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Updated: May 31, 2025
M. Klindworth showed a keen and lasting interest in me, which even prompted him to give me a letter of recommendation, to Prince Metternich, with whose father he said he had been on very familiar terms.
The early months of 1895 he spent in concert tours through this country. As Klindworth said of him, "he has a touch that brings tears," and it is in interpretation rather than in bravura that he excels. He plays with that unusual combination of elegance and fervor that so individualizes his composition.
The soul loses itself in early autumnal revery while there is yet splendor on earth and in the skies. Full of tonal contrasts, this highly finished composition is grateful to the touch. The eleven booming A flats on the last page are historical. Klindworth uses a B flat instead of a G at the beginning of the melody. It is logical, but is it Chopin?
He is also a splendid pianist, who studied eighteen months with me at Weymar, and you must allow me to send Klindworth a few lines of introduction to you.
Two were next given at Hildesheim. Then came Leipsic, Hanover and after that Weimer, where Franz Liszt and his retinue of famous pupils held court. Here Johannes became acquainted with Raff, Klindworth, Mason, Prükner and other well-known musicians. By this time his relations with Remenyi had become somewhat irksome and strained and he decided to break off this connection.
It is in the minor and is like the drum-beat of tragedy. The entire ending, a stormy recitative, is in stern contrast to the dreamy beginning. Kullak in the first bar of the last line uses a G; Fontana, F sharp, and Klindworth the same as Kullak. The nocturne that follows in A flat is a reversion to the Field type, the opening recalling that master's B flat Nocturne.
"What a wonderful work Klindworth has accomplished in his editions of Beethoven and Chopin! As Goethe said of himself, we can say of Klindworth he has carved his own monument in this work. We should revere him for the great service he has done the pianistic world. "I always love to play in America, and each time I come I discover how much you have grown. The musical development here is wonderful.
Well, it will now assume a different tone, and you will revivify old England and the Old Philharmonic. I commend to you Klindworth, a Wagnerian DE LA VEILLE. He is an excellent musician, who formerly acted as conductor at Hanover, and there gave a performance of the "Prophet" at the Tivoli Theatre, of which the newspapers were full some years ago.
His cosmopolitanism is also remarkable, his songs in French, German, and Italian having no trace of Yankee accent and a great fidelity to their several races. In 1885, Hans von Bülow incorporated the best four pupils of his friend, Klindworth, into an artist class, which he drilled personally.
The metronome is the same in all editions, 100 to the eighth. Kullak rightly calls this lovely study "ein wunderschones, poetisches Tonstuck," more in the nocturne than study style. He gives in the bravura-like cadenza, an alternate for small hands, but small hands should not touch this piece unless they can grapple the double sixths with ease. Klindworth fingers the study with great care.
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