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Updated: May 19, 2025
Kullak's method of fingering is this: "Everywhere that two white keys occur in succession the fifth finger is to be used for C and F in the right hand, and for F and E in the left." He has also something to say about holding "the hand sideways, so that the back of the hand and arm form an angle. "This question of hand position, particularly in Chopin, is largely a matter of individual formation.
You will now be presented with a battalion of authorities, so that you may see at a glance the various efforts to climb those slippery chromatic heights. Kullak's is exactly the same as above. It is the so-called Chopin fingering, as contrasted with the so-called Czerny fingering though in reality Clementi's, as Mr. John Kautz contends.
He was a pupil of Kullak and Würst at Kullak's Academy in Berlin, from which he graduated in 1868. Shortly thereafter he was appointed a teacher in the same institution. The next year he made his début as a virtuoso at the Singakademie. For many years thereafter he gave regular concerts in Berlin in connection with Sauret and Grünfeld.
Of it Chopin said: "After Hamlet," but changed his mind. "Let them guess for themselves," was his sensible conclusion. Kullak's programme has a conventional ring. It is the lament for the beloved one, the lost Lenore, with the consolation of religion thrown in. The "bell-tones" of the plain chant bring to my mind little that consoles, although the piece ends in the major mode.
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