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  • Octet in D major (1930) for string quartet, double bass, clarinet, horn and bassoon
  • Oktett


  • Octet in D major (1930) for string quartet, double bass, clarinet, horn and bassoon is composed by Hans Weisse

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  • OJ 15/16, [62] Handwritten letter from Weisse to Schenker, dated August 5, 1929

    Weisse, absorbed by Schenker's ideas (especially the concept of "tonal space") tells of his plans to write about his teacher's significance as a contemporary theorist. He describes his progress in composition, which includes the completion of a set of six bagatelles for piano and a Clarinet Quintet, and much work on an Octet. He asks about progress on Der freie Satz and about the publication of Schenker's analysis of the "Eroica" Symphony, and reports his and Hertha's joy in parenthood.

  • OJ 6/7, [47] Handwritten letter from Schenker to Violin, dated March 2, 1930

    Schenker reports on two concerts at which Hans Weisse's Octet was performed for the first time. Furtwängler was enchanted by it, Schenker was impressed by the quality of the voice-leading in general, the construction of the finale movement (a passacaglia) in particular. He was touched to see that a pupil of Weisse's, Dr. Felix Salzer, had subvented the cost of the rehearsals and concerts, and the provision of food and drink for the audience; this he compared with Antony van Hoboken's reluctance to help him with the publication costs of his recent work.

  • OJ 15/16, [63] Handwritten letter from Weisse to Schenker, dated March 3, 1930

    Weisse has delayed in replying to Schenker's recent letter because he has been corrected copies of his Clarinet Quintet and Octet, which he will submit to the City of Vienna Prize competition. He asks Schenker to help publicize the first performance of the Octet, at the small auditorium of the Musikverein, and asks for the addresses of Angi Elias and Marianne Kahn so that he can send them personal invitations. His wife is about to give birth to a second child, and he hopes that Schenker's personal doctor Julius Halberstam might also be interested in hearing the Octet.

  • OJ 15/16, [64] Handwritten letter from Weisse to Schenker, dated March 21, 1930

    Weisse has seen Furtwängler, who will write a letter of recommendation to Breitkopf & Härtel with regard to Weisse's Octet. He suspects that Furtwängler will want to consult Schenker about it, and asks his teacher not to be overly modest about the work of one of his pupils, and to stress the need for an arrangement of the work for piano four hands.

  • OJ 5/7a, [30] (formerly vC 30) Handwritten postcard from Schenker to Cube, dated July 10, 1930

    Comparison of Otto Vrieslander with Hans Weisse. Weisse's Octet impressed Furtwängler. Meisterwerk III due out in October (reports contents); is now revising Der freie Satz.

  • OJ 6/7, [49] Handwritten letter from Schenker to Moriz Violin, dated July 10, 1930

    Acknowledging his recent letter to Jeanette, Schenker expresses his regret that Violin and his son Karl are still troubled by health problems and reports some recent news. Furtwängler's intervention with Breitkopf & Härtel on behalf of Weisse's Octet was in vain; he had also sought the same firm's agreement to publish the "Eroica" analysis, but this will now appear as the third Meisterwerk Yearbook. The Schenkers are expecting many visitors in Galtür, including Furtwängler, Reinhard Oppel, Schenker's nephew and his wife, and Jeanette's sister and family. Hoboken is prepared to fund the publication of a collected edition of the works of C. P. E. Bach (with financial support from the city of Hamburg), but Schenker is cautious about this because his paid involvement in the project might result in work that would jeopardize progress on Der freie Satz. He has been included in the latest edition of Meyers Konversations-Lexicon, and has received favorable citation in Romain Rolland's latest Beethoven book.

  • OJ 6/7, [51] Handwritten letter, with envelope, from Schenker to Violin, dated October 21, 1930

    Writing after a long and serious illness, Schenker assures his friend that he is alive and well. The doctors have pronounced him generally fit, but he suffers from a painful tightening of the thorax, and also a flickering that causes him to "lose" letters and notes. He has had to give many double-lessons of late, in theory, which he finds tiring. To Hoboken, who, though gifted, is concerned only about his money and often comes to lessons without having prepared anything, he would rather play than give over-long lectures. He is concerned, for his own sake as much as for Weisse's, about the lectures in Berlin that Weisse will deliver, and about his eagerness to debate with Alfred Lorenz; he is glad that Violin is going to Berlin, and will give him instructions about what to do there. His Beethoven sonata edition brings in 100 shillings per month – a good deal for the publishers – and his brother still has half of his inheritance. But he is still alive – with Der freie Satz.

  • OJ 8/5, [1] Handwritten postcard from Schenker to Moriz Violin, dated December 2, 1930

    Schenker suspects that Weisse, with Leo Kestenberg's support and Furtwängler's help, is hoping for an appointment in Berlin.