"There are two Chopins—one an aristocrat, the other democratic."
Concerning the mazurka, Op. 50, No. 1, he said: "In this mazurka there is dancing, singing, gesticulating.
"Chopin's pupils issued in Paris an edition of his works. Chopin's pupils are, however, as unreliable as the girls who pose as Liszt's pupils. Use the Klindworth edition.
"Liszt's ballads and polonaises have proved most strikingly that it was possible after Chopin to write ballads and polonaises. In the polonaises in particular Liszt opened many new points of view for the widening and spiritualising of that form, quite apart from the individual peculiarities of his productions, which put in place of the national Polish colour an entirely new element, thus making possible the filling out of this form with new contents."
In one of his essays Bülow indignantly attacks the current notion that Liszt's pieces are all unplayable except by concert pianists: "Some day I shall make a list of all of Liszt's pieces for piano which most amateurs will find much easier to master and digest than the chaff of Thalberg or the wheat of Henselt or Chopin. But it seems that the name of Liszt as composer for the piano has become associated inseparably with the words 'inexecutable,' and making 'colossal demands.' It is a harmless prejudice of the ignorant, like many others, but for all that none the less objectionable.
"Liszt does not represent virtuosity as distinguished from music—very far from it.
"The Liszt ballade in B minor is equal in poetic content to Chopin's ballades."
Concerning Liszt's Irrlichter and Gnomenreigen, he said: "I wish the inspired master had written more pieces like these, which are as perfect as any song without words by Mendelssohn."