OC 3/2-3: Oct 1913-Jun 1914 - Hans Weisse: lesson: Thursday October 9, 1913
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9. X. Weisse † : 1 einige Stellen aus Scarlattis Sonaten; besondere Accordbildungen; auch über die mehr minder ausgeprägten Gegensätze in der Sonaten, die noch nicht zu jener Profilierung gelangen wie bei Em. Bach u. den Späteren. Ueber die Natur der Thematik bei Scarlatti im Gegensatz zur späteren; (s. kl. Bibl.!) aus Brahms Klavier-Quartett Cm , aus dem 1. Teil u. die Stellung am Schluß des V.S. des 1. Ged. u. deren Widerspiel in der Reprise; über die Organisation der 5-maligen Wiederholung im {6} 2. Ged. u. als Kontrast dazu die Technik in Dwořak’s Adur-Quintett, 2. Ged. Cism; 2 Correktur einer 6 u. 7-stimmigen Aufgabe. © Transcription Robert Kosovsky, 2007, 2020 |
October 9, [1913] Weisse † : 1 Several passages from Scarlatti‘s sonatas; particular chord constructions; also about the more or less sharply-marked contrasts in the sonatas, which do not yet achieve the delineation found in C. P. E. Bach and later composers. On the nature of thematic material in Scarlatti in contrast to later ones; (see Kleine Bibliothek !) from Brahms’s Piano Quartet in C minor, from the first section and the placing of the cadence of the antecedent of the first theme and its counterpart in the Recapitulation; on the organization of the five-fold repetition in the {6} second theme, and in contrast to that, the technique in Dvořák’s A major Quintet, the second theme, in Cě minor; 2 correction of a six- and seven-voice exercise. © Translation Ian Bent, 2020 |
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9. X. Weisse † : 1 einige Stellen aus Scarlattis Sonaten; besondere Accordbildungen; auch über die mehr minder ausgeprägten Gegensätze in der Sonaten, die noch nicht zu jener Profilierung gelangen wie bei Em. Bach u. den Späteren. Ueber die Natur der Thematik bei Scarlatti im Gegensatz zur späteren; (s. kl. Bibl.!) aus Brahms Klavier-Quartett Cm , aus dem 1. Teil u. die Stellung am Schluß des V.S. des 1. Ged. u. deren Widerspiel in der Reprise; über die Organisation der 5-maligen Wiederholung im {6} 2. Ged. u. als Kontrast dazu die Technik in Dwořak’s Adur-Quintett, 2. Ged. Cism; 2 Correktur einer 6 u. 7-stimmigen Aufgabe. © Transcription Robert Kosovsky, 2007, 2020 |
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October 9, [1913] Weisse † : 1 Several passages from Scarlatti‘s sonatas; particular chord constructions; also about the more or less sharply-marked contrasts in the sonatas, which do not yet achieve the delineation found in C. P. E. Bach and later composers. On the nature of thematic material in Scarlatti in contrast to later ones; (see Kleine Bibliothek !) from Brahms’s Piano Quartet in C minor, from the first section and the placing of the cadence of the antecedent of the first theme and its counterpart in the Recapitulation; on the organization of the five-fold repetition in the {6} second theme, and in contrast to that, the technique in Dvořák’s A major Quintet, the second theme, in Cě minor; 2 correction of a six- and seven-voice exercise. © Translation Ian Bent, 2020 |
Footnotes1 Schenker’s diary for October 9 records: “During his lesson, Weisse recounts the following to me: in the carriage of a train that was going to Baden, an elegant stranger sat opposite Mr. Gutherz, whom I had met many years before at Brünauer's. When Mr. Gutherz opened some volume of Bach (in an edition unknown to me) in order to read from it, he was addressed by the stranger whose eyes had been fixed on him for some time. The stranger asked which edition this was; and when Mr. Gutherz named the source, the man opposite him said that he should immediately exchange it for Schenker's, whose advantages he thoroughly praised with warmth and enthusiasm. During the conversation, the two gentlemen became better acquainted and the stranger turned out to be a Turkish property owner whose villa is in or near Baden and who practices music as a hobby! 2 Schenker worked on Brahms’s Piano Quartet No. 3 in C minor, Op. 60, in October 1913 with a view to publishing his material in his planned Kleine Bibliothek . The material survives only in manuscript, in the hand of Jeanette Kornfeld, headed “Kl. Bibl.” and annotated in Heinrich’s hand “Brahms Clavier Quartett Cmoll op. 60,” as OC 34/161–67 (mvt 1), 168–71 (mvt 2: Scherzo), and 172–74 (mvt 3: Andante), mostly text with measure numbers but with a page of sketches for the Andante (175) – no notes on the Finale. Schenker worked on the piece with Weisse Oct 9–Dec 1. Other pupils were Sofie Deutsch, Brünauer, Elias, and Breisach. |
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Format† Double underlined |