Schenker Documents Online: Hugo Riemann

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Profiles Person Place Organization Work by Schenker Journal Musical Composition Downloads temporarily removed for testing purposes	Hugo Riemann born Sondershausen, July 18, 1849; died Leipzig, July 10, 1919 Documents associated with this person: Correspondence Diaries Lessonbooks Other material Leading German musicologist and music theorist, author of numerous books and articles on music history, practice, theory, aesthetics, philosophy, and cognition, and original author/editor of Musik-Lexikon (Leipzig: 1882). Riemann and Schenker As early as 1905, Schenker was protective of the manuscript of his Harmonielehre, lest it fall into the hands of Riemann or his followers (CA 5-6). Throughout his career, he regarded Riemann as his chief rival, embodying the antithesis of his own music theory, as well as being an odious force ("the most dangerous musical bacillus in Germany": CA 71, 1907; also OJ 15/16, [27], 1916). Surprisingly, in 1913, he reported that Riemann "counts himself among my keenest admirers" (WSLB 146). Schenker accused Riemann of being "business-minded" (i.e. mercenary) in writing his numerous catechisms, and his "small" and "large" composition manuals (vC 14: 1928), and of spoon-feeding his readers rather than making them think for themselves (e.g. vC 21: 1928), such that it became one of Schenker's aims to free the youth of his day from Riemann's influence (vC 28: 1930). In his Beethovens Neunte Sinfonie, he portrayed Riemann's interpretations as "false" (p. XXIV; Eng. trans., p. 17), and devoted much space in the "Literatur" (Secondary Literature) sections to pointing out Riemann's impercipience and errors ("Beethoven's higher interests, aiming for the most perfect art of synthesis, he is unfortunately able neither to perceive in an artistically true manner nor to interpret correctly in theoretical terms.": p. 24/p. 48; "Great heavens, what intellectual sloth! Such a way to write about music!": p. 74/p. 88; "It can be inferred [...] that Riemann has difficulty understanding composed-out larger complexes, and posits instead only smaller units [...]": p. 112/p. 119). Schenker returned to his harsh critiques of Riemann's theories and analyses in Der Tonwille (1921-24) and Das Meisterwerk in der Musik (1925-30). Correspondence with Schenker Two items of correspondence between Schenker and Riemann are known to exist: OJ 13/23, the pro forma invitation of April 15, 1913 to contribute autobiographical information to Riemann's Musik-Lexikon (which Schenker refers to ironically as "being ushered into the Riemann Walhalla": WSLB 154), and Schenker's informative response of April 27, BerkAE, [1] (filed in the Alfred Einstein papers). The entry on Schenker appeared in the 10th edition of the Musik-Lexikon, ed. Alfred Einstein (Berlin: Max Hesse, 1922), pp. 1135-36. Schenker's personal library at his death included copies of Riemann's Musik-Lexikon (3rd edn, 1887), his Opern-Handbuch (1887), Handbuch der Musikgeschichte, vols I-II (1904-13), Handbuch der Harmonielehre (1898), Grosse Kompositionslehre (1902-03), Lehrbuch des einfachen, doppelten und imitierenden Kontrapunkts (1888), Systematische Modulationslehre (1887), Handburch der Fugen-Komposition (1916), Musikalische Syntaxis (1877), Katechismus der Akustik (1891), Katechismus der Fugen-Komposition (1890-91), Katechismus der Kompositionslehre (1889), Katechismus der Phrasierung (with Carl Fuchs), Katechismus der Musikgeschichte (1901), Katechismus der Orchestrierung (1902), Katechismus der Musik: Allgemeine Musiklehre (1904), and Katechismus der Musik-Aesthetik. Sources: Musik und Theater enthaltend die Bibliothek des Herrn Dr. Heinrich Schenker, Wien (Antiquariat Heinrich Hinterberger, [1935]) NGMD2 (2001 and online) Downloads temporarily removed for testing purposes Correspondence CA 5-6 Handwritten letter from Schenker to Cotta, dated November 22, 1905 Schenker submits the manuscript of Harmonielehre; asks Cotta not to show it to potential rivals. OJ 12/38, [1] Handwritten letter from Hans Liebstöckl to Schenker, November 29, [1906] Liebstöckl regrets having annoyed Schenker by unwantedly disclosing his name as author of Harmonielehre in the Illustrirtes Wiener Extrablatt, promises to write about it "conscientiously," and disclaims being a Reger adherent. CA 68 Handwritten letter from Schenker to Cotta, dated September 13, 1907 Schenker expects the press to be enthusiastic about Harmonielehre. — He comments of the "Riemann school." CA 71 Handwritten letter from Schenker to Cotta, dated December 16, 1907 Schenker proscribes the release yet of his name to Karl Grunsky. He comments on a review of his Harmonielehre by Max Burkhardt. He will be sending Kontrapunkt shortly. OJ 5/15, [4] Incomplete handwritten letter draft from Schenker to Grunsky, undated [?between September 23 and December 31, 1908] Schenker reports progress on his Kontrapunkt. — The main problem in music is "how length can be produced." — He recollects his love for the pious Bruckner, and his admiration for the latter's music, but speaks of its "defects," comparing the music favorably with that of Tchaikovsky. Bruckner's stumbling block was form. WSLB 31 Handwritten letter from Schenker to Hertzka (UE), dated December 22, 1908 Schenker agrees to the Instrumentations-Tabelle being published without his newly written Introduction. — He declines the proposal to edit the Well-tempered Clavier Book II for the new Akademie, offerin alternative suggestions and observations on Busoni's editing. BNba Frimmel Nachl, [3] Handwritten letter from Schenker to Frimmel, dated April 8, 1909 Schenker thanks Frimmel for his copy of Beethoven-Jahrbuch vol. II, and expresses admiration at Frimmel's editing of the authors' contributions, remarking how slowly he is proceeding with his own Kontrapunkt. He comments on two of the contributions. WSLB 66/67 Handwritten letter from Schenker to Hertzka (UE) + list of names, dated October 19, 1910 Schenker cancels their Thursday meeting. — He argues for sweeping changes to the draft contract for Beethovens neunte Sinfonie. — He defends his own free speech in the face of Universal Edition's commercial interests. As with his Chromatic Fantasy & Fugue edition, UE will never regret publishing the Ninth Symphony monograph. — He also lauds the prospective editions of the last five Beethoven piano sonatas and volume of J. S. Bach toccatas in a lofty vision for future publications. — He appends a list of recipients of complimentary copies of the Chromatic Fantasy & Fugue. WSLB-Hds 94478 Handwritten letter from Schenker to Seligmann, undated [shortly before May 31, 1911] Schenker reports the completion of work on Beethoven’s Ninth Symphony and enlists Seligmann’s help in placing notices in Viennese newspapers advertising a planned series of lectures on modern music (cacophony). WSLB 77 Handwritten letter from Schenker to Hertzka (UE), dated June 21, 1911 Schenker asks if he will receive galley-proofs of Beethovens neunte Sinfonie in time to take on vacation, and inquires as to his proposal for UE to publish the score of the Ninth Symphony with original markings. — No summons to interview with Academy President von Wiener, so he fears the worst for the planned Bach-Beethoven edition project. — Tirade against von Wiener and the Academy's teachers. OJ 8/1, [7] Handwritten picture postcard from Heinrich Schenker to Moriz Violin, dated August 4, 1911 Schenker inquires after Violin's location and company; — reports his work on Riemann's theories. OJ 6/5, [1] Handwritten double letter from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated August 18, 1911 Heinrich and Jenny Kornfeld are in the Sulden Valley, Tyrol. Heinrich writes about his planned refutation of the theories of Hugo Riemann and the need to establish his own theories in Germany; — and about separate accommodation arrangements for Jenny. Jenny writes more somberly about the coming autumn and its difficulties. WSLB 133 Handwritten letter from Schenker to Hertzka (UE), undated [August 26, 1912] Recounting the backstory of the move to found an [Austrian] organization of musicians, and painting it as a rearguard action by performers against the dominance of Neue freie Presse chief critic Julius Korngold and certain concert agents, Schenker reports an approach from Hugo Heller in Germany, and presses Hertzka to reveal how committed he is to the cause. — Remarking on the lack of coverage of music in [Austrian] newspapers, he complains at the timid tone of Universal Edition's advertising of his own works. OJ 13/23, [1] Printed form letter from Hugo Riemann to Schenker, postmarked April 15, 1913 Riemann requests autobiographical information for his Lexikon. WSLB-Hds 95658 Handwritten postcard from Schenker to Seligmann, postmarked May 11, 1913 Schenker congratulates Seligmann on his latest feuilleton, especially on the enduring values of the classical and Romantic artists. — His critical edition of Beethoven’s Op. 109 will appear soon. — He has received a personal request from Hugo Riemann to provide biographical details for an entry in Riemann’s Musiklexikon. OJ 10/1, [5] Handwritten letter from Dahms to Schenker, dated June 26, 1914 Dahms inquires after Schenker's study of Op. 110, and hopes to review it. He is sure there will come a day when Schenker's work is fully appreciated. WSLB-Hds 95654 Handwritten letter from Schenker to Seligmann, dated July 24, 1916 Schenker tells Seligmann that he has arranged for copies of his critical editions of Beethoven’s Op. 110 and Op. 111 to be sent to him. He speaks of the positive interest his works have received in Germany, and about Hugo Riemann asking him to provide autobiographical material for an entry in the next edition of his music lexicon. OJ 15/16, [27] Handwritten letter from Weisse to Schenker, dated August 3, 1916 Weisse hopes to see Kontrapunkt II soon. — He reflects on the state of humanity in the light of being in the midst of the war. — He incloses a cutting of an article [about sources of Saint-Saëns's music.] OC 1 B/23 Handwritten draft letter from Schenker to Siegfried Türkel, dated March 17, 1917 Schenker encloses a letter from Dr. Hugo Friedmann and comments on it, ridiculing the lack of sophistication of the wealthy, and asserting his own indifference to money. OJ 10/1, [31] Handwritten letter from Dahms to Schenker, dated November 9, 1917 Dahms is now with the War Ministry in Berlin. He comments on Korngold and Bruckner. OJ 14/33, [3] Handwritten letter from Steglich to Schenker, dated February 15, 1918 Steglich accepts Schenker's offer of a copy of the Op. 111 Erläuterungsausgabe; he is a Riemann pupil, and has a keen interest in analyses. OJ 6/6, [9] Handwritten triple-letter from Jeanette Kornfeld and Heinrich Schenker to Valerie and Moriz Violin, dated July 15, 1919 (1) Jeanette to Valerie: offers sympathy and reassurance about her illness; describes the Tantalier Castle and its romantic associations; (2) Heinrich to Valerie: recommends eating large quantities; (3) Heinrich to Moriz: supports food theory by reference to his own proneness to nervous depression; suggests that Valerie recuperate in Zell am See. OJ 10/1, [45] Handwritten letter from Dahms to Schenker, dated September 26, 1919 Dahms responds to Schenker's letter (non-extant). He reflects on Prussian militarism. He declares that there is no such things as "military genius"; Germany was as guilty as the Entente Powers for the war; soldiers were treated as slaves by their officers, with Wilhelm II bearing the ultimate guilt. He rejects all political parties. England does not treat its people as Germany does. He believes only in the German spirit, which he regards as the spirit of the world. He cannot wait to leave Germany, and wants only to immerse himself in Schenker's work. OJ 10/1, [52] Handwritten letter from Dahms to Schenker, dated June 9, 1920 Reflecting on the difficulty of finding housing and provisions, and on the recent German federal elections, Dahms asks whether mastery of chorale and fugue is to be obtained solely by exercises in the manner of [E. F.] Richter and others. — He inquires whether Schenker knows Kurth's Grundlagen des linearen Kontrapunkts, and whether there are any worthwhile [musical] people in Salzburg. OJ 10/1, [55] Handwritten letter from Dahms to Schenker, dated July 30, 1920 Dahms finds the Berlin musicians on vacation to be ignorant – "artistic bolshevism." — He now understands Kurth's work better for Schenker's comments. OC 24/20 Handwritten letter from Frimmel to Schenker, dated August 1, 1921 Frimmel acknowledges receipt of a complimentary copy of Tonwille 1, comments neutrally on Schenker's incursions into politics, imagines something rather different by the concept of "Tonwille," and while agreeing with the criticism of Riemann thinks it could have been done more gently. — He asks for review copies of Schenker's editions of Beethoven Op. 110 and 101. OJ 10/1, [72] Handwritten letter from Dahms to Schenker, dated October 28, 1922 Dahms chooses to remain in Italy in view of the "moral and physical devastation" that he hears reported from Germany. — He is committed to Schust & Loeffler for a Haydn biography. He reports on a review of his book "Offenbarung." OJ 5/17, [1, vsn 1] Handwritten draft letter from Schenker to Hindemith, undated [November 3, 1926] In response to Hindemith's letter of October 25, 1926, Schenker's 15-page first draft states his preference for a meeting with Hindemith in Vienna. Schenker thinks differently from Hindemith: the notion of a "good musician" is a delusion; artistic property is comparable with material property; the music of today is quite different from that of the past, the rules of the masterworks do not govern it, hence it is not art at all. Schenker reserves the right to speak his own mind. OC 54/134 Typed letter from Otto Vrieslander to Schenker, dated February 20, 1927 Vrieslander, at pains to ensure that the music illustrations in the second Meisterwerk Yearbook are accurately and elegantly printed, reports that the engravers are having difficulty interpreting Schenker’s music examples. He is putting his own work to one side in order to work exclusively on creating clear and elegant graphs; he proposes to come to Vienna in mid-March to go through all his work with Schenker. OJ 9/34, [8] Handwritten letter from Cube to Schenker, dated May 28, 1927 Cube reports on the state teaching examination, on which he was graded "satisfactory," deploring the way it was conducted. OJ 5/7a, [14] (formerly vC 14) Handwritten letter from Schenker to Cube, dated April 29, 1928 Schenker sympathizes with Cube over the hostilities he faces; contrasts his own theory to the approach of Riemann. Has arranged for Hammer portraits to be sent to Cube [for bookshop exhibits], and directs him to biographical information about himself. Describes the trials of his 20s, which were surpassed by the difficulties he faced later with publishers and organizations. Upholds Joachim and Messchaert as models of performance art, and speaks of his contact with Brahms. Asks whether Cube will be joining him in Galtür in the summer. OJ 89/2, [6] Handwritten letter from Schenker to Hoboken, dated June 22, 1928 With thanks for birthday greetings, Schenker expresses how highly he values the Photogrammarchiv while endorsing van Hoboken's turning down of an "honor" that he was offered. — Schenker has, at Einstein's request, updated his entry in Riemann's Musiklexikon. — With the success of the Urlinie through Der Tonwille, he no longer considers himself isolated. WSLB-Hds 191.563 Handwritten letter from Schenker to Deutsch, dated June 22, 1928 Schenker thanks Deutsch for his birthday greetings, explaining that, although he feels alienated from the musical world of the present day, he is convinced that his work will have a lasting effect on future generations. OJ 14/45, [71] Handwritten letter from Moriz Violin to Schenker, dated July 18, 1928 Owing to a "complete breakdown," Violin is recovering at a sanatorium in Schierke, from where he writes. In response to Schenker's previous postcard, Violin had written more than once to Prof. [Fritz?] Stein for the return of the manuscript of a Handel arrangement by Schenker, and he will chase him up in August. A pupil of his, Harry Hahn, has taken upon himself to lecture on Schenker's theories at the local society of composers; for this he has prepared classroom-size enlargements of voice-leading graphs of a Bach prelude and a Schubert waltz, and has proved a surprisingly competent and persuasive speaker. OJ 5/7a, [21] (formerly vC 21) Handwritten letter from Schenker to Cube, dated November 20, 1928 Sends best wishes for Cologne lecture-series; is planning to issue a folder of Urlinien for use by teachers, and may deposit his handwritten Urlinien in the Photogrammarchiv, which will be officially opened on November [25]. The "counter-examples" should be taken slowly. OJ 5/7a, [28] (formerly vC 28) Handwritten letter from Schenker to Cube, dated January 12, 1930 Acknowledges OJ 9/34, [20], and gives detailed critique of Cube's analysis of the C major Prelude from WTC I, including graphs; advises on additional reading and Cube's plans to publish the analysis. WSLB-Hds 191.565 Handwritten letter from Schenker to Deutsch, dated July 20, 1930 In this 16-page response to a letter from Deutsch, Schenker thanks his correspondent for his unstinting assistance (in relation to the third Meisterwerk yearbook) and underlines the importance of a collected edition of the works of C. P. E. Bach. — He then launches a long and detailed denunciation of Anthony van Hoboken’s character, referring in particular to his treatment of Otto Vrieslander, his ambivalence towards projects associated with the Photogram Archive, and his absconding to Berlin to study the piano with Rudolf Breithaupt; Hoboken is thoroughly undeserving of a high honor conferred by the Austrian state. OJ 6/8, [1] Handwritten letter from Schenker to Violin, dated January 9, 1931 In this long and wide-ranging two-part letter, which includes a graphic analysis of J. S. Bach’s Two-part Invention in E-flat major, Schenker praises the work of Hans Weisse, who has recently returned from lecturing in Berlin and may be offered a post there (on Furtwängler’s recommendation), emigrate to America (with the help of Gerald Warburg), or even found an institute that would give employment to Felix Salzer and other Schenkerian disciples under one roof. — A letter from Violin, which has just arrived in the morning post, speaks of Violin’s own intention to establish a Schenker Institute in Hamburg. For this, Schenker recommends Felix-Eberhard von Cube (in preference to Reinhard Oppel) and Otto Vrieslander as possible theory teachers, if not Weisse himself. — The letter concludes with a tirade against those who have caused him financial misery (including his brother Mozio), culminating in a cynical passage in which Schenker advises his friend to look after himself and engage some dull pedagog to teach conventional theory. In the end, he wishes Violin luck with the enterprise, and thanks him for having helped rescue him from Hertzka’s clutches. OJ 8/5, [11] Handwritten postcard from Schenker to Violin, dated September 1, 1932 Schenker reports that Der freie Satz is finished, apart from the final draft of the manuscript. OJ 12/6, [16] Handwritten letter from Jonas to Schenker, dated October 1, 1932 Further on Hoboken and the number of subscriptions; Jonas thanks Schenker for approving an article about the Photogrammarchiv that he hopes will be published in Die Musik. OJ 89/7, [5] Handwritten letter from Schenker to Hoboken, dated February 25, 1934 Schenker comments on Eva van Hoboken's visit [of February 18]; — Encloses a collection of articles, praises Hoboken's opposition to Ganche, and comments sardonically about Schering, Kretzschmar, and Riemann. Diaries Diary entry by Schenker for 9 June 1907 Diary entry by Schenker for 30 July 1911 Diary entry by Schenker for 17 August 1911 Diary entry by Schenker for 1 October 1912 Diary entry by Schenker for 31 January 1913 Diary entry by Schenker for 14 April 1913 Diary entry by Schenker for 16 April 1913 Diary entry by Schenker for 27 April 1913 Diary entry by Schenker for 17 May 1913 Diary entry by Schenker for 12 December 1913 Diary entry by Schenker for 24 December 1913 Diary entry by Schenker for 10 March 1914 Diary entry by Schenker for 16 March 1914 Diary entry by Schenker for 23 March 1914 Diary entry by Schenker for 1 April 1914 Diary entry by Schenker for 3 April 1914 Diary entry by Schenker for 5 April 1914 Diary entry by Schenker for 13 April 1914 Diary entry by Schenker for 3 July 1914 Diary entry by Schenker for 12 March 1916 Diary entry by Schenker for 24 June 1916 Diary entry by Schenker for 24 July 1916 Diary entry by Schenker for 18 July 1917 Diary entry by Schenker for 28 November 1917 Diary entry by Schenker for 7 January 1918 Diary entry by Schenker for 10 January 1918 Diary entry by Schenker for 22 April 1918 Diary entry by Schenker for 30 March 1919 Diary entry by Schenker for 27 July 1919 Diary entry by Schenker for 10 August 1919 Diary entry by Schenker for 15 December 1919 Diary entry by Schenker for 24 April 1921 Diary entry by Schenker for 7 August 1921 Diary entry by Schenker for 7 July 1922 Diary entry by Schenker for 28 July 1923 Diary entry by Schenker for 10 August 1923 Diary entry by Schenker for 2 April 1924 Diary entry by Schenker for 5 April 1924 Diary entry by Schenker for 15 July 1924 Diary entry by Schenker for 16 July 1925 Diary entry by Schenker for 17 July 1925 Diary entry by Schenker for 27 September 1925 Diary entry by Schenker for 26 November 1925 Diary entry by Schenker for 27 November 1925 Diary entry by Schenker for 12 February 1927 Diary entry by Schenker for 8 June 1928 Diary entry by Schenker for 19 June 1928 Diary entry by Schenker for 28 November 1928 Diary entry by Schenker for 26 January 1929 Diary entry by Schenker for 8 February 1929 Diary entry by Schenker for 16 May 1930 Diary entry by Schenker for 22 November 1930 Diary entry by Schenker for 11 December 1931 Diary entry by Schenker for 31 July 1933 Lessonbooks OC 3/2-3: Oct 1913-Jun 1914 Angi Elias: lesson: Saturday November 8, 1913 OC 3/2-3: Oct 1913-Jun 1914 Paul Breisach: lesson: Tuesday, March 10, 1914 OC 3/2-3: Oct 1913-Jun 1914 Hans Weisse: lesson: Thursday, March 12, 1914 OC 3/2-3: Oct 1913-Jun 1914 Hans Weisse: lesson: Thursday, April 9, 1914 OC 3/3: 1916/17 Angi Elias: lessons: December 1916‒March 1917 OC 3/3: 1916/17 Angi Elias: lessons: April‒June 1917 OC 3/3: Oct 1919-Jun 1920 Hans Weisse: lessons: Oct 1919-Jan 1920 OC 3/3: Oct 1919-Jun 1920 Fräulein Klammerth: lessons: Feb 1920-Jun 1920 OC 3/3: 1924/25 Angi Elias: lessons: 1924/25 Other material ML100 .R52 1919, [1] Schenker entry in Hugo Riemanns Musiklexikon, 9th edition, ed. Alfred Einstein (1919) [Author]