s: "They were a very Byronic set, these young men; and they took
themselves with ludicrous seriousness."

Von Bulow calls it a study in expression--which is obvious--and thinks
it should be studied in company with No. 6, in E flat minor. This
reason is not patent. Emotions should not be hunted in couples and the
very object of the collection, variety in mood as well as mechanism, is
thus defeated. But Von Bulow was ever an ardent classifier. Perhaps he
had his soul compartmentized. He also attempts to regulate the
rubato--this is the first of the studies wherein the rubato's rights
must be acknowledged. The bars are even mentioned 32, 33, 36 and 37,
where tempo license may be indulged. But here is a case which innate
taste and feeling must guide. You can no more teach a real Chopin
rubato--not the mawkish imitation,--than you can make a donkey
comprehend Kant. The metronome is the same in all editions, 100 to the
eighth.

Kullak rightly calls this lovely study "ein wunderschones, poetisches
Tonstuck," more in the nocturne than study style. He gives in the
bravura-like cadenza, an alternate for small hands, but small hands
should not touch this piece unless they can grapple the double sixths
with ease. Klindworth fingers the study with great care. The figuration
in three of the editions is the same, Mikuli separating the voices
distinctly. Riemann exercises all his ingenuity to make the beginning
clear to the eye.

[Musical score excerpt]

What a joy is the next study, No. 4! How well Chopin knew the value of
contrast in tonality and sentiment! A veritable classic is this piece,
which, despite its dark key color, C sharp minor as a foil to the
preceding one in E, bubbles with life and spurts flame. It reminds one
of the story of the Polish peasants, who are happiest when they sing in
the minor mode. Kullak calls this "a bravura study for velocity and
lightness in both hands. Accentuation fiery!" while Von Bulow believes
that "the irresistible interest inspired by the spirited content of
this truly classical and model piece of music may become a stumbling
block in attempting to conquer the technical difficulties." Hardly. The
technics of this composition do not lie beneath the surface. They are
very much in the way of clumsy fingers and heavy wrists. Presto 88 to
the half is the metronome indication in all five editions. Klindworth
does not comment, but I like his fingering and phrasing best of all.
Riemann repeats h