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But presently I did begin a capriccio, which I like very much, and it did go ever louder and louder; and I forgot that it was midnight and that everybody was asleep. Presently I hear something crack; and the next minute I feel my father's whip across my shoulders. My little red violin dropped on the floor, and was broken. I weep much for it, but it did no good.
In a gorgeous chariot, preceded by a long train of heralds, were exhibited the Dramatis Personæ Honor, Plutus, Eunomia, Phemeis, Capriccio arrayed in their appointed costumes; and it was rumored that the golden canopy of their coach had been bought for an enormous sum.
Where the cantilena appears, every melodic tone must stand apart from the tones of the accompaniment as if in "relief." Compare with this etude the introduction to the Capriccio in B minor, with orchestra, by Felix Mendelssohn, first page. Aside from a few rallentando places, the etude is to be played strictly in time.
All these things combine to give the composition a wholly peculiar coloring, to render its flow somewhat restless and to stamp the etude as a little characteristic piece, a capriccio, which might well be named "Inquietude." As regards technics, two things are to be studied: the staccato of the chords and the execution of the cantilena. The chords must be formed more by pressure than by striking.
More than to any one of the master's scherzos, the name capriccio would be suitable to his third "Scherzo," Op. 39, with its capricious starts and changes, its rudderless drifting. Peevishness, a fierce scornfulness, and a fretful agitation, may be heard in these sounds, of jest and humour there is nothing perceptible.
Mr Finsbury, he said aloud; and Michael, without rising, turned upon him a countenance somewhat flushed, encircled with the bush of the red whiskers, and bestridden by the spectacles. 'Capriccio in B-flat on the departure of a friend, said he, continuing his noiseless evolutions. Indignation awoke in the mind of Pitman. 'Those spectacles were to be mine, he cried.
Were it not that we attach, especially since Mendelssohn's time, the idea of lightness and light-heartedness to the word capriccio, this would certainly be the more descriptive name for the things Chopin entitled SCHERZO. But what is the use of carping at a name? Let us rather look at the things, and thus employ our time better. Did ever composer begin like Chopin in his Premier Scherzo, Op. 20?
This is not too fast for the capriccio, with its pretty and ingenious rhythmical transformations. As regards the execution of the 13Oth bar, Von Bulow says: "The acciaccature prefixes are to be struck simultaneously with the other parts, as also the shake in bar 134 and following bars; this must begin with the upper auxiliary note." These details are important.
At the moment when Calyste was hurrying to Les Touches with the impetuosity of a first love borne on the wings of hope, the marquise was feeling a keen delight in knowing herself the object of the first love of so charming a young man. She did not go so far as to wish herself a sharer in the sentiment, but she thought it heroism on her part to repress the capriccio, as the Italians say.
This poem ought not to be considered more than as a capriccio, or sport of the fancy, on which he has expended much labour to little purpose. It does not pretend to anything like correctness of design, or continuity of action. It is like a picture of Breughel's, where every thing is highly coloured, and every thing out of order.
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