On the grand piano of the present day we
regard it as irreconcilable with conditions of crescendo legato."
This Chopin fingering in reality derives directly from Hummel.
See his "Piano School."
So he gives this fingering:
[Musical score excerpt] He also suggests the following phrasing
for the left hand. This is excellent:
[Musical score excerpt]
Riemann not only adopts new fingering for the double note scale,
but also begins the study with the trill on first and third,
second and fourth, instead of the usual first and fourth, second
and fifth fingers, adopted by the rest. This is his notion of the
run in chromatic thirds:
[Musical score excerpt]
For the rest the study must be played like the wind, or, as
Kullak says: "Apart from a few places and some accents, the Etude
is to be played almost throughout in that Chopin whisper. The
right hand must play its thirds, especially the diatonic and
chromatic scales, with such equality that no angularity of motion
shall be noticeable where the fingers pass under or over each
other.
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