Gutmann is known to have been one of Chopin's particularly favored pupils. Chopin's Scherzo No. 3 is dedicated 'To my friend, Gutmann.' Aside from Fontana, a pianist and composer friend who undertook the engraving of Chopin's works and to whom the Two Polonaises, Op. 40 were dedicated, there is no other instance of Chopin dedicating a work to a male musician, pupil, or friend. Indeed, Chopin and Gutmann addressed each other with 'tu' (informal 'you') rather than 'vous' (formal 'you'). This also suggests that Gutmann held a special musical significance for Chopin.

Life

Gutmann was born in Heidelberg, Germany, and after likely receiving his initial education there, he left his hometown in 1834, in his mid-teens, to visit Paris. In 1836, at the salon of instrument maker Pape, Chopin, Paris Conservatoire professor Zimmermann, his pupil Alkan, and Gutmann performed Beethoven's Symphony No. 7, arranged by Alkan. This indicates that Chopin already placed great trust in Gutmann as a performer at that time. It was also Gutmann who premiered Chopin's Scherzo No. 3, mentioned above.

During his five years of study with Chopin in Paris, Gutmann does not seem to have frequently performed his own compositions in public. In 1838, he performed classical works such as Beethoven's trios and Weber's piano pieces, and critics introduced him as a pupil of Chopin who 'played clearly, possessing grace rather than power.' From the latter half of the 1840s, Gutmann became active in performing and composing. He appeared in numerous concerts in Paris during Chopin's lifetime, performing his own works such as Grand Fantasia on Weber's 'Der Freischütz', Op. 7 (1844). From 1845 to 1846, he embarked on a concert tour to Berlin, Dresden, Warsaw, and Saint Petersburg, carrying a letter of recommendation from Chopin, performing in various locations.

During Chopin's lifetime, Gutmann published over ten piano pieces (Opp. 1-12). Among these, 10 Etudes, Op. 12 is a substantial work dedicated to Chopin. Currently, Heureuse traversée (Prosperous Voyage), Op. 60 (1862) is the last confirmed published work. Considering that The Seasons, Op. 53 was published in 1860, it appears that his compositional activity significantly slowed down in the latter half of his life. He died in Spezia, Italy, in 1882.

Addendum: Evaluation as a Pianist

Despite being a friend and musician whom Chopin unusually trusted, one reason Gutmann has been overlooked is partly due to negative evaluations from other pupils of Chopin. Chopin's pupils Mikuli and his friend Lenz regarded Gutmann's powerful playing as contrary to Chopin's style and left harsh remarks. Lenz, in particular, even left comments suggesting that Chopin was fundamentally mistaken. Indeed, Gutmann's powerful playing in 1844 gave Parisian critic Blanchard the impression that it was closer to Liszt's rival rather than Chopin's. Thalberg (1812–1871). However, it is important to consider that this was a specific opinion regarding the performance of Grand Fantasia on Weber's 'Der Freischütz', Op. 7, which was written particularly in a Thalbergian style.

Musical Example: From Gutmann's Grand Fantasia on Weber's 'Der Freischütz', Op. 7

The technique of placing the main melody, circled in red, in the middle register and surrounding it with wide-ranging arpeggios was developed by Thalberg in the 1830s.

In fact, in 1847, the same critic, after hearing Gutmann perform Chopin's concertos and his own works, expressed the opposite view, stating that 'Gutmann probably proved Chopin's excellent method,' and highly praised him as a leading musician of the time. It would not be surprising if the critical attitude of Chopin's pupils towards Gutmann had an aspect of jealousy due to his favoritism by Chopin.

References

• Henri Blanchard, "Concerts", La Revue et Gazette musicale, 5e année, no 16, 22 avril 1838, p. 167.
• Henri Blanchard, "Coup d'œil musical sur les concerts de la semaine", La revue et gazette musicale, 5e année, no 11, 24 mars 1844, p. 104.
• Henri Blanchard, "Coup d'œil musical sur les concerts de la saison", La revue et gazette musicale, 14e année, no 14, 4 avril, 1847, p. 117.
• Jean-Jacques Eigeldinger, Chopin: Pianist and Teacher as Seen by His Pupils, translated by Naomi Shohet, Roy Howat, and Jean-Jacques Eigeldinger, edited by Roy Howat, Cambridge: Cambridge University Press, 1986.