OC 3/1-2: Oct 1912-Jun 1913 - Robert Brünauer: lesson: Friday October 11, 1912
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11. X. Brünauer : Cism Etude bis zur Kadenz in Es; 1 falsche Hast wegen der vielen Noten statt ihnen nachzugeben. Heben eines Fingers neben dem anderen ruhenden um [decrescendo hairpin] zu erlangen; mit der schwächsten Welle die Weiterfahrt antreten. Anticipation legatissimo, d.h. {12} die ersten Noten stark betonen u. sie liegen lassen, 2 während der anticipirende Ton schwächer geschlagen wird. Bach: Cm Präl. Vorhalte bei den entscheidenden Stufen (vgl. die Technik in Cm Kl. Präl.). Lektüre v. Brahms, Op. 84, Am. 3 © Transcription Robert Kosovsky, ed. Ian Bent, 2007, 2022-23 |
October 11, [1912] Brünauer : Cě minor Etude as far as the cadence in Eę [bar 28]; 1 yield to the many notes, instead of misguidedly trying to rush them to fit them in. The raising of one finger while the one next to it is held down in order to achieve [decrescendo hairpin]; initiation of the continuation with the gentlest of surges. [Play the] anticipation[s] [in bars 2, 3, 10, 11] legatissimo, that is, {12} put a strong accent on the first note [of the bar] and hold it down 2 while the note being anticipated is struck more weakly. Bach C minor Prelude, suspensions on the crucial scale-degrees (cf. the technique in the C minor Little Prelude). Read-through of Brahms, Op. 84, A minor. 3 © Translation Ian Bent, 2022-23 |
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11. X. Brünauer : Cism Etude bis zur Kadenz in Es; 1 falsche Hast wegen der vielen Noten statt ihnen nachzugeben. Heben eines Fingers neben dem anderen ruhenden um [decrescendo hairpin] zu erlangen; mit der schwächsten Welle die Weiterfahrt antreten. Anticipation legatissimo, d.h. {12} die ersten Noten stark betonen u. sie liegen lassen, 2 während der anticipirende Ton schwächer geschlagen wird. Bach: Cm Präl. Vorhalte bei den entscheidenden Stufen (vgl. die Technik in Cm Kl. Präl.). Lektüre v. Brahms, Op. 84, Am. 3 © Transcription Robert Kosovsky, ed. Ian Bent, 2007, 2022-23 |
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October 11, [1912] Brünauer : Cě minor Etude as far as the cadence in Eę [bar 28]; 1 yield to the many notes, instead of misguidedly trying to rush them to fit them in. The raising of one finger while the one next to it is held down in order to achieve [decrescendo hairpin]; initiation of the continuation with the gentlest of surges. [Play the] anticipation[s] [in bars 2, 3, 10, 11] legatissimo, that is, {12} put a strong accent on the first note [of the bar] and hold it down 2 while the note being anticipated is struck more weakly. Bach C minor Prelude, suspensions on the crucial scale-degrees (cf. the technique in the C minor Little Prelude). Read-through of Brahms, Op. 84, A minor. 3 © Translation Ian Bent, 2022-23 |
Footnotes1 Schenker wrote an analysis of the Cě minor Etude Op. 25, No. 7, undated, but possibly from 1912/13, preserved in OC/202–203, probably intended as part of his kleine Bibliothek project but never published. The analysis covers only the first five measures. 2 Liegenlassen: an important principle of Schenker’s legato performance method: see Heinrich Schenker, The Art of Performance, ed. H. Esser, transl. Irene Schreier Scott (New York: Oxford University Press, 2000), pp. 22–25. 3 Op. 84 is the Romances and Songs for female voice and piano, of which No. 5 “Spannung” is in A minor. — Schenker’s diary for October 10 (on which Brünauer did not have a lesson) records: “Letter to Dr. Brünauer rebuking him for the damages he caused, and reporting an increased lesson fee for the 1913/14 teaching year. – In the afternoon, reply by letter; raising [of the lesson fee] for 1913 accepted. During the lesson in the evening, the criminal’s understandable embarrassment, which I had to overcome with great difficulty.” |