Klindworth contents himself
with a straightforward version of the C major study, his
fingering being the clearest and most admirable. The Mikuli
edition makes one addition: it is a line which binds the last
note of the first group to the first of the second. The device is
useful, and occurs only on the upward flights of the arpeggio.
This study suggests that its composer wished to begin the
exposition of his wonderful technical system with a skeletonized
statement. It is the tree stripped of its bark, the flower of its
leaves, yet, austere as is the result, there is compensating
power, dignity and unswerving logic. This study is the key with
which Chopin unlocked--not his heart, but the kingdom of
technique. It should be played, for variety, unisono, with both
hands, omitting, of course, the octave bass.
Von Bulow writes cannily enough, that the second study in A minor
being chromatically related to Moscheles' etude, op. 70, No. 3,
that piece should prepare the way for Chopin's more musical
composition. In different degrees of tempo, strength and rhythmic
accent it should be practised, omitting the thumb and first
finger.
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