Both compositions
have a common ancestry in the Czerny Toccata, and both are the
parents of such a sensational offspring as Balakirew's "Islamey."
In reading through the double note studies for the instrument it
is in the nature of a miracle to come upon Chopin's
transfiguration of such a barren subject. This study is first
music, then a technical problem. Where two or three pianists are
gathered together in the name of Chopin, the conversation is
bound to formulate itself thus: "How do you finger the double
chromatic thirds in the G sharp minor study?" That question
answered, your digital politics are known. You are classified,
ranged. If you are heterodox you are eagerly questioned; if you
follow Von Bulow and stand by the Czerny fingering, you are
regarded as a curiosity. As the interpretation of the study is
not taxing, let us examine the various fingerings. First, a
fingering given by Leopold Godowsky. It is for double chromatic
thirds:
[Musical score excerpt]
You will now be presented with a battalion of authorities, so
that you may see at a glance the various efforts to climb those
slippery chromatic heights.
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