Klindworth fingers the study
with great care. 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.
[Musical score excerpt]
What a joy is the next study, No. 4! How well Chopin knew the
value of contrast in tonality and sentiment! A veritable classic
is this piece, which, despite its dark key color, C sharp minor
as a foil to the preceding one in E, bubbles with life and spurts
flame. It reminds one of the story of the Polish peasants, who
are happiest when they sing in the minor mode. Kullak calls this
"a bravura study for velocity and lightness in both hands.
Accentuation fiery!" while Von Bulow believes that "the
irresistible interest inspired by the spirited content of this
truly classical and model piece of music may become a stumbling
block in attempting to conquer the technical difficulties."
Hardly. The technics of this composition do not lie beneath the
surface. They are very much in the way of clumsy fingers and
heavy wrists.
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