Weisse:

Choral aus Bachs Matthäus-Passion, Mittelstimmen einsetzen 1 ; Fugen-Studien: Wohltemperiertes Klavier: Em, Bd, Cisd, Dm. Baß zum Choral „Allein Gott in der Höhe”; Erk No 6, 2 dazu gesamte Literatur: Riemann, Vogler usw. 3

Chopin: Berçeuse, neu; Mozart: Sonate Am; Fragen, meist Linien, Stufen usw. betreffend aus Beethoven op. 2, No 1 aus Anlaß eines Aufsatz (gegen Riemann) 4 ; zum Aufsatz gegen Busoni über das System, 5 Fragen aus op. 106, Adagio; Mozart: Rondo Am; Schubert: Sonate Bd; Kreutzer-Sonate; Beethoven op. 2 No 3, alle Sätze; Sonate Esd, Cm, Leonoren-Ouverture; Sonate Fd, op. 10; Sonate Dd; Brahms: Sextett Bd.

© Transcription Robert Kosovsky, 2007

Weisse:

Chorale from Bach's St. Matthew Passion , inner voices to be filled in 1 ; fugue studies: Well-tempered Clavier : E minor, Bę major, Cě major, D minor. Bass to the chorale "Allein Gott in der Höhe"; Erk No. 6, 2 and the entire literature about it: Riemann, Vogler, etc. 3

Chopin: Berçeuse , new; Mozart: Sonata in A minor; questions, mostly [about] lines, scale-steps, etc., concerning Beethoven Op. 2, No. 1 on the occasion of an essay (against Riemann) 4 ; [on] to an essay against Busoni on [his] system, 5 questions on Op. 106, Adagio; Mozart: Rondo in A minor; Schubert: Sonata in Bę major; "Kreutzer" Sonata; Beethoven Op. 2, No. 3, all movements; Sonatas in Eę major, C minor, "Leonore" Overture; Sonata in F major, Op. 10; Sonata in D major; Brahms: Sextet in Bę major.

© Translation Alan Dodson, 2018

Weisse:

Choral aus Bachs Matthäus-Passion, Mittelstimmen einsetzen 1 ; Fugen-Studien: Wohltemperiertes Klavier: Em, Bd, Cisd, Dm. Baß zum Choral „Allein Gott in der Höhe”; Erk No 6, 2 dazu gesamte Literatur: Riemann, Vogler usw. 3

Chopin: Berçeuse, neu; Mozart: Sonate Am; Fragen, meist Linien, Stufen usw. betreffend aus Beethoven op. 2, No 1 aus Anlaß eines Aufsatz (gegen Riemann) 4 ; zum Aufsatz gegen Busoni über das System, 5 Fragen aus op. 106, Adagio; Mozart: Rondo Am; Schubert: Sonate Bd; Kreutzer-Sonate; Beethoven op. 2 No 3, alle Sätze; Sonate Esd, Cm, Leonoren-Ouverture; Sonate Fd, op. 10; Sonate Dd; Brahms: Sextett Bd.

© Transcription Robert Kosovsky, 2007

Weisse:

Chorale from Bach's St. Matthew Passion , inner voices to be filled in 1 ; fugue studies: Well-tempered Clavier : E minor, Bę major, Cě major, D minor. Bass to the chorale "Allein Gott in der Höhe"; Erk No. 6, 2 and the entire literature about it: Riemann, Vogler, etc. 3

Chopin: Berçeuse , new; Mozart: Sonata in A minor; questions, mostly [about] lines, scale-steps, etc., concerning Beethoven Op. 2, No. 1 on the occasion of an essay (against Riemann) 4 ; [on] to an essay against Busoni on [his] system, 5 questions on Op. 106, Adagio; Mozart: Rondo in A minor; Schubert: Sonata in Bę major; "Kreutzer" Sonata; Beethoven Op. 2, No. 3, all movements; Sonatas in Eę major, C minor, "Leonore" Overture; Sonata in F major, Op. 10; Sonata in D major; Brahms: Sextet in Bę major.

© Translation Alan Dodson, 2018

Footnotes

1 "einsetzten": most likely Schenker has provided the treble and bass voices of the chorale and now requires Weisse to fill in the (i.e. devise his own) alto and tenor voices.

2 Ludwig Christian Erk Johann Sebastian Bachs Choralgesänge und geistliche Arien (Leipzig: Peters), Part I (1850), Part II (1865).

3 No paragraph-break in original.

4 Schenker's own critique of Riemann's analysis appears in "Beethoven: Sonate opus 2 Nr. 1," in: Der Tonwille Heft 2 (1922), pp. 46‒48; Eng. transl. vol. I, pp. 92‒94.

5 This relates to Weisse's own rebuttal to Ferruccio Busoni's Entwurf einer neuen Ästhetik der Tonkunst (Triest: Schmidl & Co., 1907). For further details, see the diary entries from 4, 6, and 11 October 1919.