Fl! 1

Fertig. Laß durch Donath kopieren; besonders ist der letzte Satz sehr nachlässig zum 1. Male kopiert worden. Alle fehlenden Takte sind eingesetzt, etc. Gerne hätte ich dir auch die Änderungen gezeigt.

Nicht wahr, die Originalpartituren erhältst du zurück? Es genügen ja die Kopien.

Ich habe dich im Cfh. erwartet bis ¾ 2h.

Ordnung wäre am besten so: 2

  • 1) Doppelkonzert ‒ du + Prochaska
  • 2) Kantate
  • 3) Amoll Konzert [‒] du oder dein Schüler
  • 4) Händel ! 3
  • _______________________________

Wenn du willst, halte die Pt. noch zurück, u. ich zeige dir morgen gegen 1h die kleinen Korrekturen. Aber es geht schon. Morgen Nachmittag ist Mittelmann {2} bei mir.


Dein
[signed:] H.

[envelope:]
{recto}
H. Prof. M. Violin
K u K. Akademie
XIV., Schönbrunnerstr. 126

[postmark:] || 10/2 WIEN 28 | 22. XI. 09‒50 | * [illeg] * ||

{verso}
H Schenker
III., Reisnerstr. 38

[postmark:] || 15/1 WIEN 101 | 23. XI. 09 XI | BESTELLT ||

[in unknown hand:]5/2 Schnbrst bestellt 126[illeg.]
[indecipherable signature]

© Transcription Ian Bent, 2018



Floriz, 1

Finished! Have it copied by Donath; the last movement in particular was very sloppily copied the first time around. All missing measures have been inserted, etc. I would have preferred to show you, too, the changes.

Am I right that you are keeping the original scores? The copies do indeed suffice.

I waited for you in the coffee-house until 1.45 p.m.

The best order would be: 2

  • 1) Double concerto ‒ you + Prohaska
  • 2) Cantata
  • 3) A minor concerto [‒] you or your pupil
  • 4) Handel ! 3
  • _______________________________

If you wish, hang on to the scores, and I will show you the minor corrections tomorrow around 1 p.m. But it's all okay. Tomorrow afternoon Mittelmann will {2} be at my place.


Your
[signed:] H.

[envelope:]
{recto}
Prof. M. Violin
Imperial and Royal Academy
[Vienna] XIV, Schönbrunnerstraße 126

[postmark:] || 10/2 VIENNA 28 | 22. XI. 09‒50 | * [illeg] * ||

{verso}
H. Schenker
[Vienna] III, Reisnerstraße 38

[postmark:] || 15/1 VIENNA 101 | 23. XI. 09 XI | DELIVERED ||

[in unknown hand:]5/2 Schönbrunnerstraße delivered 126 [illeg.]
[indecipherable signature]

© Translation Ian Bent, 2018



Fl! 1

Fertig. Laß durch Donath kopieren; besonders ist der letzte Satz sehr nachlässig zum 1. Male kopiert worden. Alle fehlenden Takte sind eingesetzt, etc. Gerne hätte ich dir auch die Änderungen gezeigt.

Nicht wahr, die Originalpartituren erhältst du zurück? Es genügen ja die Kopien.

Ich habe dich im Cfh. erwartet bis ¾ 2h.

Ordnung wäre am besten so: 2

  • 1) Doppelkonzert ‒ du + Prochaska
  • 2) Kantate
  • 3) Amoll Konzert [‒] du oder dein Schüler
  • 4) Händel ! 3
  • _______________________________

Wenn du willst, halte die Pt. noch zurück, u. ich zeige dir morgen gegen 1h die kleinen Korrekturen. Aber es geht schon. Morgen Nachmittag ist Mittelmann {2} bei mir.


Dein
[signed:] H.

[envelope:]
{recto}
H. Prof. M. Violin
K u K. Akademie
XIV., Schönbrunnerstr. 126

[postmark:] || 10/2 WIEN 28 | 22. XI. 09‒50 | * [illeg] * ||

{verso}
H Schenker
III., Reisnerstr. 38

[postmark:] || 15/1 WIEN 101 | 23. XI. 09 XI | BESTELLT ||

[in unknown hand:]5/2 Schnbrst bestellt 126[illeg.]
[indecipherable signature]

© Transcription Ian Bent, 2018



Floriz, 1

Finished! Have it copied by Donath; the last movement in particular was very sloppily copied the first time around. All missing measures have been inserted, etc. I would have preferred to show you, too, the changes.

Am I right that you are keeping the original scores? The copies do indeed suffice.

I waited for you in the coffee-house until 1.45 p.m.

The best order would be: 2

  • 1) Double concerto ‒ you + Prohaska
  • 2) Cantata
  • 3) A minor concerto [‒] you or your pupil
  • 4) Handel ! 3
  • _______________________________

If you wish, hang on to the scores, and I will show you the minor corrections tomorrow around 1 p.m. But it's all okay. Tomorrow afternoon Mittelmann will {2} be at my place.


Your
[signed:] H.

[envelope:]
{recto}
Prof. M. Violin
Imperial and Royal Academy
[Vienna] XIV, Schönbrunnerstraße 126

[postmark:] || 10/2 VIENNA 28 | 22. XI. 09‒50 | * [illeg] * ||

{verso}
H. Schenker
[Vienna] III, Reisnerstraße 38

[postmark:] || 15/1 VIENNA 101 | 23. XI. 09 XI | DELIVERED ||

[in unknown hand:]5/2 Schönbrunnerstraße delivered 126 [illeg.]
[indecipherable signature]

© Translation Ian Bent, 2018

Footnotes

1 Writing of this letter is not recorded in Schenker's diary. No letters or postcards from Moriz Violin to Schenker from 1909 survive.

2 In October 1909, Wilhelm Bopp invited Schenker to devise a "historical concert" to take place at the Vienna Academy (i.e. the Conservatory recently taken over by the State) in January or February 1910 (see WSLB 44, Schenker to Hertzka at Universal Edition). Violin wrote the program booklet (cf. footnote 3, below), later published by Universal Edition, but the plan was ultimately dropped. See Ian Bent, David Bretherton, and William Drabkin, eds., Heinrich Schenker: Selected Correspondence (Woodbridge: The Boydell Press, 2014), p. 226.

3 C. P. E. Bach, Concerto in F major for two keyboards and orchestra, H410; J. S. Bach, Cantata "Ich will den Kreuzstab gerne tragen," BWV 56; C. P. E. Bach, Concerto in A minor for keyboard and orchestra, H424; Handel, Concerto in Bę major for harp and orchestra, Op. 4, No. 6. See Moriz Violin, Über das sogenannte Continuo: Ein Beitrag zur Lösung des Problems (Vienna: Universal Edition, [1911]), p. 3, footnote, which lists all the works that Schenker had edited in the 1900s, noting their first performances.

Commentary

Format
2p letter: holograph salutation, message, valediction, and signature + envelope: holograph recipient address (with correction) recto, holograph sender address with annotation in unknown hand verso
Provenance
Schenker, Heinrich (document date-1935)--Schenker, Jeanette (1935-c.1942)--Ratz, Erwin (c.1942-c.1955)--Jonas, Oswald (c.1955-1978)--University of California, Riverside (1978
Rights Holder
Heirs of Henrich Schenker, deemed to be in the public domain
License
All reasonable steps have been taken to locate the heirs of Heinrich Schenker. Any claim to intellectual rights on this document should be addressed to the Schenker Correspondence Project, Faculty of Music, University of Cambridge, at schenkercorrespondence[at]mus[dot]cam[dot]ac[dot]uk

Digital version created: 2018-05-21
Last updated: 2011-09-23