[printed letterhead:]
DER DIREKTOR
DER
K. K. AKADEMIE FÜR MUSIK
UND DARSTELLENDE KUNST.

Wien, 13. Oktober 1910.


SEHR GEEHRTER HERR! 1

Ich habe mit grossem Vergnügen Ihre werten Mitteilungen empfangen und freue mich, dass die Möglichkeit weiterer Missverständnisse nunmehr beiseitigt erscheint. 2 An Ihrer Arbeit nehme ich das grösste und wärmste Interesse. Ich bin stolz, dass es uns vergönnt ist, die interessanten Dokumente einer grossen Vergangenheit, die durch Ihre nachschöpferische 3 Einflussnahme neue Lebensmöglichkeiten gewonnen haben, unsern Kreisen vorzuführen.

Ich würde mich freuen, Sie bei einer nächsten Gelegenheit persönlich kennen zu lernen. Wegen der Publikation des Violin'schen Aufsatzes 4 werde ich mit {2} dem Verfasser selbst das Mögliche und Notwendige besprechen.


In besonderer Wertschätzung
Ihr
[signed:] Wilhelm Bopp

© Transcription Ian Bent, 2016

[printed letterhead:]
THE DIRECTOR
OF THE
IMP.-ROYAL ACADEMY FOR MUSIC
AND PERFORMING ART

Vienna, October 13, 1910


DEAR SIR, 1

It is with great pleasure that I have received your valued communications, and am delighted that the possibility of further misunderstandings appears now to have been averted. 2 I take the keenest and warmest interest in your work. I am proud that we have been granted the opportunity to present to our circles the interesting documents of a great past era that have been given a lease of life through your creative-interpretive 3 powers.

I should be pleased to make your acquaintance personally at an occasion in the near future. As regards the publication of Violin's essay 4 I will dscuss what is possible and what is necessary with {2} the author directly.


With particular regards,
Your
[signed:] Wilhelm Bopp

© Translation Ian Bent, 2016

[printed letterhead:]
DER DIREKTOR
DER
K. K. AKADEMIE FÜR MUSIK
UND DARSTELLENDE KUNST.

Wien, 13. Oktober 1910.


SEHR GEEHRTER HERR! 1

Ich habe mit grossem Vergnügen Ihre werten Mitteilungen empfangen und freue mich, dass die Möglichkeit weiterer Missverständnisse nunmehr beiseitigt erscheint. 2 An Ihrer Arbeit nehme ich das grösste und wärmste Interesse. Ich bin stolz, dass es uns vergönnt ist, die interessanten Dokumente einer grossen Vergangenheit, die durch Ihre nachschöpferische 3 Einflussnahme neue Lebensmöglichkeiten gewonnen haben, unsern Kreisen vorzuführen.

Ich würde mich freuen, Sie bei einer nächsten Gelegenheit persönlich kennen zu lernen. Wegen der Publikation des Violin'schen Aufsatzes 4 werde ich mit {2} dem Verfasser selbst das Mögliche und Notwendige besprechen.


In besonderer Wertschätzung
Ihr
[signed:] Wilhelm Bopp

© Transcription Ian Bent, 2016

[printed letterhead:]
THE DIRECTOR
OF THE
IMP.-ROYAL ACADEMY FOR MUSIC
AND PERFORMING ART

Vienna, October 13, 1910


DEAR SIR, 1

It is with great pleasure that I have received your valued communications, and am delighted that the possibility of further misunderstandings appears now to have been averted. 2 I take the keenest and warmest interest in your work. I am proud that we have been granted the opportunity to present to our circles the interesting documents of a great past era that have been given a lease of life through your creative-interpretive 3 powers.

I should be pleased to make your acquaintance personally at an occasion in the near future. As regards the publication of Violin's essay 4 I will dscuss what is possible and what is necessary with {2} the author directly.


With particular regards,
Your
[signed:] Wilhelm Bopp

© Translation Ian Bent, 2016

Footnotes

1 Receipt of this letter is not recorded in Schenker's diary. The "communications" to which it responds are not known to survive.

2 "Missverständnisse" ("misunderstandings"): this perhaps relates to the plans for a "historical concert" that Wilhelm Bopp in October 1909 invited Schenker to devise. For this Schenker arranged two concertos by C. P. E. Bach, two cantatas by J. S. Bach and a concerto by Handel, and Moriz Violin wrote an extended program booklet, only for the concert to be replaced "after forty rehearsals" (as Schenker says) by a performance of Beethoven's Ninth Symphony, to Schenker's fury (diary, OJ 1/9, p. 118, June 1910). For a subsequent presentation of this program under the title "chamber music concert" see OJ 9/18, [2], January 14, 1911.

3 Bopp implies that Schenker's role is not the "creative" (schöpferisch) one of the composer, but rather the reproductive (nachschöperisch ‒ literally "post-creative") one of the arranger or editor. This sentence has clearly been crafted with some deliberation.

4 Moriz Violin, Über das sogenannte Continuo: Ein Beitrag zur Lösung des Problems (Vienna: Universal Edition, [1911]), which was originally written as a program booklet for the canceled "historical concert," and which Schenker had evidently raised in his letter to Bopp.

Commentary

Format
2p letter, printed letterhead, typewritten salutation, message and valediction, holograph signature
Provenance
Akademie für Musik und darstellende Kunst (document dat-2002)--Universität für Musik und darstellende Kunst (2002-)
Rights Holder
Universität für Musik und darstellende Kunst, published here by kind permission
License
Permission granted by the Director of the Universität für Musik und darstellende Kunst, Dr. Lynne Heller, August 19, 2013. Any claim to intellectual rights on this document should be addressed to the Schenker Documents Online, at schenkercorrespondence [at] mus (dot) cam (dot) ac (dot) uk.

Digital version created: 2016-12-02
Last updated: 2011-03-11