In
feeling it belongs to that form. The melody is enchanting. The
accompaniment figure shows inventive genius. Klindworth employs a
short appoggiatura, Kullak the long, in the second bar. Judge of
what is true editorial sciolism when I tell you that Riemann--who
evidently believes in a rigid melodic structure--has inserted an
E flat at the end of bar four, thus maiming the tender, elusive
quality of Chopin's theme. This is cruelly pedantic. The prelude
arrests one in ecstasy; the fixed period of contemplation of the
saint or the hypnotized sets in, and the awakening is almost
painful. Chopin, adopting the relative minor key as a pendant to
the picture in B flat, thrills the nerves by a bold dissonance in
the next prelude, No. 22. Again, concise paragraphs filled with
the smoke of revolt and conflict The impetuosity of this largely
moulded piece in G minor, its daring harmonics,--read the
seventeenth and eighteenth bars,--and dramatic note make it an
admirable companion to the Prelude in F minor. Technically it
serves as an octave study for the left hand.
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