OC 3/2-3: Oct 1913-Jun 1914 - Hans Weisse: lesson: Monday October 6, 1913
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6. X. Weisse † : 1 einige Fragen aus dem Kontrapunkt II1 ; über die offenen Quinten als Stimmführung u. nicht als Verstärkung; Quart in horizontaler Richtung konsonant auf Grund einer Vorformung der Quint; über T. 12 aus op. 109, besonders darüber, daß eis des Basses nach dis fallen durfte, weil das supponirte eisis[recte fisis] Leitton ist, eis[recte fis] daher als Quint die freien Wege[?recte Weg] hat. © Transcription Robert Kosovsky, 2007, 2020 |
October 6, [1913] Weisse † : 1 A few questions from Counterpoint I; on open fifths as voice-leading and not as reinforcement; the fourth in a horizontal direction being consonant on grounds of a pre-formation of the fifth; on measure 12 of Op. 109, especially that Eě in the bass had to fall to Dě because the E-double sharp[recte F-double sharp] above it is [the] leading-tone, hence Eě[recte Fě] [in m. 13] as fifth is free to move. © Translation Ian Bent, 2020 |
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6. X. Weisse † : 1 einige Fragen aus dem Kontrapunkt II1 ; über die offenen Quinten als Stimmführung u. nicht als Verstärkung; Quart in horizontaler Richtung konsonant auf Grund einer Vorformung der Quint; über T. 12 aus op. 109, besonders darüber, daß eis des Basses nach dis fallen durfte, weil das supponirte eisis[recte fisis] Leitton ist, eis[recte fis] daher als Quint die freien Wege[?recte Weg] hat. © Transcription Robert Kosovsky, 2007, 2020 |
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October 6, [1913] Weisse † : 1 A few questions from Counterpoint I; on open fifths as voice-leading and not as reinforcement; the fourth in a horizontal direction being consonant on grounds of a pre-formation of the fifth; on measure 12 of Op. 109, especially that Eě in the bass had to fall to Dě because the E-double sharp[recte F-double sharp] above it is [the] leading-tone, hence Eě[recte Fě] [in m. 13] as fifth is free to move. © Translation Ian Bent, 2020 |
Footnotes1 Schenker's diary for October 6 records: "A nice letter from Weisse, written after he had read Op. 109. What he highlights with particular trenchancy is the value of a piece of work such as mine for sake of the study of musical material itself, that is, of an element which, considered on its own, is of primary value, and stands above Beethoven, so to speak!" |
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Format† Double underlined |