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The fifth issue of Schenker's periodical Der Tonwille (1921–24).

Contents

Issue 5, 58 pages in length (thus contractually 26 pages oversize), like issues 2 and 4 (and also 9) lacks any theoretical articles. It offers three short analyses (2, 3, and 2 pages), then the continuation of the study of Beethoven's Fifth Symphony (33 pages), with Urlinien for all four pieces on a fold-out sheet at the back,and a "Miscellanea" (15 pages of small type) that is subdivided into headed sections: "Bach–Beethoven," "Urlinie and Voice-leading," "German Form," "Epigones," "Beethoven's Metronome Markings," and "A J. S. Bach Prelude." The three short analyses continue from issue 4 Schenker's series of analyses of the Bach Twelve Little Preludes.

The first installment of the Beethoven Fifth Symphony study (issue 1) had covered only the analysis of the first movement. Thus the continuation begins with the sources of that movement (11–13), then performance (13–15), then a very long survey of the secondary literature (15–31). The second movement follows: analysis (32–38) – sources (39–41) – performance (41–42).

Publication History

[to be completed]

Contents List

  • "J. S. Bach: Zwölf kleine Präludien, Nr. 3" [Bach's Twelve Little Preludes, No. 3], 3–4 [I, pp. 175–76]
  • "J. S. Bach: Zwölf kleine Präludien, Nr. 4" [Bach's Twelve Little Preludes, No. 4], 5–7 [I, pp. 177–79]
  • "J. S. Bach: Zwölf kleine Präludien, Nr. 5" [Bach's Twelve Little Preludes, No. 5], 8–9 [I, pp. 180–81]
  • "Beethoven: V. Sinfonie (Fortsetzung)" [Beethoven's Fifth Symphony (continuation), 10–42 [I, pp. 182–209]
  • "Vermischtes" [Miscellanea], 43–57 [I, pp. 210–25]

  • Enclosure: single-sided sheet containing Urlinien for the three J. S. Bach pieces and the second movement of the Beethoven symphony
  • Advertisements (at back):
  • "Heinrich Schenker: Werke in der Universal-Edition" (p. 58)
  • "Beethoven-Schenker:Klavier-Sonaten" (cover)

Contributor:

  • Ian Bent

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Correspondence

  • OJ 6/7, [7] Handwritten letter from Heinrich Schenker to Moriz Violin, dated October 21, 1923

    In a wide-ranging letter, Schenker expresses his joy at Karl Violin’s improving health, and goes on to mention a number of personal successes he has lately had, including a visit from Paul von Klenau to take advice for a forthcoming performance of Beethoven’s Missa solemnis. He has also had some unexpected support from his publisher, who wants to expand Der Tonwille to a quarterly publication. He is planning to take part in a series of charity concerts (three Haydn piano trios), and has heard that Clemens Kraus and Hans Knappertsbusch are overtaking Furtwängler as conductors in Vienna by accepting more modest fees.

  • OJ 6/7, [8] Handwritten letter from Schenker to Moriz Violin, dated February 14, 1924

    Schenker reports continuing trouble with Hertzka, especially over delays to the publication of Tonwille 5 and 6, which were supposed to appear the previous year, and is beginning to think about legal action. Hertzka has made his position so difficult that he feels obliged to turn down Max Temming's offer of direct financial support for his work. He asks Violin to help find a post in Hamburg for Carl Bamberger, a gifted pupil who, though he neglected his piano studies for a while, is keen to make up for lost time. Finally, he asks if Violin received any of the four volumes of the Beethoven piano sonata edition.

  • OJ 10/1, [84] Typewritten letter from Dahms to Schenker, dated March 5, 1924

    Dahms thanks Schenker for information about Castiglione. The Deutsche Verlagsanstalt is being difficult. He is again writing for German newspapers. Tonwille 5 has excited him. He quotes a passage from the Musical Courier [which Schenker later quotes in Das Meisterwerk 1]. Ludendorff's exposure of intrigues by the papacy has evoked a strong reaction outside Germany.

  • OJ 14/45, [31] Handwritten letter from Moriz Violin to Schenker, dated March 16, 1924

    Violin acknowledges receipt of Tonwille 5 and the Beethoven sonata edition. In the former, he finds the graphs of the short preludes by Bach more difficult than anything that Schenker has previously done. He will write to Bamberger with the offer of help (in finding an accompanist post in Hamburg). In response to a question on the "Appassionata" Sonata from one of his pupils, he offers an explanation for the falling direction of the transitional theme (measures 24-30) and its reappearance in the development section (measures 94-100) in inverted, ascending form; he asks if this interpretation is sensible.

  • OJ 8/4, [28] Handwritten postcard from Schenker to Moriz Violin, undated [March 30, 1924]

    Schenker confirms Violin's interpretation [given in his previous letter] of the "Appassionata" Sonata, and describes continued difficulties with Hertzka. Herman Roth has written to say that he and his son are using Schenker's analyses of Bach preludes in their counterpoint classes, and expresses the hope that one day they will continue Schenker's work independently.

  • OC 12/13-14 Handwritten letter from Halm to Schenker dated March 15, 1924 and April 1, 1924

    Halm attacks Schenker for condemning Berlioz's melodic practice without substantiating his argument, and for harsh language. Halm compares Berlioz favorably to Mendelssohn.

  • OJ 14/46, [2] Handwritten letter from Fanny Violin to Heinrich Schenker, dated June 18, 1924

    Fanny thanks Schenker for sending Tonwille 5 and 6 and reports holiday plans.

  • OJ 6/7, [23] Handwritten letter from Schenker to Moriz Violin, dated July 26, 1925

    Two weeks after arriving in Galtür for the summer holidays, Schenker reports that he has caught up on his sleep and has already dictated an essay on Reger's Variations and Fugue on a Theme of J. S. Bach, Op. 81. He will not allow the legal wrangle with Universal Edition to interfere with his holiday, but he is annoyed about not having been paid by Drei Masken Verlag for the manuscript of Meisterwerk 1. He has responded to a critique of his Erläuterungsausgabe of Op. 110, in an essay in Meisterwerk 1, but will not pursue other attacks upon his work and those of his pupils. The Schenker medallion designed by Alfred Rothberger is going to a second impression; but the mezzotint portrait by Viktor Hammer, which Jeanette finds a superior work, has not yet been printed. Throughout the letter, Schenker urges Violin to bring his family to Galtür sometime during the summer.

  • OJ 13/25, [10] Typewritten letter from Rinn to Schenker, dated May 15, 1930

    Rinn sends a copy of Vrieslander's article on Schenker, which will appear in the next issue of Der Kunstwart. — He looks forward to receiving Schenker's essay on German poets and music, and hopes that Schenker will consider writing some commentary-style pieces for him.

  • OC 20/402 Handwritten letter from Weisse to Schenker, dated February 20, 1931

    Weisse describes the extraordinary success of his second lecture (at the Society for Music Pedagogy in Vienna). He asks his teacher's opinion about his rhythmic interpretation of the Bach's Prelude in D minor, BWV 926, and of the third movement of Brahms's String Quartet in C minor, Op. 51, No. 2.

  • OJ 15/15, [57] Handwritten picture postcard from Weisse to Schenker, dated March 5, 1931

    Weisse describes the extraordinary success of his lecture on Bach's Prelude in D minor, at the Society for Music Pedagogy in Vienna.

  • OJ 5/18, 6 Handwritten letter from Schenker to Jonas, dated April 1, 1931

    Schenker congratulates Jonas on his forthcoming publication; — responds to his question about the discussion in Der Tonwille of a Bach fugue copied out by Beethoven; — encloses calling card of Mozart.

Diaries