We are approaching the end of our Kopprasch journey – for now, at least. Number 59 is a melodic study (with variation) which emphasizes the middle and upper register. Try to execute the turns as gracefully (and accurately) as possible, without sounding rushed. Although no articulation markings are indicated, the dolce marking at the beginning would suggest legato. However, I think the rapid passages in the variation benefit from a more pointed – though not quite staccato – approach. The ascending scale in 64th notes 10 measures from the end is a great place to use double-tonguing (depending on the tempo). My edition includes a tempo range of eighth-note = 76-84, and I tended towards the lower end of that spectrum. Choose a tempo which seems musically appropriate to you, but don’t let it get out of control!

A final area to examine in No. 59 is the placement of dynamic markings. For example, there is a discrepancy between editions as to where the forte marking occurs in mm. 4-5. In my edition, and in the Breitkopf and Härtel edition (imslp link here), the forte is placed directly on the downbeat of measure 5 (on the written  a”). Whether this was the composer’s intention or an engraving error is unknown to me, and it is worth noting that the Oscar Franz edition (imslp link here) moves the forte to the last 16th note in measure 4. *The etude is listed as No. 47 in the Franz edition. A similar situation occurs in mm. 8-9, but with a piano marking instead. My edition by Cornopub as well as the Franz edition are consistent in their placement, and follow the example set in mm. 4-5. The Breitkopf edition, however, is not consistent. My suggestion is to try it both ways, and choose the one that makes the most musical sense to you.