I cannot vouch for the sincerity of Chopin's utterance for as Runciman writes: "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 his trick of breaking a group, detaching a note for emphasis; although he is careful to retain the legato bow. One wonders why this study does not figure more frequently on programmes of piano recitals. It is a fine, healthy technical test, it is brilliant, and the coda is very dramatic. Ten bars before the return of the theme there is a stiff digital hedge for the student. A veritable lance of tone is this study, if justly poised.
Riemann has his own ideas of the phrasing of the following one, the fifth and familiar "Black Key" etude. Examine the first bar:
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Von Bulow would have grown jealous if he had seen this rather fantastic phrasing. It is a trifle too finical, though it must be confessed looks pretty. I like longer breathed phrasing. The student may profit by this analysis. The piece is indeed, as Kullak says, "full of Polish elegance." Von Bulow speaks rather disdainfully of it as a Damen-Salon Etude. It is certainly graceful, delicately witty, a trifle naughty, arch and roguish, and it is delightfully invented. Technically, it requires smooth, velvet-tipped fingers and a supple wrist. In the fourth bar, third group, third note of group, Klindworth and Riemann print E flat instead of D flat. Mikuli, Kullak and Von Bulow use the D flat. Now, which is right? The D flat is preferable. There are already two E flats in the bar. The change is an agreeable one. Joseffy has made a concert variation for this study. The metronome of the original is given at 116 to the quarter.
A dark, doleful nocturne is No. 6, in E flat minor. Niecks praises it in company with the preceding one in E. It is beautiful, if music so sad may be called beautiful, and the melody is full of stifled sorrow. The study figure is ingenious, but subordinated to the theme. In the E major section the piece broadens to dramatic vigor. Chopin was not yet the slave of his mood. There must be a psychical programme to this study, some record of a youthful disillusion, but the expression of it is kept well within chaste lines. The Sarmatian composer had not yet unlearned the value of reserve. The Klindworth reading of this troubled poem is the best though Kullak used Chopin's autographic copy. There is no metronomic sign in this autograph. Tellefsen gives 69 to the quarter; Klindworth, 60; Riemann, 69; Mikuli, the same; Von Bulow and Kullak, 60. Kullak also gives several variante from the text, adding an A flat to the last group in bar II. Riemann and the others make the same addition. The note must have been accidentally omitted from the Chopin autograph. Two bars will illustrate what Riemann can accomplish when he makes up his mind to be explicit, leaving little to the imagination:
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