Box 16
Contains 11 Results:
"Joh. Seb. Bach: Wohltemperiertes Klavier, Band I, Präludium C-moll." Die Musik XV/9 641-51. Complete issue of Heft 9 as published, (Juni 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.
"Die Kunst der Fuge." Note on Wolfgang Gräser's ordering of Die Kunst der Fuge, , dated 15.II.27.
- ms. leaves 1-5 and 5 ms. note fragments, in the hands of Heinrich and Jeanette Schenker.
Schenker's major writings about Bach are scattered throughout his theoretical work, especially in Der Tonwille and Das Meisterwerk in der Musik. Consult the index, also Box 24 (Bach editions).
Sonata. Op. 14, no. 2
Sonata. Op. 27, no. 2
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.
Symphony No. 3. Op. 55
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.
Sonata. Op. 101
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.
Sonata. Op. 109
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.
Sonata. Op. 109
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.
Sonata. Op. 110
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.
Sonata. Op. 111
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.