Author by : University of California, Riverside. Library
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Description : Since his death in 1935, Heinrich Schenker's influence on music theory has steadily increased. This indexed guide to an archive of Schenker's manuscripts is augmented by the Nachlass of his pupil Jonas and his close friend Violin. The catalog describes each manuscript and provides access to Schenker's critical works, his annotated scores and performance comments, his correspondence with Furtw�ngler, Schoenberg, and others, and his diaries (1896-1935). The Jonas collection is at the University of California, Riverside.
Description : In 1912 Heinrich Schenker contracted with the Viennese publisher Universal Edition to provide an 'elucidatory edition' (Erlerungsausgabe) of Beethoven's last five piano sonatas. Each publication would comprise a score, newly edited by Schenker and using the composer's autograph manuscript as principal source, together with a substantial commentary combining analytical, text-critical and performance-related matter. Four of the five editions appeared between 1913 and 1921, but that of the 'Hammerklavier' Sonata, op. 106, was never published. It has generally been assumed that this was simply because Schenker was unable to locate the autograph manuscript, which remains missing to this day. But as Nicholas Marston shows in a detailed history of the Erlerungsausgabe project, other factors were involved also, including financial considerations, Schenker's health concerns, and his broader theoretical ambitions. Moreover, despite the missing autograph he nevertheless developed a voice-leading analysis of the complete sonata during the years 1924-1926, a crucial period in the development of his mature theory of tonal music. Marston's book provides the first in-depth study of this rich analysis, which is reproduced in full in high-quality digital images. The book draws on hundreds of letters and documents from Schenker's Nachla it both adds to our biographical knowledge of Schenker and illuminates for the first time the response of this giant of music theory to one of the most significant masterworks in all music.
Description : The third and final volume of Schenker's Masterwork, containing his celebrated analysis of Beethoven's Eroica.
Description : This book examines the origin, content, and development of the musical thought of Heinrich Schenker and Arnold Schoenberg. One of the premises is that Schenker’s and Schoenberg’s inner musical lives are inseparable from their inner spiritual lives. Curiously, Schenker and Schoenberg start out in much the same musical-spiritual place, yet musically they split while spiritually they grow closer. The reception of Schenker’s and Schoenberg’s work has sidestepped this paradox of commonality and conflict, instead choosing to universalize and amplify their conflict. Bringing to light a trove of unpublished material, Arndt argues that Schenker’s and Schoenberg’s conflict is a reflection of tensions within their musical and spiritual ideas. They share a particular conception of the tone as an ideal sound realized in the spiritual eye of the genius. The tensions inherent in this largely psychological and material notion of the tone and this largely metaphysical notion of the genius shape both their musical divergence on the logical (technical) level in theory and composition, including their advocacy of the Ursatz versus twelvetone composition, and their spiritual convergence, including their embrace of Judaism. These findings shed new light on the musical and philosophical worlds of Schenker and Schoenberg and on the profound artistic and spiritual questions with which they grapple.
Description : Volume I of this work is translated here by a team of distinguished theorists. It includes analyses of keyboard works by Bach, Scarlatti, Chopin, Beethoven and Handel and solo violin music by Bach, as well as more general essays on aspects of Schenkerian theory. Volume 2 (1926) and Volume 3 (1930) were published in 1995/6. Long awaited in English translation, this edition will also be invaluable to scholars for the editorial annotations and elucidations provided by Dr Drabkin and his translators.
Description : Harmony, Heinrich Schenker's first published work, originally appeared in German in 1906 as "New Musical Theories and Phantasies, by an Artist." Its unusual title indicates what was to be the rationale of Schenker's lifework, that artistic problems call for artistic solutions. Schenker's dedication to the formulation of a complete musical theory above the commonplace theoretical discussions was, in essence, his quest for a pattern in nature for music as art. Schenker's theory draws upon a profound understanding of the works of the masters and every proposition is illustrated by a living musical example.
Description : Three-volume set features complete translation of major writings by a distinguished Austrian music theorist. Volume I includes analyses of keyboard pieces by Bach, Scarlatti, Chopin, and Beethoven; Bach's music for solo violin, and more.