OC 3/1: Jan 1912-Mar 1912 - Hans Weisse: lesson: Tuesday February 6, 1912
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6. II. Weisse † : [Variationen aus der Asd Sonate P kompositionelles Prinzip der Var. Die Schreibartnoten Beeth. aus Faksimile aufgezeigt; Figurierungen in 1., 2. Var.; das fernere Prinzip der 3.; {23} die Linie bloß in den 1. vier Tak[t]en erhalten, hernach ab T. 5 das technische Prinzip allein † gleichsam zum neuen Motiv erhoben u. damit in großem Umriß die harmonische Tendenz des Themas wiedergegeben. Ueber die abweichende Schreibart Beeth. im Faksimile u. im Urtext. 1 © Transcription Robert Kosovsky, 2007 |
February 6, [1912] Weisse † : [Variations from the Aę major Sonata; the compositional principle of variation. Beethoven‘s way of writing down music demonstrated from the facsimile; figurations in variations 1 and 2; the further principle of the third [variation]: {23} the line is adhered to only for the first four bars; thereafter, from bar 5 the technical principle alone † , so to speak, is elevated to a new motive, and thereby in its general outline the harmonic movement of the theme is reproduced. Concerning how Beethoven‘s way of writing things down in the facsimile differs from that in the Urtext edition. 1 © Translation Ian Bent, 2021 |
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6. II. Weisse † : [Variationen aus der Asd Sonate P kompositionelles Prinzip der Var. Die Schreibartnoten Beeth. aus Faksimile aufgezeigt; Figurierungen in 1., 2. Var.; das fernere Prinzip der 3.; {23} die Linie bloß in den 1. vier Tak[t]en erhalten, hernach ab T. 5 das technische Prinzip allein † gleichsam zum neuen Motiv erhoben u. damit in großem Umriß die harmonische Tendenz des Themas wiedergegeben. Ueber die abweichende Schreibart Beeth. im Faksimile u. im Urtext. 1 © Transcription Robert Kosovsky, 2007 |
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February 6, [1912] Weisse † : [Variations from the Aę major Sonata; the compositional principle of variation. Beethoven‘s way of writing down music demonstrated from the facsimile; figurations in variations 1 and 2; the further principle of the third [variation]: {23} the line is adhered to only for the first four bars; thereafter, from bar 5 the technical principle alone † , so to speak, is elevated to a new motive, and thereby in its general outline the harmonic movement of the theme is reproduced. Concerning how Beethoven‘s way of writing things down in the facsimile differs from that in the Urtext edition. 1 © Translation Ian Bent, 2021 |
Footnotes1 The facsimile of the Sonata in Aę major, Op. 26, ed. Erich Prieger (Bonn: Friedrich Cohen, 1895). What Schenker calls the “Urtext” was the collected edition of Beethoven’s works published in Leipzig by Breitkopf & Härtel between 1862 and 1865, or some other edition based on that text. |
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Format† Double underlined |