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The Art of Performance$

Heinrich Schenker and Heribert Esser

Print publication date: 2002

Print ISBN-13: 9780195151510

Published to Oxford Scholarship Online: May 2008

DOI: 10.1093/acprof:oso/9780195151510.001.0001

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(p.95) Selected Bibliography with Annotations

(p.95) Selected Bibliography with Annotations

Source:
The Art of Performance
Publisher:
Oxford University Press

Works of Heinrich Schenker

Beethovens Neunte Symphonie. Vienna: Universal Edition, 1912. (Beethoven's Ninth Symphony. Translated and edited by J. Rothgeb. New Haven: Yale University Press, 1992.)

Beethovens SÄmtliche Klaviersonaten. Vienna: Universal Edition, 1923. Revised edition by Erwin Ratz, Vienna: Universal Edition, 1947. (Beethoven, Complete Piano Sonatas. Reprint of the edition from 1921–23, with an introduction by Carl Schachter. New York: Dover, 1975.)

Ein Beitrag zur Ornamentik. Vienna: Universal Edition, 1904 and 1908. (A Contribution to the Study of Ornamentation. Translated by H. Siegel. Music Forum, vol. 4, New York: Columbia University Press, 1976.)

ErlÄuterungsausgabe der letzten fünf Sonaten Beethovens. Vienna: Universal Edition op. 109, published 1913 op. 110, published 1914 op. 111, published 1915 op. 101, published 1920 Revised edition by O. Jonas, Vienna: Universal Edition, 1970–71.

Der Freie Satz. Vienna: Universal Edition, 1935 Revised and edited by O.Jonas, Vienna: Universal Edition, 1956. (Free Composition. Translated and edited by E. Oster. New York: Longman, 1979.)

J. S. Bach, Chromatische Fantasie und Fuge. Vienna: Universal Edition, 1909. Revised edition by O. Jonas, Vienna: Universal Edition, 1969. (J. S. Bach's Chromatic Fantasy and Fugue. Translated and edited by H. Siegel. New York: Schirmer Books, 1984.)

(p.96)

“Ein Kommentar zu Schindler, Beethovens Spiel betreffend.” Dreiklang, vol. 8/9, November 1937/ February 1938, p. 190 ff.

Oswald Jonas, “Die Kunst des Vortrags nach Heinrich Schenker.” Musikerziehung, vol. 15, 1962, pp. 122–129.

Kontrapunkt. vol. 1, Stuttgart and Berlin: J. G. Cottasche Buchhandlung Nachfolger, 1910; vol. 2, Vienna: Universal Edition, 1922.(Counterpoint. Translated and edited by J. Rothgeb and Jurgen Thym, edited by J. Rothgeb. New York: Schirmer Books, 1987.)

Das Meisterwerk in der Musik. Munich: Drei Masken Verlag Jahrbuch I, published 1925 Jahrbuch II, published 1926 Jahrbuch III, published 1930 (The Masterwork in Music, 3 vols., edited by W. Drabkin, Cambridge: Cambridge University Press vol. 1, published 1994 vol. 2, published 1996 vol. 3, published 1997)

Der Tonwille, 10 issues. Vienna: A. Gutmann Verlag, 1910–24. Reprint Hildesheim: G. Olms, 1990.

Related Works

Oswald Jonas, “Die Kunst des Vortrags nach Heinrich Schenker.” Musikerziehung, vol. 15, 1962, pp. 122–129.

Oswald Jonas, “Heinrich Schenker und grosse Interpreten.” österreichische Musikzeitschrifi, 19 (1964), pp. 584–89. This essay treats the critical interchange between Schenker and musicians such as J. Joachim, K. StrÄube, J. Messchaert, P. Casals, and W. FurtwÄngler, among others. Even more source material for Schenker's opinion of contemporary interpreters is contained in the following basic work: Hellmuth Federhofer, Heinrich Schenker. Nach Tagebüchern und Briefen in der Oswald Jonas Memorial Collection. Hildesheim: G. Olms, 1985. The music reviews that Schenker published between 1891 and 1901 in various periodicals are collected in Hellmuth Federhofer, Heinrich Schenker ah Essayist und Kritiker, Hildesheim: G. Olms, 1990. On the significance of fingering or interpretation, see the perceptive remarks by Carl Schachter in his introduction to the reprint of Schenker's edition of Beethoven, Complete Piano Sonatas. The relationship between the “levels” of musical structure and performance is discussed by Charles Burkhart in an interesting essay, “Schenker's Theory of Levels and Musical Performance,” in Aspects of Schenkerian Theory, edited by David Beach, New Haven: Yale University Press, 1983, pp. 95–112. A most valuable study, “Heinrich Schenker as an Interpreter of Beethoven's Piano Sonatas,” was published by William Rothstein in 19th- century Music, vol. 7, no. 1. (Summer 1984), pp. 3–28. The author quotes (p.97) and comments on then‐unpublished material from Vortrag and relates it to Schenker's annotations in his own copy of the Beethoven sonatas.Although it has no direct connection with Schenker, let me point out a particularly noteworthy book: Jean‐Jacques Eigeldinger, Chopin vu par ses élèves, Nenchâtel: Editions de la Baconnière, 1970 and 1979 (Chopin: Pianist and Teacher As Seen by His Pupils, edited by R. Howat, Cambridge: Cambridge University Press, 1986). This book is “a sort of handbook to Chopin's teaching methods, and consequently to his aesthetic beliefs.” Its agreement in nearly all points with Schenker's The Art of Performance is surprising—but perhaps less so if one recalls the influence Chopin's student Karol Mikuli, director of the conservatory in Lemberg (currently L'viv, Ukraine), had on the young Schenker. This book is a superb supplement and confirmation of the one before us; it is recommended highly to the reader. (p.98)