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Diary entry for 1932-11-27
... continue "Motion from an Inner Voice." To Deutsch (letter): I report about the fund – now, more than ever, the question as to whether I may be permitted to use Hoboken’s money for it? After teatime: Ringstraße. ...
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Diary entry for 1932-08-27
... ! Awake throughout the night! Lie-Liechen delivers "Reaching Over" for Free Composition. To Spanner (letter): I confirm the receipt of 240.74 shillings. "Motion from an Inner Voice" completed. To Drei Masken Verlag (postcard): second reminder of the ...
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Diary entry for 1931-02-23
... is not published due to a print setters’ strike. Work on section on Motion from an Inner Voice in Free Composition. 10:30 to 11:15, a trip to the post office: money sent to Dr. Aufricht, and for tax. To Lanzer (letter): the payment slip. To the ...
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Diary entry for 1931-08-17
... "pupil," at present, he still cannot kick the habit of the "school," above all of thinking harmonically in three- and four-voice textures; even the most unfruitful inner voices have significance for him! As a result, it is more difficult for him to ...
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... speaking of an upper or inner voice, one cannot on the one hand suppose a harmonically important root without further ado, as you indicate here: for I understand things as follows: I find that the latter interpretation actually corresponds more to the given ...
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Diary entry for 1931-02-24
... Over in Free Composition; the section on Motion from an Inner Voice elaborated. At 4:45, Lie-Liechen turns on the radio equipment and we listen to a record of Chaliapin singing the "Calumny Aria" from The Barber of Seville – perhaps the most ...
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Diary entry for 1931-02-26
... suggest that he might sometime also make use of quotation marks to give Korngold a hook to the chin. After 11 o’clock, dictation for Reaching Over and Motion from an Inner Voice in Free Composition. The lesson had almost catastrophic consequences: a ...
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... determined by the bass. I could not bring myself to use the course of the upper voice as shown in Figs. 4–5 also on the diatonic Ursatz as, conversely, I did not want, in the above-named examples, to declare the e2 that has moved into an inner voice already ...
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... the inner voice into the highest/lowest voice, which additionally creates the parallelisms. The differing treatmeant of the two fourths that make up the octave progression is something I see as founded in the openings, where the leap of a fourth from e ...
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... things that should be made more precise in Miss Elias's graph, especially the inner-voice g, which is left hanging at the end. At the moment, I am trying to find a solution. My next projects will be Brahms's Waltz in G sharp minor, and the Paganini theme ...