OC 3/2-3: Oct 1913-Jun 1914 - Angi Elias: lesson: Monday October 20, 1913
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20. X. Elias † : Der Artikel v. Beischlag 1 über Triller u. lange Vorschläge, konform dem Resultat auch meines Beitrags zur Ornamentik; der Wert autographer Stimmen; über das Trio im Scherzo v. Brahms, op. 60; 2 Roth No. 3 3 ; über die Quint u. eventuelle Erweiterung zu 6/5 [vertical] nach Em. Bach. 4 © Transcription Robert Kosovsky, 2007, 2020 |
October 20, [1913] Elias † : The article by Beyschlag 1 about the trill and long appoggiaturas, conforming also with my findings in Contribution to the Study of Ornamentation ; the value of autograph parts; on the Trio in the Scherzo of Brahms’s Op. 60; 2 Roth No. 3 3 ; about the fifth and possible extension to 6/5 [vertical] according to C. P. E. Bach. 4 © Translation Ian Bent, 2020 |
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20. X. Elias † : Der Artikel v. Beischlag 1 über Triller u. lange Vorschläge, konform dem Resultat auch meines Beitrags zur Ornamentik; der Wert autographer Stimmen; über das Trio im Scherzo v. Brahms, op. 60; 2 Roth No. 3 3 ; über die Quint u. eventuelle Erweiterung zu 6/5 [vertical] nach Em. Bach. 4 © Transcription Robert Kosovsky, 2007, 2020 |
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October 20, [1913] Elias † : The article by Beyschlag 1 about the trill and long appoggiaturas, conforming also with my findings in Contribution to the Study of Ornamentation ; the value of autograph parts; on the Trio in the Scherzo of Brahms’s Op. 60; 2 Roth No. 3 3 ; about the fifth and possible extension to 6/5 [vertical] according to C. P. E. Bach. 4 © Translation Ian Bent, 2020 |
Footnotes1 Adolf Beyschlag, author of Die Ornamentik der Musik (Leipzig: Breitkopf & Härtel, 1908). By “Artikel,” Schenker means an entry in that work. 2 Schenker worked on Brahms’s Piano Quartet No. 3 in C minor, Op. 60, in October 1913 with a view to publishing his material in his planned Kleine Bibliothek . The material survives only in manuscript, in the hand of Jeanette Kornfeld, headed “Kl. Bibl.” and annotated in Heinrich’s hand “Brahms Clavier Quartett Cmoll op. 60,” as OC 34/161–67 (mvt 1), 168–71 (mvt 2: Scherzo), and 172–74 (mvt 3: Andante), mostly text with measure numbers but with a page of sketches for the Andante (175) – no notes on the Finale. This is the only lesson at which he is recorded as discussing the work with Elias. Other pupils were Sofie Deutsch, Brünauer, Weisse, and Breisach. 3 Herman Roth, ed., 25 Geistliche Lieder (aus dem Schemellischen Gesangbuch) für eine Singstimme und basso continuo (Leipzig: C. F. Peters, [n.d.]), a copy of which, with annotations in Schenker's hand, is preserved at OJ 25/1. No. 3 is “Selig! wer an Jesum denkt” (BWV 498). 4 Cf. C. P. E. Bach, Essay on the True Art of Playing Keyboard Instruments, Eng. transl. William J. Mitchell (New York: W. W. Norton; London: Cassell, 1949; London: Eulenburg, 1974), pp. 243–52 “The Six-Five Chord.” |
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Format† Double underlined |