d to grosser things.

This must have been the study that Chopin played for Henrietta Voigt at
Leipsic, September 12, 1836. In her diary she wrote: "The over
excitement of his fantastic manner is imparted to the keen eared. It
made me hold my breath. Wonderful is the ease with which his velvet
fingers glide, I might almost say fly, over the keys. He has enraptured
me--in a way which hitherto had been unknown to me. What delighted me
was the childlike, natural manner which he showed in his demeanor and
in his playing." Von Bulow believes the interpretation of this magical
music should be without sentimentality, almost without
shading--clearly, delicately and dreamily executed. "An ideal
pianissimo, an accentless quality, and completely without passion or
rubato." There is little doubt this was the way Chopin played it. Liszt
is an authority on the subject, and M. Mathias corroborates him.
Regarding the rhythmical problem to be overcome, the combination of two
opposing rhythms, Von Bulow indicates an excellent method, and Kullak
devotes part of a page to examples of how the right, then the left, and
finally both hands, are to be treated. Kullak furthermore writes: "Or,
if one will, he may also betake himself in fancy to a still, green,
dusky forest, and listen in profound solitude to the mysterious
rustling and whispering of the foliage. What, indeed, despite the
algebraic character of the tone-language, may not a lively fancy
conjure out of, or, rather, into, this etude! But one thing is to be
held fast: it is to be played in that Chopin-like whisper of which,
among others, Mendelssohn also affirmed that for him nothing more
enchanting existed." But enough of subjective fancies. This study
contains much beauty, and every bar rules over a little harmonic
kingdom of its own. It is so lovely that not even the Brahms'
distortion in double notes or the version in octaves can dull its
magnetic crooning. At times so delicate is its design that it recalls
the faint fantastic tracery made by frost on glass. In all instances
save one it is written as four unbroken quarter triplets in the
bar--right hand. Not so Riemann. He has views of his own, both as to
fingering and phrasing:

[Musical score excerpt]

Jean Kleczynski's interesting brochure, "The Works of Frederic Chopin
and Their Proper Interpretation," is made up of three lectures
delivered at Warsaw. While the subject is of necessity foreshortened,
he says some practical t