Schenker Documents Online: John Petrie Dunn

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Profiles Person Place Organization Work by Schenker Journal Musical Composition Downloads temporarily removed for testing purposes	John Petrie Dunn born Edinburgh, Oct 26, 1878; died Edinburgh, February 4, 1931 Documents associated with this person: Correspondence Diaries Other material Scottish pianist, theorist, and writer on music. Career Summary Dunn studied at Edinburgh University with Friedrich Niecks and later at the Stuttgart Conservatory with Samuel de Lange (theory) and Max von Pauer (piano), and in 1902 joined the teaching faculty there. In 1909 he was appointed to the Kiel Conservatory, first as professor of piano, later as deputy director, but returned to Britain in 1914, serving and being wounded in World War I. After the war, he settled in Edinburgh (Scotland), where he worked as piano teacher and concert artist, later teaching music theory at Edinburgh University 1920-31. His books include Das Geheimnis der Handführung beim Klavierspiel (1914), Ornamentation in the Works of Chopin (London: Novello, 1921), A Student's Guide to Orchestration (London: Novello, 1928), based on his Edinburgh DMus thesis, and The Basis of Pianoforte Playing (London: OUP, 1933), completed posthumously by his wife, Aline Dunn (a native German-speaker). He was killed in a street accident in 1931. Dunn and Schenker Though never a pupil of Schenker's, Dunn became a disciple of his on the basis of the study of Schenker's writings, and Schenker took pride in the fact that his theory was being taught in Edinburgh. Dunn prepared an abbreviated English translation of Schenker's Kontrapunkt that remained unpublished. A verbal portrait of Dunn is presented by Anthony van Hoboken when he visited him in September 1927: OJ 11/54, [18], September 18, 1927. [insert link] Correspondence and Portraits There survive a copy of one (draft?) letter from Schenker to Dunn dated July 8, 1928 (OC 30/122-124), five others from Schenker to Dunn that are not known to have survived, and are here designated Dunn [1]-[5], eight letters from Dunn to Schenker, 1926-30, and two from Dunn's widow dated 1931 together with a clipping and typed German translation of D. F. Tovey's obituary for Dunn in The Scotsman, February 6, 1931 (OJ 10/12 and 10/13). Schenker owned two inscribed photographic portraits, one of John, one of John and Aline (OJ 72/4), and a copy of A Student's Guide to Orchestration (OC 2/p. 80); this work contains what is probably the first published translation of an extract from Schenker's writings (taken from the monograph on Beethoven's Ninth Symphony). Sources: Federhofer, Hellmut, Heinrich Schenker nach Tagebüchern und Briefen ... (Hildesheim: Georg Olms, 1985), pp. 102-04 Baker's1971 Oster Collection Finding List Jonas Memorial Collection catalog Downloads temporarily removed for testing purposes Correspondence OJ 11/54, [10] Handwritten letter from van Hoboken to Schenker, dated January 16, 1927 Van Hoboken acknowledges [non-extant] missive; has been unable to look up Gerald Warburg; asks for John Petrie Dunn's address; has seen Otto Vrieslander. OJ 11/54, [12] Handwritten letter from van Hoboken to Schenker, dated January 28, 1927 Hoboken had to cancel his planned visit to John Petrie Dunn because of illness. — He reports on library visits in London and Paris, discusses manuscripts and conditions for photography, purchases. — He plans no further trips this season. OC 54/132 Typed letter from Otto Vrieslander to Schenker, dated February 15, 1927 Vrieslander informs Schenker that Alfred Einstein (DMV) has decided to engrave the music examples for the second Meisterwerk volume in order to ensure a flawless reproduction. He also reports that the width of the pages in the supplement will be expanded, and notifies Schenker of the changes that he will make to the music examples following this decision. Vrieslander states he has officially enquired with Einstein about potential problems in the printing process, making clear that Schenker will not be able to bear any additional costs for printing errors. OJ 5/7a, [9] (formerly vC 9) Handwritten letter from Schenker to Cube, dated February 15, 1927 Schenker acknowledges and returns Cube's review; reports on the progress of his own publications. OJ 6/7, [32] Handwritten letter from Schenker to Violin, dated February 16, 1927, with postscript from Fanny Violin Replying to Violin's previous letter, Schenker expresses surprise about (Egon) Pollak's enthusiasm for C. P. E. Bach's Double Concerto. He also expresses uncertainty about whether to accept an honor from the Academy of Arts and Science in Vienna. A translation and adaptation of part of his Counterpoint, vol. 2, has been prepared; and Herman Roth's book on counterpoint has also been published. He sends little Karl a picture of himself, and leaves space for Violin's sister Fanny to add a short greeting. OJ 11/54, [14] Handwritten letter from van Hoboken to Schenker, dated August 7, 1927 Hoboken reports on recent travels, including the July 15, 1927 Vienna riots. – He has made progress on his index of Haydn's works, and has purchased some Beethoven first editions. – He hopes to meet Furtwängler soon, and has recently heard from Vrieslander. – He asks Schenker to inscribe a copy of Meisterwerk 2 to John Petrie Dunn. OJ 89/1, [2] Handwritten letter from Schenker to van Hoboken, dated August 12, 1927 Schenker acknowledges van Hoboken's letter, OJ 11/54, 14, dated August 7, 1927; encloses seven articles; responds regarding Haydn, Furtwängler, the "Appeal" for the Photogrammarchiv, an exhibition in Frankfurt, John Petrie Dunn, Reinhard Oppel, Das Meisterwerk in der Musik, vol. II, Otto Erich Deutsch, and an honorarium; and sends best wishes for the Hobokens' trip to Switzerland, reporting on von Cube. OJ 11/54, [15] Handwritten letter from van Hoboken to Schenker, dated August 28, 1927 Hoboken reports on meeting with Furtwängler regarding the Photogrammarchiv, and expresses the hope that it will be possible to interest Furtwängler in performance according to the sources in the Archive; he encloses the final version of the "Aufruf" for the Archive, and discusses negotiations with the Austrian National Library and Ministry of Education. — Comments on Oppel's plan to teach in Leipzig. — Agrees to Schenker's lesson plan and fee for 1927/28. — Describes his travel plans, which include meetings with Louis Koch in Frankurt, Ludwig Schiedermair in Bonn, contact with John Petrie Dunn in England, C. S. Terry in Scotland, and Maurice Cauchie in Paris, and photographing [of sources] at the [Paris] Conservatory. OJ 89/1, [5] Handwritten letter from Schenker to van Hoboken, dated September 13, 1927 Schenker acknowledges OJ 11/54, [17], and discusses the nature of a "prospectus" and the suitability of Vrieslander's text for that purpose. — He expresses an interest in Hoboken's latest discoveries, and asks whether the latter could inquire in London as to the whereabouts of the autograph manuscript of Beethoven's Op. 106. OJ 11/54, [18] Handwritten letter from van Hoboken to Schenker, dated September 18, 1927 Van Hoboken reports on his visit to John Petrie Dunn: his career, his grasp of Schenker's theory, his situation at Edinburgh University, his publications. — Tomorrow he is to visit C. S. Terry. OJ 9/34, [9] Handwritten letter from Cube to Schenker, dated October 29, 1927 Cube has had 'flu; reports on his [conservatory] teaching of Schenkerian theory (though disguised from the authorities), his private teaching, his work in composition; he has joined the Reichsverband deutscher Tonkünstler und Musiklehrer. Dunn has sent him his translation [of part of Kontrapunkt], which he thinks may serve classroom use better than that of Vrieslander. He is enjoying using his radio; sends two Galtür portraits; his father has had a son. OJ 12/6, [2] Handwritten postcard from Jonas to Schenker, dated February 9, 1928 Jonas asks for address of John Petrie Dunn. OJ 5/7a, [14] (formerly vC 14) Handwritten letter from Schenker to Cube, dated April 29, 1928 Schenker sympathizes with Cube over the hostilities he faces; contrasts his own theory to the approach of Riemann. Has arranged for Hammer portraits to be sent to Cube [for bookshop exhibits], and directs him to biographical information about himself. Describes the trials of his 20s, which were surpassed by the difficulties he faced later with publishers and organizations. Upholds Joachim and Messchaert as models of performance art, and speaks of his contact with Brahms. Asks whether Cube will be joining him in Galtür in the summer. OJ 5/7a, [15] (formerly vC 15) Handwritten postcard from Schenker to Cube, dated May 28, 1928 Schenker sends Cube an article written for the Beethoven centenary festival and suggests a "connection" between Bonn and Düsseldorf; refers to American professors teaching the Urlinie in the USA; outlines summer plans. OJ 89/2, [6] Handwritten letter from Schenker to Hoboken, dated June 22, 1928 With thanks for birthday greetings, Schenker expresses how highly he values the Photogrammarchiv while endorsing van Hoboken's turning down of an "honor" that he was offered. — Schenker has, at Einstein's request, updated his entry in Riemann's Musiklexikon. — With the success of the Urlinie through Der Tonwille, he no longer considers himself isolated. OJ 9/34, [13] Handwritten letter from Cube to Schenker, dated July 6, 1928 Cube reports on Scheuermann exhibit, and consequent interest and sales, encloses associated newspaper article; also on recent lecturing and composition activity. He is unlikely to visit Schenker this year; recalls people at Galtür. OJ 5/44, [1] Handwritten letter from Schenker to Arthur Waldeck, dated September 23, 1929 Schenker encourages Waldeck to spread his (Schenker's) ideas in America, and apprises him of Dunn's translation of Kontrapunkt and his own recent and forthcoming publications. OJ 15/16, [65] Handwritten letter from Weisse to Schenker, dated November 27, 1930 Weisse thanks Schenker for the essay "Rameau oder Beethoven?". He is surprised to hear that Jonas has sought Schenker's help in finding employment, and urges Schenker not to write a letter of recommendation until a concrete piece of work materializes. He is about to go to Berlin to deliver two lectures on Schenker's theories, and has heard that Moriz Violin and Reinhard Oppel will be there; he would like to give one of these lectures at Schenker's home before a small audience of his most dedicated pupils, and suggests a date and time for this. OJ 15/15, [56] Handwritten picture postcard from Weisse to Schenker, dated February 25, 1931 Weisse thanks Schenker and clarifies a remark of his own regarding the analysis of a Bach prelude; comments on the content of an edition of Mozart’s letters, and expresses shock at the death of John Petrie Dunn. NYnscl MP.0008.01/1/1, 2 Handwritten letter from Schenker to Arthur Waldeck, dated November 8, 1932 Schenker stipulates the conditions for granting publication rights for a translation of his Harmonielehre, and asks which other Schenkerians in the U.S. Waldeck is acquainted with. OJ 12/6, [40] Handwritten letter from Jonas to Schenker, dated December 19, 1934 Jonas encloses a translation of an English review of his book; comments despairingly. — Lawsuit against Willi Reich comes to court on December 22. — Jonas hopes to give lectures in Vienna. —Asks if Schenker knows Carl Johann Perl. —Holiday good wishes. Diaries Diary entry by Schenker for 15 January 1924 Diary entry by Schenker for 18 March 1924 Diary entry by Schenker for 18 April 1926 Diary entry by Schenker for 22 April 1926 Diary entry by Schenker for 17 June 1926 Diary entry by Schenker for 20 June 1926 Diary entry by Schenker for 23 June 1926 Diary entry by Schenker for 2 July 1926 Diary entry by Schenker for 19 January 1927 Diary entry by Schenker for 31 January 1927 Diary entry by Schenker for 4 February 1927 Diary entry by Schenker for 5 February 1927 Diary entry by Schenker for 9 February 1927 Diary entry by Schenker for 11 February 1927 Diary entry by Schenker for 13 February 1927 Diary entry by Schenker for 26 February 1927 Diary entry by Schenker for 2 March 1927 Diary entry by Schenker for 13 August 1927 Diary entry by Schenker for 21 September 1927 Diary entry by Schenker for 31 October 1927 Diary entry by Schenker for 17 November 1927 Diary entry by Schenker for 13 December 1927 Diary entry by Schenker for 10 February 1928 Diary entry by Schenker for 19 June 1928 Diary entry by Schenker for 7 July 1928 Diary entry by Schenker for 8 July 1928 Diary entry by Schenker for 6 November 1928 Diary entry by Schenker for 7 December 1928 Diary entry by Schenker for 15 December 1928 Diary entry by Schenker for 2 March 1929 Diary entry by Schenker for 1 December 1929 Diary entry by Schenker for 13 June 1930 Diary entry by Schenker for 15 June 1930 Diary entry by Schenker for 2 August 1930 Diary entry by Schenker for 27 November 1930 Diary entry by Schenker for 24 December 1930 Diary entry by Schenker for 2 January 1931 Diary entry by Schenker for 21 February 1931 Diary entry by Schenker for 30 April 1931 Diary entry by Schenker for 23 July 1934 Other material OC 2/p. 79, [4] Schenker entry in Hugo Riemanns Musiklexikon, 11th edition (1929)