‘Where your treasure is, there will your heart be also’. These words, from St Matthew’s gospel, are the words on the pillar of the Church of the Holy Cross in Warsaw where Chopin’s heart is interred. A single red rose lay at the foot of the pillar on the day of our visit.
Unlike our visit to Chopin’s grave in Paris some years ago, we managed to escape the crowds for a few minutes’ peace in this beautiful church.
Smuggled into Warsaw by his sister Ludwicka after Chopin’s death in 1849, and preserved in a wax-sealed jar of cognac, Chopin’s heart remains a symbol of Polish identity, a precious, revered relic from one of Poland’s greatest sons. It was removed from the Church during the WWII Warsaw Uprising and given to the Auxiliary Bishop in Warsaw.
Happily, the church is now fully restored.
Legend says that Chopin’s final work was composed on his death-bed in Paris. My teacher, Ronald Smith, researched the piece – Mazurka Op 68 No 4 – reconstructing it from the manuscript. Ronald published his own edition, performed it many times, and recorded it for EMI, writing in an accompanying note:
”Fontana published the Mazurka in F Minor in an incomplete form in 1855 and his claim that the work was written on the composer’s death-bed and that the master was too ill to try it out at the keyboard is almost certainly without foundation. The notable Chopin scholar, Arthur Hedley, discovered the original manuscript in private possession in France in 1951. He made an on-the-spot reconstruction of a previously missing second episode in F major and several performances were given in this version. Subsequently the manuscript passed to Poland, resulting in a scholarly publication of the entire piece in 1965 which also prints a facsimile of the manuscript. Both Hedley’s 32-bar version of the F major section and this Polish edition’s 16 bars contain serious errors – though quite different ones. At first glance Chopin’s manuscript discloses little more than a riot of alterations often cramped into any available space, their continuity only indicated by a series of spidery pointers.
Scrutiny confirms that this is no mere sketch but a complete work from which Chopin was probably too ill to make a fair copy. The Polish edition, which goes a long way to reveal formerly hidden subtleties in the outer section, takes a disastrous short-cut in the F major episode. Hedley’s version is correct in its overall shape, but simplifications of harmony and register suggest that he was obliged to complete his reconstruction from memory. The version that appears ….[below]… is based exclusively on Chopin’s manuscript, the evidence having been painstakingly sifted in the light of Chopin’s other compositions.”
And here is a live 1995 recording by Ronald Smith –