the last group in bar II. Riemann and the others make the
same addition. The note must have been accidentally omitted from the
Chopin autograph. Two bars will illustrate what Riemann can accomplish
when he makes up his mind to be explicit, leaving little to the
imagination:

[Illustration without caption]

A luscious touch, and a sympathetic soul is needed for this nocturne
study.

We emerge into a clearer, more bracing atmosphere in the C major study,
No. 7. It is a genuine toccata, with moments of tender twilight,
serving a distinct technical purpose--the study of double notes and
changing on one key--and is as healthy as the toccata by Robert
Schumann. Here is a brave, an undaunted Chopin, a gay cavalier, with
the sunshine shimmering about him. There are times when this study
seems like light dripping through the trees of a mysterious forest;
with the delicato there are Puck-like rustlings, and all the while the
pianist without imagination is exercising wrist and ringers in a
technical exercise! Were ever Beauty and Duty so mated in double
harness? Pegasus pulling a cloud charged with rain over an arid
country! For study, playing the entire composition with a wrist stroke
is advisable. It will secure clear articulation, staccato and
finger-memory. Von Bulow phrases the study in groups of two, Kullak in
sixes, Klindworth and Mikuli the same, while Riemann in alternate twos,
fours and sixes. One sees his logic rather than hears it. Von Bulow
plastically reproduces the flitting, elusive character of the study far
better than the others.

It is quite like him to suggest to the panting and ambitious pupil that
the performance in F sharp major, with the same fingering as the next
study in F, No. 8, would be beneficial. It certainly would. By the same
token, the playing of the F minor Sonata, the Appassionata of
Beethoven, in the key of F sharp minor, might produce good results.
This was another crotchet of Wagner's friend and probably was born of
the story that Beethoven transposed the Bach fugues in all keys. The
same is said of Saint-Saens.

In his notes to the F major study Theodor Kullak expatiates at length
upon his favorite idea that Chopin must not be played according to his
metronomic markings. The original autograph gives 96 to the half, the
Tellefsen edition 88, Klindworth 80, Von Bulow 89, Mikuli 88, and
Riemann the same. Kullak takes the slower tempo of Klindworth,
believing that the old Herz and Czerny