Unlike the article in the 1919 edition of the Lexikon, in which Schenker is presented primarily as a composer, though with his achievements as a performer and editor noted, in this edition a shift in emphasis has occurred arising from Schenker's work during the intervening decade. He is now described as the founder of a new school of music theory; the entry lists several (then) largely unknown musicians as members of that school, and attention is now drawn to Der Tonwille and Das Meisterwerk in der Musik as publications in which the catchword for the new theory – "Urlinie" – is explained and developed.


Schenker, Heinrich, Dr. * 19. Juni 1868 in Wisniowczyk (Galizien), 1 Schüler Bruckners am Wiener Konservatorium, machte eine Konzertreise als pianistischer Begleiter von Messchaert, hielt Vorlesungen über Musikgeschichte an einer Frauen-Akademie in Wien und war Mitarbeiter verschiedener Zeitschriften (Hardens Zukunft, Mus. Wochenblatt). Sch. wirkt zurzeit in Wien als Lehrer für Theorie und Klavier. Er ist der Führer einer theoretischen Schule (Vrieslander, Herman Roth, Dr. Hans Weisse, J. Petrie Dunn, F. von Cube u.a.), die an der klassichen Komposition das reine Phänomen der Musik und ihres rein musikalischen Kerns („Urlinie“) aufzuzeigen sucht.

Werke:

Klavier: Etuden, Fantasie, Klavierstücke; 2st. Inventionen; Ländler, syrische Tänze (4händig); Lieder.

Bearbeitungen: Kantaten von J. S. Bach; Klavierkonzerte von Ph. Em. Bach; Concerto [sic] grossi von Händel; Orgelkonzerte von Händel (4händig für Klavier).

Erläuterungsausgaben: ausgewählte Klavierwerke von Ph. Em. Bach (dazu Ein Beitrag zur Ornamentik); chromatische Fantasie und Fuge von Seb. Bach; die letzten 5 Klaviersonaten von Beethoven.

Er gab ferner heraus: sämtliche Klaviersonaten von Beethoven; Autograph der Cis-moll Sonate Beethovens im Faksimile (1921) und schrieb: Monographie über Beethovens 9. Sinfonie (1912); Harmonielehre (1906, Bd. I seiner Neuen mus. Theorien und Phantasien); Kontrapunkt, Bd. II, 1 (ins Englische übertragen von J. Petrie Dunn 2 ) und II, 2 (1910, 1920).

Seit 1922 veröffentlichte er außerdem unter dem Titel Der Tonwille „Flugblätter zum Zeugnis unwandelbarer Gesetze der Tonkunst einer neuen Jugend dargebracht“ (10 Hefte), die seit 1925 in Jahrbuchform unter dem Titel Das Meisterwerk in der Musik (bisher 2 Bde. 3 ) erscheinen.

© Transcription William Drabkin, 2011

Schenker, Dr. Heinrich (born Wisniowczyk, Galicia, June 19, 1868), 1 was a pupil of Bruckner’s at the Vienna Conservatory, undertook a concert tour as accompanist to Messchaert, gave lectures on music history to a women’s academy in Vienna and was a correspondent for various periodical publications (Harden’s Die Zukunft, Musikalisches Wochenblatt). Currently he is active in Vienna as a teacher of music theory and piano. He is the leader of a theoretical school (which includes Otto Vrieslander, Herman Roth, Dr. Hans Weisse, John Petrie Dunn, Felix-Eberhard von Cube), who seek to demonstrate in classical composition the pure phenomenon of music and its purely musical core (the Urlinie).

Works:

For piano solo: etudes, Fantasy, piano pieces, two-part inventions; for piano four-hands: Ländler, Syrian Dances (piano four-hands); songs.

Arrangements: cantatas by J. S. Bach, piano concertos by C. P. E. Bach; concerti grossi by Handel, organ concertos by Handel (piano four-hands).

Elucidatory Editions: selected Keyboard Works by C. P. E. Bach (together with A Contribution to the Study of Ornamentation); Chromatic Fantasy and Fugue by J. S. Bach; The Last Five Piano Sonatas of Beethoven.

He also published a collected edition of the Beethoven piano sonatas and a facsimile edition of the autograph of Beethoven’s Sonata in C# minor (1921). He has also written a monograph on Beethoven’s Ninth Symphony (1912), Harmony (1906, Part I of his New Musical Theories and Fantasies), Counterpoint, Part II/1 (translated into English by John Petrie Dunn 2 ) and II/2 (1910, 1920 [recte: 1922]).

Since 1922 [recte: 1921] he has published, under the title Der Tonwille, "Pamphlets in witness of the immutable laws of music, offered to a new generation of youth" (ten issues), which has appeared in yearbook form since 1925 as The Masterwork in Music (two volumes to date 3 ).

© Translation William Drabkin, 2011


Schenker, Heinrich, Dr. * 19. Juni 1868 in Wisniowczyk (Galizien), 1 Schüler Bruckners am Wiener Konservatorium, machte eine Konzertreise als pianistischer Begleiter von Messchaert, hielt Vorlesungen über Musikgeschichte an einer Frauen-Akademie in Wien und war Mitarbeiter verschiedener Zeitschriften (Hardens Zukunft, Mus. Wochenblatt). Sch. wirkt zurzeit in Wien als Lehrer für Theorie und Klavier. Er ist der Führer einer theoretischen Schule (Vrieslander, Herman Roth, Dr. Hans Weisse, J. Petrie Dunn, F. von Cube u.a.), die an der klassichen Komposition das reine Phänomen der Musik und ihres rein musikalischen Kerns („Urlinie“) aufzuzeigen sucht.

Werke:

Klavier: Etuden, Fantasie, Klavierstücke; 2st. Inventionen; Ländler, syrische Tänze (4händig); Lieder.

Bearbeitungen: Kantaten von J. S. Bach; Klavierkonzerte von Ph. Em. Bach; Concerto [sic] grossi von Händel; Orgelkonzerte von Händel (4händig für Klavier).

Erläuterungsausgaben: ausgewählte Klavierwerke von Ph. Em. Bach (dazu Ein Beitrag zur Ornamentik); chromatische Fantasie und Fuge von Seb. Bach; die letzten 5 Klaviersonaten von Beethoven.

Er gab ferner heraus: sämtliche Klaviersonaten von Beethoven; Autograph der Cis-moll Sonate Beethovens im Faksimile (1921) und schrieb: Monographie über Beethovens 9. Sinfonie (1912); Harmonielehre (1906, Bd. I seiner Neuen mus. Theorien und Phantasien); Kontrapunkt, Bd. II, 1 (ins Englische übertragen von J. Petrie Dunn 2 ) und II, 2 (1910, 1920).

Seit 1922 veröffentlichte er außerdem unter dem Titel Der Tonwille „Flugblätter zum Zeugnis unwandelbarer Gesetze der Tonkunst einer neuen Jugend dargebracht“ (10 Hefte), die seit 1925 in Jahrbuchform unter dem Titel Das Meisterwerk in der Musik (bisher 2 Bde. 3 ) erscheinen.

© Transcription William Drabkin, 2011

Schenker, Dr. Heinrich (born Wisniowczyk, Galicia, June 19, 1868), 1 was a pupil of Bruckner’s at the Vienna Conservatory, undertook a concert tour as accompanist to Messchaert, gave lectures on music history to a women’s academy in Vienna and was a correspondent for various periodical publications (Harden’s Die Zukunft, Musikalisches Wochenblatt). Currently he is active in Vienna as a teacher of music theory and piano. He is the leader of a theoretical school (which includes Otto Vrieslander, Herman Roth, Dr. Hans Weisse, John Petrie Dunn, Felix-Eberhard von Cube), who seek to demonstrate in classical composition the pure phenomenon of music and its purely musical core (the Urlinie).

Works:

For piano solo: etudes, Fantasy, piano pieces, two-part inventions; for piano four-hands: Ländler, Syrian Dances (piano four-hands); songs.

Arrangements: cantatas by J. S. Bach, piano concertos by C. P. E. Bach; concerti grossi by Handel, organ concertos by Handel (piano four-hands).

Elucidatory Editions: selected Keyboard Works by C. P. E. Bach (together with A Contribution to the Study of Ornamentation); Chromatic Fantasy and Fugue by J. S. Bach; The Last Five Piano Sonatas of Beethoven.

He also published a collected edition of the Beethoven piano sonatas and a facsimile edition of the autograph of Beethoven’s Sonata in C# minor (1921). He has also written a monograph on Beethoven’s Ninth Symphony (1912), Harmony (1906, Part I of his New Musical Theories and Fantasies), Counterpoint, Part II/1 (translated into English by John Petrie Dunn 2 ) and II/2 (1910, 1920 [recte: 1922]).

Since 1922 [recte: 1921] he has published, under the title Der Tonwille, "Pamphlets in witness of the immutable laws of music, offered to a new generation of youth" (ten issues), which has appeared in yearbook form since 1925 as The Masterwork in Music (two volumes to date 3 ).

© Translation William Drabkin, 2011

Footnotes

1 OJ 2/p. 79, [4] is an inaccurate typewritten copy, which Schenker has rubricated "Riemann's MusikLex vom J. 1929" and annotated, evidently after 1931. The text given here is that of the published article itself from the 1929 edition of Riemanns Musiklexikon (Library of Congress ML100 .R52 1929). The worklist, run on continuously in the original, has been broken up editorially here for ease of reading

2 Dunn’s translation of Counterpoint comprises paraphrases of parts of II/2, not II/1, as indicated in a letter from Dunn to Schenker (OJ 10/13, [4], dated February 1, 1927).

3 In the typewritten copy of this entry, OJ 2/p. 79, [4], Schenker has corrected "2" to "3", which suggests that his annotations were made after 1931.