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Updated: May 31, 2025
The two men were close friends, which is proved by the fact that Von Bülow was willing to recommend the Klindworth Edition of Beethoven, in spite of the fact that he himself had edited many of the sonatas.
These lines, most incomparable friend, are intended to introduce to you Carl Klindworth, about whom I have spoken and written to you several times. You will find him an excellent musician and pianist, who is cordially devoted to you, and has not in vain lived several years with me at Weymar. Since last year he has been settled in London, where I cordially commend him to your protection. Your
Ferdinand Von Inten, a New York pianist, saw the original Chopin manuscript at Stuttgart. This testimony is final. The D natural robs the bar of all meaning. It is insipid, colorless. Kullak gives 60 to the half note at the moderato. On the third page, third bar, he uses F natural in the treble. So does Klindworth, although F sharp may be found in some editions.
Be kind enough therefore to tell me in your next letter the street and the number of the house. These lines you receive through Klindworth. Enclosed is the letter to the maison Erard, which is represented in London by M. Bruzot. If Erard himself should be there, pay him a visit at once, but I doubt whether he is sufficiently recovered to occupy himself with pianoforte and harp matters.
I had spent several years in European study, with Scharwenka, Klindworth and von Bülow, and had returned to my own land to join its teaching and playing force. My time soon became so largely occupied with teaching that I feared my playing would be entirely pushed to the wall unless I were under the guidance of some master. With this thought in mind, I presented myself to Dr. Mason.
Here the technical figure takes precedence over the law of the phrase, and so most virtuosi place the accent on the fifth finger, regardless of the pattern. This is as it should be. In Klindworth there is a misprint at the beginning of the fifteenth bar from the end in the bass. It should read B natural, not B flat.
Did not you tell them that B., who, I believe, had already made a be ginning, would best be able to make this arrangement? Klindworth also would be prepared for it. In any case it should be a pianist of that type. The actual arrangement, which I yesterday returned to the Hartels through a music-seller, must not appear.
Let us narrow our investigations and critical comparisons to Klindworth, Von Bulow, Kullak and Riemann. Carl Reinecke's edition of the studies in Breitkopf & Hartel's collection offers nothing new, neither do Mertke, Scholtz and Mikuli. The latter one should keep at hand because of the possible freedom from impurities in his text, but of phrasing or fingering he contributes little.
It is in E minor and has a plaintive, appealing quality. The G major part is very pretty. In the last lines the passion mounts, but is never shrill. Kullak notes that in the fifth and sixth bars there is no slur in certain editions. Klindworth employs it, but marks the B sforzando. A slur on two notes of the same pitch with Chopin does not always mean a tie.
The D flat section has a tang of the later Chopin. There is bustle, even chatter, in this valse, which in form and content is inferior to op. 34, No. I, A flat. The three valses of this set were published December, 1838. There are many editorial differences in the A flat Valse, owing to the careless way it was copied and pirated. Klindworth and Kullak are the safest for dynamic markings.
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