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GrossanY

OF FRENCH AND GENUAN TERMS

aber (etwas rascher), but (a little quicker) imTempo = a tempo


allmnhlich etwas breiter werden, gradually
becoming a little broader laissez entendre bien nettement toutes les notes,
let all the notes be heard quite clearly
allmiihlich zurùckgehm, gradually receding
laissez oibrer, let the sound ring
AnfangszeitmaJS, opening tempo
attaquez chaque fois, attack each time
Iang,long
langsam(er), slow(er)
duJ3erst kurz, extremely short
langsame Viertel, slow quarter notes

beschleunigt, accelerated langsames Walzertempo, slow waltz tempo


bewegt(er), (more) moving, agitated leicht, free

breit(er), broad(er) leise, slight, low [volume]


le nouoeau très fort, the new [element] very loud
Diimpfer, mute (damper pedal)
die Tasten tonlos niederdrùcken, the piano keys knum hòrbar, barely audible
depressed without sound kurz, short
dr iin genil, pressing forward
miiJ|ig@, moderate
eher, sooner, earlier, rather m.il.,m.dr. [main droite] = R.H.
ein wenig belebter, a bit more animated z.g. [main Sauche] = L.H.
eru{rds, somewhat mit, wltll.
excessiaement court (et fort), excessively mit Diimpfer, muted [with damper pedal]
short (and loud) mit Diimpfung (und Pedal) bis Q , with damping
(and pedal) until O

fast ohne jede Verlangsamung, almost without mit sehr znrtem Ausdruck, very gently expressive
any slowing down mit Ton, with tone
feurig, fiery, passionate moinsfort, not so loud
flieJlend( er ), (more) fl owing
fliicht ig kr ), (more) fl eeting nach und nach wieder schneller, once again faster,
little by little
gebunden = legato nach und nach in das Anfangszeitmal3
gedehnt, drawn out (sehr rasche ,) ) zuriickkehrend, reverting littte by little
genau im Takt, exactly in time to the opening tempo (very quick J )
gesanglich, vocal
gut im Takt, quite in time nicht oiel, not much
noch ruhiger, still calmer
HauptzeitmaJ3, the principal tempo, tempo primo
hef t i g, v iolent, forcible Obertasten, upper keys
heruortretend, prominent, to the fore ohne = senza

immer ruhiger werden, becoming more and more tranquil rasch(er), quick(er)
im (ruhigen) AnfangszeitmaJS, in the (serene)
) . rascher als die ) zsonfrùher
opening tempo
) . faster than the previous J
) iil bngro*er als die fri)here )
ruhig(er), calm(er)
J is slower than the previous J

xl
sehr = molto P. 8s
sehr ruhige Halbe, mit uenig Ausdruck, very calm steigernil (und beschleunigend) bis in ein Q -ZeitmaJl
halves, with slight expression crescenilo (and acceleratit g) up to a 0 -tempo
schwungaoll, spiited
steigernd, wieder sehr rasch = crescefido, once more p. 105
very quick (dasselbe ZeitmaJl . . . dieses Themas)
(the same tempo as in the very first appearance of this
très, very, molto theme)
accentué, strongly accented
court, very short p.130
fort, very loud, Nach jedem Stilck . . . ineinander iibergenhen!
Long pause after each piece. The pieces must not run
und, and
together!
Untertastm,lower keys

p. 133
oiel langsamer, aber doch flieJler?d, much slower,
In den ersten 4Taktm . . . durchaus pp spielen.
but yet flowing
In the first four measures, the right hand maintains a
aiel langsamer, als das l. ZeittnaJS, much slower continuous dynamic of /; the right, of pp.
than Tempo I
oiel rascher, much livelier p.138 l= H"t.h#' s l
oiel schneller, much faster The enigmatic "billboard" I Luft=Akt I refers to trapeze
ooll, complete, full artists-"The Five Hutchinsons"-who gave a vaudeville perfor-
mance in the Schumann-Theater in Frankfurt. According to one
weich, debcate, smooth, tender source, Hindemith is said to have composed the opening March
wieder im ZeitmaJS, once again in tempo of his Suite during an aerial performance on September 4, 1927,
wie ein Hauch,like a breath sketching his score on the back of his program. The word
Vorspiel at the opening of the March indicates a curtain-raiser
zarÉ, subdued, gentle
to the piece itself-a sort of three-measure overture.
O) ZeitmaJl = Tempo l, a tanpo
zijgernd, hesitant p. 153
zuriicHtaltend, holding back Direction use: Nimm keine Rùcksichten . . . handele
for
dementsprechend.
Pay no attention to what you leamed in your piano lessons.
Longer footnotes and score notes:
Don't stop to think about whether to play D-sharp with
P.27 your fourth or sixth finger.
Sans changer le mouoement . . . par rup?ort au précedent.
Perform this piece very wildly, but in very strict rhythm
Without changrng the overall movemen! the value of the
throughout, mechanically.
eighth [in 2/ 4) is rhe same as the eighth in the preceding
6/8. The marking "Più mosso" is meant only as an indica- In this case, look on the piano as an interesting type of
tion of the character of the new section as compared to percussion and proceed accordingly.
that of the preceding one.

P.s5
Repétezles solb . . . doigts et ped.
Repeat the G-flats as smoothly as possible (legato of fingers
and pedal).

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