All that modern editing can do since Miluki is to hunt out
fresh accentuation. Von Bullow is the worst sinner in this
respect, for he discovers quaint nooks and dells for his dynamics
undreamed of by the composer. His edition should be respectfully
studied and, when mastered, discarded for a more poetic
interpretation. Above all, poetry, poetry and pedals. Without
pedalling of the most varied sort this study will remain as dry
as a dog-gnawed bone. Von Bulow says the "figure must be treated
as a double triplet--twice three and not three times two--as
indicated in the first two bars." Klindworth makes the group a
sextolet. Von Bulow has set forth numerous directions in
fingering and phrasing, giving the exact number of notes in the
bass trill at the end. Kullak uses the most ingenious fingering.
Look at the last group of the last bar, second line, third page.
It is the last word in fingering. Better to end with Robert
Schumann's beautiful description of this study, as quoted by
Kullak:
In treating of the present book of Etudes, Robert Schumann,
after comparing Chopin to a strange star seen at midnight,
wrote as follows: "Whither his path lies and leads, or how
long, how brilliant its course is yet to be, who can say? As
often, however, as it shows itself, there is ever seen the
same deep dark glow, the same starry light and the same
austerity, so that even a child could not fail to recognize
it.
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