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Updated: September 1, 2025
Willeby says it is in C major! The Tarantella is in A flat, and is numbered op. 43. Composed at Nohant, it is as little Italian as the Bolero is Spanish. Chopin's visit to Italy was of too short a duration to affect him, at least in the style of dance. It is without the necessary ophidian tang, and far inferior to Heller and Liszt's efforts in the constricted form.
The pedal is needful to give the requisite effect, and must change with every new harmony; but it should only be used in the latter stages of study, when the difficulties are nearly mastered. We have our preferences. Mine in op. 25 is the C minor study, which, like the prelude in D minor, is "full of the sound of great guns." Willeby thinks otherwise.
I, but Karasowski is nearer right when he calls it "broad and most imposing with its powerful intermediate movement, a thorough departure from the nocturne style." Willeby finds it "sickly and labored," and even Niecks does not think it should occupy a foremost place among its companions. The ineluctable fact remains that this is the noblest nocturne of them all.
Is it not strong and energetic, concluding, as it does, with three cannon shots?" Willeby in his "Frederic Francois Chopin" considers at length the Preludes.
There is loftiness of spirit and daring in it. What can one say new of the tremendous F sharp minor Polonaise? Willeby calls it noisy! And Stanislaw Przybyszewski whom Vance Thompson christened a prestidigious noctambulist-has literally stormed over it. It is barbaric, it is perhaps pathologic, and of it Liszt has said most eloquent things.
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