OC 3/1: Jan 1912-Mar 1912 - Otto Vrieslander: lesson: Thursday February 8, 1912
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8. II. Vrieslander † : Fortsetz. der Synk. einige Stimmfg.-Schönheiten in Mozart’s Andante con variationi; 1 bes. die 6-Accord-Stellungen in weiter Lage T. 6-7; ferner über einen, in eine durchgehende 6-Accordreihe eingewobenen liegenden Ton. Mozarts Lieblings-Technik[:] s. Dmoll Konz. © Transcription Robert Kosovsky, 2007 |
February 8, [1912] Vrieslander † : Continuation of the syncopated [species]: some beautiful examples of voice-leading in Mozart’s Andante con variationi; 1 particularly the six-chord passages in expanded register, bars 6–7; further concerning a sustained tone woven into a passing six-chord succession. Mozart’s favorite technique: see D minor Concerto. © Translation Ian Bent, 2021 |
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8. II. Vrieslander † : Fortsetz. der Synk. einige Stimmfg.-Schönheiten in Mozart’s Andante con variationi; 1 bes. die 6-Accord-Stellungen in weiter Lage T. 6-7; ferner über einen, in eine durchgehende 6-Accordreihe eingewobenen liegenden Ton. Mozarts Lieblings-Technik[:] s. Dmoll Konz. © Transcription Robert Kosovsky, 2007 |
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February 8, [1912] Vrieslander † : Continuation of the syncopated [species]: some beautiful examples of voice-leading in Mozart’s Andante con variationi; 1 particularly the six-chord passages in expanded register, bars 6–7; further concerning a sustained tone woven into a passing six-chord succession. Mozart’s favorite technique: see D minor Concerto. © Translation Ian Bent, 2021 |
Footnotes1 Mozart, Andante con variazioni for piano four hands, K501. The chords across the barline of bar 7 are indeed registrally wide-spread. |
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Format† Double underlined |