... dieser Stelle legato von Daumen zu Daumen der linken Hand im Schlußgedanken.] January 27, 1912 Elias: in left margin: “Ninth Symphony?”end marginalia First movement of Brahms Clarinet Sonata performance. [Concerning the sf in the consequent of the first ...

... Rückmodulationen. October 19, 1912 Elias: Variation 5; correction of the articulation of the D major Prelude; Chopin’s unique articulation as a consequence of the homophony. The lack of thematic material leads to indifferentism of articulation. Especially ...

... ; otherwise the group would be compromised. In the consequent and in the modulatory section the 16th-note figure is determinate for future working out, hence not as in the music of Dvořák or worse composers. In the modulatory section itself a foretaste, with ...

... C major to G minor, and so forth. Further work on Schubert waltzes, rather skilful; comparison of the form types of the first three preludes: No. 3 the simplest: antecedent–consequent, with decidedly melodic physiognomy; No. 1 motivically more ...

... : construction of antecedent and consequent in a passage from Brahms’s Op. 60. ...

... 1. Teiles mit wahrer Küsterheuchelei Bdur. November 7, 1913 Breisach: Haydn: Trio in F minor, form: modulation from the Consequent of the First Theme; the rapidity makes it necessary, before the arrival of the true Second Theme, to create a long ...

... types of synthesis. [Modulation to D major, second theme C minor; consequent of the first theme begins with a figuration; cf. Chopin C minor Etude.] ...

... 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 ...

... 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 ...

... lightness to the tones that follow. The unintentional letting-fall on to the keys and its consequences, and so forth: in the case of Brahms simply regrettable that he disrupts the execution of this natural process and, as it were, intervenes so that he ...