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Updated: May 18, 2025
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.
There is also some editorial differences in the metronomic markings, Mikuli being, according to Kullak, too slow. Mention has not been made, as in the studies and preludes, of the tempi of the Mazurkas. These compositions are so capricious, so varied, that Chopin, I am sure, did not play any one of them twice alike.
Kullak takes the slower tempo of Klindworth, believing that the old Herz and Czerny ideals of velocity are vanished, that the shallow dip of the keys in Chopin's day had much to do with the swiftness and lightness of his playing. The noble, more sonorous tone of a modern piano requires greater breadth of style and less speedy passage work.
As a remedy for stiff fingers and preparatory to performing in public, playing it six times through is recommended, even to the most expert pianist." Only six times! The separate study of the left hand is recommended. Kullak finds this study "surprisingly euphonious, but devoid of depth of content." It is an admirable study for the cultivation of double sixths.
Klindworth indicates both. Nor does Kullak follow Mikuli in using a D in the coda. He prefers a D sharp, instead of a natural. I wish the second Ballade were played oftener in public. It is quite neglected for the third in A flat, which, as Ehlert says, has the voice of the people. This Ballade, the "Undine" of Mickiewicz, published November, 1841, and dedicated to Mlle.
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?
Kullak does not find in it aught of the fantastic. The languid, earth-weary voice of the opening and the churchly refrain of the chorale, is not this fantastic contrast! This nocturne contains in solution all that Chopin developed later in a nocturne of the same key. But I think the first stronger its lines are simpler, more primitive, its coloring less complicated, yet quite as rich and gloomy.
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.
The F minor Valse, op. 69, No. 1, has a charm of its own. Kullak prints the Fontana and Klindworth variants. This valse is suavely melancholy, but not so melancholy as the B minor of the same opus. It recalls in color the B minor mazurka. Very gay and sprightly is the G flat Valse, op. 70, No.
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.
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