[printed letterhead:]
DER DIREKTOR
DER
K. K. AKADEMIE FÜR MUSIK
UND DARSTELLENDE KUNST.

Wien, 13. Oktober 1910.


SEHR GEEHRTER HERR! 1

Ich habe mit grossem Vergnügen Ihre werten Mitteilungen empfangen und freue mich, dass die Möglichkeit weiterer Missverständnisse nunmehr beiseitigt erscheint. 2 An Ihrer Arbeit nehme ich das grösste und wärmste Interesse. Ich bin stolz, dass es uns vergönnt ist, die interessanten Dokumente einer grossen Vergangenheit, die durch Ihre nachschöpferische 3 Einflussnahme neue Lebensmöglichkeiten gewonnen haben, unsern Kreisen vorzuführen.

Ich würde mich freuen, Sie bei einer nächsten Gelegenheit persönlich kennen zu lernen. Wegen der Publikation des Violin'schen Aufsatzes 4 werde ich mit {2} dem Verfasser selbst das Mögliche und Notwendige besprechen.


In besonderer Wertschätzung
Ihr
[signed:] Wilhelm Bopp

© Transcription Ian Bent, 2016

[printed letterhead:]
THE DIRECTOR
OF THE
IMP.-ROYAL ACADEMY FOR MUSIC
AND PERFORMING ART

Vienna, October 13, 1910


DEAR SIR, 1

It is with great pleasure that I have received your valued communications, and am delighted that the possibility of further misunderstandings appears now to have been averted. 2 I take the keenest and warmest interest in your work. I am proud that we have been granted the opportunity to present to our circles the interesting documents of a great past era that have been given a lease of life through your creative-interpretive 3 powers.

I should be pleased to make your acquaintance personally at an occasion in the near future. As regards the publication of Violin's essay 4 I will dscuss what is possible and what is necessary with {2} the author directly.


With particular regards,
Your
[signed:] Wilhelm Bopp

© Translation Ian Bent, 2016

[printed letterhead:]
DER DIREKTOR
DER
K. K. AKADEMIE FÜR MUSIK
UND DARSTELLENDE KUNST.

Wien, 13. Oktober 1910.


SEHR GEEHRTER HERR! 1

Ich habe mit grossem Vergnügen Ihre werten Mitteilungen empfangen und freue mich, dass die Möglichkeit weiterer Missverständnisse nunmehr beiseitigt erscheint. 2 An Ihrer Arbeit nehme ich das grösste und wärmste Interesse. Ich bin stolz, dass es uns vergönnt ist, die interessanten Dokumente einer grossen Vergangenheit, die durch Ihre nachschöpferische 3 Einflussnahme neue Lebensmöglichkeiten gewonnen haben, unsern Kreisen vorzuführen.

Ich würde mich freuen, Sie bei einer nächsten Gelegenheit persönlich kennen zu lernen. Wegen der Publikation des Violin'schen Aufsatzes 4 werde ich mit {2} dem Verfasser selbst das Mögliche und Notwendige besprechen.


In besonderer Wertschätzung
Ihr
[signed:] Wilhelm Bopp

© Transcription Ian Bent, 2016

[printed letterhead:]
THE DIRECTOR
OF THE
IMP.-ROYAL ACADEMY FOR MUSIC
AND PERFORMING ART

Vienna, October 13, 1910


DEAR SIR, 1

It is with great pleasure that I have received your valued communications, and am delighted that the possibility of further misunderstandings appears now to have been averted. 2 I take the keenest and warmest interest in your work. I am proud that we have been granted the opportunity to present to our circles the interesting documents of a great past era that have been given a lease of life through your creative-interpretive 3 powers.

I should be pleased to make your acquaintance personally at an occasion in the near future. As regards the publication of Violin's essay 4 I will dscuss what is possible and what is necessary with {2} the author directly.


With particular regards,
Your
[signed:] Wilhelm Bopp

© Translation Ian Bent, 2016

Footnotes

1 Receipt of this letter is not recorded in Schenker's diary. The "communications" to which it responds are not known to survive.

2 "Missverständnisse" ("misunderstandings"): this perhaps relates to the plans for a "historical concert" that Wilhelm Bopp in October 1909 invited Schenker to devise. For this Schenker arranged two concertos by C. P. E. Bach, two cantatas by J. S. Bach and a concerto by Handel, and Moriz Violin wrote an extended program booklet, only for the concert to be replaced "after forty rehearsals" (as Schenker says) by a performance of Beethoven's Ninth Symphony, to Schenker's fury (diary, OJ 1/9, p. 118, June 1910). For a subsequent presentation of this program under the title "chamber music concert" see OJ 9/18, [2], January 14, 1911.

3 Bopp implies that Schenker's role is not the "creative" (schöpferisch) one of the composer, but rather the reproductive (nachschöperisch ‒ literally "post-creative") one of the arranger or editor. This sentence has clearly been crafted with some deliberation.

4 Moriz Violin, Über das sogenannte Continuo: Ein Beitrag zur Lösung des Problems (Vienna: Universal Edition, [1911]), which was originally written as a program booklet for the canceled "historical concert," and which Schenker had evidently raised in his letter to Bopp.