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The seventh issue of Schenker's periodical Der Tonwille (1921–24), which was the first in the new quarterly format, the first issue of Year IV, bearing the publisher's imprint "Tonwille-Verlag."


Issue 7 (= Year IV, issue 1), 44 pages in length, has as its centerpiece an extended analysis of Beethoven's Piano Sonata in F minor, Op. 57 ("Appassionata") spanning 31 pages, with an Urlinie-Tafel as a fold-out sheet at the back, and highly elaborated graphs within the analysis of each movement. The work is one that Schenker had many of his pupils study, and in this analysis a third of the space is devoted to matters of performance; the foregrounding of performance issues is also a feature of Schenker’s next essay on a work for piano, the Brahms Handel Variations, in Tonwille 8/9.

Two short articles follow this, one concerning a Bach recitative, which is a study of voice-leading and reaching-over in a highly chromatic environment, the other concerning a single thirty-second note in a Beethoven string quartet, the pitch of which Beethoven clarified in a letter. This is Schenker's only essay on a string quartet, and has aroused much interest as a perceptive reading of a major composer analyzing his own music – in itself a rarity. The "Miscellanea" that follow, the shortest of all the miscellanies (though all the later ones are markedly shorter than those of issues 1–5), is linked to the last item, in that of the five letters that it quotes four are by Beethoven.

Publication History

[to be completed]

Contents List

  • "Beethoven: Sonate Opus 57" [Beethoven's Sonata [in F minor], Op. 57], 3–33 [II, pp. 41–64]
  • "J. Seb. Bach: Matthäuspassion Recitativ: 'Erbarm es Gott'" [J. S. Bach's St. Matthew Passion, Recitative "Have mercy, O God"], 34–38 [II, pp. 65–68]
  • "Beethoven zu seinem opus 127" [Beethoven on his Quartet [in E-flat major], Op. 127], 39–41 [II, pp. 69–71]
  • "Vermischtes" [Miscellanea], 42–43 [II, pp. 72–74]

  • Enclosure: single-sided Urlinie sheet of the three movements of Beethoven Op. 57
  • Advertisements (at back):
  • "'Neue Musikalischen Theorien und Phantasien' /'Ein Beitrag zur Ornamentik' / 'Beethovens IX. Sinfonie' / 'A. Niloffs (H. Schenker) Instrumententabelle' / 'Beethovens V. Sinfonie' (p. 44)"
  • "Beethoven-Schenker: Klavier-Sonaten" (cover)


  • Jonas, Oswald, "A Lesson with Beethoven by Correspondence," Musical Quarterly, 38 (1952), 215-221
  • Drabkin, William, "Think of a Letter, "The Musical Times, 139 (1998), 39-46


  • Ian Bent

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  • OJ 6/7, [8] Handwritten letter from Schenker to Moriz Violin, dated February 14, 1924

    Schenker reports continuing trouble with Hertzka, especially over delays to the publication of Tonwille 5 and 6, which were supposed to appear the previous year, and is beginning to think about legal action. Hertzka has made his position so difficult that he feels obliged to turn down Max Temming's offer of direct financial support for his work. He asks Violin to help find a post in Hamburg for Carl Bamberger, a gifted pupil who, though he neglected his piano studies for a while, is keen to make up for lost time. Finally, he asks if Violin received any of the four volumes of the Beethoven piano sonata edition.

  • OJ 8/4, [28] Handwritten postcard from Schenker to Moriz Violin, undated [March 30, 1924]

    Schenker confirms Violin's interpretation [given in his previous letter] of the "Appassionata" Sonata, and describes continued difficulties with Hertzka. Herman Roth has written to say that he and his son are using Schenker's analyses of Bach preludes in their counterpoint classes, and expresses the hope that one day they will continue Schenker's work independently.

  • DLA 69.930/12 Handwritten letter from Schenker to Halm, dated April 3‒4, 1924

    In response to matters raised by Halm in two previous letters, Schenker discusses figuration, distinguishing between that which works only on the surface and that which arises out of the middle and background, drawing on primal intervals. He also concedes that he heard Bruckner improvising, and criticizes it adversely. He refers to Reger, and outlines plans for forthcoming volumes of Der Tonwille.

  • OJ 10/1, [85] Handwritten letter from Dahms to Schenker, dated June 18, 1924

    The Dahmses send birthday greetings. They are staying in the Abruzzi; will not get to Galtür; Dahms will visit Germany. He has read Tonwille 6 and 7 with interest.

  • OJ 5/7a, [19] (formerly vC 19) Handwritten postcard from Schenker to Cube, dated September 29, 1928

    Schenker has received large-format Urlinie charts from Harry Hahn and recommends format to Cube.

  • OJ 10/18, [12] Handwritten letter from Elias to Jeanette Schenker dated June 28, 1935

    Miss Elias thanks Mrs. Schenker for photographs, and regrets having missed her phone calls. — She hopes Mrs. Schenker will recuperate in the spa house. — She reports that Mrs. Schenker's wishes have been carried out with regard to Heinrich's gravestone and remarks on the beauty of the inscription. — She comments on an article by Victor Zuckerkandl, and reports her own activity in graphing a piano piece by Schenker and re-graphing Beethoven's "Appassionata" Sonata.