Handwritten postcard from Schenker to Cube, dated September 29, 1928 {recto} [top-left: picture captioned: Semmering. Niederösterr.] [Absender:] Schenker Wien, [An:] H. Prof. [/] Felix von Cube [postmark:] || 3 WIEN 40 | 29.9.[ 28 ] | 19–20 || [for message-continuation, see below] {verso} Gestern erhielt ich von einem Herrn Harry Hahn (Hamburg)1 zwei handgeschriebene Tafeln (1.60 meter!) Urlinie, die eine Vergrößerung meiner Bilder zu Ihr © In the public domain. |
Handwritten postcard from Schenker to Cube, dated September 29, 1928 {recto} [top-left: picture captioned: Semmering. Niederösterr.] [Sender:] Schenker, Vienna III, [To:] Prof. Felix von Cube [postmark:] || 3 WIEN 40 | 29.9.[ 28 ] | 19–20 || [for message-continuation, see below] {verso} Yesterday I received from one Harry Hahn (of Hamburg)1 two handwritten Urlinie charts (each 1.60 meters in length!), which show an enlargement of my graphs for J. S. Bach’s Short Prelude in C major (Der Tonwille) and a waltz by Schubert (Das Meisterwerk in der Musik).2 Hahn used these “school charts” for a lecture put on by the “Working Group of the Hamburg Chapter of the Association of German Composers and Music Teachers”3 with such good success that he has been asked for a further demonstration. [The next time] he will introduce the so-called “Appassionata,” Op. 57 (Tonwille).4 Such school charts could also be of good service to you. “The paper is getting larger {recto} of its own accord” my wife whispers to me. Best greetings from both of us, to you and your father! Yours, © Translation by William Drabkin, 2006 |
COMMENTARY: FOOTNOTES: 1 See Schenker’s previous postcard to Cube (vC 18, September 26, 1928), which alludes to Hahn’s work. 2 The “short prelude in C major” is either No. 1 (BWV 924) or No. 2 (BWV 939): S’s analyses of both were published in Der Tonwille Heft 4 (1923), 3–6, 7 (Eng. trans., vol. II, 141–44, 145). The Schubert waltz would have been from his 36 Originaltänze (Erster Waltzer, Op. 9 (D. 365)); graphs of nos. 1, 4, 5, 7 and 8 appear in “Fortzetzung der Urlinie-Betrachtungen” (Further Considerations of the Urlinie: II), Das Meisterwerk in der Musik, 2 (1926), 9–42 (Eng., trans., 1–22). 3 Click on Reichsverband deutscher Tonkünstler u. Musiklehrer. 4 Schenker, “Beethoven: Sonate opus 57,” Der Tonwille Heft 7 (= IV/1) (January–March 1924), 3–33 (Eng. trans., vol. II, 41–64). SUMMARY: © Commentary, Footnotes, Summary William Drabkin 2006.
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