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Updated: May 31, 2025
After you have enjoyed playing this study read Kullak and his "triplicity in biplicity." It may do you good, and it will not harm the music. In all the editions save one that I have seen the third study in D flat begins on A flat, like the famous Valse in D flat. The exception is Klindworth, who starts with B flat, the note above.
Go up your mountains, and bring the very skies down to your music. In September, or at the latest, in October, we shall meet. Your Your kindness and friendship for Klindworth have obliged me particularly, and I ask you to continue them. WEYMAR, July 11th, 1855. P.S. I shall remain here all the summer. SEELISBERG, CANTON URI, July 22nd, 1855.
Xaver Scharwenka has edited Klindworth for the London edition of Augener & Co. Mikuli criticised the Tellefsen edition, yet both men had been Chopin pupils. This is a significant fact and shows that little reliance can be placed on the brave talk about tradition. Yet Mikuli had the assistance of a half dozen of Chopin's "favorite" pupils, and, in addition, Ferdinand Hiller.
There is aversion to life in this music he is a true lycanthrope. A self- induced hypnosis, a mental, an emotional atrophy are all present. Kullak divides the accompaniment, difficult for small hands, between the two. Riemann detaches the eighth notes of the bass figures, as is his wont, for greater clearness. Like Klindworth, he accents heavily the final chords.
Von Bulow fingers the first passage for the left hand in a very rational manner; Klindworth differs by beginning with the third instead of the second finger, while Riemann dear innovator takes the group: second, first, third, and then, the fifth finger on D, if you please! Kullak is more normal, beginning with the third. Here is Riemann's phrasing and grouping for the first few bars.
Thus both players and listeners combined to make my farewell a scene of cordiality which could hardly be surpassed. But it was the personal relations which grew out of my stay in London that provided the strangest aspect of my life there. Immediately after my arrival, Karl Klindworth, a young pupil of Liszt, who had been recommended to me as particularly gifted, came to see me.
Klindworth seemed particularly stirred to anger at the result. His own share was admirably executed; but he declared that he had been consumed with indignation at observing Viardot's lukewarm execution of her part, in which she was probably determined by the presence of Berlioz.
Klindworth, for whom I am grateful to you, will probably write to you about my doings in London; I can only say that I do not exactly see what I am here for. The only interesting thing to me is the orchestra, which has taken a great liking to me, and believes in me with enthusiasm. By that means I shall at least be able to have a few good performances, to which the people are quite unaccustomed.
For study, playing the entire composition with a wrist stroke is advisable. It will secure clear articulation, staccato and finger-memory. Von Bulow phrases the study in groups of two, Kullak in sixes, Klindworth and Mikuli the same, while Riemann in alternate twos, fours and sixes. One sees his logic rather than hears it.
In the next, in C, we find, besides the curious content, a mixture of tonalities Lydian and mediaeval church modes. Here the trio is occidental. The entire piece leaves a vague impression of discontent, and the refrain recalls the Russian bargemen's songs utilized at various times by Tschaikowsky. Klindworth uses variants.
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