Weisse:

Beethoven: Sonate Bdur op. 22, 1. Satz; Brahms: Cmoll-Quartett; Beethoven: Asdur op. 26; Chopin: mehrere Mazurken; Beethoven: Klavier-Violin-Sonate Gdur, Linie; Mozart: Streichquintett, 1. Satz, Linie; Mozart: Requiem: Konfutatis, Schluss: a‒as‒g; Lacrimosa; Brahms: Quintett Fmoll, 1. Satz; Beethoven: Sonate Edur, 1. Satz; Brahms: Quintett Fmoll, Scherzo u. letzter Satz; Beethoven: Sonate Esdur quasi una Phantasia; Mondscheinsonate. Bach: Fuge Fmoll, II. Bd. 1

Beethoven: Sonate Esdur, letzter Satz; Brahms: Intermezzo, Autograph 2 ; Choral „Gelobet seist du”; Beethoven: Sonate Gdur op. 31, No 1, 1. Satz; Scarlatti, Volksausgabe No 41 Cdur, No 49 Gdur [recte Fdur] ; Barth- {10} Ausgabe No 52 Fmoll, No 54 Amoll 3 ; Brahms: Violinkonzert, Stelle bei F; Scarlatti: No 52, 4 32, Cdur, 5 Knotenpunkte, 6 auch No 35; Beethoven: Sonate Gdur op. 31, No 1, 2. Satz; Schubert: Walzer, Deutsche Tänze No 1; Beethoven: Sonate op. 14, Durchführung, Linie, letzter Satz; Beethoven: Cmoll: Pathetique; Bach: Präludium Fisdur, I. Bd.; Choral „Ein' feste Burg ist unser Gott” ‒ dazu Wagner u. Choral; Beethoven: Sonate Dmoll, 1. Satz; Bach Choral „Aus trüber [recte tiefer] Not”; Beethoven: Appassionata noch einmal 1. Satz; Beethoven: Sonate Ddur, Scherzo u. letzter Satz; Dwořak: Legenden vierhändig; Beethoven: Klavier-Violin-Sonate, Adagio; Beethoven: Wut über den verlorenen Groschen; Beethoven: Sonate Dmoll, letzter Satz; 7

Hugo Wolf: {11} Lieder aus dem italienischen Liederbuch; Beethoven: Sonate Dmoll, letzter Satz, Durchführung, Urlinie nachhause entliehen 8 ; Schubert: aus den Deutschen Tänzen Bdur-Walzer; einige [Beethoven] Diabelli-Variationen durchgegangen; Beethoven: Sonate Gdur, op. 31, letzter Satz, Durchgänge; Beethoven: Violin-Konzert, Adagio, Linie; Brahms: Rhapsodie Hmoll, Linie; Brahms: Violinkonzert, Adagio Linie u. Knotenpunkte; Beethoven: Sonate Esdur op. 31, 1. Satz u. Scherzo, Sonate Dmoll, letzter Satz; Diabelli-Variationen, Thema u. 1, 2; Beethoven: Variationen Adur (Waldmädchen) Coda; Beethoven: Sonate Esdur, letzter Satz, Linie; Klavier-Violin-Sonate Fdur, Durchführung; Strauss: Die sieben Siegel; {12} Korngold: Viel Lärm um Nichts. Chopin: Sonate Bmoll, Finale; Chopin: Mazurka Asdur, Peters 37, Durchgänge; Beethoven: Sonate Esdur, Finale, Durchführung; Brahms: Violinkonzert, Schluß des Adagio; Beethoven: Bagatellen op. 126, 2, Linie; op. 119, 6, 11; Beethoven: Sonate Fmoll op. 2.

© Transcription Robert Kosovsky, 2007

Weisse:

Beethoven: Sonata in Bę major Op. 22, first movement; Brahms: Quartet in C minor; Beethoven Aę major Op. 26; Chopin: several Mazurkas; Beethoven: Sonata for Violin and Piano in G major, line; Mozart: String Quintet, first movement, line; Mozart: Requiem : "Confutatis," ending: A‒Aę‒G; "Lacrimosa"; Brahms: Quintet in F minor, first movement; Beethoven: Sonata in E major, first movement; Brahms: Quintet in F minor, Scherzo and last movement; Beethoven: Sonata Quasi una Fantasia in Eę major; "Moonlight" Sonata. Bach: Fugue in F minor, Book II. 1

Beethoven: Sonata in Eę major, last movement; Brahms: Intermezzo, autograph 2 ; chorale "Gelobet seist du" ; Beethoven: Sonata in G major, Op. 31, No. 1, first movement; Scarlatti, Volksausgabe No. 41 C major, No. 49 G major [recte F major] ; Barth {10} edition No. 52 F minor, No. 54 A minor 3 ; Brahms: Violin Concerto, rehearsal F; Scarlatti: No. 52, 4 32, C major, 5 nodal points, 6 also No. 35; Beethoven: Sonata in G major Op. 31, No. 1, second movement; Schubert: Waltzes, German Dances No. 1; Beethoven: Sonata Op. 14, development section, line, last movement; Beethoven: C minor: "Pathétique"; Bach: Prelude in Fě major, Book I; chorale "Ein' feste Burg ist unser Gott" ‒ along with Wagner and the chorale; Beethoven: Sonata in D minor, first movement; Bach chorale "Aus trüber [recte tiefer] Not"; Beethoven: "Appassionata" once again the first movement; Beethoven: Sonata in D major, Scherzo and last movement; Dvořák: Legends played four-hands; Beethoven: Sonata for Piano and Violin, Adagio; Beethoven: Rage over a Lost Penny; Beethoven: Sonata in D minor, last movement; 7

Hugo Wolf: {12} Songs from the Italian Songbook ; Beethoven: Sonata in D minor, last movement, development section, borrowed the Urlinie graph to take home 8 ; Schubert: Waltz[es] in Bę major from the German Dances ; went through some of the [Beethoven] Diabelli Variations ; Beethoven: Sonata in G major, Op. 31, last movement, passing tones; Beethoven: Violin Concerto, Adagio, line; Brahms: Rhapsody in B minor, line; Brahms: Violin Concerto, Adagio, line and nodal points; Beethoven: Sonata in Eę major, Op. 31, first movement and Scherzo, Sonata in D minor, last movement; Diabelli Variations , theme and variations 1 and 2; Beethoven: Variations in A major ("Waldmädchen"), coda; Beethoven: Sonata in Eę major, last movement, line; Sonata for Violin and Piano in F major, development section: Strauss: "Die sieben Siegel"; {12} Korngold: Viel Lärm um Nichts . Chopin: Sonata in Bę minor, finale; Chopin: Mazurka in Aę major, Peters 37, passing tones; Beethoven: Sonata in Eę major, finale, development section; Brahms: Violin Concerto, ending of the Adagio; Beethoven: Bagatelles Op. 126, No. 2, line; Op. 119, Nos. 6 and 11; Beethoven: Sonata in F minor, Op. 2.

© Translation Alan Dodson, 2018

Weisse:

Beethoven: Sonate Bdur op. 22, 1. Satz; Brahms: Cmoll-Quartett; Beethoven: Asdur op. 26; Chopin: mehrere Mazurken; Beethoven: Klavier-Violin-Sonate Gdur, Linie; Mozart: Streichquintett, 1. Satz, Linie; Mozart: Requiem: Konfutatis, Schluss: a‒as‒g; Lacrimosa; Brahms: Quintett Fmoll, 1. Satz; Beethoven: Sonate Edur, 1. Satz; Brahms: Quintett Fmoll, Scherzo u. letzter Satz; Beethoven: Sonate Esdur quasi una Phantasia; Mondscheinsonate. Bach: Fuge Fmoll, II. Bd. 1

Beethoven: Sonate Esdur, letzter Satz; Brahms: Intermezzo, Autograph 2 ; Choral „Gelobet seist du”; Beethoven: Sonate Gdur op. 31, No 1, 1. Satz; Scarlatti, Volksausgabe No 41 Cdur, No 49 Gdur [recte Fdur] ; Barth- {10} Ausgabe No 52 Fmoll, No 54 Amoll 3 ; Brahms: Violinkonzert, Stelle bei F; Scarlatti: No 52, 4 32, Cdur, 5 Knotenpunkte, 6 auch No 35; Beethoven: Sonate Gdur op. 31, No 1, 2. Satz; Schubert: Walzer, Deutsche Tänze No 1; Beethoven: Sonate op. 14, Durchführung, Linie, letzter Satz; Beethoven: Cmoll: Pathetique; Bach: Präludium Fisdur, I. Bd.; Choral „Ein' feste Burg ist unser Gott” ‒ dazu Wagner u. Choral; Beethoven: Sonate Dmoll, 1. Satz; Bach Choral „Aus trüber [recte tiefer] Not”; Beethoven: Appassionata noch einmal 1. Satz; Beethoven: Sonate Ddur, Scherzo u. letzter Satz; Dwořak: Legenden vierhändig; Beethoven: Klavier-Violin-Sonate, Adagio; Beethoven: Wut über den verlorenen Groschen; Beethoven: Sonate Dmoll, letzter Satz; 7

Hugo Wolf: {11} Lieder aus dem italienischen Liederbuch; Beethoven: Sonate Dmoll, letzter Satz, Durchführung, Urlinie nachhause entliehen 8 ; Schubert: aus den Deutschen Tänzen Bdur-Walzer; einige [Beethoven] Diabelli-Variationen durchgegangen; Beethoven: Sonate Gdur, op. 31, letzter Satz, Durchgänge; Beethoven: Violin-Konzert, Adagio, Linie; Brahms: Rhapsodie Hmoll, Linie; Brahms: Violinkonzert, Adagio Linie u. Knotenpunkte; Beethoven: Sonate Esdur op. 31, 1. Satz u. Scherzo, Sonate Dmoll, letzter Satz; Diabelli-Variationen, Thema u. 1, 2; Beethoven: Variationen Adur (Waldmädchen) Coda; Beethoven: Sonate Esdur, letzter Satz, Linie; Klavier-Violin-Sonate Fdur, Durchführung; Strauss: Die sieben Siegel; {12} Korngold: Viel Lärm um Nichts. Chopin: Sonate Bmoll, Finale; Chopin: Mazurka Asdur, Peters 37, Durchgänge; Beethoven: Sonate Esdur, Finale, Durchführung; Brahms: Violinkonzert, Schluß des Adagio; Beethoven: Bagatellen op. 126, 2, Linie; op. 119, 6, 11; Beethoven: Sonate Fmoll op. 2.

© Transcription Robert Kosovsky, 2007

Weisse:

Beethoven: Sonata in Bę major Op. 22, first movement; Brahms: Quartet in C minor; Beethoven Aę major Op. 26; Chopin: several Mazurkas; Beethoven: Sonata for Violin and Piano in G major, line; Mozart: String Quintet, first movement, line; Mozart: Requiem : "Confutatis," ending: A‒Aę‒G; "Lacrimosa"; Brahms: Quintet in F minor, first movement; Beethoven: Sonata in E major, first movement; Brahms: Quintet in F minor, Scherzo and last movement; Beethoven: Sonata Quasi una Fantasia in Eę major; "Moonlight" Sonata. Bach: Fugue in F minor, Book II. 1

Beethoven: Sonata in Eę major, last movement; Brahms: Intermezzo, autograph 2 ; chorale "Gelobet seist du" ; Beethoven: Sonata in G major, Op. 31, No. 1, first movement; Scarlatti, Volksausgabe No. 41 C major, No. 49 G major [recte F major] ; Barth {10} edition No. 52 F minor, No. 54 A minor 3 ; Brahms: Violin Concerto, rehearsal F; Scarlatti: No. 52, 4 32, C major, 5 nodal points, 6 also No. 35; Beethoven: Sonata in G major Op. 31, No. 1, second movement; Schubert: Waltzes, German Dances No. 1; Beethoven: Sonata Op. 14, development section, line, last movement; Beethoven: C minor: "Pathétique"; Bach: Prelude in Fě major, Book I; chorale "Ein' feste Burg ist unser Gott" ‒ along with Wagner and the chorale; Beethoven: Sonata in D minor, first movement; Bach chorale "Aus trüber [recte tiefer] Not"; Beethoven: "Appassionata" once again the first movement; Beethoven: Sonata in D major, Scherzo and last movement; Dvořák: Legends played four-hands; Beethoven: Sonata for Piano and Violin, Adagio; Beethoven: Rage over a Lost Penny; Beethoven: Sonata in D minor, last movement; 7

Hugo Wolf: {12} Songs from the Italian Songbook ; Beethoven: Sonata in D minor, last movement, development section, borrowed the Urlinie graph to take home 8 ; Schubert: Waltz[es] in Bę major from the German Dances ; went through some of the [Beethoven] Diabelli Variations ; Beethoven: Sonata in G major, Op. 31, last movement, passing tones; Beethoven: Violin Concerto, Adagio, line; Brahms: Rhapsody in B minor, line; Brahms: Violin Concerto, Adagio, line and nodal points; Beethoven: Sonata in Eę major, Op. 31, first movement and Scherzo, Sonata in D minor, last movement; Diabelli Variations , theme and variations 1 and 2; Beethoven: Variations in A major ("Waldmädchen"), coda; Beethoven: Sonata in Eę major, last movement, line; Sonata for Violin and Piano in F major, development section: Strauss: "Die sieben Siegel"; {12} Korngold: Viel Lärm um Nichts . Chopin: Sonata in Bę minor, finale; Chopin: Mazurka in Aę major, Peters 37, passing tones; Beethoven: Sonata in Eę major, finale, development section; Brahms: Violin Concerto, ending of the Adagio; Beethoven: Bagatelles Op. 126, No. 2, line; Op. 119, Nos. 6 and 11; Beethoven: Sonata in F minor, Op. 2.

© Translation Alan Dodson, 2018

Footnotes

1 No paragraph-break in source.

2 Presumably this was from the autograph of Brahms's Three Intermezzi, Op. 117, mentioned in the entry on Schaab's lessons from this semester. According to Schenker's diary, he received photographs of Op. 117 from Weisse on 24 February 1920 and finished dictating an essay on the Intermezzo in Eę major, Op. 117/1, the next day. The essay survives as OC 34/83‒105.

3 Schenker is surely referring to the two editions of Scarlatti's sonatas that are preserved in the Oster Collection, namely the Breinkopf & Härtel "Volksausgabe" (score 89) and the version edited by Heinrich Barth and published by Universal Edition (OC scores 86‒88).

4 Presumably Schenker is referring to OC score 89 here, as No. 52 from score 88 has already been cited. The annotations seem to confirm this, as No. 52 from score 89 has numerous stems, slurs, and careted scale-degree numbers that may refer to "nodal points," while most of the markings in No. 52 from Score 88 deal with performance-related matters such as articulation and fingering.

5 "Cdur" may be an extension of the reference to OC score 89, No. 32 (K. 15 in C major), or it may be a reference to one of the other two sonatas in C major from the same volume (Nos. 41 and 42). All three sonatas have analytical annotations, including stems and brackets or slurs, and one of them (No. 41) has careted scale-degree numbers as well.

6 Schenker uses this term to describe linear progressions, especially intersecting fourth- and fifth-progressions, in his analyses of Beethoven's Fifth Symphony (Tonwille 1, 27, see Figure 7) and of Beethoven's Piano Sonata Op. 101 (Op. 101 Erläuterungsausgabe, 48‒49, see Figure 27). The Fifth Symphony article announces that nodal points will be discussed further in "Freier Satz," and although the final version of Der freie Satz makes no mention of nodal points, a draft entitled "Von Knotenpunkten bei der Horizontalisierung" does survive as OC 79/854‒856.

7 No paragraph-break in source.

8 This is only the second appearance of the word "Urlinie" in the lesson books. (The first is in the entry on Richard Figdor's lessons from the same semester.) An analytical sketch of this development section survives as OC 64/68, but it probably dates from a later period as it includes the annotation "DfS."