"
Von Bulow calls it a study in expression--which is obvious--and
thinks it should be studied in company with No. 6, in E flat
minor. This reason is not patent. Emotions should not be hunted
in couples and the very object of the collection, variety in mood
as well as mechanism, is thus defeated. But Von Bulow was ever an
ardent classifier. Perhaps he had his soul compartmentized. He
also attempts to regulate the rubato--this is the first of the
studies wherein the rubato's rights must be acknowledged. The
bars are even mentioned 32, 33, 36 and 37, where tempo license
may be indulged. But here is a case which innate taste and
feeling must guide. You can no more teach a real Chopin rubato--
not the mawkish imitation,--than you can make a donkey comprehend
Kant. The metronome is the same in all editions, 100 to the
eighth.
Kullak rightly calls this lovely study "ein wunderschones,
poetisches Tonstuck," more in the nocturne than study style. He
gives in the bravura-like cadenza, an alternate for small hands,
but small hands should not touch this piece unless they can
grapple the double sixths with ease.
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