Figdor:

dreist. Fuge, Thema nach Nottebohm, S. 76 1 ; Beethoven: Sonate Gdur op. 14 letzter Satz (Linie); Beethoven: op. 59, Adagio; {6} Fmoll: Form u. Stufen 2 ; Haydn: Fmoll mit Variationen; Mischungsgattungen 3 ; Chopin: Berceuse; Generalbaß; Bach: Präludium Cmoll Bd. I; Präludium Esm. 4 Chopin: Polonaise Asdur, Urlinienskizze 5 dazu; spielt auch die Polonaise; Beethoven: Sonate Ddur op. 10, Anfang; Mondscheinsonate, Allegretto, Anfang.

© Transcription Robert Kosovsky, 2007

Figdor:

Three-voiced fugue, theme from Nottebohm, page 76 1 ; Beethoven: Sonata in G major, Op. 14, last movement (line); Beethoven: Op. 59, Adagio; {6} F minor : form and scale-steps 2 ; Haydn: F minor with variations; combination-types 3 ; Chopin: Berceuse ; thoroughbass; Bach: Prelude in C minor from Book I; Prelude in Eę minor. 4 Chopin: Polonaise in Aę major, Urlinie sketch 5 thereof; also plays the Polonaise; Beethoven: Sonata in D major from Op. 10, beginning; "Moonlight" Sonata, Allegretto, beginning.

© Translation Alan Dodson, 2018

Figdor:

dreist. Fuge, Thema nach Nottebohm, S. 76 1 ; Beethoven: Sonate Gdur op. 14 letzter Satz (Linie); Beethoven: op. 59, Adagio; {6} Fmoll: Form u. Stufen 2 ; Haydn: Fmoll mit Variationen; Mischungsgattungen 3 ; Chopin: Berceuse; Generalbaß; Bach: Präludium Cmoll Bd. I; Präludium Esm. 4 Chopin: Polonaise Asdur, Urlinienskizze 5 dazu; spielt auch die Polonaise; Beethoven: Sonate Ddur op. 10, Anfang; Mondscheinsonate, Allegretto, Anfang.

© Transcription Robert Kosovsky, 2007

Figdor:

Three-voiced fugue, theme from Nottebohm, page 76 1 ; Beethoven: Sonata in G major, Op. 14, last movement (line); Beethoven: Op. 59, Adagio; {6} F minor : form and scale-steps 2 ; Haydn: F minor with variations; combination-types 3 ; Chopin: Berceuse ; thoroughbass; Bach: Prelude in C minor from Book I; Prelude in Eę minor. 4 Chopin: Polonaise in Aę major, Urlinie sketch 5 thereof; also plays the Polonaise; Beethoven: Sonata in D major from Op. 10, beginning; "Moonlight" Sonata, Allegretto, beginning.

© Translation Alan Dodson, 2018

Footnotes

1 Probably a reference to Gustav Nottebohm, Beethovens Studien, Erster Band: Beethoven's Unterricht bei J. Haydn, Albrechtsberger und Salieri (Leipzig: Rieter-Biedermann, 1873). The section on three-voiced fugue is found on pp. 89‒94, but p. 76 (from the section on two-voiced fugue) does include a fugue subject ("Nr. 3"). Perhaps Schenker had Figdor compose a three-voiced fugue based on this subject.

2 Presumably Op. 2, No. 1, the subject of an analysis that Schenker prepared the following year, beginning in March 1921, and published in Tonwille 2 (1922).

3 On combination-types (i.e., combinations of the five species of strict counterpoint), see "Bridges to Free Composition" in Schenker, Counterpoint, Book 2.

4 A brief diary entry from 10 March 1920 suggests that Schenker's analysis of this piece, published in Tonwille 1 (1921), was underway during the 1919/20 saison: "Korrektur des Es moll-Präludiums" ("Corrections to the Prelude in E-flat minor").

5 This is the first appearance of the term "Urlinie" in Schenker's lessonbooks. The earliest published writings that use this word, namely the Erläuterunsgausgabe of Beethoven's Op. 101 and the first issue of Der Tonwille, were both completed during the 1919/20 saison. The Urlinie sketch in question may be one of OC 32/77‒80 .