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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
|
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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