" Willeby finds this prelude to be "one of the most
beautiful of these spontaneous sketches; for they are no more
than sketches. The melody seems literally to wail, and reaches
its greatest pitch of intensity at the stretto." For Karasowski
it is a "real gem, and alone would immortalize the name of Chopin
as a poet." It must have been this number that impelled
Rubinstein to assert that the Preludes were the pearls of his
works. In the Klindworth edition, fifth bar from the last, the
editor has filled in the harmonies to the first six notes of the
left hand, added thirds, which is not reprehensible, although
uncalled for. Kullak makes some new dynamic markings and several
enharmonic changes. He also gives as metronome 69 to the quarter.
This tiny prelude contains wonderful music. The grave reiteration
of the theme may have suggested to Peter Cornelius his song "Ein
Ton." Chopin expands a melodic unit, and one singularly pathetic.
The whole is like some canvas by Rembrandt, Rembrandt who first
dramatized the shadow in which a single motif is powerfully
handled; some sombre effect of echoing light in the profound of a
Dutch interior.
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