No. 16 in A-flat Major, Op. 24, No. 3

Hyperion Records

Grunsky replies to Schenker's inquiry about a passage in Chopin's Ballade No. Rudorff approves of the [highly controversial] Introduction to Schenker's Kontrapunkt I. Koch thanks Schenker for a copy of his elucidatory edition of Op. Louis Koch has given consent; Schenker asks Hertzka to pick up the photographs while in Frankfurt; they need to discuss how Schenker allocates his time for the Kleine Bibliothek and other tasks.

In the light of an exchange of letters with UE, Schenker suggests that the new publication have a new title Die Urlinie but that the old typeface and format be retained. He suggests that the new periodical should include articles on each of the Chopin etudes and the four Brahms symphonies, and on symphonies by Beethoven, Mozart, Schubert and Haydn, from all of which book-length studies could subsequently be made. Continuing the story of the ongoing financial battle against Hertzka and Universal Edition, Schenker thanks Violin for providing confirmation of the subscriptions paid for by Max Temming, then recounts that, at a meeting with Hertzka and his bookkeeper, the order-book for Der Tonwille had several pages torn out.

Schenker is upset that his lawyer Dr. Baumgarten, though an old friend, is not fully supportive of his position and would prefer seek a compromise with Hertzka; this, Schenker feels, would rob him of much of his hard-earned royalties, especially from the Beethoven sonata edition. He now asks Violin to find a contact — outside Hamburg — who would be willing to order nine copies of Tonwille 1, as evidence that this issue is still in demand, despite Hertzka's claims to the contrary. He has attended a performance of Hans Weisse's Sextet, of which he found the variation movement and the trio section of the scherzo to be the most satisfactory parts.

The [Hammer] mezzotint has arrived; Dahms expresses a reservation about it. Van Hoboken sends New Year greetings; reports that he is to see in the Paris Conservatory Library the autograph manuscript of Beethoven's "Appassionata" Sonata, which Einstein has apparently already photographed; he will travel to Vienna on January 6 for lesson on January 9.

Mazurka No. 16 in A-Flat Major, Op. 24, No. 3

There is no news concerning his piano trio with Mauritz van den Berg and Friedrich Buxbaum but he is considering playing a concerto in the season. Acknowledges Schenker's reply and corrections. There will be no problem with his teacher's examination in May. Reports on recent activities. Hoboken had to cancel his planned visit to John Petrie Dunn because of illness. Vrieslander informs Schenker that Alfred Einstein DMV has decided to engrave the music examples for the second Meisterwerk volume in order to ensure a flawless reproduction.

He also reports that the width of the pages in the supplement will be expanded, and notifies Schenker of the changes that he will make to the music examples following this decision.

Vrieslander states he has officially enquired with Einstein about potential problems in the printing process, making clear that Schenker will not be able to bear any additional costs for printing errors. Schenker answers Violin's birthday greetings letter philosophically. He is able to work on the final version Der freie Satz at leisure and in good spirits. He reports on the establishment of an archive of photographic reproductions of autograph and gives an account of a visit from Violin's sister Fanny: Violin thanks Schenker for sending him the second volume of Meisterwerk, which he regards as a milestone in offering the strongest statement of his theories.

He is accompanying a cellist in early January and will not be able to get to Vienna at Christmas after all. His wife and son — who is now able to get up and around — are hoping to go to Vienna at Easter. Violin reports that his concert cello recital has been put back a week because of a tendon problem in his left hand. He owes Otto Vrieslander a response to his recent written work, but he feels that Vrieslander does not truly understand Schenker's cause, does not have the same "orientation" towards it as he, and expresses himself poorly.

Weisse, he says, could have done things better.

Chopin Mazurka Op.24 No.1 By Arthur Rubinstein (33/154)

However, all this pettiness is nothing compared with the achievement of Meisterwerk 2, and of the "crowning" work that will soon follow. Schenker speaks of Hoboken's Photogrammarchiv as a "grand contribution," and of the work to be done there; reports on a copy of Beethoven Sonata, Op. Cube reports on Scheuermann exhibit, and consequent interest and sales, encloses associated newspaper article; also on recent lecturing and composition activity. He is about to return the Hammer etching. Hoboken recounts recent travels.

Schenker gives detailed comments, with music examples, on Cube's two piano sonatas, praising them highly and making suggestions for improvement. Schenker acknowledges check; — comments on Hoboken's work on a Chopin Etude; — discusses an approach by Vrieslander; — explains how the possibility of a professorship at Heidelberg had come about.

Vrieslander reports that Hoboken has given him notice to vacate, and rehearses the course of events leading up to this situation, events that intertwine with Vrieslander's obligations to the Photogrammarchiv.

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Accepts Schenker's invitation to Hans Weisse's lecture, and gives two pieces of information. Schenker encloses the [Mozart calling] card, and sends an article from Der Kunstwart; he emphasizes that Moriz Violin's new institute is a "school," not a "seminar," and offers detailed advice; comments that his theory from Harmonielehre to Meisterwerk constitutes a self-contained whole; recommends use of C. His eyes have suffered and need complete rest.

Fresh Music

Hoboken comments on some contemporary music; — he comments adversely on the new edition by Edouard Ganche of Chopin's works; — he may visit the Schenkers and bring Eva Boy with him. The Ganche edition is much worse than Hoboken has said.

Reports on Vrieslander publication. The Hobokens will not come to Reigersberg; — He re-sends his two songs for further comment; — He sends a booklet by Gottfried Benn; — They are isolated in Partenkirchen, and are distressed at events in Germany; — Alfred Cortot has visited the Photogram Archive and expressed an interest.

In writing of Hoboken's prospects as a composer, Schenker is not interested in creating imitation Bachs and Brahmses. Hoboken is gratified by Schenker's praise of his song compositions; — He will continue his Chopin projects someday, but is preoccupied with the worsening European political situation; — He comments on Kleiber, Max Graf, on Goos's estimate of Schenker's importance, and returns newspaper clippings that Schenker has sent him with comments. Hoboken outlines plans to expand publicity for the Photogram Archive.

Explicit Content

Schenker congratulates Cube on the graph he has sent, and reports on Der freie Satz and the continuation of the Urlinie-Tafeln. Jonas seeks advice on what to include in the first issue of the planned elucidatory editions; — distribution of his book is delayed until September; — Jonas is correcting proofs of two articles.

Schenker lists the pieces he has worked through with Hoboken with a view to publication; puzzles over Furtwangler's lack of contact; outlines homeward travel. Jonas reports on complimentary copies of Das Wesen and the plans for the elucidatory editions. Once Der freie Satz is in print, he will give his mind to the continuation of the Urlinie-Tafeln. Schenker's name is included in the Spanish Enciclicopedia universale.

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Chopin - Mazurka A-flat major, Op. 24, No. 3 sheet music for Piano -

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