Kullak writes: "Harmonic anticipations; a rich rhythmic life
originating in the changing articulation of the twelve-eights in
groups of three and two each. ... This etude is an exceedingly
piquant composition, possessing for the hearer a wondrous,
fantastic charm, if played with the proper insight." The
metronomic marking is practically the same in all editions, 152
to the quarter notes. The study is one of the most charming of
the composer. There is more depth in it than in the G flat and F
major studies, and its effectiveness in the virtuoso sense is
unquestionable. A savor of the salon hovers over its perfumed
measures, but there is grace, spontaneity and happiness. Chopin
must have been as happy as his sensitive nature would allow when
he conceived this vivacious caprice.
In all the editions, Riemann's excepted, there is no doubt left
as to the alternations of metres. Here are the first few bars of
Von Billow's, which is normal phrasing:
[Musical score excerpt]
Read Riemann's version of these bars:
[Musical score excerpt]
Riemann is conducive to clear-sighted phrasing, and will set the
student thinking, but the general effect of accentuation is
certainly different.
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