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Iwan Knorr [pseud: I. O. Armand]

born Mewe, Jan 3, 1853; died Frankfurt, Jan 22, 1916

Documents associated with this person:

German composer and teacher.

Knorr studied with Reinecke (composition), Moscheles (piano), and Jadassohn (theory) at the Leizpig Conservatory; from 1874 he taught in Kharkiv, then from 1883 at the Hoch Conservatory, Frankfurt (piano, theory, history), where in 1908 he succeeded Bernhard Scholz as the Director. Among his pupils were Hans Pfitzner, Cyril Scott, Ernst Toch. and Reinhard Oppel.

There is no correspondence, or indeed, so far as is known, personal contact, between Knorr and Schenker.

Source:

  • NGDM2 (2001 and online)
  • MGG1

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Correspondence

  • OJ 11/54, [2] Handwritten letter from Hoboken to Schenker, May 29, 1925

    Hoboken wishes to become a pupil of Schenker; he has studied Schenker's theoretical works under Vrieslander, and describes his progress so far; outlines previous education in piano and music theory at the Hoch Conservatory,Frankfurt, and activity as composer and conductor; after breaking his shoulder, he neglected his musical studies; outlines the areas he wishes to study with Schenker; if accepted, he would take up residence in Vienna.

  • 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 10/3, [150] Handwritten picture postcard from Deutsch to Schenker, dated July 1, 1931

    Deutsch expresses concern that his last letter may have been misunderstood. The question of textual corruption of musical masterworks may be raised at the Department of International Intellectual Collaboration in Geneva. The Mozart letter on which Schenker elaborated was mentioned in the first edition of Jahn but now survives only in poetic and philosophical biographies of the composer.

Diaries