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OC 3/1-2: Oct 1912-Jun 1913 - Evelina Pairamall: lesson: Wednesday, June 25, 1913


25.
Pairamall † :

über Transcriptionen u. Paraphrasen im Verhältnis zur Variationen-Form; 4-händige Arrangementes der Meister selbst; der Niedergang auch die- {41} ser Kunst u. Fantasie überhaupt; Beispiel: Em. Bachs Schluß-Fantasie. 1

© Transcription Robert Kosovsky, ed. Ian Bent, 2007, 2022-23

[June] 25, [1913]
Pairamall † :

On transcriptions and paraphrases in relation to variation form; four-hands arrangements by the masters themselves; the downfall of even this {41} art and fantasy in general; example: C. P. E. Bach’s concluding Fantasy. 1

© Translation Ian Bent, 2022-23

25.
Pairamall † :

über Transcriptionen u. Paraphrasen im Verhältnis zur Variationen-Form; 4-händige Arrangementes der Meister selbst; der Niedergang auch die- {41} ser Kunst u. Fantasie überhaupt; Beispiel: Em. Bachs Schluß-Fantasie. 1

© Transcription Robert Kosovsky, ed. Ian Bent, 2007, 2022-23

[June] 25, [1913]
Pairamall † :

On transcriptions and paraphrases in relation to variation form; four-hands arrangements by the masters themselves; the downfall of even this {41} art and fantasy in general; example: C. P. E. Bach’s concluding Fantasy. 1

© Translation Ian Bent, 2022-23

Footnotes

1 Reference is to C. P. E. Bach, Essay on the True Art of Playing Keyboard Instruments, Eng. transl. William J. Mitchell (New York: W. W. Norton; London: Cassell, 1949; London: Eulenburg, 1974), pp. 443–45.

Format

† Double underlined