ABSTRACT
A renowned singer came to Schubert Institute to study and discuss the autograph of Schubert's Winterreise, which he wanted to interpret, and within this cycle he was interested especially in the song 'Letzte Hoffnung'. Looking at the manuscript, people again find one single staccato dot, at the end of the first system; thereafter staccato can be found only in the interludes, sometimes without accents, sometimes with displaced ones. While the singer is singing, staccato occurs only once, in the lowest system. Evidently an editor here has to avoid the ambiguities, if he wants to consider not only his sources, but also musical practice — musicians playing from single parts from which they are not able to see how the other instalments articulate the same passage. There are two different kinds of slurs reaching only to the end of bar 104 and only one longer slur. It is also observed that the amount of freedom given to the performer varies.
