Box 21
Contains 26 Results:
Publisher's announcements for Schenker's work,, 1924-1932.
- Heinrich Schenker. Einige Urteile über Schenker und seine Werke. Wien: Universal-Edition [1924?]. 12 pp.
- Draft of prospectus for Schenker's work published by Drei Masken Verlag, Berlin [1932]. 5 ms. leaves in Jeanette Schenker's hand.
Albersheim, Gerhard. "Heinrich Schenker. Grundlagen und Bedeutung seines Werkes," Rheinische Musik- und Theater-Zeitung, Jahrg. Nr. 15-16. Offprint,, 1930,
These items were found in the Schenker Nachlass. For other materials about Schenker collected by Jonas, see Box 58.
Brünauer, Robert. "Die Urlinie. Eine Entgegnung." Carbon transcript with corrections in pencil, 9 leaves, inscribed in Jeanette Schenker's hand, "Riezler-Brünauer." Reply to an article by Walter Riezler, Die Musik, , [1930] April 1930.
These items were found in the Schenker Nachlass. For other materials about Schenker collected by Jonas, see Box 58.
Lytle, Victor Vaughn. "Music Composition of the Present," American Organist, 14 no. 661-666. Complete issue. Article mentions Schenker theory, 11 (November 1931),
These items were found in the Schenker Nachlass. For other materials about Schenker collected by Jonas, see Box 58.
"Der Geist der musikalischen Technik." Offprint, Musikalisches Wochenblatt. Leipzig: E. W. Fritsch, 27 pp. At foot of title: "Die nachfolgende Abhandlung ist ein Teil eines grösseren noch im Manuscript befindlichen Werkes und bildet den Gegenstand an der Universität Wien.", 1895.
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.
"Das deutsche Genie im Kampf und Sieg (Betrachtungen sub specie aeternitatis)." 8 ms. leaves in Heinrich and Jeanette Schenker's hands. Schenker's ms. was submitted for publication to the Frankfurter Zeitung in but was rejected (See letter from Geck, -, Frankfurter Zeitung, postmarked Box 11, f.18), September, 1914, 26.9.14.
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.
Various essays and fragments:
- [Beethoven] "Missa solemnis." 3 typescript leaves.
- "Zur Formenlehre." 2 typescript leaves.
- "Mappe Sonatenform." 5 typescript leaves. Dated 1912; "Jahrg. 1916" in pencil on fourth leaf.
- "Schenker über Stifter." (1927); "Fortschritt." 3 typescript leaves.
- "Konzert Karl Straube." 5 ms. leaves in an unidentified hand.
Wilhelm Meister (Goethe): Schenker's commentary and notes transcribed in the hand of Jeanette Schenker, with annotations in the hand of Heinrich Schenker
"Das Laben als Lobgesang Gottes." Miscellany of Schenker's reflections, aphorisms and comments on his reading, including literature, religion, politics, and current affairs. Ms. in Jeanette Schenker's hand, two parts, paged continuously and enclosed in paper boards
- [Part 1] "Bemerkungen zu Faust" [etc.], ms. leaves [1],1-258, dated at end "Igls, 26 VIII 32"; entries dated from 13.X.1917 to 1932.
- [Part 2] "Aphorismen 2. Serie," ms. leaves 259-298, dated Mai, 1935; entries dated from 28.VIII.1931 to 1934.
"Was wird aus der Musik?" Ms. in Jeanette Schenker's hand with corrections and title in Heinrich Schenker's hand, 10 numb. leaves. Published in Deutsche allgemeine Zeitung, Berlin, (See Box 20, f.11), 1933
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.