Schenker Correspondence Project

Letter from Schenker to Cotta, dated June 30, 1906

[ not in Schenker’s hand: ]
Schenker, H.

[ in Schenker’s hand: ]
Wien, 30. Juni 1906

Sehr geehrter Herr !

Im Besitze Ihrer gesch. Zuschrift vom 27. d.M.,¹ für die ich bestens danke, übermittle ich hiemit die Korrekturen des zweiten Teiles, soweit sie fertig sind, u. bemerke, daß der Revisionsbogen in ein paar Tagen folgen wird.²

Den Herrn Setzer bitte ich auf 2 Sachen aufmerksam zu machen: erstens, daß die ausgeschnittenen Teile ins Nachwort übernommen wurden³ u. ihr Satz daher noch aufzubewahren ist; zweitens, daß {verso} ich der Vorsicht halber dort, wo Notenbeispiele zu kommen haben, ein X oder X⁴ angemerkt habe, damit keines vergesse[n] werde.

Mit vorzüglicher
Hochachtung
[ sign’d: ] H Schenker

© Heirs of Heinrich Schenker; reproduced here by kind permission of the Deutsches Literaturarchiv, Cotta-Archiv (Stiftung der Stuttgarter Zeitung), Marbach am Neckar.
© Transcription Ian D. Bent 2005.

Letter from Schenker to Cotta, dated June 30, 1906

[ not in Schenker’s hand: ]
Schenker, H.

[ in Schenker’s hand: ]
Vienna, June 30, 1906

Dear Sir,

I acknowledge with thanks your est’d letter of the 27th inst.¹ Herewith I send all the corrected proofs for Part II that have so far been produced, and I take note that the revised gatherings will follow within a few days.²

I wish to draw two things to the type-setter’s attention: first, that the excised parts were transferred to the Afterword,³ hence their type should be preserved; secondly, that {verso} for safety’s sake I have marked X or X⁴ wherever music examples have to be inserted, so that none of them will be forgotten.

With kind regards,
[ sign’d: ] H Schenker

© Translation Ian D. Bent 2005.

COMMENTARY:
Format: holograph letter and signature, 2pp, single sheet recto and verso
Sender address: --
Recipient address: --

FOOTNOTES:

¹ OJ 9/31, [10].

² S is presumably returning the remainder of the pages of letterpress with music examples (see OJ 9/31, [10], and fn1 of that document). It is unclear what the second clause means: bemerke implies that he is expecting to receive revised page-proofs in gatherings from Cotta; however, nothing in OJ 9/31, [10] warrants that expectation; alternatively, S may in the meantime have received those proofs and be promising to return them to Cotta.

³ For the Afterword, see CA 25, May 29, OJ 9/31, [8], May 31, CA 27, June 4, OJ 9/31, [9], June 5, 1906, and associated notes. OC 31/154–155 are two pages cut and pasted from (single-column) galley-proofs, one concerning “failed cyclicality” in Bruckner symphonies, the other an extended footnote concerning Strauss’s Ein Heldenleben and the Prelude to Tristan und Isolde. These, which are located just after the Niedergang der Kompositionskunst typescript and a draft of the Foreword to Kontrapunkt, were very probably removed from Harmonielehre during the galley-proof stage, and are partly incorporated into Niedergang. (My thanks to William Drabkin for this latter information: see his forthcoming edition and translation of Niedergang, in Music Analysis 24/1–2 (March–July 2005)).

fn4 The two “X” signs are identical, and seem to have been written not in ink but in pencil or crayon. Could S have left blanks, intending to write in special signs (such as, e.g., he used to mark insertions in the engraver’s copy of his edition of the J. S. Bach Chromatic Fantasy & Fugue ), and could the “X”s have been marked by Cotta?

SUMMARY:
[ NMTP = Harmonielehre:] Acks OJ 9/31, [10]; returns all available proofs to end of Part II; excised material to be transferred to the Afterword; some music examples to be inserted.

© Commentary, Footnotes, Summary Ian D. Bent 2005.

Bent, Ian
Schenker, Heinrich
[ NMTP = Harmonielehre :] Acks OJ 9/31, [10]; returns all available proofs to end of Part II; excised material to be transferred to the Afterword; some music examples to be inserted.
DE
Cambridge University Faculty of Music-Ian Bent
IPR: Heirs of Heinrich Schenker; reproduced here by kind permission of the Deutsches Literaturarchiv, Cotta-Archiv (Stiftung der Stuttgarter Zeitung), Marbach am Neckar; Transcription, Translation, Commentary, Footnotes, and Summary: Ian D. Bent 2005.
Schenker, Heinrich; Cotta, J. G.; NMTP; vol.1; Harmonielehre; Harmony; Part II; proofs; excised material; Afterword; music examples; type-setter
Handwritten letter from Schenker to Cotta, dated June 30, 1906
letter
academic; musicology; music theory
CA 31
1906-06-30
2005-06-02
Cotta
All reasonable steps have been taken to locate the heirs of Heinrich Schenker. Any claim to intellectual rights on this document should be addressed to the Schenker Correspondence Project, Faculty of Music, University of Cambridge, at schenkercorrespondence@mus.cam.ac.uk.
letter; holograph message and signature
J.G. Cotta’sche Nachfolger/Stuttgarter Zeitung (1906-c1954);f Cotta-Archiv, Schiller-Nationalmuseum, Marbach a. N., Germany (c.1954-)
IPR: Heirs of Heinrich Schenker; reproduced here by kind permission of the Deutsches Literaturarchiv, Cotta-Archiv (Stiftung der Stuttgarter Zeitung), Marbach am Neckar; Transcription, Translation, Commentary, Footnotes, and Summary: Ian D. Bent.
Vienna
Stuttgart
1906