13. Juni 1930 Wie Hochsommer in Galtür!

— Von Dunn ein Büchlein bei Novelli „Ueber die Grundsätze der Instrumentation“ 1 – ich werde angeführt. — Von Mittelmann (K.): wird wahrscheinlich kommen. — Ein Fläschchen zur Analyse. — Zinsen in der Creditanstalt behoben. — Bei Tomay: er ersucht um Vorschuß; ich stelle Fig. 36 u. Bild 3 [des Eroica-Aufsatzes] zurück. — An Deutsch (Br.): betreffs des von mir angeführten Ausspruchs aus Thayer II 2 über Arrangementes [sic]; für die Schubert-Märsche käme Weingarten oder d’Albert in Betracht. — An Halberstam (Br.): Bitte um ein Datum. — Befund: 0.3%. — v. Hoboken empfiehlt sich. — An Frau Pairamall (Br. expreß von Lie-Liechen): Dank für die Sendung. — Rf. 8h Schmidt u. Schiffmann spielen auf zwei Klavieren Reger op. 86 u. drei Stücke von Debussy. Schmidt müßte eigentlich dafür bestraft werden! 3

© Transcription Marko Deisinger.

June 13, 1930, like high summer in Galtür!

— From Dunn, a short book published by Novelli "The Principles of Instrumentation" 1 – I am mentioned. — From Mittelmann (postcard): he will probably come. — A sample [taken] for analysis. — Interest withdrawn from the Creditanstalt. — At Tomay's: he seeks an advance; I retain Fig. 36 and the graph of the Urlinie of the third movement [of the "Eroica" essay]. — To Deutsch (letter): concerning the quotation, cited by me, from Thayer's vol. 2, 2 on arrangements; for the Schubert marches, Weingarten or d’Albert could be considered. — To Halberstam (letter): request for an appointment. — Result: 0.3%. —Hoboken says good-bye. — To Mrs. Pairamall (express letter by Lie-Liechen): thanks for the things sent. — Radio, 8 o'clock, Schmidt and Schiffmann play Reger's Op. 86 and three pieces by Debussy for two pianos. Schmidt ought actually to have been punished for this! 3

© Translation William Drabkin.

13. Juni 1930 Wie Hochsommer in Galtür!

— Von Dunn ein Büchlein bei Novelli „Ueber die Grundsätze der Instrumentation“ 1 – ich werde angeführt. — Von Mittelmann (K.): wird wahrscheinlich kommen. — Ein Fläschchen zur Analyse. — Zinsen in der Creditanstalt behoben. — Bei Tomay: er ersucht um Vorschuß; ich stelle Fig. 36 u. Bild 3 [des Eroica-Aufsatzes] zurück. — An Deutsch (Br.): betreffs des von mir angeführten Ausspruchs aus Thayer II 2 über Arrangementes [sic]; für die Schubert-Märsche käme Weingarten oder d’Albert in Betracht. — An Halberstam (Br.): Bitte um ein Datum. — Befund: 0.3%. — v. Hoboken empfiehlt sich. — An Frau Pairamall (Br. expreß von Lie-Liechen): Dank für die Sendung. — Rf. 8h Schmidt u. Schiffmann spielen auf zwei Klavieren Reger op. 86 u. drei Stücke von Debussy. Schmidt müßte eigentlich dafür bestraft werden! 3

© Transcription Marko Deisinger.

June 13, 1930, like high summer in Galtür!

— From Dunn, a short book published by Novelli "The Principles of Instrumentation" 1 – I am mentioned. — From Mittelmann (postcard): he will probably come. — A sample [taken] for analysis. — Interest withdrawn from the Creditanstalt. — At Tomay's: he seeks an advance; I retain Fig. 36 and the graph of the Urlinie of the third movement [of the "Eroica" essay]. — To Deutsch (letter): concerning the quotation, cited by me, from Thayer's vol. 2, 2 on arrangements; for the Schubert marches, Weingarten or d’Albert could be considered. — To Halberstam (letter): request for an appointment. — Result: 0.3%. —Hoboken says good-bye. — To Mrs. Pairamall (express letter by Lie-Liechen): thanks for the things sent. — Radio, 8 o'clock, Schmidt and Schiffmann play Reger's Op. 86 and three pieces by Debussy for two pianos. Schmidt ought actually to have been punished for this! 3

© Translation William Drabkin.

Footnotes

1 John Petrie Dunn, A student's guide to orchestration, Novello's Music Primers and Educational Series, No. 107 (London: Novello, n.d.). This book is known to have been in Schenker's personal library at the time of his death.

2 Alexander W. Thayer, Ludwig van Beethoven's Leben, vol. 2 (Berlin: Breitkopf & Härtel, 1872). The five-volume set was present in the second edition (1901‒08) in Schenker's personal library at his death.

3 Schenker's dislike of these composers is readily apparent from his writings in the 1920s. His particular antipathy towards Reger's Op. 86 probably results from its tonal structure: at the start, the theme (Beethoven's Bagatelle Op. 119, No. 6) the variations are each set in a different key, something he would have regarded as incompatible with variation form.