Chopin: The Man and His Music by James Huneker

Author:James Huneker [Huneker, James]
Language: eng
Format: epub, pdf
Tags: Biography & Autobiography
ISBN: 9781448005208
Google: 7YECppxCp1UC
Amazon: 1448005205
Publisher: The Echo Library
Published: 1900-01-02T00:00:00+00:00

III

In 1840, Trois Nouvelles Etudes, by Frederic Chopin, appeared in the "Methode des Methodes pour le piano," by F. J. Fetis and I. Moscheles. It was odd company for the Polish composer. "Internal evidence seems to show," writes Niecks, "that these weakest of the master's studies—which, however, are by no means uninteresting and certainly very characteristic—may be regarded more than op. 25 as the outcome of a gleaning."

The last decade has added much to the artistic stature of these three supplementary studies. 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. After you have enjoyed playing this study read Kullak and his "triplicity in biplicity." It may do you good, and it will not harm the music.

In all the editions save one that I have seen the third study in D flat begins on A flat, like the famous Valse in D flat. The exception is Klindworth, who starts with B flat, the note above. The study is full of sunny, good humor, spiritualized humor, and leaves the most cheering impression after its performance. Its technical object is a simultaneous legato and staccato. The result is an idealized Valse in allegretto tempo, the very incarnation of joy, tempered by aristocratic reserve. Chopin never romps, but he jests wittily, and always in supremely good taste. This study fitly closes his extraordinary labors in this form, and it is as if he had signed it "F. Chopin, et ego in Arcady."

Among the various editions let me recommend Klindworth for daily usage, while frequent reference to Von Bulow, Riemann and Kullak cannot fail to prove valuable, curious and interesting.

Of the making of Chopin editions there is seemingly no end. In 1894 I saw in manuscript some remarkable versions of the Chopin Studies by Leopold Godowsky. The study in G sharp minor was the first one published and played in public by this young pianist Unlike the Brahms derangements, they are musical but immensely difficult. Topsy-turvied as are the figures, a

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