{12} 5. 4.

! Figaro’s Hochzeit“ in der Oper unter Mahler: Alle Tollheit wie ausgelöscht, ja fast gar nicht mehr „der tolle Tag“ zu nennen. 1 Überspanntes Ernst des Vortrages.

Rich. Epstein spielt das Em. Bach Kl. Konz. Am in meiner Bearbeitung 2 in London.

© Transcription Ian Bent, 2017

{12} April 5

! Marriage of Figaro at the Opera under Mahler: The comic element seems to have been cut out altogether; indeed, it can almost no longer be called "the crazy day." 1 The performance was exaggeratedly serious.

Richard Epstein plays the C. P. E. Bach keyboard concerto in A minor in my arrangement 2 in London.

© Translation Ian Bent, 2017

{12} 5. 4.

! Figaro’s Hochzeit“ in der Oper unter Mahler: Alle Tollheit wie ausgelöscht, ja fast gar nicht mehr „der tolle Tag“ zu nennen. 1 Überspanntes Ernst des Vortrages.

Rich. Epstein spielt das Em. Bach Kl. Konz. Am in meiner Bearbeitung 2 in London.

© Transcription Ian Bent, 2017

{12} April 5

! Marriage of Figaro at the Opera under Mahler: The comic element seems to have been cut out altogether; indeed, it can almost no longer be called "the crazy day." 1 The performance was exaggeratedly serious.

Richard Epstein plays the C. P. E. Bach keyboard concerto in A minor in my arrangement 2 in London.

© Translation Ian Bent, 2017

Footnotes

1 An allusion to the title of the Beaumarchais play on which the opera is based: La folle journée, ou Le marriage de Figaro.

2 Either Wq. 21/Helm 424 or Wq. 26/Helm 430, more probably the latter, as C. F. Kahnt of Leipzig had published an edition of this work in 1905.