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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
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[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.
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