Schenker Documents Online
01 Aug 2017-Nineteenth-century music review (Cambridge University Press (CUP))-Vol. 14, Iss: 02, pp 303-307
TL;DR: The unpublished work of Heinrich Schenker (1868-1935) has long fascinated scholars interested in the origins and development of his analytic method as discussed by the authors, and most of his unpublished papers can be found in two archives: the Oster Collection, housed in the New York Public Library, and the Oswald Jonas Memorial Collection, located at the University of California at Riverside.
Abstract: The unpublished work of Heinrich Schenker (1868–1935) has long fascinated scholars interested in the origins and development of his analytic method. Most of his unpublished papers can be found in two archives: the Oster Collection, housed in the New York Public Library, and the Oswald Jonas Memorial Collection, located at the University of California at Riverside. 1 .
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TL;DR: In 1912, Schenker began to reconceptualize four works already published, in press, or in preparation as a series parallel to his Neue musikalische Theorien und Phantasien, under the collective title Erlauterungsausgaben (elucidatory editions): his editions of C P E Bach keyboard works with companion brochure, Ein Beitrag zur Ornamentik (1903; 2nd ed 1908); J S Bach9s Chromatic Fantasy and Fugue (1910); Beethoven
Abstract: In 1912, Schenker began to reconceptualize four works already published, in press, or in preparation as a series parallel to his Neue musikalische Theorien und Phantasien , under the collective title Erlauterungsausgaben (elucidatory editions): his editions of C P E Bach keyboard works with companion brochure, Ein Beitrag zur Ornamentik (1903; 2nd ed 1908); J S Bach9s Chromatic Fantasy and Fugue (1910); Beethoven9s last five piano sonatas (1913–20); and his monograph on Beethoven9s Ninth Symphony (1912) A close reading of the texts associated with the first two of these brings out the characteristics of Schenker9s newly forged mode of musical discourse and helps us understand why Schenker prized it so highly Inspection of Schenker9s correspondence with J G Cotta and Universal Edition (also the latter9s publication records and catalogues) and his diary makes possible a detailed history of the works concerned and of his unsuccessful attempt to establish the second series; it also reveals the central role he envisioned for himself in the future of Universal Edition and casts light on his complex interactions with Emil Hertzka, on relationships with his private patrons, and on his sense of exclusion from Viennese musical circles
8 citations
8 citations
TL;DR: The first part of the Austrian national anthem contains a peculiar, but well-handled, ascent to 5̂, whose force, according to Schenker, stems from the motifs that arise out of and climb above the notes of the Urlinie as discussed by the authors.
Abstract: Approximately two thirds of the way through the Austrian national anthem, the melody reaches its highest pitch, g †, sung to the word ‘Gott’. It does not belong to the Urlinie. Instead it stems from ‘superelevations’ (Überhöhungen), which Schenker explains are motifs that arise out of and climb above the notes of the Urlinie. The first part of the anthem contains a peculiar, but well-handled, ascent to 5̂, whose force, according to Schenker,
7 citations
01 Jan 2016
TL;DR: The learned editors of whom Byron writes were trying to safeguard the questionable innocence of adolescent schoolboy readers while at the same time remaining faithful to their Greek and Latin authors a hopelessly self-contradictory enterprise as discussed by the authors.
Abstract: The learned editors of whom Byron writes were trying to safeguard the questionable innocence of adolescent schoolboy readers while at the same time remaining faithful to their Greek and Latin authors a hopelessly self-contradictory enterprise. All that their transplanting accomplished was to facilitate their readers' gorging themselves on the forbidden fruit, now conveniently gathered into one place. Such editions, by the way, really existed and in fact still do, and in our own
5 citations