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{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 |
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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 |
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{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 |
Footnotes1 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. |