The two voices
correspond closely, supplementing and imitating each other
reciprocally. Between the two a third element exists: an
accompaniment of eighths in uniform succession without any
significance beyond that of filling out the harmony. This
third element is to be kept wholly subordinate. The little,
one-voiced introduction in recitative style which precedes the
aria reminds one vividly of the beginning of the Ballade in G
minor, op. 23.
The D flat study, No. 8, is called by Von Bulow "the most useful
exercise in the whole range of etude literature. It might truly
be called 'l'indispensable du pianiste,' if the term, through
misuse, had not fallen into disrepute. As a remedy for stiff
fingers and preparatory to performing in public, playing it six
times through is recommended, even to the most expert pianist."
Only six times! The separate study of the left hand is
recommended. Kullak finds this study "surprisingly euphonious,
but devoid of depth of content." It is an admirable study for the
cultivation of double sixths.
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