ass one or several evenings in as
perfect a happiness as possible? As for me, I seek in this
collection of poesy--this is the only name appropriate to the
works of Chopin--some favorite pieces which I might fix in my
memory, rather than others. Who could retain everything? For
this reason I have in my notebook quite particularly marked
the numbers four, five and seven of the present poems. Of
these twelve much loved studies--every one of which has a
charm of its own--the three numbers are those I prefer to all
the rest.

The middle part of this E minor study recalls Thalberg. Von Bulow
cautions the student against "the accenting of the first note with the
thumb--right hand--as it does not form part of the melody, but only
comes in as an unimportant passing note." This refers to the melody in
E. He also writes that the addition of the third in the left hand,
Klindworth edition, needs no special justification. I discovered one
marked difference in the Klindworth edition. The leap in the left
hand--first variant of the theme, tenth bar from beginning--is preceded
by an appoggiatura, E natural. The jump is to F sharp, instead of G, as
in the Mikuli, Kullak and Riemann editions. Von Bulow uses the F sharp,
but without the ninth below. Riemann phrases the piece so as to get the
top melody, B, E and G, and his stems are below instead of above, as in
Mikuli and Von Bulow. Kullak dots the eighth note. Riemann uses a
sixteenth, thus:

[Musical score excerpt]

Kullak writes that the figure 184 is not found on the older metronomes.
This is not too fast for the capriccio, with its pretty and ingenious
rhythmical transformations. As regards the execution of the 130th bar,
Von Bulow says: "The acciaccature--prefixes--are to be struck
simultaneously with the other parts, as also the shake in bar 134 and
following bars; this must begin with the upper auxiliary note." These
details are important. Kullak concludes his notes thus:

Despite all the little transformations of the motive member
which forms the kernel, its recognizability remains
essentially unimpaired. Meanwhile out of these little
metamorphoses there is developed a rich rhythmic life, which
the performer must bring out with great precision. If in
addition, he possesses a fine feeling for what is graceful,
coquettish, or agreeably capricious, he will understand how to
heighten still further the charm of the chief part, which, as
far a