Browse by
WSLB 114 - Handwritten postcard from Schenker to Hertzka (UE), dated May 24, 1912
|
{recto}
[All in a decorative rule-frame] [Absender:] ⇧ H Schenker III., Reisnerstr. 38 [An:] Hn Direktor Emil Hertzka I., Reichsrathsstr. 9 „Universal-Edition“ [postmark:] || 10/2 WIEN 77 | 24 V 12 – 12 | * 5c * || [For message-continuation, see below] {verso} ⇧ Sehr geehrter Herr Direktor! Mir fällt eine Lösung für die Partitur ein, 1 die zugleich beide Vorteile umfaßt: Oben seien die Takte gezählt, wie sie laufen, etwa – 5 – 10 – 15 – 20 – 25 etc. (s. z.B. meine „chromatische Fantasie“); 2 unten aber mag der Plan † verzeichnet sein, also, z.B. Taktgruppe 25–37 etc, wobei für mehrere Bezeichnungen an derselber Stelle verschiedener Druck angewendet werden müßte. 3 Zur Einverleibung des Planes rate ich aber aufs Entschiedenste! Nur dann hat die Partitur Wert, sowohl den eines selbstständigen, als auch eines II. Bandes! Denken Sie übrigens nach, ob sich dasselbe Verfahren nicht auch auf die 4-händigen {recto} Arrangements anwenden ließe? M. Ansicht nach würden die Arrangements sehr im Werte steigen. [sideways in right margin:] Selbstverständlich müßte[n] die Pläne ‒ richtig sein! © Transcription Ian Bent, 2006, 2023 |
{recto}
[All in a decorative rule-frame] [From:] ⇧ H. Schenker [Vienna] III, Reisnerstraße 38 [To:] Director Emil Hertzka [Vienna] I, Reichsrathsstraße 9 Universal Edition [postmark:] || 10/2 VIENNA 77 | 24 V 12 – 12 | * 5c * || [For message-continuation, see below] {verso} ⇧ Dear Director, I have thought of a solution for the score 1 that combines two advantages: Above, let the bars be numbered in order, say – 5 – 10 – 15 – 20 – 25 etc. (see, for example, my Chromatic Fantasy [& Fugue]); but below, the formal diagram † could be referenced, for example, "bar-group 25–37," etc., 2 in which case different type-sizes would have to be used for multiple references at the same point. 3 But I do recommend incorporating the diagram as fully as possible! Only if that is done is the score of value both as independent and also as a second volume! By the way, do think over whether the same procedure might lend itself to use in the four-hand {recto} arrangements, as well. In my opinion, the value of the arrangements would be greatly increased. [sideways in right margin:] Needless to say, the formal diagrams would have to be ‒ correct! © Translation Ian Bent, 2006, 2023 |
|
{recto}
[All in a decorative rule-frame] [Absender:] ⇧ H Schenker III., Reisnerstr. 38 [An:] Hn Direktor Emil Hertzka I., Reichsrathsstr. 9 „Universal-Edition“ [postmark:] || 10/2 WIEN 77 | 24 V 12 – 12 | * 5c * || [For message-continuation, see below] {verso} ⇧ Sehr geehrter Herr Direktor! Mir fällt eine Lösung für die Partitur ein, 1 die zugleich beide Vorteile umfaßt: Oben seien die Takte gezählt, wie sie laufen, etwa – 5 – 10 – 15 – 20 – 25 etc. (s. z.B. meine „chromatische Fantasie“); 2 unten aber mag der Plan † verzeichnet sein, also, z.B. Taktgruppe 25–37 etc, wobei für mehrere Bezeichnungen an derselber Stelle verschiedener Druck angewendet werden müßte. 3 Zur Einverleibung des Planes rate ich aber aufs Entschiedenste! Nur dann hat die Partitur Wert, sowohl den eines selbstständigen, als auch eines II. Bandes! Denken Sie übrigens nach, ob sich dasselbe Verfahren nicht auch auf die 4-händigen {recto} Arrangements anwenden ließe? M. Ansicht nach würden die Arrangements sehr im Werte steigen. [sideways in right margin:] Selbstverständlich müßte[n] die Pläne ‒ richtig sein! © Transcription Ian Bent, 2006, 2023 |
|
{recto}
[All in a decorative rule-frame] [From:] ⇧ H. Schenker [Vienna] III, Reisnerstraße 38 [To:] Director Emil Hertzka [Vienna] I, Reichsrathsstraße 9 Universal Edition [postmark:] || 10/2 VIENNA 77 | 24 V 12 – 12 | * 5c * || [For message-continuation, see below] {verso} ⇧ Dear Director, I have thought of a solution for the score 1 that combines two advantages: Above, let the bars be numbered in order, say – 5 – 10 – 15 – 20 – 25 etc. (see, for example, my Chromatic Fantasy [& Fugue]); but below, the formal diagram † could be referenced, for example, "bar-group 25–37," etc., 2 in which case different type-sizes would have to be used for multiple references at the same point. 3 But I do recommend incorporating the diagram as fully as possible! Only if that is done is the score of value both as independent and also as a second volume! By the way, do think over whether the same procedure might lend itself to use in the four-hand {recto} arrangements, as well. In my opinion, the value of the arrangements would be greatly increased. [sideways in right margin:] Needless to say, the formal diagrams would have to be ‒ correct! © Translation Ian Bent, 2006, 2023 |
Footnotes1 i.e. the pocket score that was intended as a companion volume to Schenker's monograph Beethovens neunte Sinfonie , which project was eventually abandoned. For previous discussion of bar numbering specific to the second movement, to which discussion this postcard is a response, see OC 52/433, May 7, and WSLB 112, May 11, 1912. 2 Schenker seems to mean that the score should have bar numberings placed above and below the staff, the latter transmitting the bar-group numberings from the formal diagram to the score, thereby "incorporating" the diagram into the score. 3 e.g., in movement 2, beneath bar 1, there might be three "references" in decreasing type-sizes, "Hauptteil T. 1–425," "Teil I T. 1–142," and "Einleitung T. 1–8." |
|
Format† Double underlined |
|
Commentary
Digital version created: 2023-01-17 |