OC 3/2-3: Oct 1913-Jun 1914 - Paul Breisach: lesson: Tuesday October 21, 1913
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21. X. Breisach † : über den Begriff der Synthese, die über einzelnen Formen steht; Ewigkeit der Formen aus dem Grunde ihrer organischen Existenzberechtigung; Nutzen der {13} Synthese für Entdeckungen selbst auf harmonischem Gebiet – aufgezeigt an Chopin Gm-Mazurka: Vorder- u. Nachsatzkonstruktion u. an einer Stelle aus Brahms op. 60. 1 © Transcription Robert Kosovsky, 2007, 2020 |
October 21, [1913] Breisach † : On the concept of synthesis, which presides over individual forms; the eternity of forms by reason of their organic right to exist; the advantage of {13} synthesis for making discoveries in the harmonic realm – demonstrated with Chopin’s Mazurka in G minor: construction of antecedent and consequent in a passage from Brahms’s Op. 60. 1 © Translation Ian Bent, 2020 |
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21. X. Breisach † : über den Begriff der Synthese, die über einzelnen Formen steht; Ewigkeit der Formen aus dem Grunde ihrer organischen Existenzberechtigung; Nutzen der {13} Synthese für Entdeckungen selbst auf harmonischem Gebiet – aufgezeigt an Chopin Gm-Mazurka: Vorder- u. Nachsatzkonstruktion u. an einer Stelle aus Brahms op. 60. 1 © Transcription Robert Kosovsky, 2007, 2020 |
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October 21, [1913] Breisach † : On the concept of synthesis, which presides over individual forms; the eternity of forms by reason of their organic right to exist; the advantage of {13} synthesis for making discoveries in the harmonic realm – demonstrated with Chopin’s Mazurka in G minor: construction of antecedent and consequent in a passage from Brahms’s Op. 60. 1 © Translation Ian Bent, 2020 |
Footnotes1 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. This is the only lesson on which he is recorded as discussing the work with Breisach. Other pupils were Sofie Deutsch, Brünauer, Weisse, and Elias. |
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Format† Double underlined |