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OJ 5/9, [3] - Handwritten letter from Schenker to Deutsch, dated May 15, 1930

{recto}

⇧ Mein lieber Prof Deutsch! 1

Hier die auf das Lied bezüglichen Notenzeilen. 2 Alles gehört streng zur ersten Fassung! (die steifer ist als die zweite) Die zweite Fassung ist durch die feinere[corr] Rhytmik ausgezeichnet:
thumb
auf die die Skizze noch gar nicht anspielt.

Dr H Rinn („Kunstwart“) teilt mir soeben mit, daß er Sie zur Mitarbeit einladen wird. 3

Frtg. Abend! 4


Besten Gruß
Ihr
[signed:] H Sch
15.5.30
{verso} [Top-left margin, text running bottom to top, written informally, in Deutsch's(?) hand:] ⇧ Die Begleitung der 2. Fassung ist jeder harmonisch

© Transcription David Bretherton, 2012
{recto}

⇧ My dear Prof. Deutsch! 1

Here are the lines of music relevant to the song. 2 Everything relates strictly to the first version! (which is stiffer than the second)[.] The second version is distinguished by the finer rhythmic style:
thumb
to which the sketch still does not in the least refer.

Dr. H. Rinn ( Der Kunstwart ) has just informed me that he will be inviting you to collaborate. 3

[Until we meet on] Friday evening! 4


Best greetings
Your
[signed:] H. Sch[enker]
May 15, 1930
{verso} [Top-left margin, text running bottom to top, written informally, in Deutsch's(?) hand:] ⇧ The accompaniment of the second version is each[?] harmonic

© Translation David Bretherton, 2012
{recto}

⇧ Mein lieber Prof Deutsch! 1

Hier die auf das Lied bezüglichen Notenzeilen. 2 Alles gehört streng zur ersten Fassung! (die steifer ist als die zweite) Die zweite Fassung ist durch die feinere[corr] Rhytmik ausgezeichnet:
thumb
auf die die Skizze noch gar nicht anspielt.

Dr H Rinn („Kunstwart“) teilt mir soeben mit, daß er Sie zur Mitarbeit einladen wird. 3

Frtg. Abend! 4


Besten Gruß
Ihr
[signed:] H Sch
15.5.30
{verso} [Top-left margin, text running bottom to top, written informally, in Deutsch's(?) hand:] ⇧ Die Begleitung der 2. Fassung ist jeder harmonisch

© Transcription David Bretherton, 2012
{recto}

⇧ My dear Prof. Deutsch! 1

Here are the lines of music relevant to the song. 2 Everything relates strictly to the first version! (which is stiffer than the second)[.] The second version is distinguished by the finer rhythmic style:
thumb
to which the sketch still does not in the least refer.

Dr. H. Rinn ( Der Kunstwart ) has just informed me that he will be inviting you to collaborate. 3

[Until we meet on] Friday evening! 4


Best greetings
Your
[signed:] H. Sch[enker]
May 15, 1930
{verso} [Top-left margin, text running bottom to top, written informally, in Deutsch's(?) hand:] ⇧ The accompaniment of the second version is each[?] harmonic

© Translation David Bretherton, 2012

Footnotes

1 This document is a single sheet, so perhaps should be considered a "note" (Zettel) rather than a letter. Its writing is not recorded in Schenker's diary.

2 Clearly Schenker's enclosed transcription (begun by Deutsch) is of the end of the Beethoven sketch of "Neue Liebe, neues Leben." Whether the Beethoven sketch leaf and Deutsch's parallel transcription (the latter certainly and the former possibly enclosed with Deutsch's letter OJ 10/3, [123]) were returned with this letter is not indicated. The transcription reads as follows:
[printed manuscript sheet with six staves: two musical systems containing music notation in Deutsch's and Schenker's hands: 25 measures, 1‒8 in unknown hand in pencil, 9‒25 in Schenker's hand in black ink]
[above upper system:] Everything belongs to the first version. I now read this (as repetition † with extension for purposes of the cadential formation); 1 2 3 4 5 6 [phrase-mark over]
[between staves of upper system:] [Deutsch's hand:] Liebe Liebe laß mich los [Schenker's hand:] Liebe Liebe Liebe laß mich los s. Notteb.
[above lower system:] verstoß sich: (laß , mich , los)
[between staves of lower system:] laß mich (los)

3 Brown crayon box drawn around entire paragraph (presumably by Deutsch).

4 Schenker's diary records that he met with Deutsch on Friday May 16, 1930.

Format

† Double underlined