|
Ser. A,
{110}
⇧ 1910 1. 2. ⇧ Den „Kontinuo“ für Floriz nach 14 tägiger Arbeit beendet. 1 ⇧ √ Brahms ’‒„Saul“ 2 ⇧ im Archiv der KK Gesellschaft der Musikfr., ein sehr wertvolles Manuscript! Interessant die Suche nach Articulationsmöglichkeiten, [symbol] nach dynamischen Mannigfaltigkeiten, die Kürzungsmethode, die Instrumentierungstendenz, u.s.w.; so sehr die Arbeit doch nur eine Gelegenheitsarbeit, verdient sich gleichwohl eine ausführliche, instructive Besprechung zu Nutz u. Frommen der hochstrebenden Musiker. Ob sich dazu jemals Einer berufen fühlen wird? [There follows a draft in Schenker's hand of a commentary on Ibsen's The Woman from the Sea, of which a fair copy in Jeanette Kornfeld's hand that is editorially datable to January 29, 1909 appears on p. 110.] © Transcription Ian Bent. |
Ser. A,
{110}
⇧ 1910 January 2 ⇧ After fourteen days' work, the "Continuo" finished for Floriz. 1 ⇧ √Brahms’s‒ Saul 2 ⇧ in the Archive of the Imperial-Royal Society for the Friends of Music, a very valuable manuscript! It is interesting to see the search for articulatory possibilities, [symbol] for dynamic variations, the method of abbreviation, the trend in instrumentation, etc.; even though the work is really only an occasional piece, it nonetheless deserves a thorough, instructive discussion for the benefit and education of high-aspiring musicians. Would anyone ever feel called to undertake this? [There follows a draft in Schenker's hand of a commentary on Ibsen's The Woman from the Sea, of which a fair copy in Jeanette Kornfeld's hand that is editorially datable to January 29, 1909 appears on p. 110.] © Translation Ian Bent. |
|
Ser. A,
{110}
⇧ 1910 1. 2. ⇧ Den „Kontinuo“ für Floriz nach 14 tägiger Arbeit beendet. 1 ⇧ √ Brahms ’‒„Saul“ 2 ⇧ im Archiv der KK Gesellschaft der Musikfr., ein sehr wertvolles Manuscript! Interessant die Suche nach Articulationsmöglichkeiten, [symbol] nach dynamischen Mannigfaltigkeiten, die Kürzungsmethode, die Instrumentierungstendenz, u.s.w.; so sehr die Arbeit doch nur eine Gelegenheitsarbeit, verdient sich gleichwohl eine ausführliche, instructive Besprechung zu Nutz u. Frommen der hochstrebenden Musiker. Ob sich dazu jemals Einer berufen fühlen wird? [There follows a draft in Schenker's hand of a commentary on Ibsen's The Woman from the Sea, of which a fair copy in Jeanette Kornfeld's hand that is editorially datable to January 29, 1909 appears on p. 110.] © Transcription Ian Bent. |
|
Ser. A,
{110}
⇧ 1910 January 2 ⇧ After fourteen days' work, the "Continuo" finished for Floriz. 1 ⇧ √Brahms’s‒ Saul 2 ⇧ in the Archive of the Imperial-Royal Society for the Friends of Music, a very valuable manuscript! It is interesting to see the search for articulatory possibilities, [symbol] for dynamic variations, the method of abbreviation, the trend in instrumentation, etc.; even though the work is really only an occasional piece, it nonetheless deserves a thorough, instructive discussion for the benefit and education of high-aspiring musicians. Would anyone ever feel called to undertake this? [There follows a draft in Schenker's hand of a commentary on Ibsen's The Woman from the Sea, of which a fair copy in Jeanette Kornfeld's hand that is editorially datable to January 29, 1909 appears on p. 110.] © Translation Ian Bent. |
Footnotes1 Moriz Violin, Über das sogenannte Continuo: Ein Beitrag zur Lösung des Problems (Vienna: Universal Edition, 1911), a 38-page manual, bearing the publisher's imprint UE 3089. Copies are preserved at OJ 70/49 and OC 6/2 (two reviews are preserved at OC 2/pp. 23 and 27). The work was written by Moriz Violin as an extended program booklet for a "historical concert" at the Academy to have taken place on January 4, 1910 but canceled by the Academy director (cf. diary entry for June 1910).
2 Handel's oratorio Saul in an
arrangement by Brahms. This appears to be the first reference to the arrangement,
which was to remain an object of interest to Schenker until late in life. Furtwängler
performed Handel's work at a Gesellschaft concert on February 7, 1923 in the large
hall of the Musikverein building (Neue freie Presse,
February 7, 1923), with the Vienna Symphony Orchestra and Singverein. Schenker
attended the performance at his invitation, and records this without comment in his
diary. |