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... minor new – the first book thus completed; Beethoven "Appassionata" completed mid-June. Sight-read Scarlatti Sonata in B minor; revisited: Chopin Waltz in Ab major; Mozart Sonata in A major; Brahms Fifth-Studies completed February; Brahms First Symphony ...
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... consultation of the original, as well as Schumann’s and Mendelssohn’s arrangements; Beethoven "Appassionata"; begun Brahms Handel Variations up to the fifth variation; revisited: Bach Chromatic Fantasy Fugue . ...
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... upbeat phenomenon of m. 1, cf. Fifth Symphony, Scherzo; in order to correct this error, an upbeat had to be inserted before m. 1. The weak entry admittedly has some consequences. The grace notes c2 in bars 5 and 6 derive from the upbeat quarter note ...
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... in second place for the sake of their artistry. Misunderstanding of the term “symphonic concerto form.” Misunderstanding of certain conspicuous features in the concertos of the Masters; in modern concertos, brought out with false pretension. The ...
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... an A. In bar 3 the reiterated As in the left hand overlooked. False articulation of the penultimate bar, since the final notes of the right hand bar 8 are incorporated into the earlier phrase slur. In the consequent of the central section, in the bar ...
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... theme diagram: four beats, sf on second and fourth [Concerning sturdy playing with the fifth finger of the left hand at the close of the second theme, by which the monumental effect is intensified. in left margin: “Performance”end marginalia The ...
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... Scherzo mehr als einen geschriebenen Takt umfassend: . October 29, 1912 Brünauer: C minor Etude, improved; and about the subdivision of the bar in the Scherzo of Beethoven‘s Fifth Symphony, on the occasion of the performance by Weingartner. The solution is ...
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... influenced practice; on the difference of meaning between e.g. d1 as a neighbor note used in the course of the composing out of the triad C G E, and a harmony on D that itself attains to composing out, which, however, is then the second upper fifth i.e. G B D. ...
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... three sections, but constructed by rising harmonic thirds; the fourth in the motive as a fifth; on I–VI–IV–II V; Modulation as the result of harmonic re-interpretation, and once D major has been reached, D rising to D, rising to E; thus signifying not II ...
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... Studies iv (2010), 139 and 160–66, collated with Weisse’s own surviving counterpoint notebooks. The exercises, with Schenker’s annotations, are preserved in the third notebook, covering four-voice counterpoint in fourth and fifth species. The fourth ...