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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.
I intend quoting more freely from Riemann than from the others, but not for the reason that I consider him as a cloud by day and a pillar of fire by night in the desirable land of the Chopin fitudes, rather because his piercing analysis lays bare the very roots of these shining examples of piano literature.
So great an authority as the last edition of the Riemann Musik-Lexicon cannot forbear, even in 1915, to emphasize his "technic, absolutely developed in its every detail, and his fiery and poetic manner of interpretation." But Mr.
Let us narrow our investigations and critical comparisons to Klindworth, Von Bulow, Kullak and Riemann. Carl Reinecke's edition of the studies in Breitkopf & Hartel's collection offers nothing new, neither do Mertke, Scholtz and Mikuli. The latter one should keep at hand because of the possible freedom from impurities in his text, but of phrasing or fingering he contributes little.
The horny hand of the toilsome pianist would shatter the delicate, swinging fantasy of the poet. Kullak points out a variant in the fourteenth bar, G instead of B natural being used by Riemann. Klindworth prefers the latter. We have reached the last prelude of op. 28. In D minor, it is sonorously tragic, troubled by fevers and visions, and capricious, irregular and massive in design.
Riemann not only adopts new fingering for the double note scale, but also begins the study with the trill on first and third, second and fourth, instead of the usual first and fourth, second and fifth fingers, adopted by the rest.
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.
It is then from the masterly editing of Kullak, Von Bulow, Riemann and Klindworth that I shall draw copiously. They have, in their various ways, given us a clue to their musical individuality, as well as their precise scholarship.
Not only the practical geometry of Euclid, but also its nearest generalisation, the practical geometry of Riemann, and therewith the general theory of relativity, rest upon this assumption. Of the experimental reasons which warrant this assumption I will mention only one.
It may be noticed that Riemann even changes the arrangement of the bars. This prelude is dramatic almost to an operatic degree. Sonorous, rather grandiloquent, it is a study in declamation, the declamation of the slow movement in the F minor concerto. Schumann may have had the first phrase in his mind when he wrote his Aufschwung.
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