Schenker Documents Online

Home Project Information Browse Documents Search Colloquy Editorial Guide Profiles Help Blog
You are here: Profiles Musical Composition
Profiles Person Place Organization Work by Schenker Journal Musical Composition Downloads Print Preview Save Page (PDF) Save Page (EPub) Save Page (All Formats)	Symphony No. 7 in E major Documents associated with this entity: Correspondence Diaries Lessonbooks Types composition Names Symphony No. 7 in E major mc000430 Relationships Symphony No. 7 in E major is composed by Anton Bruckner Download all selected files as or or (check files to select/deselect) Where appropriate save: English and German versions German version only English version only Correspondence OJ 11/29, [3] Handwritten letter from Grunsky to Schenker, dated September 10, 1908 Grunsky acknowledges receipt of Schenker's Beitrag zur Ornamentik and two letters; — He recognizes that he and Schenker hold "opposite views" on Bruckner's music but welcomes Schenker's openness to discussion; — He counters Schenker's arguments on Bruckner's approach to form, rhythm, theme, and musical character; — He admits his own "antipathy" toward the music of Brahms. OJ 5/15, [5] Handwritten incomplete draft of a letter from Schenker to Grunsky, undated [?mid-late September 1908?] Ecstasy is an end in itself in Bruckner's music, producing artificiality. Cf. Beethoven, Brahms. — Cites instances in Bruckner's Seventh Symphony; his music is technically backward. — Posterity will see both Bruckner and Berlioz as of lower status than Haydn, Brahms, and other masters. OJ 5/15, [6] Fragmentary handwritten draft letter from Schenker to Grunsky, undated [? mid‒late September 1908?] Discusses Bruckner's compositional technique, content, and "eccentric" form: highly fragmentary document. DLA 69.930/12 Handwritten letter from Schenker to Halm, dated April 3‒4, 1924 In response to matters raised by Halm in two previous letters, Schenker discusses figuration, distinguishing between that which works only on the surface and that which arises out of the middle and background, drawing on primal intervals. He also concedes that he heard Bruckner improvising, and criticizes it adversely. He refers to Reger, and outlines plans for forthcoming volumes of Der Tonwille. Diaries Diary entry by Schenker for 17 February 1907 Diary entry by Schenker for 12 April 1928 Diary entry by Schenker for 15 April 1928 Diary entry by Schenker for 18 April 1928 Lessonbooks OC 3/2-3: Oct 1913-Jun 1914 Paul Breisach: lesson: Friday December 5, 1913 OC 3/2-3: Oct 1913-Jun 1914 Paul Breisach: lesson: Tuesday December 9, 1913