OC 3/1: Jan 1912-Mar 1912 - Evelina Pairamall: lesson: Wednesday February 14, 1912
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14. II. Pairamall † : Gdur Konzert; [über den Halbschluß u. Anticipation zum 2. Ged., der aber nicht diejenige ist, der später als wirklich 2. Ged. auftritt. Ueber die vagirenden Tonarten des II. Orch.-Ged.; die Eröffnung des III. Ged. mit der Dom. den Trugschluß † mittelst eines 6-Accordes der Tonica u. den {29} endgiltigen Schluß, bei dem der Grundton selbst als tiefster Ton erscheint; über letzteren die Version des I. Ged. wieder von der Terzlage u. Entwicklung des Klav. Ritornells. 1 © Transcription Robert Kosovsky, 2007 |
February 14, [1912] Pairamall † : G major concerto [concerning the half-cadence and anticipation of the second theme, which is, however, not that which occurs later as genuinely the second theme. Concerning the wayward keys of the second orchestral theme; the opening of the third theme with the dominant; concerning the deceptive cadence † amidst a six-chord of the tonic and the {29} eventual cadence, in which the root itself appears as the lowest note; a propos the latter, the version of the first theme again starting with the third at the top, and development of the piano ritornello. 1 © Translation Ian Bent, 2021 |
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14. II. Pairamall † : Gdur Konzert; [über den Halbschluß u. Anticipation zum 2. Ged., der aber nicht diejenige ist, der später als wirklich 2. Ged. auftritt. Ueber die vagirenden Tonarten des II. Orch.-Ged.; die Eröffnung des III. Ged. mit der Dom. den Trugschluß † mittelst eines 6-Accordes der Tonica u. den {29} endgiltigen Schluß, bei dem der Grundton selbst als tiefster Ton erscheint; über letzteren die Version des I. Ged. wieder von der Terzlage u. Entwicklung des Klav. Ritornells. 1 © Transcription Robert Kosovsky, 2007 |
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February 14, [1912] Pairamall † : G major concerto [concerning the half-cadence and anticipation of the second theme, which is, however, not that which occurs later as genuinely the second theme. Concerning the wayward keys of the second orchestral theme; the opening of the third theme with the dominant; concerning the deceptive cadence † amidst a six-chord of the tonic and the {29} eventual cadence, in which the root itself appears as the lowest note; a propos the latter, the version of the first theme again starting with the third at the top, and development of the piano ritornello. 1 © Translation Ian Bent, 2021 |
Footnotes1 This entry is followed by an entry of the same date (“9. Bog. ab.” “Ninth gathering sent off.”), which does not appear in Schenker’s diary, but has been added to it editorially at February 14 —This is followed by another entry (“Vormittag … Cézanne.”), dated February 15, that is duplicated in Schenker’s diary for February 15. (Heinrich used the lessonbook as a holding place for diary entries, sidelining them to indicate that they should later be copied into the diary.). |
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Format† Double underlined |