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OJ 6/3, [2] - Handwritten letter with envelope from Schenker to Moriz Violin, postmarked April 2, 1897
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[envelope:] {recto} ⇧ Herrn Moriz Violin Komponist IX. Garnisonsgasse 8 od[er] 24. [postmark:] || WIEN 1/1 | 1 | 2. 4. 97 | III-4 N || {verso} ⇧ Brahms Todestag 1 [postmark:] || WIEN 9/3 | 72 | BESTELLT | 3. 4. 97 | 8. V || [postmark:] [reverse image:]|| WIEN [illeg] | 1 | [illeg] || [letter:] [undated] ⇧ Liebstes Morizel! Endlich nach tausend Arbeiten ein bischen Zeit. Und diese benutze ich, um dir für deine Güte u. Opfer zu danken. Höre aus diesen Worten nicht bissige Worte, üblichen Dank dheraus, – ich sage dir, ohne mit der Convention zu coquettiren, herzlichen Dank, den du verdienst. 2 Eduard hat mich misverstanden, – du weisst am besten, wie wenig mir an Mandycz, etc. gelegen ist, u. seit gestern bin ich im Besitze einer dringenden Empfehlung Goldmarks {2} an Busoni, mit dem übrigens seit Wochen mündlich Alles zu meinen Gunsten ausgemacht worden ist. 3 Schade, dass ich das nicht wusste. Du kannst dir vorstellen, wie freudig ich bin, – ich muss das Scherzo in C, das dir gefallen, bis 5tn fertig machen. 4 Ich danke dir für die paar Klavierwinke, die ich benutzen werde u. den Stücken, die du gespielt hast. {3} Mir hast du vor Allem leid gethan, dass du unruhig warst! – Es war schliesslich Alles nicht nöthig! Wann gehst du Prof. Jerusalem? 5 Er fragte heute nach dir. Seine Frau hat dich gehört u. ist entzückt von dir. Schau, dass du aus deinem Spiel kleine nervöse Stösse, Zückungen, die du chronisch, so von Minute zu Minute je einmal [illeg] bringst, austreibst. Dein {4} Spiel soll innerlich continuirlicher sein, mit langgezogener Seele … . Du siehst, wie ich dich lieb habe u. schätze, Ich sage dir Alles, u. umgekehrt darfst du mir auch Alles sagen frei u. freundschaftlich. In rasender Eile aber ehrlicher Seelendisposition. © Transcription Ian Bent, 2022 |
[envelope:] {recto} ⇧ Mr. Moriz Violin Composer [Vienna] IX, Garnisonsgasse 8 or 24 [postmark:] || VIENNA 1/1 | 1 | 2. 4. 97 | 3-4 p.m. || {verso} ⇧ Brahms’s Death Day 1 [postmark:] || VIENNA 9/3 | 72 | DELIVERED | 3. 4. 97 | 8. a.m. || [postmark:] [reverse image:]|| VIENNA [illeg] | 1 | [illeg] || [letter:] [undated] ⇧ Dearest Morizel, At long last, after a thousand tasks, a little time. And I use it to thank you for your kindness and sacrifice. Please don’t detect the slightest trace of sarcasm, or merely conventional thanks, in these words. I am thanking you, without flirting with convention, from the bottom of my heart, as you deserve. 2 Eduard has misunderstood me. – You know best of all how little Mandyczewski, etc. I have in me, and since yesterday I am in possession of a strong recommendation from Goldmark {2} to Busoni, along with all that has also been said to him in my favor for weeks by word of mouth. 3 What a pity that I did not know that. You can well imagine how joyful I feel – I must finish by the 5th the Scherzo in C that pleased you. 4 Thank you for the few piano tips that you gave me, which I will use, and the pieces that you have played. {3}I was above all saddened to hear that you were troubled! — It was ultimately all unnecessary! When are you going to see Prof. Jerusalem? 5 He asked after you today. His wife has heard you and is enchanted by you. Take care to rid your playing of the little nervous jerks and ticks that you do constantly every time, from minute to minute. Your playing {4} should be inwardly more continuous, with long drawn-out thought processes … . You see how dear you are to me – how much I treasure you. I tell you everything, and in return you should tell me everything freely and in a friendly spirit. In a frantic hurry, but calm state of mind! © Translation Ian Bent, 2022 |
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[envelope:] {recto} ⇧ Herrn Moriz Violin Komponist IX. Garnisonsgasse 8 od[er] 24. [postmark:] || WIEN 1/1 | 1 | 2. 4. 97 | III-4 N || {verso} ⇧ Brahms Todestag 1 [postmark:] || WIEN 9/3 | 72 | BESTELLT | 3. 4. 97 | 8. V || [postmark:] [reverse image:]|| WIEN [illeg] | 1 | [illeg] || [letter:] [undated] ⇧ Liebstes Morizel! Endlich nach tausend Arbeiten ein bischen Zeit. Und diese benutze ich, um dir für deine Güte u. Opfer zu danken. Höre aus diesen Worten nicht bissige Worte, üblichen Dank dheraus, – ich sage dir, ohne mit der Convention zu coquettiren, herzlichen Dank, den du verdienst. 2 Eduard hat mich misverstanden, – du weisst am besten, wie wenig mir an Mandycz, etc. gelegen ist, u. seit gestern bin ich im Besitze einer dringenden Empfehlung Goldmarks {2} an Busoni, mit dem übrigens seit Wochen mündlich Alles zu meinen Gunsten ausgemacht worden ist. 3 Schade, dass ich das nicht wusste. Du kannst dir vorstellen, wie freudig ich bin, – ich muss das Scherzo in C, das dir gefallen, bis 5tn fertig machen. 4 Ich danke dir für die paar Klavierwinke, die ich benutzen werde u. den Stücken, die du gespielt hast. {3} Mir hast du vor Allem leid gethan, dass du unruhig warst! – Es war schliesslich Alles nicht nöthig! Wann gehst du Prof. Jerusalem? 5 Er fragte heute nach dir. Seine Frau hat dich gehört u. ist entzückt von dir. Schau, dass du aus deinem Spiel kleine nervöse Stösse, Zückungen, die du chronisch, so von Minute zu Minute je einmal [illeg] bringst, austreibst. Dein {4} Spiel soll innerlich continuirlicher sein, mit langgezogener Seele … . Du siehst, wie ich dich lieb habe u. schätze, Ich sage dir Alles, u. umgekehrt darfst du mir auch Alles sagen frei u. freundschaftlich. In rasender Eile aber ehrlicher Seelendisposition. © Transcription Ian Bent, 2022 |
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[envelope:] {recto} ⇧ Mr. Moriz Violin Composer [Vienna] IX, Garnisonsgasse 8 or 24 [postmark:] || VIENNA 1/1 | 1 | 2. 4. 97 | 3-4 p.m. || {verso} ⇧ Brahms’s Death Day 1 [postmark:] || VIENNA 9/3 | 72 | DELIVERED | 3. 4. 97 | 8. a.m. || [postmark:] [reverse image:]|| VIENNA [illeg] | 1 | [illeg] || [letter:] [undated] ⇧ Dearest Morizel, At long last, after a thousand tasks, a little time. And I use it to thank you for your kindness and sacrifice. Please don’t detect the slightest trace of sarcasm, or merely conventional thanks, in these words. I am thanking you, without flirting with convention, from the bottom of my heart, as you deserve. 2 Eduard has misunderstood me. – You know best of all how little Mandyczewski, etc. I have in me, and since yesterday I am in possession of a strong recommendation from Goldmark {2} to Busoni, along with all that has also been said to him in my favor for weeks by word of mouth. 3 What a pity that I did not know that. You can well imagine how joyful I feel – I must finish by the 5th the Scherzo in C that pleased you. 4 Thank you for the few piano tips that you gave me, which I will use, and the pieces that you have played. {3}I was above all saddened to hear that you were troubled! — It was ultimately all unnecessary! When are you going to see Prof. Jerusalem? 5 He asked after you today. His wife has heard you and is enchanted by you. Take care to rid your playing of the little nervous jerks and ticks that you do constantly every time, from minute to minute. Your playing {4} should be inwardly more continuous, with long drawn-out thought processes … . You see how dear you are to me – how much I treasure you. I tell you everything, and in return you should tell me everything freely and in a friendly spirit. In a frantic hurry, but calm state of mind! © Translation Ian Bent, 2022 |
Footnotes1 Johannes Brahms died on April 3, 1897. 2 Schenker writes continuously at this point without line-break.
3 Such a letter has yet to come
light. The association of this letter with this envelope is speculative. — At some point early
in 1897 Busoni wrote to Schenker (OJ 9/27,
[1], undated, perhaps May 1897): “Es wird mir ‒ nach Allem, was Meister Goldmark von
Ihnen erzählt ‒ eine große Freude sein, Sie persönlich kennen zu lernen.” (“After all that
master Goldmark has told me about you, it will be a great pleasure for me to become acquainted
with you personally.”). It was Schenker who wrote to Busoni (Sbb B II 4413, May 18, 1897): “Der gute alte Meister schrieb
mir sofort eine glänzende, wirklich glänzende Empfehlung an Peters, dessen Verlag er allerdings wohl kannte.” (“The good old
master promptly wrote me a glowing, a really glowing recommendation to Peters, with whose publishing house he was
certainly well acquainted.”). Despite Goldmark’s recommendation, Peters turned down the pieces
Schenker had sent them (Sbb B II
4416, September 4, 1897). 4 Schenker’s Scherzo in C for piano was later, on Busoni’s advice, incorporated into his Fantasie, Op. 2 Leipzig: Breitkopf & Härtel, 1898), released in January 1899. 5 Schenker’s diary for February 12, 1897 records: “Prof. Jerusalem’s starke Anerkennung meiner Person.” (“Prof. Jerusalem’s stout recognition of me as a person.”). This is footnoted with: “[…] a Wilhelm Jerusalem lived in Vienna in 1897, described as "Gymasium Professor" and "Universitäts Doctor," address Vienna VIII, Daungasse 1. It is unclear why he should recognize Schenker, or why Schenker should record the fact.” The name occurs again in OJ 6/3, [9], ?late July 1899, when Schenker is sheperding Violin to an appointment with Jerusalem at 2 p.m. It is unclear whether this is the same person as “Jehova,” cited twice by Schenker as favoring Violin and disapproving of Schenker in OJ 6/3, [13], February 8, 1900. |