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FS 40/1, [14] - Handwritten postcard from Schenker to Salzer, dated November 15, [1932]
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⇧ Postkarte Absender: ⇧ Schenker III, Keilgasse 8 [An: ] H. Dr Felix Salzer Wien XIII Maxingstr. 12 [postmark:] || 10 WIEN 77 | [illeg] 32 20 | * 5k* || {verso} Mein lieber Dr Salzer! 1 Sie haben mir heute mit Ihren l. Zeilen eine wahrhafte Freude gemacht! 2 Dieser Ton gehört zu r unserer Sache, zur Wiedererweckung des Musischen: Aus der Musik ist der Ton gekommen, der Ton wird wieder Musik machen (um auf ein bekanntes Wort anzuspielen!) 3 – Freitag erwarte ich Sie bestimmt zur Egmont–Partitur–Handschrift. 4 © Transcription Hedi Siegel, 2011 |
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⇧ Postcard From: ⇧ Schenker [Vienna] III, Keilgasse 8 [To: ] Dr. Felix Salzer, Vienna XIII, Maxingstrasse 12 [postmark:] || 10 VIENNA 77 | [illeg] 32 20 | * 5k* || {verso} My dear Dr. Salzer, 1 You gave me real pleasure today with your kind lines! 2 This sets the tone for our task ‒ for the reawakening of the artistic spirit. The tone arose from music: The tone will create music again (to hint at a well-known saying!). 3 I expect you for sure on Friday for the manuscript of the Egmont score. 4 © Translation Hedi Siegel, 2011 |
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⇧ Postkarte Absender: ⇧ Schenker III, Keilgasse 8 [An: ] H. Dr Felix Salzer Wien XIII Maxingstr. 12 [postmark:] || 10 WIEN 77 | [illeg] 32 20 | * 5k* || {verso} Mein lieber Dr Salzer! 1 Sie haben mir heute mit Ihren l. Zeilen eine wahrhafte Freude gemacht! 2 Dieser Ton gehört zu r unserer Sache, zur Wiedererweckung des Musischen: Aus der Musik ist der Ton gekommen, der Ton wird wieder Musik machen (um auf ein bekanntes Wort anzuspielen!) 3 – Freitag erwarte ich Sie bestimmt zur Egmont–Partitur–Handschrift. 4 © Transcription Hedi Siegel, 2011 |
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⇧ Postcard From: ⇧ Schenker [Vienna] III, Keilgasse 8 [To: ] Dr. Felix Salzer, Vienna XIII, Maxingstrasse 12 [postmark:] || 10 VIENNA 77 | [illeg] 32 20 | * 5k* || {verso} My dear Dr. Salzer, 1 You gave me real pleasure today with your kind lines! 2 This sets the tone for our task ‒ for the reawakening of the artistic spirit. The tone arose from music: The tone will create music again (to hint at a well-known saying!). 3 I expect you for sure on Friday for the manuscript of the Egmont score. 4 © Translation Hedi Siegel, 2011 |
Footnotes1 Writing of this postcard is not recorded in Schenker's diary. 2 = OJ 14/1, [1], November 14, 1932. 3 Schenker is most likely referring to the saying “der Ton macht die Musik” (“it’s the tone [of voice] that makes the music” ), often rendered as “it’s not what you say, but how you say it.” 4 This may be a reference to a photocopy held by the Photogrammarchiv; an incomplete manuscript score ‒ lacking the overture ‒ of Beethoven’s incidental music to Goethe’s Egmont is listed as No. 365 in Agnes Ziffer, Katalog des Archivs für Photogramme musikalischer Meisterhandschriften, vol. 1 (Vienna: Prachner, 1967), pp. 61-62. On November 9, 1932, Schenker recorded in his diary at OJ 4/6, p. 3790 that he had written to Robert Haas, curator of the Photogrammarchiv, requesting “die Egmont-Partitur für Furtwängler.” Furtwängler was to visit Schenker on Wednesday evening, November 16, prior to conducting the Egmont Overture on the following Sunday, November 20, a concert attended by Schenker (OJ 4/6, p. 3793). Julius von Kromer, the Archive’s secretary, delivered the Egmont score (lacking the overture) on the day of Furtwängler’s visit, recorded at OJ 4/6, p. 3791. Since he would have the score at hand, Schenker may have planned to discuss it in his weekly seminar (of which Salzer was a member) that was to meet a few days later ‒ on Friday, November 18. 5 “1932” is written in Felix Salzer’s hand in the top right corner of the verso. |