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Profiles Person Place Organization Work by Schenker Journal Musical Composition Downloads Print Preview Save Page (PDF) Save Page (EPub) Save Page (All Formats)	Well-Tempered Clavier Documents associated with this entity: Correspondence Diaries Lessonbooks Types composition Names Well-Tempered Clavier Wohltemperiertes Klavier Wohltemperirtes Klavier Das wohltemperierte Klavier Das wohltemperirte Klavier Relationships Well-Tempered Clavier is composed by Johann Sebastian Bach Fugue in Bb minor, Well-Tempered Clavier, Book I is part of Well-Tempered Clavier Fugue in Bb minor, Well-Tempered Clavier, Book II is part of Well-Tempered Clavier Fugue in C major, Well-Tempered Clavier, Book I is part of Well-Tempered Clavier Fugue in C major, Well-Tempered Clavier, Book II is part of Well-Tempered Clavier Fugue in C minor, Well-Tempered Clavier, Book I is part of Well-Tempered Clavier Fugue in C minor, Well-Tempered Clavier, Book II is part of Well-Tempered Clavier Fugue in C# major, Well-Tempered Clavier, Book I is part of Well-Tempered Clavier Fugue in C# major, Well-Tempered Clavier, Book II is part of Well-Tempered Clavier Fugue in C# minor, Well-Tempered Clavier, Book I is part of Well-Tempered Clavier Fugue in C# minor, Well-Tempered Clavier, Book II is part of Well-Tempered Clavier Fugue in D major, Well-Tempered Clavier, Book I is part of Well-Tempered Clavier Fugue in D major, Well-Tempered Clavier, Book II is part of Well-Tempered Clavier Fugue in D minor, Well-Tempered Clavier, Book I is part of Well-Tempered Clavier Fugue in G major, Well-Tempered Clavier, Book I is part of Well-Tempered Clavier Prelude and Fugue in B major, Well-Tempered Clavier, Book I is part of Well-Tempered Clavier Prelude and Fugue in B major, Well-Tempered Clavier, Book II is part of Well-Tempered Clavier Prelude and Fugue in A major, Well-Tempered Clavier, Book I is part of Well-Tempered Clavier Prelude and Fugue in A major, Well-Tempered Clavier, Book II is part of Well-Tempered Clavier Prelude and Fugue in A minor, Well-Tempered Clavier, Book I is part of Well-Tempered Clavier Prelude and Fugue in A minor, Well-Tempered Clavier, Book II is part of Well-Tempered Clavier Prelude and Fugue in Ab major, Well-Tempered Clavier, Book I is part of Well-Tempered Clavier Prelude and Fugue in Ab major, Well-Tempered Clavier, Book II is part of Well-Tempered Clavier Prelude and Fugue in B minor, Well-Tempered Clavier, Book I is part of Well-Tempered Clavier Prelude and Fugue in B minor, Well-Tempered Clavier, Book II is part of Well-Tempered Clavier Prelude and Fugue in Bb major, Well-Tempered Clavier, Book I is part of Well-Tempered Clavier Prelude and Fugue in Bb major, Well-Tempered Clavier, Book II is part of Well-Tempered Clavier Prelude and Fugue in Bb minor, Well-Tempered Clavier, Book I is part of Well-Tempered Clavier Prelude and Fugue in Bb minor, Well-Tempered Clavier, Book II is part of Well-Tempered Clavier Prelude and Fugue in C major, Well-Tempered Clavier, Book I is part of Well-Tempered Clavier Prelude and Fugue in C major, Well-Tempered Clavier, Book II is part of Well-Tempered Clavier Prelude and Fugue in C minor, Well-Tempered Clavier, Book I is part of Well-Tempered Clavier Prelude and Fugue in C minor, Well-Tempered Clavier, Book II is part of Well-Tempered Clavier Prelude and Fugue in C# major, Well-Tempered Clavier, Book I is part of Well-Tempered Clavier Prelude and Fugue in C# major, Well-Tempered Clavier, Book II is part of Well-Tempered Clavier Prelude and Fugue in C# minor, Well-Tempered Clavier, Book I is part of Well-Tempered Clavier Prelude and Fugue in C# minor, Well-Tempered Clavier, Book II is part of Well-Tempered Clavier Prelude and Fugue in D major, Well-Tempered Clavier, Book I is part of Well-Tempered Clavier Prelude and Fugue in D major, Well-Tempered Clavier, Book II is part of Well-Tempered Clavier Prelude and Fugue in D minor, Well-Tempered Clavier, Book I is part of Well-Tempered Clavier Prelude and Fugue in D minor, Well-Tempered Clavier, Book II is part of Well-Tempered Clavier Prelude and Fugue in E major, Well-Tempered Clavier, Book I is part of Well-Tempered Clavier Prelude and Fugue in E major, Well-Tempered Clavier, Book II is part of Well-Tempered Clavier Prelude and Fugue in E minor, Well-Tempered Clavier, Book I is part of Well-Tempered Clavier Prelude and Fugue in E minor, Well-Tempered Clavier, Book II is part of Well-Tempered Clavier Prelude and Fugue in Eb major, Well-Tempered Clavier, Book I is part of Well-Tempered Clavier Prelude and Fugue in Eb major, Well-Tempered Clavier, Book II is part of Well-Tempered Clavier Prelude and Fugue in Eb minor, Well-Tempered Clavier, Book I is part of Well-Tempered Clavier Prelude and Fugue in Eb minor, Well-Tempered Clavier, Book II is part of Well-Tempered Clavier Prelude and Fugue in F major, Well-Tempered Clavier, Book I is part of Well-Tempered Clavier Prelude and Fugue in F major, Well-Tempered Clavier, Book II is part of Well-Tempered Clavier Prelude and Fugue in F minor, Well-Tempered Clavier, Book I is part of Well-Tempered Clavier Prelude and Fugue in F minor, Well-Tempered Clavier, Book II is part of Well-Tempered Clavier Prelude and Fugue in F# major, Well-Tempered Clavier, Book I is part of Well-Tempered Clavier Prelude and Fugue in F# major, Well-Tempered Clavier, Book II is part of Well-Tempered Clavier Prelude and Fugue in F# minor, Well-Tempered Clavier, Book I is part of Well-Tempered Clavier Prelude and Fugue in F# minor, Well-Tempered Clavier, Book II is part of Well-Tempered Clavier Prelude and Fugue in G major, Well-Tempered Clavier, Book I is part of Well-Tempered Clavier Prelude and Fugue in G major, Well-Tempered Clavier, Book II is part of Well-Tempered Clavier Prelude and Fugue in G minor, Well-Tempered Clavier, Book I is part of Well-Tempered Clavier Prelude and Fugue in G minor, Well-Tempered Clavier, Book II is part of Well-Tempered Clavier Prelude and Fugue in G# minor, Well-Tempered Clavier, Book I is part of Well-Tempered Clavier Prelude and Fugue in G# minor, Well-Tempered Clavier, Book II is part of Well-Tempered Clavier Prelude in B minor, Well-Tempered Clavier, Book I is part of Well-Tempered Clavier Prelude in B minor, Well-Tempered Clavier, Book II is part of Well-Tempered Clavier Prelude in A major, Well-Tempered Clavier, Book I is part of Well-Tempered Clavier Prelude in A major, Well-Tempered Clavier, Book II is part of Well-Tempered Clavier Prelude in A minor, Well-Tempered Clavier, Book I is part of Well-Tempered Clavier Prelude in D minor, Well-Tempered Clavier, Book I is part of Well-Tempered Clavier Prelude in E major, Well-Tempered Clavier, Book II is part of Well-Tempered Clavier Prelude in E minor, Well-Tempered Clavier, Book I is part of Well-Tempered Clavier 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 OC 52/399-401 Typewritten letter from Hertzka (UE) to Schenker, dated December 18, 1908 Hertzka complains at the embarrassment that Schenker has caused him over the Instrumentations-Tabelle, and proposes releasing the Table in two versions. — He proposes that Schenker edit Book II of the Well-tempered Clavier in the manner of Busoni. WSLB 31 Handwritten letter from Schenker to Hertzka (UE), dated December 22, 1908 Schenker agrees to the Instrumentations-Tabelle being published without his newly written Introduction. — He declines the proposal to edit the Well-tempered Clavier Book II for the new Akademie, offerin alternative suggestions and observations on Busoni's editing. WSLB 33 Handwritten letter from Schenker to Hertzka (UE), undated [December 31, 1908 or January 1, 1909] Schenker defends his Introduction to the Instrumentations-Tabelle and the exclusion of the heckelphone. WSLB 35 Handwritten letter from Schenker to Hertzka (UE), January 8, 1909 In a letter "ironic in tone" Schenker offers alternative editors for WTC Bk II. He outlines the work that he has in hand, and regrets his unhappy experience with UE over Beitrag zur Ornamentik. OC 52/919 Typewritten letter from Hertzka (UE) to Schenker, dated January 11, 1909 Hertzka still hopes to persuade Schenker to take on editing the Well-tempered Clavier Book II. CA 96-98 Handwritten letter from Schenker to Cotta, dated May 26, 1909 Schenker raises again the splitting of Kontrapunkt into two half-volumes, or even four installments. — He reports that his Beitrag zur Ornamentik has been adopted by the Academy of Music, despite his being in a constant state of feud with all officialdom. — The Academy's Director is a supporter of his theory. — Schenker outlines how earlier works of his have become influential. — His Kontrapunkt is "eagerly awaited" and will be the "leading work" on the subject; he argues the case for splitting the work on "psychological" and "technical" grounds. WSLB-Hds 94475 Handwritten letter from Schenker to Seligmann, undated [probably early July 1909] Schenker asks Seligmann to read an essay on Byron’s Manfred and, if he thinks it worthy of publication, to send a letter of reference to one or other Viennese newspaper. He also expresses his satisfaction at how his career is shaping: he has requested and received generous fees for the editions he has prepared for Universal Edition, and his theoretical writings for Cotta are also moving along. WSLB 47 Handwritten letter from Schenker to Hertzka (UE), dated November 9, 1909 Schenker resists attending a meeting with Hertzka and von Wöß regarding the printing of his edition of the Chromatic Fantasy & Fugue; asserts his rights as an author to control over his own material; and makes claims for the introduction to his Instrumentations-Tabelle, which was not accepted for inclusion in 1908 reprinting. OC 52/45 Typewritten letter from Hertzka (UE) to Schenker, dated February 11, 1910 Refuting Schenker's accusations, particularly that UE emphasizes "anti-musical music," Hertzka says he will print the proposed Bach works as Schenker suggests, and informs him that the Chromatic Fantasy & Fugue edition will go to press in early March. WSLB 68 Handwritten letter from Schenker to Hertzka (UE), dated October 21, 1910 Schenker reports an encounter with Wilhelm Bopp. OC 52/426 Typewritten letter from Hertzka (UE) to Schenker, dated October 29, 1910 Hertzka notes Schenker's wish that his Chromatic Fantasy & Fugue edition be publicized as with "Erläuterungen" and asks Schenker to help him word a publicity notice. — He wishes to finalize the contract for Beethovens neunte Sinfonie in person and to discuss plans for the Beethoven Sonatas, on which he has spoken with Wilhelm Bopp with a view to a grant from the Ministry of Education. WSLB 69/71 Handwritten letter + inclosure from Schenker to Hertzka (UE), dated November 1, 1910 Text of flyer for Chromatic Fantasy & Fugue edition, with covering note discussing plan for last five Beethoven piano sonatas in combination with Well-tempered Clavier, Book 2. OC 1A/1-2 Handwritten letter from Schenker to Wilhelm Bopp (Akademie für Musik), dated May 30, 1911 Schenker has been unable to elicit any response from President [von Wiener]. OC 54/65-66 Draft of a publicity note for Das Meisterwerk in der Musik, dated February 15, 1926 A draft statement of the principles lying behind Schenker’s Meisterwerk series of Yearbooks, together with a provisional table of contents for the second Yearbook. OJ 9/34, [14] Handwritten letter from Cube to Schenker, dated October 4, 1928 Cube acknowledges OJ 5/7a, [18] and [19], and comments; reports on his own recent activities and plans, and on events in the Conservatory, on a forthcoming Schubert festival, and Radio Vienna. He is about to return the Hammer etching. OJ 6/7, [44] Handwritten letter from Schenker to Violin, dated November 24, 1929 After reply to some of the more personal points in Violin's previous letter, Schenker welcomes his friend's efforts to look for a publisher for the Eroica Symphony monograph, noting that, in spite of the difficulties that Hertzka has caused him, his books are still in print and his status as a theorist has been acknowledged by the the fact that the universities of Heidelberg and Leipzig have expressed an interest in appointing him. A recent article in the Deutsche Tonkünstler-Zeitung will give Violin further ammunition when approaching a publisher. That same issue also contains an article by Schoenberg touching on various canonic works (Bach, Prelude in C sharp minor for the Well-Tempered Clavier, Book 1; Beethoven, Seventh Symphony, finale; Mozart, slow introduction to the "Dissonant" Quartet). He feels that it is beneath his dignity to make a formal reply; but to illustrate what he means, and why he is contemptuous of Schoenberg, he provides several voice-leading graphs and other music examples concerning these works. OJ 9/34, [20] Handwritten letter from Cube to Schenker, January 2, 1930 Offers New Year greetings; reports on his current mood, on the Conservatory, his private teaching, and publication plans. Describes Urlinie of C major Prelude from WTC I. Reports on compositional activity and reading. OJ 12/6, [8] Handwritten postcard from Jonas to Schenker, dated March 30, [1931] Jonas thanks Schenker for OJ 5/18, 4; — reports that his own essay and a review of Das Meisterwerk III will appear in the Zeitschrift für Musikwissenschaft; — asks question about a discussion in Der Tonwille of a Bach fugue copied out by Beethoven. OJ 15/16, [78] Handwritten letter from Weisse to Schenker, dated June 12, 1931 Weisse expresses his joy and gratitude at Schenker's approval of the three-voice piano pieces he has dedicated to him. Having sent his teacher several copies of them, he asks for the names of the recipients of the other copies. OJ 5/7a, [38] (formerly vC 38) Handwritten letter from Schenker to Cube, in Jeanette Schenker's hand, dated June 30, 1931 Schenker encloses the [Mozart calling] card, and sends an article from Der Kunstwart; he emphasizes that Moriz Violin's new institute is a "school," not a "seminar," and offers detailed advice; comments that his theory from Harmonielehre to Meisterwerk constitutes a self-contained whole; recommends use of C. P. E. Bach's Versuch with his theory applied to the examples; and foretells the Urlinie-Tafeln that should be available to Violin/Cub in Hamburg and to Weisse in New York. His eyes have suffered and need complete rest. OJ 9/34, [28] Handwritten letter from Cube to Schenker, dated October 16, 1931 Cube reports enrollment and quality of students at the Schenker Institute, Hamburg; his own teaching is increasingly small-group-tuition based, drawing on Tonwille and Meisterwerk. Karl Violin is recovering. OJ 12/24, [3] Typewritten letter from Kromer to Schenker, dated January 26, 1932 The Archive has defective photographic copies and offers them for student use. OJ 15/16, [90] Handwritten letter from Hans Weisse to Schenker, dated March 17, 1933 Weisse reports the success of his lecture on the C minor prelude from the Well-Tempered Clavier, Book 1. — He is currently giving two lectures on a Haydn's sonata. — He inquires about the possibility of having Schenker's foreground graphs for the "Eroica" Symphony printed separately and sold to his pupils, for a series of lectures planned for the following year; the profits entirely to Schenker. — He sees little prospect visiting Europe in the summer, as his financial situation has worsened: the Mannes School has been forced to reduce his teaching for the next season. — He expresses his doubts about Vrieslander's ability to reshape Schenker's Harmonielehre as a school textbook, and about the value of Harmonielehre itself in the light of his teacher's most advanced theoretical ideas. Diaries Diary entry by Schenker for 9 January 1909 Diary entry by Schenker for 12 December 1913 Diary entry by Schenker for 9 September 1917 Diary entry by Schenker for 10 March 1929 Diary entry by Schenker for 17 October 1931 Diary entry by Schenker for 19 October 1931 Diary entry by Schenker for 22 October 1931 Diary entry by Schenker for 9 January 1932 Diary entry by Schenker for 9 May 1932 Diary entry by Schenker for 13 May 1932 Lessonbooks OC 3/1: Jan 1912-Mar 1912 Hans Weisse: lesson: Tuesday March 5, 1912 OC 3/2-3: Oct 1913-Jun 1914 Hans Weisse: lesson: Monday, March 30, 1914 OC 3/3: Oct 1915-Jun 1916 Marianne Kahn: lessons: Dec 1915 OC 3/3: Oct 1915-Jun 1916 Marianne Kahn: lessons: Jan-Feb 1916 OC 3/3: Oct 1919-Jun 1920 Hans Weisse: lessons: Oct 1919-Jan 1920 OC 3/3: 1920/21 Klammerth [jnr]: lessons: 1920/21