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Updated: May 31, 2025
The echo effect is skilfully managed, monotony being artfully avoided. Klindworth rightfully slurs the duple group of eighths; Kullak tries for the same effect by different means. The duality of the voices should be clearly expressed. The tempo, marked in both editions, lento assai, is fast. To be precise, Klindworth gives 66 to the quarter.
This eternal need of self-condensation for the purpose of self-defence supplies me with obstinacy and contempt, but not with the love of expansion and production. Klindworth has probably written to you; at least he was startled when I recently conveyed your reminder to him. He was ill, and is not doing well here, but how am I to help him?
More remarkable still is the diversity of opinion regarding the first three bass chord groups in the fifteenth bar from the close: the bottom notes in the Von Bulow and Klindworth editions are B flat and two A naturals, and in the Riemann, Kullak and Mikuli editions the notes are two B flats and one A natural.
No "sabre dance" this, but a confession from the dark depths of a self-tortured soul. Op. 44 was published November, 1841, and is dedicated to Princesse de Beauvau. There are few editorial differences. In the eighteenth bar from the beginning, Kullak, in the second beat, fills out an octave. Not so in Klindworth nor in the original.
This refers to the melody in E. He also writes that the addition of the third in the left hand, Klindworth edition, needs no special justification. I discovered one marked difference in the Klindworth edition. The leap in the left hand first variant of the theme, tenth bar from beginning is preceded by an appoggiatura, E natural.
He pulls apart the brightly colored petals of the thematic flower and reveals the inner chemistry of this delicate growth. Four different voices are distinguished in the kernel. Kullak and Mikuli dot the C of the first bar. Klindworth and Von Bulow do not. As to phrasing and fingering I pin my faith to Riemann. His version is the most satisfactory. Here are the first bars.
Klindworth strengthens the first and the seventh eighth notes of the fifth bar before the last by filling in the harmonics of the left hand. This etude is an important one, technically; because many pianists make little of it that does not abate its musical significance, and I am almost inclined to group it with the last two studies of this opus.
Frau Agnes Street Klindworth brought me a letter from you which you had given to her five years ago for London. I have to thank you for the most pleasant acquaintance which you procure to me so unexpectedly and after all that time. I was soon at home with her and Papa Klindworth, and owe the most pleasant memories to these two people.
I prefer the Klindworth editing of this rather sombre, nervous composition, which may be merely an etude, but it also indicates a slightly pathologic condition. With its breath-catching syncopations and narrow emotional range, the A minor study has nevertheless moments of power and interest. Riemann's phrasing, while careful, is not more enlightening than Klindworth's.
The same authority recommends slow staccato practice, with the lid of the piano closed. Then the hurly-burly of tone will not intoxicate the player and submerge his critical faculty. Each editor has his notion of the phrasing of the initial sixteenths. Klindworth fingers this passage more ingeniously, but phrases it about the same, omitting the sextolet mark. Kullak retains it.
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