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OJ 10/3, [127] - Handwritten picture postcard from Deutsch to Schenker, dated May 23, 1930
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[printed:] ⇧ [Postkarte] [picture: mountain scene with lake, captioned: “Gosausee–Dachstein, Oberösterr.”] ⇧ 128 ⇧ Rohrpost! [An:] ⇧ Herrn Dr. Heinrich Schenker Wien III. Keilgasse 8 {verso} ⇧ 23. V. 30 Lieber verehrter Herr Doktor! 1 Auf Ihre Karte 2 erwidere ich sofort, daß mein Brief vom 17. d. aus München 3 noch nicht beantwortet ist. Ich werde morgen nötigenfalls telegraphieren. Vorläufig möchte ich Ihnen nur herzlichst danken für Ihre mir so wertvollen Aufschlüsse über die Liedskizze. 4 Und zu dem Serenaden-Programm 5 noch bemerken, daß meine Fragen wegen der Beethoven-Stücke noch aus dem Reisezustand gedankenlos waren. Heger hat meinen Vorschlag für den 2. bedingungslos aus London angenommen. Mit Korngold, der Lu[ze] 6 schon seine Wünsche angegeben hatte und jetzt noch einen Militärmarsch ex. 1917 brachte, mußte ich ein Kompromiß schließen. Aber neben seiner Shakespeare-Musik und dem bearbeiteten 1. Strauss-Finale aus der „Nacht in Venedig“ steht Fuchs (Serenade) und Leopold Mozart (Sinfonie), ferner unter drei Schubert-Chören, die Luze dirigieren soll, das Grillparzer-Ständchen, 7 da ich durch {recto} „Viel Lärm um nichts“ 8 ein Klavier diesmal zur Verfügung habe (und ein Harmonium). Beide Serenaden, die 2. am 12., auch im Radio. © Transcription William Drabkin, 2023 |
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[printed:] ⇧ [Postcard] [picture: mountain scene with lake, captioned: “Gosausee–Dachstein, Upper Austria”] ⇧ 128 ⇧ Pneumatic mail! [To:] ⇧ Dr. Heinrich Schenker Keilgasse 8 Vienna III {verso} ⇧ May 23, 1930 Dear revered Dr. [Schenker], 1 I am replying to your postcard 2 immediately, to say that my letter of the 17th of the month has not yet received a reply from Munich. 3 I shall send a telegram tomorrow, if necessary. For now, I should only like to thank you most cordially for your information about the song sketch, which is so valuable to me. 4 And also the remark about the Beethoven serenades for the evening concert program 5 was thoughtless, the result of my being on the road. Heger, writing from London, accepted my suggestion for the second concert without condition. With Korngold, who has already indicated his wishes to Luze 6 and now added a military march from the year 1917, I must agree to a compromise. But alongside his Shakespeare music and the arrangement of the first-act finale from Strauss’s Night in Venice, there is Fuch’s Serenade and a symphony by Leopold Mozart. Beyond that the Grillparzer Ständchen 7 among the three Schubert choruses which Luze is supposed to conduct, {recto} since this time I have a piano (and a harmonium) at my disposal, courtesy of Much Ado About Nothing. 8 Both evening concerts – the second on the 12th – are also on the radio. © Translation William Drabkin, 2023 |
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{recto}
[printed:] ⇧ [Postkarte] [picture: mountain scene with lake, captioned: “Gosausee–Dachstein, Oberösterr.”] ⇧ 128 ⇧ Rohrpost! [An:] ⇧ Herrn Dr. Heinrich Schenker Wien III. Keilgasse 8 {verso} ⇧ 23. V. 30 Lieber verehrter Herr Doktor! 1 Auf Ihre Karte 2 erwidere ich sofort, daß mein Brief vom 17. d. aus München 3 noch nicht beantwortet ist. Ich werde morgen nötigenfalls telegraphieren. Vorläufig möchte ich Ihnen nur herzlichst danken für Ihre mir so wertvollen Aufschlüsse über die Liedskizze. 4 Und zu dem Serenaden-Programm 5 noch bemerken, daß meine Fragen wegen der Beethoven-Stücke noch aus dem Reisezustand gedankenlos waren. Heger hat meinen Vorschlag für den 2. bedingungslos aus London angenommen. Mit Korngold, der Lu[ze] 6 schon seine Wünsche angegeben hatte und jetzt noch einen Militärmarsch ex. 1917 brachte, mußte ich ein Kompromiß schließen. Aber neben seiner Shakespeare-Musik und dem bearbeiteten 1. Strauss-Finale aus der „Nacht in Venedig“ steht Fuchs (Serenade) und Leopold Mozart (Sinfonie), ferner unter drei Schubert-Chören, die Luze dirigieren soll, das Grillparzer-Ständchen, 7 da ich durch {recto} „Viel Lärm um nichts“ 8 ein Klavier diesmal zur Verfügung habe (und ein Harmonium). Beide Serenaden, die 2. am 12., auch im Radio. © Transcription William Drabkin, 2023 |
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{recto}
[printed:] ⇧ [Postcard] [picture: mountain scene with lake, captioned: “Gosausee–Dachstein, Upper Austria”] ⇧ 128 ⇧ Pneumatic mail! [To:] ⇧ Dr. Heinrich Schenker Keilgasse 8 Vienna III {verso} ⇧ May 23, 1930 Dear revered Dr. [Schenker], 1 I am replying to your postcard 2 immediately, to say that my letter of the 17th of the month has not yet received a reply from Munich. 3 I shall send a telegram tomorrow, if necessary. For now, I should only like to thank you most cordially for your information about the song sketch, which is so valuable to me. 4 And also the remark about the Beethoven serenades for the evening concert program 5 was thoughtless, the result of my being on the road. Heger, writing from London, accepted my suggestion for the second concert without condition. With Korngold, who has already indicated his wishes to Luze 6 and now added a military march from the year 1917, I must agree to a compromise. But alongside his Shakespeare music and the arrangement of the first-act finale from Strauss’s Night in Venice, there is Fuch’s Serenade and a symphony by Leopold Mozart. Beyond that the Grillparzer Ständchen 7 among the three Schubert choruses which Luze is supposed to conduct, {recto} since this time I have a piano (and a harmonium) at my disposal, courtesy of Much Ado About Nothing. 8 Both evening concerts – the second on the 12th – are also on the radio. © Translation William Drabkin, 2023 |
Footnotes1 Receipt of this postcard is recorded in Schenker’s diary for May 23, 1930: “Von Deutsch (K. expreß): habe an die 3 M. geschrieben, werde nötigen Falles telegrafieren; Nachträgliches zum Programm” (“From Deutsch (express postcard): he has written to Drei Masken Verlag, will telegraph if necessary, additional material for his program”). 2 Schenker’s diary records the sending of a postcard (not surviving) to Deutsch on May 22: “An Deutsch (K.): bitte ihn, den Verlag nötigen Falles einer beliebigen Sicherheit meinerseits zu vergewissern” (“To Deutsch (postcard): I ask that, if necessary, he should give the publishing house every assurance on my part”). 3 A letter that Deutsch sent to Drei Masken Verlag on May 17. Deutsch received the publisher’s reply (OC 54/224) on May 23 (see the diary entry for that day). 4 In his letter of May 15 (OJ 5/9, [3]), Schenker had written out an extract from the second of Beethoven’s settings of Neue Liebe, neues Leben, with clarification of the underlying rhythm. 5 One of two outdoor music events organized by Deutsch and performed in the Leopoldsplatz in June 1930; — “wertvollen Auf” (“valuable”), “Liedskizze” (“song sketch”), “Serenaden-Programm” (“evening concert program”) heavily underlined by Schenker in crayon. 6 Karl Luze (1864–1949), Austrian choral conductor. 7 Ständchen, for alto, female (or male) chorus and piano, D. 920. The Serenade by Robert Fuchs was his Op. 9, in D major, the symphony by Leopold Mozart was the G major, K. Anh. 293. 8 A jibe at Erich Wolfgang Korngold, with the title of his incidental music standing in for his name, and thus suggesting that he does not merit the attention the musical world has given him. |