Herzlichen Dank für den Kommentar und viel Freude beim Einstudieren. Zu Bachs Zeiten gab's halt noch keine Klaviere, wie wir sie heute kennen, da gab es Cembali und Spinette, da konnte man nicht laut und leise unterscheiden, und sie hatten gar kein Pedal. Daher gibt es hier kein Richtig oder Falsch, und ich finde es schön, unterschiedliche Varianten auszuprobieren. Am Tag zuvor hatte ich das Stück mit Pedal und Legato eingespielt, hier zum Vergleich: kzfaq.info/get/bejne/ppmFbNuC1JvZZoU.html

@@BorLumiere Vielen Dank für die kurze Lehrstunde 😃

Wie liebenswürdig, vielen Dank!

Ok. Roland F701

Herzlichen Dank! 👍

Buenas noches espero que me puedan comprender espero o si no apriétale introducir en qué país es eso saludos y buenas noches desde México

Herzlichen Dank!

Danggschenvilmol! 🙂 Ich habe einige Jahre in Basel gelebt und habe es sehr genossen in dieser schönen Stadt!

@@BorLumiere 💖🙏 ich danke Dir. Ja, es gibt sie noch, die schönen, idyllischen. Winkel und Gässchen...

Kennst du diesen Artikel schon? Bestätigt zumindest das, was ich mir über Chopin gemerkt hatte, Beethoven not so much: www.mozartpiano.com/articles/pitch.php

@@BorLumiere Lese ich die Tage mal durch. Ich freue mich immer über neuen Input, über meine "Tellerrand" hinausguckem zu können.

That's really kind of you, thanks a lot! The difference is: the original here is still played by a real person and not some mechanical, robotic MIDI-versions you might have heard before in this context.

Danke, die Musik hatte ich am Keyboard selbst improvisiert.

sic est 😉

Danke für dein ausführliches Feedback. Schwa: Möglich, dass da mein Schweizerdeutsch etwas durchgedrungen ist, das benutzen wir im Dialekt sehr häufig. Allerdings darf man "den" hier auch nicht zu stark betonen, sonst klingt es schnell nach einem Demonstrativpronomen, in diesem Fall finde ich es legitim, wenn die beiden "e" in "allen den" etwa gleich klingen. Äuglein: Ich wüsste nicht, wie man das g auf Standarddeutsch anders aussprechen sollte. Es ist ja nicht wie bei "König" oder "ewig", wo man gemäss Bühnendeutschregeln dieses g am Ende auch als [ç] sprechen kann (aber nicht muss). Danke jedenfalls, dass du dir Zeit genommen hast und so genau hingehört hast.

@@BorLumiere It anyway sounds great with that e-Schwa, just a little as if a bilious-green blotch had emerged on some painting by Rembrandt. A poem set in a wood can easily allow for such a rural facet. Goethe himself seems to have pronounced many things rather like demanded by his native, Hessian dialect, so that you now don't obtain a proper rhyme when Margarete craves "Ach neige, / Du Schmerzensreiche, / Dein Antlitz gnaedig meiner Not!", between the "neige" and "Schmerzensreiche". He even writes _Maedchen_ as _Maedgen,_ so that you can draw a corresponding conclusion from it. Goethe allegedly has written the poem for the 25th jubilee of the day on which he had met Christiane Vulpius. The latter throughout her life has battled with orthography, so she likewise will have battled with pronunciation. But I wonder if it fits when a minister who returns from a cosmopolitan tour through Italy so bluntly takes over traits of a young maiden he adores in a poem, and on top of that only _one, erratic time_ in a poem. To assure a recipient of a trait being a deliberate artifice, the artifice generally will have to occur more often. That somebody should understand a properly pronounced article of _den_ as a demonstrative pronoun, there, would constitute entirely his own problem. The sentence contains no corresponding attribute. Goethe simply says "Wuerzlein", without additionally specifying whatever sort of them was meant. The _den_ also lies on an unstressed syllable, so that I really do not understand what an ambivalence you might be referring to. Concerning the G in _Aeuglein,_ voicedness to me suggests a membership of the sound in a complex comprising _-glein._ Irrespective of the possibility to say a [ç] in the end of _Koenig_ or of _ewig,_ you'd certainly never _voice_ one of the latter Gs. The same should apply to the G of the shortened _Aug'_ version of _Auge,_ of which _Aeuglein_ is a diminutive. _Aeuglein_ here appears as a plural so that it can feel tempting to derive a voicedness of its G from the one of the G in _Augen._ Still, I do not perceive _Aeuglein_ as a diminutive of _Augen_ so much and rather as a plural of a diminutive _Aeuglein_ of _Aug'._ And however this might be, my feeling at least longs for a terminal devoicing in the end of _any_ syllable with a corresponding candidate consonant.

@@BorLumiere Oh, don't be too impressed when someone is intelligent enough to learn a thing or two, in the knowledge about how much money he uses up as a student of German language and literature while others are starving! I'm a creator of own fiction, meanwhile, after having dropped out of university nevertheless, because of certain difficulties. The difficulties have largely resulted from an unusually early reading also about other fields, which has put me into a moral conflict others, quite obviously, could not imagine. Apart from currently creating a novel on measures taken by people from the Solar System and by others on an invented planet of Altair on which an early-Christian-type sect is persecuted, I'm also still continuing investigations into similarities between historic figures I have begun to systematically conduct around a decade ago. Goethe, as you may have heard, has resembled Gerhart Hauptmann so much that Hauptmann was generally known in the 1920s as a (perceived) reincarnation of him. I compare such candidates biometrically, in the widest sense of the word. A recent find I've made on such a basis are parallels between Johann Peter Eckermann and Hauptmann's friend and secretary Erhart Kaestner. If you look into the subject a little, it will be easy for you to recognize how fruitful it is and hence, to understand how a dead poet of the 18th century can still fascinate me, as well as where much even of the official interest in him originally comes from. A trait I admire with you is your ability to give up a standpoint.