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Updated: April 30, 2025
How, in our wretched conditions, could enthusiasm, love, and art have their true effect? "Patience and resignation" is our device, and to it we sing Pardon me for being your hollow echo, and let us endure what cannot be cured. I am very grateful to you for being so kind to Klindworth.
As for fingering, Mikuli, Von Bulow, Kullak, Riemann and Klindworth all differ, and from them must most pianists differ. Your own grasp, individual sense of fingering and tact will dictate the management of technics. Von Bulow gives a very sensible pattern to work from, and Kullak is still more explicit.
At the twentieth bar Klindworth differs from the original as follows. The A flat Polonaise, op. 53, was published December, 1843, and is said by Karasowski to have been composed in 1840, after Chopin's return from Majorca. It is dedicated to A. Leo. This is the one Karasowski calls the story of Chopin's vision of the antique dead in an isolated tower of Madame Sand's chateau at Nohant.
Every succeeding edition has cleared away some of these errors, but only in Karl Klindworth has Chopin found a worthy, though not faultless, editor. His edition is a work of genius and was called by Von Bulow "the only model edition." In a few sections others, such as Kullak, Dr.
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.
Not Chopin at his very best, the E minor and F minor concertos are frequently heard because of the chances afforded the solo player. I have written elsewhere at length of the Klindworth, Tausig and Burmeister versions of the two concertos. As time passes I see no reason for amending my views on this troublous subject.
In tne posthumous works published by Fontana there are two more sets, each of four numbers, and respectively marked as Op. 67 and 68. Lastly, several other mazurkas composed by or attributed to Chopin have been published without any opus number. Two mazurkas, both in A minor, although very feeble compositions, are included in the editions by Klindworth and Mikuli.
It must have been this number that impelled Rubinstein to assert that the Preludes were the pearls of his works. In the Klindworth edition, fifth bar from the last, the editor has filled in the harmonies to the first six notes of the left hand, added thirds, which is not reprehensible, although uncalled for. Kullak makes some new dynamic markings and several enharmonic changes.
Hoping that you will accept my proposal, I shall now have the copy of the full score of the "Valkyrie" taken in hand, and this also you can have as soon as it is finished, because Klindworth works from my sketches of the parts.
Nor did he neglect Chopin, and though his readings of the music of the great Pole may have lacked in sensuous beauty of touch and tone, their interpretation was always sane, healthy, and beautiful. Toward the end of a season during the eighties, it was announced that Von Bülow would come to Berlin and teach an artist class in the Klindworth Conservatory.
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