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OC 3/3: 1924/25 - Angi Elias: lessons: 1924/25

[The lesson reports for Angi Elias in the original are written continuously, without paragraph breaks or separating punctuation. They have been separated here in the interests of legibility.]

Elias: †

[undated:] op.106 begonnen. op. 10, 2 1 wiederholt, Haydn Cismoll, letzter Satz, gelesen.

10. X. Abschluss des 1. Teiles von op. 106, dazu Theoretisches über ĉ–Ă u. das Verhältnis von Tonalität u. Form. Vergleiche mit Bachs Partita, 2 Präludium, Ale- {7} mande [sic] u. mit Schuberts Walzer

29. X.. Urlinie u. Klischées bis zum 2. Ged. in op. 106, 3 dazu Betrachtungen von Bülow, Riemann, Nagel.

8. XI.. Brahms Walzer: 4 Urlinie-Bilder von No 1, 2, 3 u. Vortrag. Gelesen: Haydn, Ddur-Sonate, Peters I, 1. Satz; 5 Brahms Walzer No 4 u. 5.

17. XI.. op. 106 fortgesetzt; Haydn Ddur Sonate, Adagio. 6

19. XI.. op. 106 Bild der Durchführung. 7

22. XI.. Brahms Walzer No 6. 8

24. XI.. Wiederholung des 1. Satzes op. 106; Haydn-Sonate, letzter Satz. 9

28. XI.. Weitere Bilder zu den Brahms Walzern. 10

1. XII.. op. 106: Scherzo begonnen, Winke zur Urlinie. 1. Satz schon flüssig.

3. XII.. Erster Bildversuch des Scherzo. 11

10. XII.. Scherzo-Trio Bilder. 12

12. XII. Bemerkungen zum Weihnachts-Oratorium von Bach wegen der bevorstehenden Aufführung unter Furtwängler. 13

15. XII. Schöpfung, beleuchte wichtige Linien in vielen Stücken. op. 106 Scherzo gespielt.

19. XII. Brahms Walzer {8} Ddur, Dmoll Bilder korrigiert.

22. XII. op. 106: über das Verhältnis der Tonalität u. des Vordergrunds.

29. XII. [op. 106] Adagio begonnen auch das Bild.

2. I. Brahms Walzer Gdur.

7. I. Kleines Liedchen vom kleinen Neffen; Begleitung korrigiert.

9. I. Walzer Hmoll.

12. I. op. 106 Adagio, 2. Ged.

17. I. Walzer Edur, Hdur, Bilder u. Vortrag.

19. I. op. 106, Adagio bis zur Rückleitung.

21. I. . Walzer Gismoll; über den Anfang der Nocturne Hdur von Chopin, op. 9.

23. I. Betrachtung der erleichterten Fassung des Walzer Gismoll in der Tonart Amoll.

26. I. op. 106 Rückleitung des Adagio u. erste Einführung in die Ornamente der Variation.

28. I. Letzte Walzer Asdur u. Cismoll. Schenkt aus Anlaß des zuendegehenden 20. Studienjahres das Facsimile der IX. Sinfonie. 14

9. II. op. 106, 2. Teil des Adagio.

16. II. Noch einmal die 32tel Or- {9} namente genau betrachtet.

18. II. [op. 106] Reinschrift des 1. Satzes.

20. II. Alle Brahms Walzer, nicht übel; wiederholt Mendelssohn: Gondellied Fismoll, nach dem Tw. 15

25. II. Mozart Sonate Cdur, die Frl. Kahn gespielt hat, besser als Frl. Kahn. 16

2. III. Wiederholt Mendelssohn: Gondellied, Chopin Etude op 10 Cdur.

4. III. [op. 106] Reinschrift des 1. Satzes bis zur Durchführung.

6. III. Mozart Sonate Ddur (nach einer Aufführung von Dirk Schäfer). 17

9. III. Mozart Sonate wiederholt.

11. III. [op. 106] Reinschrift bis knapp vor die Reprise.

13. III. Wiederholt Mozart Sonate Ddur, 1. u. 2. Satz.

18. III. Korrektur der Durchführung von op. 106.

23. III. [op. 106] Adagio zuende.

27. III. Wiederholt Chopin Etude Asdur op 10; 18 Brahms Capriccio op 119 [recte 76] Cdur.

30. III. op. 106: erste Betrachtung des Largo.

3. IV. Chopin Etude Asdur, korrigiert nach {10} der Handschrift; dazu Urliniewinke. 19

6. IV. [op. 106] Largo zuende.

8. IV. Chopin-Sonate Bmoll: einiges über die Urlinie, gelegentlich Müllers Studien. 20 Johannes-Passion, 1. Chor.

10. IV. Wiederholt: Chopin Etudes Fdur, Cdur aus op 10.

15. IV. op. 106 Adagio-Bilder bis zur Rückleitung korrigirt. Einiges zur Urlinie der Fdur-Sonate von Mozart (s. Cube); 21 über die Führung der obligaten Lagen u. die irrationale Deckung der Höhe in den Meisterwerken (Weisses Sextett 22 ).

17. IV. Wiederholt: Chopin op 10 Amoll, Cmoll.

20. IV. op. 106 Fuge begonnen.

24. IV. Wiederholt Chopin op. 10 Gesdur, Edur.

27. IV. [op. 106] Bilder zum Largo u. der Fuge; Korrektur der Busoni-Arbeit. Zeige Paderewsky Platten der gespielten Etüden. 23

29. IV. [op. 106] Adagio-Bilder zuende korrigiert.

11. V. op. 106 Bilder bis zum Gesdur-Zwischensatz [bars 85ff] gebracht. Einiges über den Vortrag Friedmann. 24

15. V. {11} Wiederholt Etude Cismoll.

25. V. [op. 106] Fuge, Esmoll-Einsatz. [bars 95ff]

29. V. Wiederholt: Etude Fmoll, op 10.

30. V. Wiederholt Chopin-Walzer Cismoll.

10. VI.

12. VI.

15. VI.

19. VI.

24. VI.

© Transcription Robert Kosovsky, 2007
[The lesson reports for Angi Elias in the original are written continuously, without paragraph breaks or separating punctuation. They have been separated here in the interests of legibility.]

Elias: †

[undated:] Op. 106 begun. Op. 10, No. 2 1 repeated. Haydn Cě minor, last movement, read.

October 10. Conclusion of the first part of Op. 106, and in relation to it, theoretical points on ĉ–Ă and the relationship of tonality and form. I compare to the Bach Partita, 2 Prelude and Allemande, {7} and to the Schubert Waltz.

October 29. Urlinie graph and Klischées up to the second theme in Op. 106, 3 and in relation to it, observations by Bülow, Riemann, Nagel.

November 8. Brahms Waltzes: 4 Urlinie graphs of Nos. 1, 2, 3 and performance. Read: Haydn Sonata in D major, Peters I, first movement; 5 Brahms Waltzes Nos. 4 and 5.

November 17. Op. 106 continued; Haydn Sonata in D major, Adagio. 6

November 19. Op. 106 graph of the development section. 7

November 22. Brahms Waltz No. 6. 8

November 24. Repetition of the first movement of Op. 106; Haydn Sonata, last movement. 9

November 28. Further graphs of the Brahms Waltzes. 10

December 1. Op. 106: Scherzo begun, tips on the Urlinie. First movement already fluent.

December 3. First attempt at a graph of the Scherzo 11

December 10. Graphs of the Scherzo-Trio. 12

December 12: Observations on the Christmas Oratorio by Bach in preparation for the forthcoming performance under Furtwängler. 13

December 15 Creation, I cast light on important lines in several pieces. Op. 106, the Scherzo played.

December 19: Brahms Waltzes {8} in D major and D minor, graphs corrected.

December 22: Op. 106: über das Verhältnis der Tonalität u. des Vordergrunds.

December 29: [Op. 106] Adagio begun, and also the graph.

January 2: [Brahms Waltzes], Waltz in G major.

January 7: Short song by the little nephew; accompaniment corrected.

January 9: [Brahms Waltzes], Waltz in B minor.

January 12: Op. 106 Adagio, second theme.

January 17: [Brahms Waltzes], Waltzes in E major and B major, graphs and performance.

January 19: Op. 106, Adagio as far as the retransition.

January 21: [Brahms Waltzes], Waltz in Gě minor; on the beginning of Chopin Nocturne in B major, Op. 9.

January 23: Observations on the simplification of [Brahms Waltzes], Waltz in Gě minor in the key of A minor.

January 26: Op. 106 retransition of the Adagio and first introduction to the ornaments in the Variation.

January 28: The last two waltzes, in Aę major and Cě minor. On the occasion of her twentieth year of study, she presents me with the facsimile of the Ninth Symphony. 14

February 9: Op. 106, second section of the Adagio.

February 16: Once again on the {9} 32nd-note ornaments considered closely.

February 18: [Op. 106] clean copy of the first movement.

February 20: Brahms Waltzes complete – not bad; revisited, Mendelssohn: Gondola Song in Fě minor, as per Der Tonwille 15

February 25: Mozart Sonata in C major, which Miss Kahn has played, [Miss Elias] better than Miss Kahn. 16

March 2: Revisited: Mendelssohn Gondola Song; Chopin Etude Op. 10 in C major.

March 4: [Op. 106] clean copy of the first movement as far as the development section.

March 6: Mozart Sonata in D major (after the performance by Dirk Schäfer). 17

March 9: Mozart Sonate revisited.

March 11: [op. 106] clean copy to just before the Recapitulation.

March 13: Revisited: Mozart Sonata in D major, first and second movements.

March 18: Correction of the development section of Op. 106.

March 23: [Op. 106] Adagio through to the end.

March 27: Revisited, Chopin Etude in Aę major, Op 10; 18 Brahms Capriccio Op. 119 [recte 76] in C major.

March 30: Op. 106: first consideration of the Largo.

April 3: Chopin Etude in Aę major, corrected in accordance with {10} the [autograph] manuscript; [I give] tips on the Urlinie. 19

April 6: [op. 106] Largo through to the end.

April 8: Chopin Sonata in Bę minor: some points about the Urlinie, in connection with Müller’s studies. 20 The St. John Passion, first chorus.

April 10: Revisited: Chopin Etudes in F major and C major from Op 10.

April 15: Op. 106 Adagio graph corrected as far as the retransition. Some points about the Urlinie of the F major Sonata by Mozart (see Cube); 21 about the conduct of the obligatory registers and the irrational covering of the high register in the masterworks (Weisse’s Sextet 22 ).

April 17: Revisited: Chopin Op. 10 in A minor and C minor.

April 20: Op. 106 the Fugue begun.

April 24: Revisited: Chopin Op. 10 in Gę major E major.

April 27: [Op. 106] graphs for the Largo and the fugue; correction of the Busoni work. I show Paderewski gramophone records of the etudes that he played. 23

April 29: [Op. 106] Adagio graphs finally corrected.

May 11: Op. 106, she brings graphs as far as the Gę major episode [bars 85ff]. Some comments on the performance by Friedmann. 24

May 15: {11} Revisited Etude in Cě minor.

May 25: [Op. 106] Fugue, the Eę minor subject entrance [bars 95ff].

May 29: Revisited: Etude in F minor, Op 10.

May 30: Revisited: Chopin Waltz in Cě minor.

June 10:

June 12:

June 15:

June 19:

June 24:

© Translation Alan Dodson, 2017

Footnotes

1 Probably Beethoven’s Sonata Op. 10 No. 2, a piece Elias studied the previous year. Her most recent lesson on Chopin’s Etude Op. 10 No. 2 was during the 1917/18 season. — This first entry is undated. The most likely dates for the lesson to have taken place are October 1, 4, 6, or 8. Elias seems to have signed up for three lessons per week, on Mondays, Wednesdays, and Saturdays, but with many omissions/absences and several substitutions.

2 Partita No. 1 in Bę major, on which another pupil (Brünauer) had just received a lesson three days earlier. In a series of sketches that Schenker appears to have prepared the following week (OC 69/4–8), he graphs both the Prelude and Allemande as ĉ -lines. Cf. Schenker’s diary, October 15: “An op. 106 u. dem Präludium der Partita u. Allemande.” (“[Work] on Op. 106 and the Prelude of the Partita and Allemande.”) October 17: “Allemande zuende.” (“Allemande finished.”)

3 OC 65/12, Elias’s foreground graph of the first 161 measures of this movement, resembles Schenker’s “Urlinie-Tafel” graphs in its level of detail, while OC 65/4, her two-level graph of the first 134 bars, is labelled as “I, Klischees.” This lesson appears to have centered on bars 1–61 of these two documents, comprising the first theme (“Gruppe I”) and transition (“Modulationspartie”) in Schenker’s earlier analysis of the movement’s form (OC 65/64–65). See Nicholas Marston, Heinrich Schenker and Beethoven’s ‘Hammerklavier’ Sonata (Ashgate, 2013), pp. 36–42 and 149–50.

4 This was the first of twenty lessons centering on graphs of Brahms’s Waltzes Op. 39 that Elias received during the 1924/25 and 1925/26 seasons. A notebook containing Elias’s graphs of the entire opus, with corrections in Schenker’s hand, survives as OC 34/312.

5 The score cited here (OC score 73) includes two sonatas in D major, namely Hob. XVI/19 and 37. The lessonbook entry for November 17 suggests that Elias played the former.

6 Of the two sonatas in D major found in the score cited in the lessonbook entry from November 8, only one includes an Adagio movement (“Adagio, ma non troppo”): Hob. XVI/19.

7 See Elias’s foreground graph of the movement (OC 65/12–14), bars 120–226.

8 See footnote in lessonbook entry from November 8.

9 Hob. XVI/19. See lessonbook entries from November 8 and 17.

10 See footnote in lessonbook entry from November 8.

11 There are two graphs of this movement in Elias’s hand: OC 65/24 (foreground) and OC 65/25 (reduction).

12 See footnote in lessonbook entry from December 3.

13 This performance of the Christmas Oratorio took place on December 12 at 7 p.m. in the great hall of the Musikverein, but with Paul von Klenau as the conductor since Wilhelm Furtwängler had had to pull out in view of other commitments.

14 Schenker’s diary for January 28, 1925 records: “Frl. Elias bringt zur Erinnerung an ihre erste Stunde vor 20 Jahren die facsimilirte Partitur der IX. Sinfonie von Beethoven.” (“In remembrance of her first lesson twenty years ago, Miss Elias brings the facsimile score of Beethoven's Ninth Symphony.”).

15 "Mendelssohn: Venetianisches Gondellied, op. 30, Nr. 6," Der Tonwille 10 (Vienna: Universal Edition: Oct 1924), 25–29.

16 Elias: February 25, cf. Brünauer: March 10.

17 Dirk Schäfer (1873–1931), Dutch pianist and composer.

18 Schenker’s diary for March 28 records: “Chopin Etüde Asdur op. 10 auf die Urlinie untersucht (Elias).” (“Chopin's Etude in Aę major Op. 10 analysed for the Urlinie (Elias).”).

19 Schenker’s diary for April 3 records: “Chopin-Etüde Asdur op. 10 nach der Handschrift durchgesehen u. korrigiert für Frl. Elias.” (“Chopin's Etude in Aę major Op. 10 read through following the manuscript and corrected for Miss Elias.”).

20 Siegfried Fritz Müller’s lessons for April 10, 17, 20, 24, and 27, 1925 all included the B minor Sonata, though without reference to either Linie or Urlinie.

21 Cf. Cube’s lesson for April 14, 24, May 8, 12, 15, June 5 (“Urlinie der [Fdur] Mozart-Sonate mit Tinte.”), 19, and 23, 1925.

22 Hans Weisse, Sextett for 2 violins, 2 violas, 2 cellos, Op. 7, of which composition was completed on February 14, 1925 (Schenker’s diary), and (first?) performance in Berlin on March 10 of that year. See Weisse’s lesson notes for April 14, which include terms similar to those in this entry.

23 Busoni made piano rolls of many works, including the Gę major Etude, Op. 10, No. 5; Paderewski published complete editions of Op. 10 and Op. 25, and among the recordings that he made is the Etude in C minor, Op. 10, No. 12.

24 There was a recital by Ignacy Friedman on May 10, 1925 in the large hall of the Musikverein Building, the program being Chopin, Sonata in Bę minor, Schumann Papillons, and compositions by Mendelssohn, Liszt, and Bach-Busoni. The Schenkers attended with Mrs. Pairamall; there is a harsh account of the performance in his diary for that day, and also an account on May 14 of his comments to Mrs. Pairamall.

Format

† Double underlined