NOTATIO

I have a slightly different theory: Perhaps no sfs in the left hand of ms. 95, 97-99. The syncopated chord in the left hand of m. 95 is to me more a conclusion of the roulade section with its parodically agitated fast notes - like 'enough of this nonsense' - than a start of the new dominant-seventh ...

Since I think Schumann knew the difference between dotted and double-dotted notes, this implies to me that he wanted a more flexible interpretation of the rhythm - sometimes 'in time' as it were, sometimes - with the double dots - the fast notes even faster. This is inspired music, mind.

Well, the cases would have been the same, hadn't it been for there being a trill in one case and there being none in the other.

I guess your example with Nachsläge is somewhat different from mine. Nachsläge are part of a trill, and therefore part fo the trill's speed, slightly slower or not. In the Symphonic Etudes' example there are no Nachsläge, and therefore the rhythm has to be more decided upon.

Irregular notations are fascinating, I think. Here's another Schumann example, from the Symphonic Etudes. This is what I found in my Peters edition when I was a young student: Schumann Symphonic Etudes Peters.PNG My then piano teacher claimed that Schumann wrote it differently, and incorrectly, like...

John, maybe both our explanations are equally plausible. In the rather common notation of your Abegg example it would seem quite obvious that the quarters are meant as quarters, possibly less so in "Am leuchtenden Sommermorgen" (because of the unusual rhythmic placement of the quarters). T...

Then, if we look on it that precisely, there would have been a sixteenth rest after the quarter. I'm sorry, but I don't buy that explanation.

As for Schumann's rhythmic notation, I guess it's the result of both poetic and practical deliberations. So, one aspect may be that the crotchets in the original are meant to express single, 'poetically long' notes. The other aspect is that a rhythmically correct notation, as below, would look consi...

Slurs intersecting note stems do not disturb me, as slurs normally intersect other objects, staff and bar lines for example. Of course the slurs avoiding the stems in the examples above do not disturb me either. Here are the first two systems in an older Peters edition. It would have looked even bet...

Thanks benwiggy. At least Dorico has payed attention to the issue. It still needs some adjustment though.