Box 20
Contains 26 Results:
Essays and Reviews by Schenker as first published in the Periodical Press
The arrangement of the material in this section generally follows that left by Oswald Jonas. Often the sequence of material appears to have survived from the original Schenker Nachlass of 1935; in a few cases there is evidence of later rearrangement by Jonas. Cross references have been provided where the arrangement results in the separation of related materials. Most of the manuscripts are in Heinrich or Jeanette Schenker's hand.
Musikalisches Wochenblatt,, 1891-95
The arrangement of the material in this section generally follows that left by Oswald Jonas. Often the sequence of material appears to have survived from the original Schenker Nachlass of 1935; in a few cases there is evidence of later rearrangement by Jonas. Cross references have been provided where the arrangement results in the separation of related materials. Most of the manuscripts are in Heinrich or Jeanette Schenker's hand.
Die Zukunft,, 1892-97
The arrangement of the material in this section generally follows that left by Oswald Jonas. Often the sequence of material appears to have survived from the original Schenker Nachlass of 1935; in a few cases there is evidence of later rearrangement by Jonas. Cross references have been provided where the arrangement results in the separation of related materials. Most of the manuscripts are in Heinrich or Jeanette Schenker's hand.
Neue Revue,, 1894, 1896-98
The arrangement of the material in this section generally follows that left by Oswald Jonas. Often the sequence of material appears to have survived from the original Schenker Nachlass of 1935; in a few cases there is evidence of later rearrangement by Jonas. Cross references have been provided where the arrangement results in the separation of related materials. Most of the manuscripts are in Heinrich or Jeanette Schenker's hand.
Die Zeit,, 1895-96
The arrangement of the material in this section generally follows that left by Oswald Jonas. Often the sequence of material appears to have survived from the original Schenker Nachlass of 1935; in a few cases there is evidence of later rearrangement by Jonas. Cross references have been provided where the arrangement results in the separation of related materials. Most of the manuscripts are in Heinrich or Jeanette Schenker's hand.
Wiener Abendpost,, 1901
The arrangement of the material in this section generally follows that left by Oswald Jonas. Often the sequence of material appears to have survived from the original Schenker Nachlass of 1935; in a few cases there is evidence of later rearrangement by Jonas. Cross references have been provided where the arrangement results in the separation of related materials. Most of the manuscripts are in Heinrich or Jeanette Schenker's hand.
Der Merker,, 1916
The arrangement of the material in this section generally follows that left by Oswald Jonas. Often the sequence of material appears to have survived from the original Schenker Nachlass of 1935; in a few cases there is evidence of later rearrangement by Jonas. Cross references have been provided where the arrangement results in the separation of related materials. Most of the manuscripts are in Heinrich or Jeanette Schenker's hand.
Die Musik,, 1923
The arrangement of the material in this section generally follows that left by Oswald Jonas. Often the sequence of material appears to have survived from the original Schenker Nachlass of 1935; in a few cases there is evidence of later rearrangement by Jonas. Cross references have been provided where the arrangement results in the separation of related materials. Most of the manuscripts are in Heinrich or Jeanette Schenker's hand.
General-Anzeiger für Bonn und Umgegend,, 1927
The arrangement of the material in this section generally follows that left by Oswald Jonas. Often the sequence of material appears to have survived from the original Schenker Nachlass of 1935; in a few cases there is evidence of later rearrangement by Jonas. Cross references have been provided where the arrangement results in the separation of related materials. Most of the manuscripts are in Heinrich or Jeanette Schenker's hand.
Zeitschrift für Musik,, 1929-30
The arrangement of the material in this section generally follows that left by Oswald Jonas. Often the sequence of material appears to have survived from the original Schenker Nachlass of 1935; in a few cases there is evidence of later rearrangement by Jonas. Cross references have been provided where the arrangement results in the separation of related materials. Most of the manuscripts are in Heinrich or Jeanette Schenker's hand.