Schenker Documents Online: Musikblätter des Anbruch

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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)	Musikblätter des Anbruch Musical Dispatches of A New Day Documents associated with this entity: Correspondence Diaries One of several house journals produced by Universal Edition, and the first periodical to be dedicated to contemporary music, containing reports, analyses, reviews, pieces of music, etc.. Musikblätter des Anbruch began publication in November 1919, changed its name to Anbruch in 1929. Continuing until UE was aryanized in 1938, it was the most important organ of promotion for the publishing house. Its editors were Otto Schneider (1919), Paul Pisk (1920-21), and Paul Stefan (1922-38). Musikblätter des Anbruch was intended as a musical corollary to a journal entitled Der Anbruch. Flugblätter aus der Zeit (A New Day: Dispatches from the Age), ed. Otto Schneider and Ludwig Ullmann (Vienna, 4 vols, 1917-22). The latter promoted expressionist art, with articles by Oskar Kokoschka, Egon Schiele, Max Beckmann, and others. The journal comprised nineteen volumes (initially of twenty issues each, later fewer), including Festschrifts for Bartók (1921), Schoenberg (1924) and Schreker (1928). Contributors (many of them pupils of Schoenberg), in addition to its editors, included Erwin Stein, Alban Berg, Schoenberg, Bartók, Busoni, Hindemith, Krenek, Milhaud, Weill, Wellesz, Kodály, Theodor Adorno, Paul Becker, Rudolf Réti, and Hans Stuckenschmidt. The Journal and Schenker Emil Hertzka sent Schenker a complimentary copy of the first issue on November 8, 1919 (OC 52/210), expressing the hope that Schenker would contribute to it. Schenker's reaction was: "as I gather from the first issue of the Musikblätter des Anbruch that you kindly sent me, the younger generation passes its time forever in bone idleness. In this society of lay-abouts I will not be deterred, not for a million dollars (the strongest currency)!" (WSLB 307, November 13, 1919). He continued to be antagonist to the journal. Bibliography: Hailey, Christopher, "Anbruch and Tonwille: the Verlagspolitik of Universal Edition," in Eybl/Fink-Mennel (2006), pp. 59-67 (The journal is now available as a CD-ROM from Universal Edition, with full searching facilities.) 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 WSLB 118 Handwritten letter from Schenker to Hertzka (UE), date June 4, 1912 Schenker urges Hertzka to contact Dr. Harpner in connection with the planned Organization. He reiterates his demands regarding payment for the planned last five Beethoven sonata edition, specifying the sums, and disputes Hertzka's counterargument. OC 52/210 Typed letter from Hertzka (UE) to Schenker, dated November 8, 1919 Hertzka has arranged for a copy of his monograph Beethovens Neunte Sinfone to be sent, and welcomes Schenker's remarks about resuming work for UE. PS: He is sending the first issue of Musikblätter des Anbruch. WSLB 307 Handwritten letter from Schenker to Hertzka (UE), dated November 13, 1919 Schenker teases Hertzka over his offical's price calculation for Beethovens Neunte Sinfonie; asks for Die letzten fünf Sonaten ... op. 111 for Dolfi Baudrexel; comments caustically on the first issue of Musikblätter des Anbruch. OC 52/211 Typed letter from Hertzka (UE) to Schenker, dated November 14, 1919 Hertzka will correct the price of Beethovens Neunte Sinfonie and send a copy of Die letzten fünf Sonaten von Beethoven ... op. 111 to Dolfi Baudrexel. He hopes that Schenker will contribute to Musikblätter des Anbruch. WSLB 309 Handwritten letter from Schenker to Hertzka (UE), dated November 22, 1919 Schenker outlines a production schedule of his work for UE, which includes Die letzten fünf Sonaten ... op. 101, the Kleine Bibliothek, and the complete edition of Beethoven piano sonatas. He makes stipulations about production, and asks questions about honoraria. OJ 6/7, [2] Handwritten letter from Schenker to Moriz Violin, dated January 29, 1922 Schenker offers to lend Violin his performing materials for two keyboard concertos by C. P. E. Bach. He inquires about musical life in Hamburg, reports on his most recent work, continues to despair of his financial situation. OJ 6/7, [3] Handwritten letter from Schenker to Moriz Violin, dated May 6, 1922 This wide-ranging letter describes the difficulties encountered with Emil Hertzka at Universal Edition, concerning an attack on the music critic Paul Bekker planned for the "Miscellanea" of Tonwille 2. — He expresses his displeasure with Weisse for putting his success as a composer in the way of aiding his teacher's cause, and for exploiting his teacher's generosity. — Ends with generous praise for Violin's musicianship. OJ 6/7, [4] Handwritten letter from Schenker to Moriz Violin, dated December 21, 1922 Schenker reports the imminent publication of Tonwille 3, and some new publishing ventures, including a (new) edition of music by C. P. E. Bach and an "Urlinie Edition" of the Short Preludes by J. S. Bach. OJ 6/7, [6] Handwritten letter from Heinrich Schenker to Moriz Violin, dated July 20, 1923 Schenker describes his efforts to make Der Tonwille more widely read, through its distribution by his pupils and its display in music shop windows. He needs more help from pupils and friends with the dissemination of his work, but complains that Hans Weisse has let him down on more than one occasion by not writing about his work. Finally, he asks Violin’s advice about whether he should accept an invitation to speak at a conference in Leipzig, or whether he should simply stay at home and continue to write. OJ 10/1, [87] Handwritten letter from Dahms to Schenker, dated February 26, 1925 Dahms reports on the Vrieslanders' Italian travels; compares Hertzka unfavorably to Drei Masken Verlag; He plans to sue Hertzka; comments on Bekker and Korngold. OJ 6/7, [25] Handwritten letter from Schenker to Moriz Violin, dated October 25, 1925 In this wide-ranging letter, Schenker commiserates with Violin about the high cost of living, and his inability to raise his fees to keep up with it (in particular, he feels unable to ask the wealthy Hoboken to pay more than his other pupils). He reports on sales of a medallion bearing his image, and the imminent arrival of a mezzotint of his portrait, made by Viktor Hammer, of which his brother Moses Schenker has bought the original drawing. Vrieslander will write an essay about his work in Die Musik, accompanied by the portrait, and things are now going well with the corrections to Meisterwerk 1 and the writing of Meisterwerk 2. OJ 10/1, [91] Handwritten letter from Dahms to Schenker, dated December 1, 1925 The [Hammer] mezzotint has arrived; Dahms expresses a reservation about it. — He has been writing for Die Musik. — He succeeded in getting compensation from UE. Diaries Diary entry by Schenker for 4 July 1919 Diary entry by Schenker for 16 February 1920 Diary entry by Schenker for 21 February 1920 Diary entry by Schenker for 17 June 1920 Diary entry by Schenker for 22 July 1920 Diary entry by Schenker for 20 September 1921 Diary entry by Schenker for 23 September 1922 Diary entry by Schenker for 29 November 1922 Diary entry by Schenker for 5 March 1923 Diary entry by Schenker for 6 March 1923 Diary entry by Schenker for 16 March 1923 Diary entry by Schenker for 29 March 1923 Diary entry by Schenker for 30 March 1923 Diary entry by Schenker for 17 April 1923 Diary entry by Schenker for 30 April 1923 Diary entry by Schenker for 28 July 1923 Diary entry by Schenker for 10 October 1923 Diary entry by Schenker for 23 February 1924 Diary entry by Schenker for 5 April 1924 Diary entry by Schenker for 21 February 1925 Diary entry by Schenker for 26 March 1925 Diary entry by Schenker for 3 March 1930