Downloads temporarily removed for testing purposes

Documents associated with this person:

German music historian and editor.

Career Summary

Ernst Fritz Schmid studied biology at the universities of Tübingen and Göttingen 1922‒24, turning thereafter to the study of music at the State Academy for Music in Munich, followed by a period as a viola player with the Düsseldorf City Symphony Orchestra. He subsequently studied musicology with Willibald Gurlitt at the University of Freiburg, with Wilhelm Fischer, Robert Haas, Alfred Orel and Robert Lach at the University of Vienna, and at Tübingen University, taking his doctorate at the latter with a dissertation Carl Philipp Emanuel Bach und seine Kammermusik in 1929 (published by Bärenreiter in 1931).

He worked as an independent musician and scholar between 1929 and 1934, in which year he completed his habilitation at the University of Graz and took up a private lectureship there. In 1935 he was appointed to a chair in musicology at the University of Tübingen. At that institution, he founded the Swabian Music Archive. He published books on Haydn, Mozart, and aspects of Swabian music history. In 1953, he was made general editor of the Neue Mozart Ausgabe.

Schmid and Schenker

In 1930, Schenker and Anthony van Hoboken initiated a plan to publish a complete edition of the works of C. P. E. Bach over a period ten years under the auspices of the Photogram Archive at the Austrian National Library. In June 1930 Ernst Fritz Schmid was engaged as editorial assistant for the project, and was said already to have "done much preparatory work" for it. Schmid was also put in charge of the Photogram Archive itself when its, Robert Haas, was unavailable. However, the Bach edition was aborted in December 1930.

Schenker kept in touch with Schmid to within three months of his death, and on July 27, 1932 had a copy of his Fünf Urlinie-Tafeln , published two days earlier. In a diary entry for June 10, 1933, Schmid is mentioned as "the latest candidate for a regular stipend," though it is unclear for what. Schmid also retained friendly relations with Hoboken, and is mentioned in Hoboken-Schenker correspondence. The final communication from Schmid informs Schenker of his appointment as a private lecturer (Privatdozent) at the University of Graz.

Correspondence

One letter from Schmid to Schenker, dated 1932, survives as OJ 14/13. In addition, one letter from Oswald Jonas to Schmid dated 1955 and one from Schmid to Jonas of the same year survive as OJ 36/56 and OJ 36/221.

Source

  • MGG, (1963), vol. 11, pp. 1845-46 (Waltraud Strnad)

Contributor

  • Ian Bent

Downloads temporarily removed for testing purposes

Correspondence

  • OC 54/305 Typewritten letter from Deutsch to Schenker, dated June 19, 1930

    A new print of works by C. P. E. Bach has arrived at Hoboken’s; Deutsch would like Schenker to look at it. -- He advises Schenker to make corrections to Tomay’s calligraphy [of the voice-leading graphs] as soon as they are ready, and not to wait until September, if the "Eroica" monograph is to be published by the end of the year.

  • WSLB-Hds 191.565 Handwritten letter from Schenker to Deutsch, dated July 20, 1930

    In this 16-page response to a letter from Deutsch, Schenker thanks his correspondent for his unstinting assistance (in relation to the third Meisterwerk yearbook) and underlines the importance of a collected edition of the works of C. P. E. Bach. — He then launches a long and detailed denunciation of Anthony van Hoboken’s character, referring in particular to his treatment of Otto Vrieslander, his ambivalence towards projects associated with the Photogram Archive, and his absconding to Berlin to study the piano with Rudolf Breithaupt; Hoboken is thoroughly undeserving of a high honor conferred by the Austrian state.

  • OJ 10/3, [137] Typewritten letter from Deutsch to Schenker, dated January 24, 1931

    Deutsch is sorry not to be able to meet with Schenker and Felix Salzer. — He is concerned that others may think that he had a part to play in Hoboken’s withdrawing his financial support for a collected edition of C. P. E. Bach’s works.

  • OJ 10/3, [145] Handwritten picture postcard from Deutsch to Schenker, dated April 2, 1931

    Deutsch comments on Schenker’s essay on a “lost Mozart letter,” to be published in Der Kunstwart. He does not himself question its authenticity but advises Schenker to get in touch with Richard Benz in Heidelberg about it.

  • OJ 89/7, [12] Typewritten letter (carbon copy) from Hoboken to Schenker, dated July 31, 1934

    Hoboken assures Schenker that he will support him in his work. — He outlines the restrictions that he has placed on Otto Erich Deutsch, and expresses irritation that Deutsch has been offered a course at the Vienna Academy. — He is annoyed at the political views expressed by E. F. Schmid, who has been appointed at the University of Graz.