I, on the contrary, do not know a
single phrase of Chopin's works--including even the freest
among them--in which the balloon of inspiration, as it moves
through the air, is not checked by an anchor of rhythm and
symmetry. Such passages as occur in the F minor Ballade, the B
flat minor Scherzo--the middle part--the F minor Prelude, and
even the A flat Impromptu, are not devoid of rhythm. The most
crooked recitative of the F minor Concerto, as can be easily
proved, has a fundamental rhythm not at all fantastic, and
which cannot be dispensed with when playing with orchestra.
... Chopin never overdoes fantasy, and is always restrained by
a pronounced aesthetical instinct. ... Everywhere the
simplicity of his poetical inspiration and his sobriety saves
us from extravagance and false pathos.
Kleczynski has this in his second volume, for he enjoyed the
invaluable prompting of Chopin's pupil, the late Princess
Marceline Czartoryska.
Niecks quotes Mme. Friederike Stretcher, nee Muller, a pupil, who
wrote of her master: "He required adherence to the strictest
rhythm, hated all lingering and lagging, misplaced rubatos, as
well as exaggerated ritardandos.
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