23.

I Bei Floriz; zugegen auch die Schwägerin. Einige Maschen mehr des Lügennetzes gehen auf. – Mehreres über die Form des Adagio der Bdur-Sonate v. Beeth; 1 über den Unterschied der Zusammensetzung u. eines Vordersatzes; über die Doppelstriche, die angeblich Behelfe der Form sind; über den Vorzug der Vorder- u. Nachsatzbildung; die Schwierigkeit der Zusammensetzung; : jene = Wiederholung, also Kunst, diese = Chaos, Natur? Mischung beider.

*

© Transcription Marko Deisinger.

January 23.

At Floriz’s; his sister-in-law is also present. A few more knots in the web of lies are unraveled. – Several things about the form of the Adagio of Beethoven’s Sonata in B flat major; 1 concerning the difference between juxtaposition and [the construction of] an antecedent phrase; concerning the double-bars, which are apparently aids to understanding form; on the superiority of antecedent-consequent construction, the difficulty of juxtaposition: the former = repetition, hence art, the latter = chaos, nature? Mixture of the two.

*

© Translation William Drabkin.

23.

I Bei Floriz; zugegen auch die Schwägerin. Einige Maschen mehr des Lügennetzes gehen auf. – Mehreres über die Form des Adagio der Bdur-Sonate v. Beeth; 1 über den Unterschied der Zusammensetzung u. eines Vordersatzes; über die Doppelstriche, die angeblich Behelfe der Form sind; über den Vorzug der Vorder- u. Nachsatzbildung; die Schwierigkeit der Zusammensetzung; : jene = Wiederholung, also Kunst, diese = Chaos, Natur? Mischung beider.

*

© Transcription Marko Deisinger.

January 23.

At Floriz’s; his sister-in-law is also present. A few more knots in the web of lies are unraveled. – Several things about the form of the Adagio of Beethoven’s Sonata in B flat major; 1 concerning the difference between juxtaposition and [the construction of] an antecedent phrase; concerning the double-bars, which are apparently aids to understanding form; on the superiority of antecedent-consequent construction, the difficulty of juxtaposition: the former = repetition, hence art, the latter = chaos, nature? Mixture of the two.

*

© Translation William Drabkin.

Footnotes

1 It is not clear whether Schenker means the "Hammerklavier," which he usually refers to as "op. 106," or the earlier B flat major sonata, Op. 22. While the form of the slow movement of the earlier work is not especially problematic, there is an unusual double-bar in the first edition, two-thirds of the way through bar 12; and the diary entry goes on to speak of double-bars as an aid to comprehending musical form.