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CA 31 - Handwritten letter from Schenker to Cotta, dated June 30, 1906
Im Besitze Ihrer gesch. Zuschrift vom 27. d.M., 2 für die ich bestens danke, übermittle ich hiemit die Korrekturen des zweiten Teiles, soweit sie fertig sind, u. bemerke, daß der Revisionsbogen in ein paar Tagen folgen wird. 3 Den Herrn Setzer bitte ich auf 2 Sachen aufmerksam zu machen: erstens, daß die ausgeschnittenen Teile ins Nachwort übernommen wurden 4 u. ihr Satz daher noch aufzubewahren ist; zweitens, daß {2} ich der Vorsicht halber dort, wo Notenbeispiele zu kommen haben, ein ⇧ X ⇧ oder ⇧ X ⇧ angemerkt habe, damit keines vergessen werde. © Transcription Ian Bent, 2005, 2017 |
I acknowledge with thanks your esteemed letter of the 27th of the month. 2 Herewith I send all the corrected proofs for Part II that have so far been produced, and I observe that the revised gathering will follow within a few days. 3 I ask [you] to draw two things to the type-setter's attention: first, that the excised parts were transferred to the Afterword, 4 hence their type should be preserved; secondly, that {2} for safety's sake I have marked ⇧ X ⇧ or ⇧ X ⇧ wherever music examples have to be inserted, so that none of them will be forgotten. © Translation Ian Bent, 2005, 2017 |
Im Besitze Ihrer gesch. Zuschrift vom 27. d.M., 2 für die ich bestens danke, übermittle ich hiemit die Korrekturen des zweiten Teiles, soweit sie fertig sind, u. bemerke, daß der Revisionsbogen in ein paar Tagen folgen wird. 3 Den Herrn Setzer bitte ich auf 2 Sachen aufmerksam zu machen: erstens, daß die ausgeschnittenen Teile ins Nachwort übernommen wurden 4 u. ihr Satz daher noch aufzubewahren ist; zweitens, daß {2} ich der Vorsicht halber dort, wo Notenbeispiele zu kommen haben, ein ⇧ X ⇧ oder ⇧ X ⇧ angemerkt habe, damit keines vergessen werde. © Transcription Ian Bent, 2005, 2017 |
I acknowledge with thanks your esteemed letter of the 27th of the month. 2 Herewith I send all the corrected proofs for Part II that have so far been produced, and I observe that the revised gathering will follow within a few days. 3 I ask [you] to draw two things to the type-setter's attention: first, that the excised parts were transferred to the Afterword, 4 hence their type should be preserved; secondly, that {2} for safety's sake I have marked ⇧ X ⇧ or ⇧ X ⇧ wherever music examples have to be inserted, so that none of them will be forgotten. © Translation Ian Bent, 2005, 2017 |
Footnotes1 Writing of this letter is not recorded in Schenker's diary. 2 = OJ 9/31, [10], June 27, 1906. 3 Schenker is presumably returning the remainder of the pages of letterpress with music examples (see OJ 9/31, [10]). It is unclear what the second clause means: either that "bemerke" implies he is expecting to receive revised page-proofs in a gathering from Cotta; however, nothing in OJ 9/31, [10] warrants that expectation; or alternatively, that Schenker may already have received those proofs and be promising to return them to Cotta. 4 For the Afterword, see CA 25, May 29, OJ 9/31, [8], May 31, CA 27, June 4, OJ 9/31, [9], June 5, 1906, and associated footnotes. OC 31/154‒155 are two pages cut and pasted from (single-column) galley-proofs, one concerning "failed cyclicality" (mißglückte Zyklen) in Bruckner symphonies, the other an extended footnote concerning Strauss's Ein Heldenleben and the Prelude to Wagner's Tristan und Isolde . These, which are located just after the Niedergang der Kompositionskunst typescript and a draft of the Foreword to Kontrapunkt , were very probably removed from Harmonielehre during the galley-proof stage, and are partly incorporated into Niedergang. (My thanks to William Drabkin for this latter information: see his edition and translation with Introduction to Niedergang, in Music Analysis XXIV/1–2 (March–July 2005), pp. 3‒232). |
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Commentary
Digital version created: 2017-06-26 |