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Updated: May 10, 2025
O'Meara, many Polish ladies of rank, Delphine Potocka among the rest, Madame Streicher, Carl Mikuli, Madame Rubio, Madame Peruzzi, Thomas Tellefsen, Casimir Wernik, Gustav Schumann, Werner Steinbrecher, and many others became excellent pianists. Was the American pianist, Louis Moreau Gottschalk, ever his pupil? His friends say so, but Niecks does not mention him. Ernst Pauer questions it.
He had carelessly taken up a paper-bound volume of Chopin, and was on the point of commenting upon it, for he had lately begun to understand the difference between a Litolff and a Mikuli. But it slipped from his hand, and he was obliged to crawl under the piano to pick it up; on a corner of the cover, in a big, black, scrawly writing, was the name of Marie Louise Dufrayer.
"The first comprehension of the piece," says Schumann, in speaking of the German edition of the Tarantella, "is, unfortunately, rendered very difficult by the misprints with which it is really swarming." Those who assisted Chopin in the work incident to publication more especially by copying his autographs were Fontana, Wolff, Gutmann, and in later years Mikuli and Tellefsen.
The former sounds more varied, but we may suppose the latter to be correct because of Mikuli. Yet this exquisite flight into the blue, this nocturne which should be played before sundown, excited the astonishment of Mendelssohn, the perplexed wrath of Moscheles and the contempt of Rellstab, editor of the "Iris," who wrote in that journal in 1834 of the studies in op. 10:
Here we may echo, without any savor of Liszt's condescension or de Lenz's irony: "Pauvre Frederic!" Klindworth and Kullak have different ideas concerning the end of this Mazurka. Both are correct. Kullak, Klindworth and Mikuli include in their editions two Mazurkas in A minor. Neither is impressive.
The figuration in three of the editions is the same, Mikuli separating the voices distinctly. Riemann exercises all his ingenuity to make the beginning clear to the eye. What a joy is the next study, No. 4! How well Chopin knew the value of contrast in tonality and sentiment!
Gutmann informed me that Chopin was particularly fond of Hummel; Liszt writes that Hummel was one of the composers Chopin played again and again with the greatest pleasure; and from Mikuli we learn that of Hummel's compositions his master liked best the Fantasia, the Septet, and the Concertos.
Chopin, according to Mikuli, repeatedly said that when he heard bad phrasing it appeared to him as if some one recited, in a language he did not know, a speech laboriously memorised, not only neglecting to observe the right quantity of the syllables, but perhaps even making full stops in the middle of words.
Gutmann, Mikuli and other pupils declare for the E flat; Klindworth and Kullak use it. Xaver Scharwenka has seen fit to edit Klindworth, and gives a D natural in the Augener edition. That he is wrong internal testimony abundantly proves. Even Willeby, who personally prefers the D natural, thinks Chopin intended the E flat, and quotes a similar effect twenty-eight bars later.
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.
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