This is not too fast for the capriccio, with its
pretty and ingenious rhythmical transformations. As regards the
execution of the 13Oth bar, Von Bulow says: "The acciaccature--
prefixes--are to be struck simultaneously with the other parts,
as also the shake in bar 134 and following bars; this must begin
with the upper auxiliary note." These details are important.
Kullak concludes his notes thus:
Despite all the little transformations of the motive member
which forms the kernel, its recognizability remains
essentially unimpaired. Meanwhile out of these little
metamorphoses there is developed a rich rhythmic life, which
the performer must bring out with great precision. If in
addition, he possesses a fine feeling for what is graceful,
coquettish, or agreeably capricious, he will understand how to
heighten still further the charm of the chief part, which, as
far as its character is concerned, reminds one of Etude, op.
25, No. 3.
The secondary part, in major, begins. Its kernel is formed of
a beautiful broad melody, which, if soulfully conceived and
delivered, will sing its way deep into the heart of the
listener.
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