Of
these twelve much loved studies--every one of which has a
charm of its own--the three numbers are those I prefer to all
the rest.
The middle part of this E minor study recalls Thalberg. Von Bulow
cautions the student against "the accenting of the first note
with the thumb--right hand--as it does not form part of the
melody, but only comes in as an unimportant passing note." This
refers to the melody in E. He also writes that the addition of
the third in the left hand, Klindworth edition, needs no special
justification. I discovered one marked difference in the
Klindworth edition. The leap in the left hand--first variant of
the theme, tenth bar from beginning--is preceded by an
appoggiatura, E natural. The jump is to F sharp, instead of G, as
in the Mikuli, Kullak and Riemann editions. Von Bulow uses the F
sharp, but without the ninth below. Riemann phrases the piece so
as to get the top melody, B, E and G, and his stems are below
instead of above, as in Mikuli and Von Bulow. Kullak dots the
eighth note. Riemann uses a sixteenth, thus:
[Musical score excerpt]
Kullak writes that the figure 184 is not found on the older
metronomes.
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