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  • Hugo Wolf


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  • OJ 5/15, [2]-[3] Handwritten incomplete draft of a letter from Schenker to Grunsky, undated [?c. June 1, 1908]

    Responding to Grunsky's request, Schenker gives his assessment of Bruckner's music. First exploring common ground between him and Grunsky, he then offers "technical reasons" why he regards Bruckner as "possessing minimal powers of invention," therefore cannot call him a "master." In the process, he compares the "Komponisten" (composers) of the present day unfavorably with the "Tonsetzer" (tonal craftsmen) of the past.

  • WSLB 35 Handwritten letter from Schenker to Hertzka (UE), January 8, 1909

    In a letter "ironic in tone" Schenker offers alternative editors for WTC Bk II. He outlines the work that he has in hand, and regrets his unhappy experience with UE over Beitrag zur Ornamentik.

  • 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.