Handwritten letter from Halm to Schenker, dated July 24, 1922 24.VII.22 Lieber u. verehrter Herr Professor!1 Oft denke ich an Sie, wenn ich wieder einmal etwas aus Wien lese (aber nicht nur dann), u. mache mir Gedanken darüber, wie es Ihnen gehen mag. Aber wenn ich dann die Portosätze auf österreichischen Briefen sehe, denke ich wieder, daß man niemand zu einem irgendwie vermeidbaren Brief veranlassen soll. (Was ja auch bei uns zutrifft). Es freut mich sehr, daß ich ein neues Heft bei Ihnen anmelden kann: Von 3 Suiten für Geige, Cello u. Klavier werden zwei zusammen in einem Heft erscheinen, das Sie sofort nach Erscheinen von mir erhalten sollen; ich habe den Verleger schon gebeten, dies zu besorgen. Ich hoffe, Sie werden es vor Weihnachten noch erhalten. Die Fahnen sind definitive korrigiert. 19.VIII.22 Unsere gelben Schulgemeinde-Hefte sind am Aufhören; eine Besprechung (kurz, etwas summarisch, wie es nicht anders geht) hoffe ich noch in die Abschiedsnummer zu bringen, die aber selbst nicht ganz gesichert ist. Um der Wahrheit willen Zu Einzelnem: Das Lied: Ich stand in dunkeln Träumen zähle ich nicht zur guten Musik, u der Nachweis sowohl der Urlinie als auch vieler Feinheiten ist für mich noch kein Beweis, daß ich Unrecht habe.5 Aber das kann ich nun nicht näher ausführen. Ähnlich geht es mir mit den späten Sonaten Beethovens Adur (auch As dur), die mich eben einfach (gefühlsmäßig) nicht ganz überzeugen. Der Typus der Beethovenschen Fuge steht mir sehr hoch; ihn erfüllt hat Beethoven, wie ich meine, nur in der Hammerklaviersonate, in der großen B dur Fuge {5} für Streichquartett, u. wahrscheinlich in dem Finale der späten D dur-Sonate für Cello u. Klavier. Sicher haben Sie mir gerade auch in solchen Stücken, die mir innerlich fremd sind, die Augen für viele gute Züge geöffnet u. ich empfinde auch bei einzelner Gegnerschaft Dankbarkeit dafür.6 Ihre Aufstellung dessen, was eine Musikgeschichte aufhellen müßte, kam einem Bedürfnis von mir entgegen; ich habe schon ähnliches versucht, aber fand nicht diese Vielzahl der Fragen u. nicht die Ordnung. Noch eines: was ich oben schrieb, gilt auch für die angekündigte Sendung, in anderer Weise: ich nehme an, daß sie (d.h. meine Suiten) etwa gerade zu einer Zeit zu Ihnen kommen, wo Sie mitten in dringender Arbeit sind. Dann lassen Sie sich nicht stören u. warten Sie ruhig u. beliebig lang mit dem Schreiben. Daß es mir nicht gleichgültig ist, was Sie dazu sagen, geht ja gewiß deutlich aus meiner ganzen Stellung zu Ihnen hervor, daß ichs nicht zu versichern brauche, u. auch eine etwa weniger günstige Kritik w[ü]irde Leider sind unsere Verleger nicht so gescheit wie die Universal-Edition, die offenbar merkt, daß Veröffentlichungen immerhin jetzt zu den sichereren u. besseren “Papieren” gehören. Mein neuer Verlag, G. Kallmeyer, ist ein {6} lieber u. anständiger Mensch, hält auch viel von mir. Leider nicht sehr kapitalkräftig, kann er nicht viel auf einmal riskieren, sonst würde er gleich mehr von mir veröffentlichen. Aber ich habe nun doch nichts selbst zu riskieren, u. überhaupt keine geschäftlichen Mühen dabei. Sie wollten früher nach Deutschland ziehen—haben Sie den Plan zurückgestellt oder ganz aufgegeben? Wir sind an unserer Schule noch ziemlich gut daran, aber wie lang wir der Teuerungsnot stand halten werden, weiß niemand. Mit herzlichen Grüßen und Wünschen Ihr © In the public domain; published with the permission of the heirs of August Halm, March 2006. |
Handwritten letter from Halm to Schenker, dated July 24, 1922 July 24, 1922 Dear and honored Professor,1 I think of you often when I read something from Vienna (but not only then), and worry about how you might be doing. But when I then look at the postage on Austrian letters, I think that one should not prompt anyone to an avoidable letter. (Which of course also applies to us). I am very happy that I can announce a new volume: of three suites for violin, cello and piano two will appear together in one volume, which you should receive from me immediately after publication. I have already asked the publisher to take care of this. I hope you will receive it before Christmas. The galley-proofs have been definitively corrected. August 19, 1922 Our yellow community school volumes are ceasing. I hope to offer one review (short, somewhat summarily, as it will work no other way) in the farewell issue, which however is not all together assured. In truth, I have to tell you that your attacks on England and supporters and your glorification of Germany are distressing to me. First, I find it unjustified that from the perspective of our former enemies (who to some extent continue the enmity contemptuously, to be sure!) we are punished as a people for the undisputed {3} errors[?]2 committed by our government, and moreover that there is to some extent no end to it. Conversely, it is also not right when we now view the French government (I name it as the main enemy at the time) as the French people. At some point, somewhere, people have to stop this ethnic hate. And if that should be much more difficult for the conquered and actually betrayed than for the conquerors, then we prove our better quality by starting nevertheless. And we were and are lied to or misled from our own side. When I read in Harden (whom I certainly do not like (I was pleased, by the way, by two reviews of yours, on Smetena and Italian opera performances in past issues of Die Zukunft that a colleague gave me to read)), a speech by Briand3 in original wording: how different, how much more level-headed, more moderate, more educated it sounds than the excerpts and reports in daily newspapers allow to surmise. In short, if one cannot read the most diverse newspapers all day, especially foreign ones, we know far too little to have a fundamental picture for judgment. Second, I do value the spirit and the accomplishments4 of French art far more than you, but do not dispute, and even believe, that {4} German music is on top. That can mean pre-eminence for German music, but it can also be that it comes at the expense of other music when a genius arises in Germany. So it seems to me, when I think of the Russians, who as a folk appear to me more musical than the Germans, but who do not rise as high with respect to their geniuses. In our case, grand elevations from the lowland (which of course does not hold so much for the Middle Ages). There, and probably also in Italy, the higher plateau. Naturally, practically speaking we may not allow that validity, i.e. we may not sacrifice the educational enterprise, must carry on “as though.” And surely you emphasize the fact of German lowlands and marsh lands and foggy regions without holding back. But the calling to a leading role does not follow for Germany because of the greater number of superior geniuses in Germany. In particular: I do not reckon the song “I Stood in Dark Dreams” as good music, and verification of the Urlinie as well as of many refinements is for me still no proof that I am wrong.5 But I can not expound more fully on that now. For me it is similar with the late Beethoven sonatas in A major (also A-flat major), which just simply do not fully convince me (according to feeling). The type of Beethoven fugue ranks very high for me. Beethoven fulfilled it, as I think, only in the Hammerklavier sonata, in the great B-flat-major fugue {5} for string quartet, and probably in the finale of the late D-major sonata for cello and piano. Certainly, you have opened my eyes to many good features precisely in those pieces that are internally foreign to me, and I feel gratitude for that, even with some opposition.6 Your statement of that which a history of music would have to illuminate accommodates a need of mine. I have already tried something similar but did not identify that abundance of questions nor the order. And something else: what I wrote above goes for the announced mailing, in another way. I assume that they (i.e. my suites) will reach you just about at the time when you are in the middle of urgent work. Then do not disturb yourself, and wait as long as necessary with writing. That I am not indifferent to what you say about them is surely clear from my whole attitude toward you so that I do not need to give assurances, and even a somewhat less favorable critique coming from your side would be for me a sign of a support. We have frequently played the music here [in Wickersdorf]; it is part of the chamber-music collection of our school community.7 Our publishers are unfortunately not so bright as Universal Edition, which apparently notices that publications are after all now among the safer and better “securities.” My new publisher, G. Kallmeyer, is a {6} dear and decent man, and thinks highly of me. Not very strong in capital, unfortunately, he cannot risk too much at one time, otherwise he would publish more from me right away. But I really do not have anything to risk myself, and have no associated business troubles. Earlier, you wanted to move to Germany. Have you postponed the plan or given up all together? At our school we are still getting along rather well, but how long we can hold up to the inflation hardship no one knows. With cordial greetings and wishes, Yours, © Translation Lee Rothfarb, 2006. |
COMMENTARY: FOOTNOTES: 1 Federhofer transcribes this entire letter in Heinrich Schenker: Nach Tagebüchern und Briefen, 143-146. 2 Federhofer, Heinrich Schenker: Nach Tagebüchern und Briefen, 144, inserts the word “Fehler” to make sense of the sentence. The word does not appear in the letter. 3 Aristide Briand (1862-1932) served eleven times as the premiere of France, and won the Nobel Peace Prize in 1926, shared with Gustav Stresemann. 4 “u. die Leistungen“ ("and the accomplishments“): words indicated by S to be moved to this point from immediately before “aber” (“but”). 5 Halm refers here to Schenker’s analysis of Schubert’s song „Ihr Bild“, No. 9 of Schwanengesang, in Der Tonwille 1 (1921): 46-49 6 Halm inserts an emdash at this points and continues writing without a paragraph break. 7 Halm inserts an emdash at this points and continues writing without a paragraph break. SUMMARY: © Commentary, Footnotes, Summary Lee Rothfarb 2006
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