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Updated: May 31, 2025
The copy of the "Rhinegold" is quite ready, and I expect it back from London, together with Klindworth's arrangement. This therefore, would be at your disposal at once. Of the pianoforte arrangement of the "Valkyrie," the first two acts will be finished very soon; the third act I recently sent to Klindworth.
In the twenty-third bar there is curious editorial discrepancy. Klindworth uses an A natural in the first of the four groups of sixteenths, Kullak a B natural; Riemann follows Kullak. Nor is this all. Kullak in the second group, right hand, has an E flat, Klindworth a D natural. Which is correct?
Harmonic heights are reached on the second page surely Wagner knew these bars when he wrote "Tristan and Isolde" while the ingenuity of the figure and avoidance of a rhythmical monotone are evidences of Chopin's feeling for the decorative. It is a masterly prelude. Klindworth accents the first of the bass triplets, and makes an unnecessary enharmonic change at the sixth and seventh lines.
The horny hand of the toilsome pianist would shatter the delicate, swinging fantasy of the poet. Kullak points out a variant in the fourteenth bar, G instead of B natural being used by Riemann. Klindworth prefers the latter. We have reached the last prelude of op. 28. In D minor, it is sonorously tragic, troubled by fevers and visions, and capricious, irregular and massive in design.
Ah, could you soon be with me wholly and bodily, then we might support life beautifully. Klindworth astonished me by his playing; no lesser man could have ventured to play your work to me for the first time. He is worthy of you. Surely, surely, it was beautiful. Good-night. Many thanks for this pleasure vouchsafed to me at last. Your LONDON, April 5th, 8:30 evening.
Under the circumstances my young guests also had to suffer, as my worry communicated itself to all who were in sympathy with me. Klindworth, who was coming on a visit from London, to add to the gloom of this extraordinary menage, soon joined us.
"You have studied with Sherwood," he began. "He has excellent ideas of touch and technic. Some of these ideas came from me, though I don't wish to claim too much in the matter. Sherwood has the true piano touch. Very few pianists have it; Klindworth did not have it, nor von Bülow, nor even Liszt, entirely, for he as well as the others, sought for a more orchestral manner of playing.
He was surrounded by base intriguers in the person of Bosse, the councillor of state, formerly the servile tool of Napoleon's despotism, of Frike, the Aulic councillor, "whose pliant quill was equal to any task when injustice had to be glossed over," of the adventurer, Klindworth, and of Bitter, the head of the chancery, who conducted the financial speculations.
Klindworth is the most genially intellectual, Von Bulow the most pedagogic, and Kullak is poetic, while Riemann is scholarly; the latter gives more attention to phrasing than to fingering. The Chopin studies are poems fit for Parnassus, yet they also serve a very useful purpose in pedagogy.
At the end of two years he went to Pittsburgh, where he gave lessons, and saved money enough to take him to Berlin. There he spent the years 1884, 1885, and 1886, placing himself in the hands of Karl Klindworth. Of him Nevin says: "To Herr Klindworth I owe everything that has come to me in my musical life. He was a devoted teacher, and his patience was tireless.
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