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In his notes to the F major study Theodor Kullak expatiates at length upon his favorite idea that Chopin must not be played according to his metronomic markings. The original autograph gives 96 to the half, the Tellefsen edition 88, Klindworth 80, Von Bulow 89, Mikuli 88, and Riemann the same.
Although in most cases the tempo of a given composition is now indicated by means of the metronomic markings, the judgment of the player must also be brought frequently into requisition. He cannot follow the tempo marks blindly, although it is usually unsafe for him to stray very far from these all-important musical sign-posts.
Perhaps the importance of the rubato in Chopin cannot be more readily realized than by his concession that he could never play a Viennese waltz properly, and by the fact that sometimes, when he was in a jocular mood, he would play one of his mazurkas in strict, metronomic time, to the great amusement of those who had heard him play them properly.
"Rhythm is the foundation of all music not rhythm in its metronomic sense, but in the broader sense of proportion. I lay the greatest stress on the development of rhythmic sensibility in the student. Rhythm gives life to every musical phrase." Mr. Letz had a Brahms' quartet open on his music stand.
A remarkable conception of the nineteenth century...." The less intense spectators began to move off; not, to be sure, without backward glances, but the metronomic swing of Mr Barelli's blade indicated it was all over with the rank grass now. I too should have been on my way, writing off the Metamorphizer as a total loss and considering methods for making a new and more profitable connection.
There is also some editorial differences in the metronomic markings, Mikuli being, according to Kullak, too slow. Mention has not been made, as in the studies and preludes, of the tempi of the Mazurkas. These compositions are so capricious, so varied, that Chopin, I am sure, did not play any one of them twice alike.
The Klindworth reading of this troubled poem is the best though Kullak used Chopin's autographic copy. There is no metronomic sign in this autograph. Tellefsen gives 69 to the quarter; Klindworth, 60; Riemann, 69; Mikuli, the same; Von Bulow and Kullak, 60. Kullak also gives several variante from the text, adding an A flat to the last group in bar II. Riemann and the others make the same addition.
From that bar to the close, every group is a masterpiece. Remember, this study is a nocturne, and even the accepted metronomic markings in most editions, 76 to the quarter, are not too slow; they might even be slower. Allegretto and not a shade speedier! The color scheme is celestial and the ending a sigh, not unmixed with happiness.
The latter is the preferable. Klindworth gives 72 to the half note as his metronomic marking, Riemann only 60 which is too slow while Klindworth contents himself by marking a simple Vivace. Regarding the fingering one may say that all tastes are pleased in these three editions. Klindworth's is the easiest.
The only remark you might make concerns the quick tempo of the choruses in Act II., Scene iii., and of the "Lohengrin" passage in the third act as compared with YOUR METRONOMIC INDICATION. This is the more necessary as the chorus practically broke down, and these passages failed to produce their due effect.
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