31.
Kahn :

Besonders Etude Esm ; neu Esd als fehlende letzte aus op. 10; rep. 1–6; 1 Anweisung zum legato: ein wirkliches Liegenlassen des Fingers, statt eines blos eingebildeten, das den Spieler leider auch befriedigt. 2

© Transcription Robert Kosovsky, 2007, 2020


[January] 31, [1914]
Kahn :

Especially the Etude in Eę minor; new: Eę major as the final missing one from Op. 10; revisited: Nos 1–6; 1 legato marking: a genuine lingering of the finger, instead of a purely imaginary one, with which the player is unfortunately satisfied, too. 2

© Translation Ian Bent, 2020


31.
Kahn :

Besonders Etude Esm ; neu Esd als fehlende letzte aus op. 10; rep. 1–6; 1 Anweisung zum legato: ein wirkliches Liegenlassen des Fingers, statt eines blos eingebildeten, das den Spieler leider auch befriedigt. 2

© Transcription Robert Kosovsky, 2007, 2020


[January] 31, [1914]
Kahn :

Especially the Etude in Eę minor; new: Eę major as the final missing one from Op. 10; revisited: Nos 1–6; 1 legato marking: a genuine lingering of the finger, instead of a purely imaginary one, with which the player is unfortunately satisfied, too. 2

© Translation Ian Bent, 2020

Footnotes

1 This entry suggests that these six etudes were all also from Op. 10.

2 For a full discussion of this technique, see Schenker, The Art of Performance, ed. H. Esser, transl. I. S. Scott (New York: Oxford University Press, 200), chap. 5, pp. 21–30.