is not a little. After the cadenza, built on a figure of wavering
tonality, a valse-like theme emerges and enjoys a capricious, butterfly
existence. It is fascinating. Passage work of an etherealized character
leads to the second subject, now augmented and treated with a broad
brush. The first questioning theme is heard again, and with a
perpendicular roar the presto comes upon us. For two pages the dynamic
energy displayed by the composer is almost appalling. A whirlwind I
have called it elsewhere. It is a storm of the emotions, muscular in
its virility. I remember de Pachmann--a close interpreter of certain
sides of Chopin--playing this coda piano, pianissimo and prestissimo.
The effect was strangely irritating to the nerves, and reminded me of a
tornado seen from the wrong end of an opera glass. According to his own
lights the Russian virtuoso was right: his strength was not equal to
the task, and so, imitating Chopin, he topsy-turvied the shading. It
recalled Moscheles' description of Chopin's playing: "His piano is so
softly breathed forth that he does not require any strong forte to
produce the wished for contrast."

This G minor Ballade was published in June, 1836, and is dedicated to
Baron Stockhausen. The last bar of the introduction has caused some
controversy. Gutmann, Mikuli and other pupils declare for the E flat;
Klindworth and Kullak use it. Xaver Scharwenka has seen fit to edit
Klindworth, and gives a D natural in the Augener edition. That he is
wrong internal testimony abundantly proves. Even Willeby, who
personally prefers the D natural, thinks Chopin intended the E flat,
and quotes a similar effect twenty-eight bars later. He might have
added that the entire composition contains examples--look at the first
bar of the valse episode in the bass. As Niecks thinks, "This dissonant
E flat may be said to be the emotional keynote of the whole poem. It is
a questioning thought that, like a sudden pain, shoots through mind and
body."

There is other and more confirmatory evidence. Ferdinand Von Inten, a
New York pianist, saw the original Chopin manuscript at Stuttgart. It
was the property of Professor Lebert (Levy), since deceased, and in it,
without any question, stands the much discussed E flat. This testimony
is final. The D natural robs the bar of all meaning. It is insipid,
colorless.

Kullak gives 60 to the half note at the moderato. On the third page,
third bar, he uses F natural in the treble. So d