Your own grasp, individual
sense of fingering and tact will dictate the management of
technics. Von Bulow gives a very sensible pattern to work from,
and Kullak is still more explicit. He analyzes the melody and,
planning the arpeggiating with scrupulous fidelity, he shows why
the arpeggiating "must be affected with the utmost rapidity,
bordering upon simultaneousness of harmony in the case of many
chords." Kullak has something to say about the grace notes and
this bids me call your attention to Von Bulow's change in the
appoggiatura at the last return of the subject. A bad misprint is
in the Von Bulow edition: it is in the seventeenth bar from the
end, the lowest note in the first bass group and should read E
natural, instead of the E flat that stands.
Von Bulow does not use the arpeggio sign after the first chord.
He rightly believes it makes unclear for the student the
subtleties of harmonic changes and fingering. He also suggests--
quite like the fertile Hans Guido--that "players who have
sufficient patience and enthusiasm for the task would find it
worth their while to practise the arpeggi the reverse way, from
top to bottom; or in contrary motion, beginning with the top note
in one hand and the bottom note in the other.
Pages:
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181