The Saint Paul globe. (St. Paul, Minn.) 1896-1905, 1903-11-20
HOW CHOPIN EVOLVED.
HIS FUNERAL MARCH
ZIem, the Well Known Painter,
M
Z Tells a GreWsome
"a - Story.

PARIS, Nov. 10. - Spirited discussion
has arisen in Partisan musical circles in
regard to the circumstances in which
gChopin's famous Funeral March" was
composed. Several versions of the story
have been related. Ziem, the well
known painter now In the twilight of his
career, who was an intimate lifelong
friend of Chopin, has been interviewed
on the subject by several Partisan jour-
nalists 1t was my good fortune to meet
Ziem few days ago. He seemed in ex-
cellent health. His rosy complexion was
heightened by snow white hair and neat
ly cropped silvery beard.
When questioned upon the subject of
Chopins Funeral March" the veteran
painter became quite animated, and, talk
ing to group of journalists, among
whom was one editor of the Matin, re-
counted the circumstances of the com
position of the march which has become
the musical feature of two-th thirds of
the funerals that take place in France
Ziem stroked his forehead with his hand
as if to refresh his memory, and in a
low, sympathetic voice began his story
which ran very much as follows:
sit was fifty-five or fifty-six years ago.
1t was after coy little dinner in my
studio. Among those present were Chew
endier de Valdrome, Ludre. Prince Polig-
nae, Ricard, the painter; Chopin and my
self. In those days I had some fine
old Aubusson tapestries Of very large
dimensions. These tapestries, hanging
from lie beams of the building, separated
the studio into three rooms
"In one Of the compartments was a
human skeleton, upon which I used to
arrange various costumes of silk bro
cade or velvet, and which served as a
sort Of model Near the skeleton was
a very poor, rickety piano, that I had
bought for 40 francs from a dealer in old
furniture. I had sawed out four of the
panels Of the plano to paint four pictures
on them. So you can imagine that the
piano itself was little more than a skele-
ton, and the keys ratified most lugubrf-
ously. 1 had been lucky enough to have
sold half a dozen pictures that fetched
what in those days were considered very
high prices. Consequently I felt very
merry, and had RECALLED my friends with
a sumptuous dinner, accompanied by
copious draughts of red and white wine
from the Touraine country.
ut came into my head to perpetrate
a practical joke. 1 was sitting with
Ricard In the compartment where the
skeleton and the piano stood I wrapped
long pieces of white and black lace about
the skeleton, and, pushing 1t between
the tapestries into the adjoining room
held it upright, and agitated it so as
to give the appearance of ghost, while
myself was concealed by the tapestry
hangings.
1.-The scene was grotesque and provoked
renewed gayety. The Touraine wine,
poured forth in profusion, caused phase
of what may be described as sentimental
intoxication Prince Polignac after a
while seized the skeleton in his arms
embraced it, and finally enveloped him
self and the skeleton beneath the same
lace wells. The effect was decidedly
weird and suggestive of death. There
were more bouts Of the good Touraine
wine, which contained a great deal OF
sunshine and effervescence.
"Polignac now fairly glued to the