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  • Variations and Fugue on a Theme of J. S. Bach, Op. 81
  • mc000701


  • Variations and Fugue on a Theme of J. S. Bach, Op. 81 is composed by Max Reger

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  • OJ 6/7, [19] Handwritten letter from Schenker to Moriz Violin, dated April 10, 1925

    Continuing the story of the ongoing financial battle against Hertzka and Universal Edition, Schenker thanks Violin for providing confirmation of the subscriptions paid for by Max Temming, then recounts that, at a meeting with Hertzka and his bookkeeper, the order-book for Der Tonwille had several pages torn out. Schenker is upset that his lawyer Dr. Baumgarten, though an old friend, is not fully supportive of his position and would prefer seek a compromise with Hertzka; this, Schenker feels, would rob him of much of his hard-earned royalties, especially from the Beethoven sonata edition. He now asks Violin to find a contact – outside Hamburg – who would be willing to order nine copies of Tonwille 1, as evidence that this issue is still in demand, despite Hertzka's claims to the contrary. He has attended a performance of Hans Weisse's Sextet, of which he found the variation movement and the trio section of the scherzo to be the most satisfactory parts.

  • OJ 6/7, [23] Handwritten letter from Schenker to Moriz Violin, dated July 26, 1925

    Two weeks after arriving in Galtür for the summer holidays, Schenker reports that he has caught up on his sleep and has already dictated an essay on Reger's Variations and Fugue on a Theme of J. S. Bach, Op. 81. He will not allow the legal wrangle with Universal Edition to interfere with his holiday, but he is annoyed about not having been paid by Drei Masken Verlag for the manuscript of Meisterwerk 1. He has responded to a critique of his Erläuterungsausgabe of Op. 110, in an essay in Meisterwerk 1, but will not pursue other attacks upon his work and those of his pupils. The Schenker medallion designed by Alfred Rothberger is going to a second impression; but the mezzotint portrait by Viktor Hammer, which Jeanette finds a superior work, has not yet been printed. Throughout the letter, Schenker urges Violin to bring his family to Galtür sometime during the summer.

  • OJ 6/7, [24] Handwritten letter from Schenker to Moriz Violin, dated August 15, 1925

    After expressing his sympathy for Violin, in response to his friend's depressing postcard, Schenker gives an account of some of the summer events, including a visit from Vrieslander and Hoboken and work on two essays for Meisterwerk 2. While continuing to rail against Hertzka and Universal Edition, he repeats the story of Drei Masken Verlag failing to send him 250 Marks upon receipt of the manuscript of Meisterwerk 1. His brother Moses is, however, acquainted with the principal owner of Drei Masken, Felix Sobotka, and through this connection the payment has been made.

  • OJ 8/4, [42] Handwritten postcard from Schenker to Moriz Violin, dated February 11, 1926

    Schenker enquires about Violin's trio concerts with Buxbaum and van den Berg went and ask if Hammer's portrait has arrived. He reports on the possible difficulties in putting together the first Meisterwerk Yearbook, on account of the numerous music examples and separate Urlinie graphs, and summarizes the contents of the second Yearbook.

  • OC 54/65-66 Draft of a publicity note for Das Meisterwerk in der Musik, dated February 15, 1926

    A draft statement of the principles lying behind Schenker’s Meisterwerk series of Yearbooks, together with a provisional table of contents for the second Yearbook.

  • OJ 15/15, [20] Handwritten postcard from Weisse to Schenker, dated April 16, 1926

    Schenker has, mistakenly, sent Weisse a copy of Reger's "Telemann" Variations (Op. 134) instead of the "Bach" Variations (Op. 81) which he had lent him. Weisse asks what is holding up the publication of the first Meisterwerk Yearbook, and suggests that Schenker might write about Bruckner in the next one. A Brahms analysis would help strengthen his position against his opponents. He also recommends that Schenker discuss a work that is less than perfect, and cites Eduard Mörike's "Um Mitternacht" as an example of a poem whose opening verses are beautiful but which deteriorates in meaning and poetic quality.