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... zum es1 u. zur I. Stufe der Tonart, die 2 Takte lang dauert u. einen Takt Vorhalt hat: Es bleibt bleibt während der IV. u. IV., um erst über der V. empor zu steigen. October 15, 1912 Brünauer: C minor Prelude: the fact that the E major chord in bar 11 ...
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... 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 ...
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... something that the woman could not understand, though she is able to carry out the most wide-ranging stock-market transactions; when it comes to a few pennies, this barbarian remains so hostile to culture and art.” October 29, 1912 Stirling: A major Waltz ...
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... major; W. F. Bach, Symphony; Beethoven, Symphony No. 5 in C minor. Die Lösung: Die Auffassung von 3/4 Taktart als der Hälfte eines 6/8, bezw. 6/4 Taktes; also zu lesen 2 Takte für einen u. darnach auch der Auftakt unter Umständen wie z.B. zu Beginn des ...
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... Walzerskizzen). Ueber die II. Stufe im Prestissimo aus op. 109. December 3, 1912 Weisse: Exercises paused on account of Semmering. Instead, the A major Waltz searched for connections, not only of formal components but also of harmonies. In particular, of the ...
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... of this concerto is than that of the E major concerto. ...
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... Demonstrierung von Stylisierung u. Chaos. Correktur des über die Form der beiden letzten Sätze schriftlich Gebrachten.Probably of the Dvořák String Quartet in E major, Op. 51, which she was studying at the time. December 16, 1912 Deutsch: Report on her ...
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... harmony of bars 35–36 is enharmonically exchanged, such that the melody appears to be built into the four-note chord over F.” February 6, 1913 Deutsch: Some things from the Beethoven B major Trio, particularly the 32nd-note variation from the Adagio; about ...
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... changing-note; bar 3: unmediated tonicization of II in A major = I in B minor; basis: replication of bar 1; bars 5–6: seemingly parallel octaves between Stufen and the melody; bars 9ff: modal mixture; bars 11–12: merely enharmonically rewritten; bar 13 ...
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... 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 ...