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Riemann phrases the study with a multiplicity of legato bows and dynamic accents. Kullak prefers the Tellefsen metronome 80, rather than the traditional 96. Most of the others use 88 to the quarter, except Riemann, who espouses the more rapid gait of 96. Klindworth, with his 88, strikes a fair medium.
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!
Have we a right to destroy that mind?" Von Heldenfeld shouted, banging his fist on the table: "I don't care if he's Gauss and Riemann and Lorenz and Poincare and Minkowski and Whitehead and Einstein, all collapsed into one! The man is a stinking traitor, not only to us, but to all scientists and all sciences! If he doesn't shoot himself, hand him over to the United States, and let them shoot him!
Dr. Robert Riemann in his study of Goethe’s novels, calls Friedrich in “Wilhelm Meister’s Lehrjahre” a
In Riemann the accentuation seems perverse, but there is no question as to its pedagogic value. It may be ugly, but it is useful though I should not care to hear it in the concert room. Another striking peculiarity of the Riemann phrasing is his heavy accent on the top E flat in the principal passage for the left hand.
Riemann accents the B, the E, A, B flat, C and F, at the close perilous leaps for the left hand, but they bring into fine relief the exquisite harmonic web. An easy way of avoiding the tricky position in the left hand at this spot thirteen bars from the close is to take the upper C in bass with the right hand thumb and in the next bar the upper B in bass the same way.
Klindworth is the most genially intellectual, Von Bulow the most pedagogic, and Kullak is poetic, while Riemann is scholarly; the latter gives more attention to phrasing than to fingering. The Chopin studies are poems fit for Parnassus, yet they also serve a very useful purpose in pedagogy.
At Triebschen, near Lucerne, Wagner lived with the Von Bülow family, and began to know contentment. The relations of Wagner and Cosima rapidly grew intimate enough to torment even the idolatrous Von Bülow. Riemann says: "Domestic misunderstandings led, in 1869, to a separation, and Von Bülow left the city."
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.
In all the editions, Riemann's excepted, there is no doubt left as to the alternations of metres. Riemann is conducive to clear-sighted phrasing, and will set the student thinking, but the general effect of accentuation is certainly different. All the editors quoted agree with Von Bulow, Klindworth and Kullak.
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