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 Post subject: Mendelssohn Songs without Words #10 -- Op. 30 No. 4
PostPosted: Mon Mar 01, 2010 10:36 pm 
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Location: Illinois
I have a question.

I've been working on the Songs without words. #10 in the Peter's edition found on IMSLP seems to have an error so I was wondering if someone might have another edition to help me solve the problem correctly.

In measure 53 (I counted the 1st and 2nd endings as the same measures -- 34 & 35) the melody is G E B and the l.h. chord is D F# G. Should the F# be F nat. (which is my solution, though not completely convincing against the melody) or are there erros in the rest of the harmony and / or the melody?

Thanx for any help that you may be able to offer.

Scott

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 Post subject: Re: Mendelssohn Songs without Words #10 -- Op. 30 No. 4
PostPosted: Tue Mar 02, 2010 3:03 am 
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Sorry, I do not have that score in my possession, so I don't really have an answer. But if it helps, there are about four editions on ISMLP and they all show that measure the same way - an F#.

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 Post subject: Re: Mendelssohn Songs without Words #10 -- Op. 30 No. 4
PostPosted: Tue Mar 02, 2010 12:26 pm 
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D F# G is correct, according to Henle. Btw, the German first edition and the English first edition (Henle uses both as sources in addition to the autograph) differ in many respects but not in that passage. To me, the F natural would sound awkward since we are in the subdominant section of a cadential path culminating on the long dominant passage starting at ms.60, before the reprise. (Also, the F natural, as enharmonic E#, is used melodically in ms.59 to even out the VI-V movement.)

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 Post subject: Re: Mendelssohn Songs without Words #10 -- Op. 30 No. 4
PostPosted: Tue Mar 02, 2010 11:00 pm 
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Joined: Mon Nov 09, 2009 11:14 pm
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Location: Illinois
Thanx Monica and Alf for your replies.

For some reason, when I downloaded I didn't notice all of the other editions -- The trials of old age.

The F# is really unconvincing with its m2nd with the G. This is a somewhat harmonically ambiguous section -- The previous measure has cadenced on E minor, but as I look at it more closely, it becomes C major by the end which would allow for G7 (V) leading to an embellishing dim 7 (C#dim7) followed again by an essentially G7 arpeggiation.

If I look at it from the initial E/G -- the G remains through 3 measures and the E splits into 2 voices -- the upper E F(#) E D and the lower E D C# D. (Just thinking on-line).

Any, just be forewarned that I'll make my decision and I don't want anyone telling me that I played an F nat. there when it is written F# (if that is my final decision) :? :lol:

Scott

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