OC 3/1-2: Oct 1912-Jun 1913 - Hans Weisse: lesson: Friday, May 16, 1913
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© Transcription Robert Kosovsky, ed. Ian Bent, 2007, 2022-23 |
[May] 16, [1913] Weisse † : Exercises in four-voice counterpoint, a lot of them, and fairly good; too little use of wider registers, too many thirds. 1 Four-hands: Mendelssohn A major Allegro 2 original four-hands movement less good than those by Mozart {28} or even by Schubert; the latter is the best showcase for duet playing. © Translation Ian Bent, 2022-23 |
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© Transcription Robert Kosovsky, ed. Ian Bent, 2007, 2022-23 |
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[May] 16, [1913] Weisse † : Exercises in four-voice counterpoint, a lot of them, and fairly good; too little use of wider registers, too many thirds. 1 Four-hands: Mendelssohn A major Allegro 2 original four-hands movement less good than those by Mozart {28} or even by Schubert; the latter is the best showcase for duet playing. © Translation Ian Bent, 2022-23 |
Footnotes1 Weisse’s study of counterpoint on May 13, 16, and 20, 1913 is discussed in detail in Timothy L. Jackson, "Punctus contra punctus …," Journal of Schenkerian Studies iv (2010), 139 and 146ff, collated with Weisse’s own surviving counterpoint notebooks. Lessons for those dates, the exercises, with Schenker’s annotations, for which are preserved in the first and second notebooks, cover four-voice counterpoint, first species. 2 Probably Mendelssohn’s Allegro brilliant in A major, Op. 92 for piano duet. |
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Format† Double underlined |