Brings together in one volume the full text of some 450 letters in
first-time English translation, organized into sections each
prefaced by an introduction. All the letters are fully annotated
and they yield information about Viennese society, culture and
politics of the time. The work of Heinrich Schenker (1868-1935),
widely regarded as the most important music theorist of the
twentieth century, has shaped the teaching of music theory in the
United States profoundly and influenced theorists there, in Europe,
and throughout the world. Living and working in Vienna, Schenker
maintained a vigorous correspondence with a large circle of
professional musicians, writers, music critics, institutions,
administrators, patrons, friends, and pupils. A large part of his
correspondence was preserved after his death: some 7,000 letters,
postcards, telegrams, etc., to and from 400 correspondents. His
diaries record the fabric of his personal life and his activities
asa private music teacher and writer; they also provide a detailed
commentary on historical and political events and offer a window on
to the conditions of life in Vienna. Taken together, these
documents contribute vividly to the picture of cultural life in
Vienna, and elsewhere, from the perspective of a Jewish
intellectual and his circle of musical and artistic friends.
Heinrich Schenker: Selected Correspondence represents a concise
edition ofsome of the theorist's most important and revelatory
letters and diary entries. It offers the full text of some 450
letters in English translation, organized into sections devoted to
various aspects of his professional life: teaching, writing,
administration, and maintaining contact with an ever widening
circle including Ferruccio Busoni, Julius Roentgen, Otto Erich
Deutsch, Alphons von Rothschild, Paul von Klenau, Wilhelm
Furtwangler, Paul Hindemith, MorizViolin, John Petrie Dunn, and
Hans Weisse. Extracts from the diaries provide a summary of
important parts of the correspondence that do not survive. The
volume includes a detailed exposition of the editorial method,
biographicalnotes on correspondents, and a substantial general
introduction. Each of the sections is prefaced by an introduction
which provides essential historical context, and the letters and
diary entries are fully annotated. IAN BENT is Emeritus Professor
of Music at Columbia University in New York, and lives in the
United Kingdom. DAVID BRETHERTON is Lecturer in Music at the
University of Southampton. WILLIAM DRABKIN is Professorof Music at
the University of Southampton. CONTRIBUTORS: Marko Deisinger,
Martin Eybl, Christoph Hust, Kevin C. Karnes, John Koslovsky, Lee
Rothfarb, John Rothgeb, Hedi Siegel, Arnold Whittall
General
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