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Updated: May 31, 2025
It is then from the masterly editing of Kullak, Von Bulow, Riemann and Klindworth that I shall draw copiously. They have, in their various ways, given us a clue to their musical individuality, as well as their precise scholarship.
My eyes traveled slowly up to the gentleman's face it was Rubinstein! He was looking at me; then he turned and embraced me, before all those observing ladles!" We spoke of Berlin, the home of the pianist, and of its musical life, mentioning von Bülow and Klindworth. "Both good friends of mine," she commented.
He uses the transient shake in the third bar, instead of the appoggiatura which Klindworth prefers. Klindworth attacks the trill on the second page with the upper tone A flat. Of the fourth and glorious Ballade in F minor dedicated to Baronne C. de Rothschild I could write a volume. It is Chopin in his most reflective, yet lyric mood.
The episodes of this Ballade are so attenuated of any grosser elements that none but psychical meanings should be read into them. The disputed passage is on the fifth page of the Kullak edition, after the trills. A measure is missing in Kullak, who, like Klindworth, gives it in a footnote. To my mind this repetition adds emphasis, although it is a formal blur.
Klindworth contents himself with a straightforward version of the C major study, his fingering being the clearest and most admirable. The Mikuli edition makes one addition: it is a line which binds the last note of the first group to the first of the second. The device is useful, and occurs only on the upward flights of the arpeggio.
Von Bulow says the "figure must be treated as a double triplet twice three and not three times two as indicated in the first two bars." Klindworth makes the group a sextolet. Von Bulow has set forth numerous directions in fingering and phrasing, giving the exact number of notes in the bass trill at the end. Kullak uses the most ingenious fingering.
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.
According to Breitkopf & Hartel the bass octaves are E both times. Mikuli gives G sharp the first time instead of E; Klindworth, G sharp the second time; Riemann, E, and also Kullak. The G sharp seems more various. In the thirteenth prelude, F sharp major, here is lovely atmosphere, pure and peaceful. The composer has found mental rest.
Generally I refuse them, but in a few cases I have to yield. Tell Klindworth he is to write to me about your Philharmonic concerts. His cousin, a very amiable lady, will shortly bring you news of Weymar, where she has been staying several months. For a long time I have been wishing to write to you, but had not the courage to do so. Alas! how can I speak to you from my heart?
Gutmann, Mikuli and other pupils declare for the E flat; Klindworth and Kullak use it. Xaver Scharwenka has seen fit to edit Klindworth, and gives a D natural in the Augener edition. That he is wrong internal testimony abundantly proves. Even Willeby, who personally prefers the D natural, thinks Chopin intended the E flat, and quotes a similar effect twenty-eight bars later.
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