They have something of the concision
of the Preludes. The first is a masterpiece. In F minor the theme
in triplet quarters, broad, sonorous and passionate, is unequally
pitted against four-eight notes in the bass. The technical
difficulty to be overcome is purely rhythmic, and Kullak takes
pains to show how it may be overcome. It is the musical, the
emotional content of the study that fascinates. The worthy editor
calls it a companion piece to the F minor study in op. 25. The
comparison is not an apt one. Far deeper is this new study, and
although the doors never swing quite open, we divine the tragic
issues concealed.
Beautiful in a different way is the A flat study which follows.
Again the problem is a rhythmical one, and again the composer
demonstrates his exhaustless invention and his power of evoking a
single mood, viewing all its lovely contours and letting it melt
away like dream magic. Full of gentle sprightliness and lingering
sweetness is this study. Chopin has the hypnotic quality more
than any composer of the century, Richard Wagner excepted.
Pages:
198
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
222