" All of which is pretty, but not
enough to the point.
Von Bulow fingers the first passage for the left hand in a very
rational manner; Klindworth differs by beginning with the third
instead of the second finger, while Riemann--dear innovator--
takes the group: second, first, third, and then, the fifth finger
on D, if you please! Kullak is more normal, beginning with the
third. Here is Riemann's phrasing and grouping for the first few
bars. Notice the half note with peculiar changes of fingering at
the end. It gives surety and variety. Von Bulow makes the changes
ring on the second and fifth, instead of third and fifth,
fingers. Thus Riemann: [Musical score excerpt]
In the above the accustomed phrasing is altered, for in all other
editions the accent falls upon the first note of each group. In
Riemann the accentuation seems perverse, but there is no question
as to its pedagogic value. It may be ugly, but it is useful
though I should not care to hear it in the concert room. Another
striking peculiarity of the Riemann phrasing is his heavy accent
on the top E flat in the principal passage for the left hand.
Pages:
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185