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Updated: May 18, 2025
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.
There is a misprint in the Kullak edition: at the beginning of the thirty-second notes an A instead of an F upsets the tonality, besides being absurd. Of the fourth study in A minor there is little to add to Theodor Kullak, who writes: "In the broadest sense of the word, every piece of music is an etude.
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.
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.
Every succeeding edition has cleared away some of these errors, but only in Karl Klindworth has Chopin found a worthy, though not faultless, editor. His edition is a work of genius and was called by Von Bulow "the only model edition." In a few sections others, such as Kullak, Dr.
A descending passage, as a return to tranquillity, requires a decrescendo. "The outpouring of a feeling toward its object, whether to the endless heavens, or forth into the boundless world, or toward a definite, limited goal, resembles the surging, the pressing onward of a flood," said the great teacher, Dr. Adolph Kullak.
Karasowski gives the date of the first complete edition of the Chopin works as 1846, with Gebethner & Wolff, Warsaw, as publishers. Then, according to Niecks, followed Tellefsen, Klindworth Bote & Bock Scholtz Peters Breitkopf & Hartel, Mikuli, Schuberth, Kahnt, Steingraber better known as Mertke's and Schlesinger, edited by the great pedagogue Theodor Kullak.
This study fitly closes his extraordinary labors in this form, and it is as if he had signed it "F. Chopin, et ego in Arcady." Among the various editions let me recommend Klindworth for daily usage, while frequent reference to Von Bulow, Riemann and Kullak cannot fail to prove valuable, curious and interesting. Of the making of Chopin editions there is seemingly no end.
He analyzes the melody and, planning the arpeggiating with scrupulous fidelity, he shows why the arpeggiating "must be affected with the utmost rapidity, bordering upon simultaneousness of harmony in the case of many chords." Kullak has something to say about the grace notes and this bids me call your attention to Von Bulow's change in the appoggiatura at the last return of the subject.
Better to end with Robert Schumann's beautiful description of this study, as quoted by Kullak: In treating of the present book of Etudes, Robert Schumann, after comparing Chopin to a strange star seen at midnight, wrote as follows: "Whither his path lies and leads, or how long, how brilliant its course is yet to be, who can say?
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