Schaab:

vierst. Satz; Autograph Brahms op. 117, 1 Beethoven 101 Autograph gezeigt; Beethoven: Sonate Dmoll, Linie; Fingersatz zu Schumanns Phantasiestücken; {9} geht vollständig zum Klavier über. 2

© Transcription Robert Kosovsky, 2007

Schaab:

Four-voiced counterpoint; autograph of Brahms Op. 117, 1 showed autograph of Beethoven [Op.] 101; Beethoven: Sonata in D minor, line; fingering for Schumann's Fantasy Pieces ; {9} goes over entirely to piano. 2

© Translation Alan Dodson, 2018

Schaab:

vierst. Satz; Autograph Brahms op. 117, 1 Beethoven 101 Autograph gezeigt; Beethoven: Sonate Dmoll, Linie; Fingersatz zu Schumanns Phantasiestücken; {9} geht vollständig zum Klavier über. 2

© Transcription Robert Kosovsky, 2007

Schaab:

Four-voiced counterpoint; autograph of Brahms Op. 117, 1 showed autograph of Beethoven [Op.] 101; Beethoven: Sonata in D minor, line; fingering for Schumann's Fantasy Pieces ; {9} goes over entirely to piano. 2

© Translation Alan Dodson, 2018

Footnotes

1 According to Schenker's diary, he received photographs of Op. 117 from Hans Weisse on 24 February 1920, the day before he finished dictating an essay on the Intermezzo in Eę major, Op. 117, No. 1. The essay survives as OC 34/83‒105.

2 This remark suggests Frl. Schaab discontinued her counterpoint studies at the end of 1919/20. The entry on her lessons in 1920/21 seems to confirm this, as it lists only piano repertoire and makes no further mention of counterpoint.