherubini's age.' Chopin died at thirty-nine; his friend Cherubini had died at Paris in 1842 at age eighty-one.[48] The two composers repose four meters apart at Père Lachaise Cemetery.
[edit]Final years
Chopin's public popularity as a virtuoso waned, as did the number of his pupils. In February 1848, he gave his last Paris concert. In April, with the Revolution of 1848 underway in Paris,[49] he left for London, where he performed at several concerts and at numerous receptions in great houses.[44]
Toward the end of the summer he went to Scotland, staying at the castle (Johnstone,[50] in Renfrewshire, near Glasgow) of his former pupil and great admirer Jane Wilhelmina Stirling and her elder sister, the widowed Mrs. Katherine Erskine. Miss Stirling proposed marriage to him; but Chopin, sensing that he was not long for this world, set greater store by his freedom than by the prospect of living on the generosity of a wife.[44]
In late October 1848 in Edinburgh, at the home of a Polish physician, Dr. Adam Lyszczynski,[51] Chopin wrote out his last wil