Schenker Documents Online: Richard Stöhr

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Profiles Person Place Organization Work by Schenker Journal Musical Composition Downloads temporarily removed for testing purposes	Richard Stöhr born Vienna, June 11, 1874; died Montpelier, VT, Dec 11, 1967 Documents associated with this person: Correspondence Diaries Austrian music theorist and composer. Stöhr studied with Robert Fuchs at the Vienna Conservatory (= Akademie für Musik und darstellende Kunst), worked there from 1900, teaching harmony, counterpoint, and form 1904-38, appointed professor in 1915, and included among his pupils Alois Haba and Hellmut Federhofer. He emigrated to the US in 1938 and taught at the Curtis Institute of Music in Philadelphia. His published works include Praktische Leitfaden der Harmonielehre (Vienna: UE, 1906), Musikalische Formenlehre (Leipzig: Kistner & Siegel, 1911), Praktische Leitfaden des Kontrapunkts (Hamburg: Benjamin, 1911), and Modulationslehre (Leipzig: Kistner & Siegel, 1915), and other works. No correspondence between Schenker and Stöhr is known to exist. Downloads temporarily removed for testing purposes Correspondence WSLB 41 Handwritten postcard from Schenker to Hertzka (UE), dated July 1, 1909 Schenker asks for the three previously requested editions to be sent as soon as possible so as to arrive before he departs for vacation.— He also asks for Richard Stöhr's Harmonielehre. WSLB 112 Handwritten letter from Schenker to Hertzka (UE), dated May 11, 1912 Schenker responds to Hertzka's suggestions on bar numbering in the Scherzo of Beethoven's Ninth Symphony as reflected in Schenker's monograph and the proposed new edition of the score, and offers a counter-proposal; he also responds on the formal terminology. -- He inquires as to the number of copies of the new edition of the Niloff Instrumentations-Tabelle so far released. WSLB 123 Handwritter letter from Schenker to Hertzka (UE), dated June 24, 1912 Schenker reports improved agreement among the supporters of the planned Organization. -- He asks for his contract for his edition of Op. 109, and asks yet again for the fee for correcting proofs of Beethovens neunte Sinfonie. OJ 15/5, [1] Handwritten letter from Eberhard von Waechter to Schenker, dated August 21, 1918 Waechter asks for a copy of Schenker's Kontrapunkt 2, because he is making a critique of the Neue Musuikalische Theorien und Phantasien; he requests an article for Das Neue Oesterreich from Schenker, and hopes for regular contributions in future. OJ 15/5, [6] Handwritten letter from Eberhard von Waechter to Schenker, dated October 19, 1919 Waechter understands Schenker's wish not to pre-publish his Art of Performance in article form, and hopes that Schenker will provide a universal solution to the performance problem; explains the editorial control of Der Merker, encouraging Weisse to submit his two articles to it; expresses pleasure that he has procured from Halm reviews of Schenker's Harmonielehre and Kontrapunkt 1; is unable to send his Musikkritik der Gegenwart at present. OJ 11/2, [1] Handwritten letter from Emma Fischer to Schenker, dated February 15, 1923 Baroness Fischer responds to Schenker's plan for distribution of issues of Der Tonwille by suggesting contacts in the Vienna music schools and professional association. OJ 15/15, [54] Handwritten picture postcard from Weisse to Schenker, dated February 5, 1931 Weisse reports having given a successful talk to the Society for Music Pedagogy on the importance of counterpoint; Schenker’s concept of line made a big impression on the audience. OJ 6/8, [8] Handwritten letter from Schenker to Violin, dated October 23, 1931 Schenker has written to Ludwig Karpath concerning the matter of Violin’s appropriation of the title of “Professor” (as discussed in Schenker’s letter of October 17). He hopes that his friend's difficulties are now entirely behind him. OJ 5/18, 17 Handwritten letter from Schenker to Jonas, incorrectly dated September 1932 [recte: December 1, 1932] Schenker discusses likely sales for Jonas's Das Wesen, and will himself help promote the book; warns Jonas against Hoboken. OJ 89/6, [3] Handwritten letter from Schenker to Hoboken, dated February 17, 1933 Congratulating Hoboken on his forthcoming marriage to Frl. Boy, Schenker reports that Kalmus is playing a devious financial game over Oktaven u. Quinten (which is in press) and Der freie Satz (which he thinks will take two years to publish) that may yet see the latter revert to Cotta. — He speaks of Marx's naiveté over the proposed school version of Harmonielehre. — He reports on the remaining stocks of Das Meisterwerk in der Musik. OJ 5/18, 24 Handwritten letter from Schenker to Jonas, dated March 22, 1933 Schenker recounts Joseph Marx's requirements for adapting his Harmonielehre for teaching purposes, and the involvement of Alfred Kalmus at UE. — Refers to Vrieslander's adaptation of Kontrapunkt and Jonas's of Harmonielehre. — Reports Hans Weisse's success; alludes to the Handel-Schenker Saul project. OJ 6/8, [25] Handwritten letter from Schenker to Violin, dated September 23, 1933 Schenker arranges a time for Violin and his sister to have supper with him: not too late in the evening. He does not intend to teach Hans Wolf for less than two hours a week, on account of the substance of the theoretical material, but is willing to lower his hourly rate for him. Diaries Diary entry by Schenker for 22 September 1912 Diary entry by Schenker for 31 January 1913 Diary entry by Schenker for 5 May 1915 Diary entry by Schenker for 30 January 1917 Diary entry by Schenker for 25 August 1918 Diary entry by Schenker for 26 September 1919 Diary entry by Schenker for 3 October 1924 Diary entry by Schenker for 24 February 1926 Diary entry by Schenker for 17 March 1926 Diary entry by Schenker for 4 December 1927 Diary entry by Schenker for 20 October 1930 Diary entry by Schenker for 4 October 1932