It contains a remarkable passage of
consecutive fifths that set the theorists by the ears. Riemann
manages to get some new editorial comment upon it.
The nimble study, No. 9, which bears the title of "The
Butterfly," is in G flat Von Bulow transposes it enharmonically
to F sharp, avoiding numerous double flats. The change is not
laudable. He holds anything but an elevated opinion of the piece,
classing it with a composition of the Charles Mayer order. This
is unjust; the study if not deep is graceful and certainly very
effective. It has lately become the stamping ground for the
display of piano athletics. Nearly all modern virtuosi pull to
pieces the wings of this gay little butterfly. They smash it,
they bang it, and, adding insult to cruelty, they finish it with
three chords, mounting an octave each time, thus giving a
conventional character to the close--the very thing the composer
avoids. Much distorted phrasing is also indulged in. The
Tellefsen's edition and Klindworth's give these differences:
[Musical score excerpt]
Mikuli, Von Bulow and Kullak place the legato bow over the first
three notes of the group.
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