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Ötz, 18. Aug.
1906
Sehr geehrter Herr!
1
Ich übersende mit Heutigem die Superrevision der Bg.
17 u. 18;
2
Bitte aber mir den Bogen 20 einsenden zu
wollen, den ich zuvor einsehen muß, bevor ich Bog. 19 druckfertig mache, da die Anmerkung
auf S. 299 es so nötig macht.
3
© Transcription Ian Bent, 2005, 2017
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Ötz, August 18,
1906
Dear Sir,
1
I am sending you the final proof of gatherings 17 and 18 by today's post.
2
But please kindly send me gathering 20, which I
must look at before I can have gathering 19 ready for the press, because the commentary
section on p. 299 needs my attention.
2
© Translation Ian Bent, 2005, 2017
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Ötz, 18. Aug.
1906
Sehr geehrter Herr!
1
Ich übersende mit Heutigem die Superrevision der Bg.
17 u. 18;
2
Bitte aber mir den Bogen 20 einsenden zu
wollen, den ich zuvor einsehen muß, bevor ich Bog. 19 druckfertig mache, da die Anmerkung
auf S. 299 es so nötig macht.
3
© Transcription Ian Bent, 2005, 2017
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Ötz, August 18,
1906
Dear Sir,
1
I am sending you the final proof of gatherings 17 and 18 by today's post.
2
But please kindly send me gathering 20, which I
must look at before I can have gathering 19 ready for the press, because the commentary
section on p. 299 needs my attention.
2
© Translation Ian Bent, 2005, 2017
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Footnotes
1 Writing of
this letter is not recorded in Schenker's diary.
2 Gathering 17 = pp.
257–72; gathering 18 = pp. 273–88.
3 Gathering 19 = pp. 289–304; gathering 20 = pp. 305–320.
The commentary section on
pp. 299–300 (omitted from the published English translation) criticizes bars 4–12 of
Richard Strauss's Don Quixote, the music of which is given in score as a footnote on
pp. 300–304, comparing it adversely with a passage from Schubert's posthumous A major piano
sonata, which he has just quoted and discussed:
"By
contrast, the antecedent construction of measures 4‒12 of Don
Quixote, Op. 35 by Richard Strauss appears to me unnatural, and accordingly
inadmissable. — At least I feel clearly here that the composer wanted to circumvent the
normal development to the dominant (A major) merely because it is normal.
It is, however, not a "modern" matter to respect Nature and
naturalness; at least where they simply should be the case. Perhaps the composer really
believes that Nature will, following the birth of his opus, adopt another first
upper-fifth to its fundamentals (in this case, Aę instead of A to the
fundamental D) and habituate to it. Do not misunderstand me: I raise no objection to the
antecedent setting off in Aę, but I do
object to this setting-off being not artistically skilfully composed ‒ as for example
[it is in] the above-mentioned passage in
Schubert ‒ but merely, as if in disdain for Nature, simply appearing there without
motivation, exhibiting the mentality of someone who doesn't know what he wants or what is
fitting."
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Commentary
- Rights Holder
-
Heirs of Henrich Schenker, deemed to be in the public domain.
- License
-
All reasonable steps have been taken to locate the heirs of Heinrich Schenker. Any claim to intellectual rights on this document should be addressed to the Schenker Correspondence Project, Faculty of Music, University of Cambridge, at schenkercorrespondence [at] mus (dot) cam (dot) ac (dot) uk.
- Format
-
1p letter, holograph salutation, message, valediction, and signature
- Provenance
-
J.G. Cotta’sche Nachfolger/Stuttgarter Zeitung (document date-c.1954); Cotta-Archiv (Stiftung der Stuttgarter Zeitung), Schiller-Nationalmuseum, Marbach am Neckar, Germany (c.1954-)
Digital version created: 2017-06-27
Last updated: 2012-11-02
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