ict, and
tries through force of will to burst the fetters of pain, or
at least to alleviate it through absorption in a happy past.
But in vain! The heart has not lost something--it has lost
everything. The musical poem divides into three, or if one
views the little episode in B major as a special part, into
four parts (strophes), of which the last is an elaborated
repetition of the first with a brief closing part appended.
The whole piece is a song, or, better still, an aria, in which
two principal voices are to be brought out; the upper one is
in imitation of a human voice, while the lower one must bear
the character throughout of an obligato violoncello. It is
well known that Chopin was very fond of the violoncello and
that in his piano compositions he imitated the style of
passages peculiar to that instrument. The two voices
correspond closely, supplementing and imitating each other
reciprocally. Between the two a third element exists: an
accompaniment of eighths in uniform succession without any
significance beyond that of filling out the harmony. This
third element is to be kept wholly subordinate. The little,
one-voiced introduction in recitative style which precedes the
aria reminds one vividly of the beginning of the Ballade in G
minor, op. 23.

The D flat study, No. 8, is called by Von Bulow "the most useful
exercise in the whole range of etude literature. It might truly be
called 'l'indispensable du pianiste,' if the term, through misuse, had
not fallen into disrepute. As a remedy for stiff fingers and
preparatory to performing in public, playing it six times through is
recommended, even to the most expert pianist." Only six times! The
separate study of the left hand is recommended. Kullak finds this study
"surprisingly euphonious, but devoid of depth of content." It is an
admirable study for the cultivation of double sixths. It contains a
remarkable passage of consecutive fifths that set the theorists by the
ears. Riemann manages to get some new editorial comment upon it.

The nimble study, No. 9, which bears the title of "The Butterfly," is
in G flat Von Bulow transposes it enharmonically to F sharp, avoiding
numerous double flats. The change is not laudable. He holds anything
but an elevated opinion of the piece, classing it with a composition of
the Charles Mayer order. This is unjust; the study if not deep is
graceful and certainly very effective. It has lat