Sonnt. 8. 3.
[heavily edited by Schenker; final version only given here:]

R. Strauss dirigiert das Philh. Konzert: 1 die Pariser Symph. Ddur von Mozart , eine widerliche neue von Bischoff in Edur, u. die eigene Tondichtung „ Tod u. Verkl. “. Symph. von Bisch. hat in den ersten paar Takten einige billige Ordnung, sofort ist es aber, obendrein für die Dauer des ganzen Werkes, mit aller Plastik vorbei. Das Thema des Adagio der Typus des „modernen“ Irrtüms, wonach die Länge unlogischerweise durch Monotonie des patetischen Materials selbst erzeugt wird. 2 In „ Tod u. Verkl. “ glückliche Züge, z.B.: die letzten Brocken des „Ideal“motivs (vgl. die Erläuterungen) in moll gleich am Eingang des Werkes (bis A), u. der Aufstieg der Tonarten (Pt. S. 62ff.), ‒ schlecht aber wegen moderner Untechnik die Part. S. 47ff: falsche Kontrap., falsche Einrichtung der Wiederholungen u. der Tonarten; ferner schlecht auch die Durchgänge {83} auf S. 77[.]

© Transcription Ian Bent, 2017


Sunday, March 8
[heavily edited by Schenker; final version only given here:]

Richard Strauss conducts the Philharmonic concert: 1 the "Paris" Symphony in D major by Mozart, a revolting new symphony by Bischoff in E major, and Strauss's own tone poem Death and Transfiguration . In the first few measures, the symphony by Bischoff exhibits some reasonable order, but it promptly, and moreover for the entire remainder of the work, dispenses with any shapeliness. The theme of the Adagio is the very embodiment of the "modern" error whereby extension is illogically generated through the monotony of the pathetic material itself. 2 In Death and Transfiguration there are happy features, such as the foreshadowing of last figure of the "Ideal" motive (cf. program note) in minor at the very beginning of the work (up to A), and the ascent of the keys (score, pp. 62ff.). ‒ but pp. 47ff. of the score are bad on account of modern defective technique: faulty counterpoint, faulty ordering of the repetitions and of key structure; moreover, bad, too, are the transitional harmonies {83} at p. 77.

© Translation Ian Bent, 2017


Sonnt. 8. 3.
[heavily edited by Schenker; final version only given here:]

R. Strauss dirigiert das Philh. Konzert: 1 die Pariser Symph. Ddur von Mozart , eine widerliche neue von Bischoff in Edur, u. die eigene Tondichtung „ Tod u. Verkl. “. Symph. von Bisch. hat in den ersten paar Takten einige billige Ordnung, sofort ist es aber, obendrein für die Dauer des ganzen Werkes, mit aller Plastik vorbei. Das Thema des Adagio der Typus des „modernen“ Irrtüms, wonach die Länge unlogischerweise durch Monotonie des patetischen Materials selbst erzeugt wird. 2 In „ Tod u. Verkl. “ glückliche Züge, z.B.: die letzten Brocken des „Ideal“motivs (vgl. die Erläuterungen) in moll gleich am Eingang des Werkes (bis A), u. der Aufstieg der Tonarten (Pt. S. 62ff.), ‒ schlecht aber wegen moderner Untechnik die Part. S. 47ff: falsche Kontrap., falsche Einrichtung der Wiederholungen u. der Tonarten; ferner schlecht auch die Durchgänge {83} auf S. 77[.]

© Transcription Ian Bent, 2017


Sunday, March 8
[heavily edited by Schenker; final version only given here:]

Richard Strauss conducts the Philharmonic concert: 1 the "Paris" Symphony in D major by Mozart, a revolting new symphony by Bischoff in E major, and Strauss's own tone poem Death and Transfiguration . In the first few measures, the symphony by Bischoff exhibits some reasonable order, but it promptly, and moreover for the entire remainder of the work, dispenses with any shapeliness. The theme of the Adagio is the very embodiment of the "modern" error whereby extension is illogically generated through the monotony of the pathetic material itself. 2 In Death and Transfiguration there are happy features, such as the foreshadowing of last figure of the "Ideal" motive (cf. program note) in minor at the very beginning of the work (up to A), and the ascent of the keys (score, pp. 62ff.). ‒ but pp. 47ff. of the score are bad on account of modern defective technique: faulty counterpoint, faulty ordering of the repetitions and of key structure; moreover, bad, too, are the transitional harmonies {83} at p. 77.

© Translation Ian Bent, 2017

Footnotes

1 This, the seventh Philharmonic subscription concert of 1907/08, took place, according to the Neue freie Presse, on March 8 at 12.30 p.m. in the Great Hall of the Musikverein Building, under the direction of Richard Strauss. The program included Mozart, Symphony in D major ("Paris") [K.297/300a], Hermann Bischoff, Symphony in Eę major, and Richard Strauss, symphonic poem Tod und Verklärung. (The Neue freie Presse for March 9 has an extended review of the concert on p. 8, mostly taken up with the Bischoff symphony, of which the program booklet included a detailed descriptive analysis.)

2 This sentence read initially: "Das Thema des Adagio der Typus des „modernen“ Irrtums, Länge durch Monotonie des patetischen Materials zu erzeugen." ("The theme of the Adagio is the embodiment of the modern error of generating extension through monotony of the pathetic material.").