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... Variations in C minor; Brahms: Intermezzo in C major, Chopin: two Preludes, Etude in C minor from Op. 10; Brahms: Waltzes?, new; revisited: "Appassionata," Sonata in D minor; Bach: Prelude in E minor, new; Variation serieus, Mendelssohn, new. ...
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... . Begonnen Brahms: Händel-Variationen u. Chopin: Scherzo Bmoll. Schaab: Bach: Italian Concerto. Schumann: Phantasiestücke revisited (supposedly for a concert). Chopin: Waltz in G major, new. Schubert: Impromptu in E major. Chopin: Polonaise in B major ...
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... remain seated at the end of her lesson, and ask if she could also play me the Waltz in A: ‘if you want to hear how beautifully I play the waltz.’ It goes without saying that I did not ask her to do this.” December 3, 1912 Stirling: Chopin G major Etude ...
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... . Study of lines. For Miss Kahn Sonata Op. 31, No. 3. — Chopin: Etude in F major analysis written out; Brahms: Waltz No. 4 for Miss Kahn and Toccata in D minor. Chopin: Waltz in A major. Mozart: Sonata in C major. Miscellaneous: Brahms: First Symphony ...
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... Betrachtungen von Bülow, Riemann, Nagel. 8.XI. Brahms Walzer:This was the first of twenty lessons centering on graphs of Brahms’s Waltzes Op. 39 that Elias received during the 1924/25 and 1925/26 seasons. A notebook containing Elias’s graphs of the entire opus ...
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... Tausig, Busoni, Reger, and others; or the first two movements of the Toccata in D minor for harpsichord, BWV 913. Durch Elias s.o.In the notes for Elias's lessons, Elias twice plays "for Miss Kahn": Beethoven Op. 31 No. 3 and Brahms Waltz No. 4; and after ...
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... phenomenon occurs in the very small forms; cf. e.g. Brahms G minor Waltz and in much of Schubert’s music.] ...
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... transposition of the minor theme into major, especially the consequences in unavoidable effects of false-relations. The alterations to the bass out of character, artful passing motions on the way to unison. – Revisited: Nocturne, Berceuse, C minor Waltz ...
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... ; Brahms Waltz in D minor; articulation different from harmony; the change in the middle section on the basis of the passing note on the second quarter in the left hand; about the seventh-chord construction toward the close; on the changing notes in the ...
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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 ...