How to Study Chopin's Music by ProQuest

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									How to Study Chopin’s Music
Hans von Bülow

  n spite of the universal favour Chopin enjoys, his works are very
I frequently ill-treated by pianists, both in public and in private. I know
of two ways only to learn to render them properly; the first is to hear the
grand master of all interpreters and executants, Franz Liszt, play them, the
second to study them in Karl Klindworth’s recent edition. The latter way
is the more easily attainable, and the study thereby undertaken will in no
case be superfluous, not even if the student should have had the rare good
fortune to be initiated to Chopin’s style by that master whose genius is so
near akin to the genius of our ‘poet of the piano’ par excellence.
    For, during the time of their intimate intercourse in Paris, Chopin was
in the habit of alluding to his friend Liszt as the player to whose powers
of poetical reproduction he trusted whilst writing. This fact, by the way,
accounts in part for Chopin’s occasional carelessness in putting his
compositions on paper. As I have said, even in the latter case the student
will do well to make use of Klindworth’s edition (‘an exegesis without
words’) both before and after studying any particular piece. Myself a
fellow-pupil of Klindworth, with Liszt at Weimar from 1851 to 1853,
though I possess Chopin’s works in heart and head, and for the most part
in my fingers too, yet since the last quarter of a century I am fain to                                                               Hans von Bülow
consult Klindworth’s edition whenever I again set about preparing any
piece of Chopin’s for performance in public.
    I hasten to confess I am indebted to such consultations for the
correction of so many a little negligence and unclearness, so many a slight    MUSIC PERFORMANCE
                                                                               EQUIPMENT
emotional flaw, and, lastly (thanks to Klindworth’s model method of
presenting the text and to his admirable fingering), for the simplification
of so many a technical stumbling-block, that I am ready to assert that it
is the bounden duty of every conscientious pianist and thoroughly honest
                                                                               • Music stands, music chairs & carts
piano teacher to do the same. Indeed, I would go to the length of holding
                                                                                 Choral & orchestral music folders
the omission on the part of a ‘college’ to make intimate acquaintance with
    
								
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