Schenker Documents Online: Die letzten fünf Sonaten von Beethoven ... op. 106

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Profiles Person Place Organization Work by Schenker Journal Musical Composition Downloads temporarily removed for testing purposes	Die letzten fünf Sonaten von Beethoven ... op. 106 The Last Five Sonatas of Beethoven ... Op. 106 Documents associated with this entity: Correspondence Diaries The fifth planned volume of Schenker's "Erläuterungsausgabe," which remained unrealized and unpublished by Universal Edition after a long and fruitless search on Schenker's part, begun in 1913 and still not abandoned at the end of the 1920s (see OJ 89/1, [5], Sept 13, 1927; WSLB 400 and 403, Nov 27 and Dec 23, 1928; OC 52/848 and 849, Jan 9 and 15, 1929), for Beethoven's autograph manuscript on which to base his edition. Schenker spoke of the fourth and fifth planned volumes of the Erläuterungsausgabe as "the last two colossuses, Opp. 101 and 106," explaining that he had left them until last "because of both their size and their internal difficulties" (WSLB 200, February 19, 1914). In the event, he completed Op. 101 but not Op. 106. The work was assigned a publication number and advertized in music journals, and also up to 1927 in UE's catalogs, as: UE 3975 Op. 106 B-flat major (Hammerklavier) Bibliography: Marston, Nicholas, Heinrich Schenker and Beethoven’s ‘Hammerklavier’ Sonata (Ashgate, forthcoming) Source: Private communication from Nicholas Marston Downloads temporarily removed for testing purposes Correspondence WSLB-Hds 95654 Handwritten letter from Schenker to Seligmann, dated July 24, 1916 Schenker tells Seligmann that he has arranged for copies of his critical editions of Beethoven’s Op. 110 and Op. 111 to be sent to him. He speaks of the positive interest his works have received in Germany, and about Hugo Riemann asking him to provide autobiographical material for an entry in the next edition of his music lexicon. OJ 14/23, [18] Handwritten lettercard from Seligmann to Schenker, postmarked August 1, 1916 Seligmann thanks Schenker for sending him the critical editions of Beethoven’s Op. 110 and Op. 111. He enjoyed reading the attacks on Schenker’s rival authors, but he also thinks that a more conciliatory language would be more appropriate for such publications. He looks forward to the publication of Op. 106. WSLB-Hds 95655 Handwritten letter from Schenker to Seligmann, dated August 5, 1916 Schenker explains why he is reluctant to produce a critical edition with commentary for Beethoven’s Op. 106: he would wear himself out working on it unless he could be freed from some of his teaching obligations, and also the autograph manuscript and other sources are missing. He also defends his sharp tongue in discussions of the secondary literature in his “paradigmatic” works ("Beethoven’s Ninth Symphony" and the critical editions of the late Beethoven piano sonatas). OC 1B/9 Handwritten draft letter from Schenker to Halm, dated by later hand [December 29, 1916] In his first letter to Halm, Schenker knows Halm's work and regards him as an ally; he affirms that music has few primal laws (Urgesetze) that are immutable. — He cannot intercede on Halm's behalf with Universal Edition. OJ 13/10, [6] Handwritten letter from Oppel to Schenker, dated February 19, 1919 Oppel thanks Schenker for EA, Opp. 110 and 111, which he has enjoyed, inquires after EA, Opp. 101 and 106, and Kontrapunkt 2, and raises a possible thematic link between two movements of Op. 110 (music example). His plan to study with Schenker has to be deferred; he will soon send compositions, and asks for unsparing criticism. OC 52/450 Typed letter from Kalmus (UE) to Schenker, dated October 25, 1920 Kalmus confirms receipt of EA Op. 101 manuscript; he inquires about the publication sequence between EA Op. 101 and the first issue of the Kleine Bibliothek, and about the autograph manuscript for which Schenker is waiting. OJ 14/45, [12] Handwritten letter from Moriz Violin to Schenker, dated October 30, 1921 Violin reports on his work, and on musicians in Hamburg, and congratulates Schenker on his (publication) successes. OJ 6/7, [10] Handwritten letter from Schenker to Moriz Violin, dated October 26, 1924 Schenker names ten universities that should receive complimentary copies of Der Tonwille, explaining that university music departments (Seminare) are more suitable recipients than conservatories and other types of music schools. With 1924 coming to an end, he will resign from UE and shift publication of Der Tonwille to Piper or Drei-Masken Verlag in Munich. The latter have agreed to publish his study of Beethoven's Sonata Op. 106 JOB 94-3, [10] Handwritten letter from Schenker to Hammer dated March 12, 1925 Wherever Hammer may travel, Schenker declares, he will never lose his Germanness. Schenker asserts the superiority post-WWI of the German nation over those of the west. -- He describes his own pianism: his "fingers are like musical brains." -- He gives an account of the dispute with Universal Edition and the outcome of negotiations with Drei Masken Verlag. OJ 14/45, [53] Handwritten letter from Moriz Violin to Schenker, dated June 7, 1926 Violin thanks Schenker for his recent postcard, gives a brief account of his own illnesses, and gives a somewhat longer account of those of his son Karl, which will complicate summer travel plans. He has learned from music shops in Hamburg that the Erläuterungsausgabe of Op. 106 is not yet published, and has also heard that Schenker's Beethoven sonata edition is no longer available; he asks Schenker if this is true. OC 52/847 Typed letter from Hertzka (UE) to Schenker, dated December 21, 1928 Hertzka welcomes Schenker's intention now to produce [his elucidatory edition of] Op. 106 and proposes the level of honorarium. — He is in principle interested in the "Eroica" study and Der freie Satz but cannot schedule them until after 1929. WSLB 403 Handwritten letter from Schenker to Hertzka (UE), dated December 23, 1928 Schenker reports on the autograph manuscript of Beethoven Op. 79. — He is "convinced" that the autograph of Op. 106 is in England. WSLB 405 Handwritten letter from Schenker to Hertzka (UE), dated January 9, 1929 Schenker sets deadline for decision on publishing "Eroica" monograph; stresses urgency. OC 52/849 Typed letter from Hertzka (UE) to Schenker, dated January 15, 1929 Hertzka asks for Schenker's deadline for the "Eroica" monograph decision to be put off to the end of 1929. OJ 12/50, [3] Handwritten letter from Bernhard Martin to Schenker, dated July 3, 1929 Bernhard Martin is working on Schenker's graphings of the E-flat major piano sonata of Haydn in connection with his class teaching. He has obtained a copy of Schenker's facsimile of the "Moonlight" Sonata and is seeking his edition of the Chromatic Fantasy and Fugue. He inquires after the [projected] Erläuterungsausgabe of Op. 106 and Schenker's periodical articles. Diaries Diary entry by Schenker for 25 February 1914 Diary entry by Schenker for 2 May 1914 Diary entry by Schenker for 31 December 1914 Diary entry by Schenker for 25 March 1916 Diary entry by Schenker for 5 August 1916 Diary entry by Schenker for 20 January 1926 Diary entry by Schenker for 9 February 1926 Diary entry by Schenker for 9 June 1926 Diary entry by Schenker for 23 March 1927 Diary entry by Schenker for 27 November 1928 Diary entry by Schenker for 23 December 1928 Diary entry by Schenker for 26 July 1929 Diary entry by Schenker for 24 May 1933 Diary entry by Schenker for 8 May 1934