24. Schön.

— Von Lanzer (rec. Br.): Klagebeantwortung. — Korngold in meinem Revier in bezug auf Furtwängler u. die IX. 1 — Um ½11h Spaziergang. — Waage in Grau: 81.55 – 81.10 kg!?! — An der Kor- {3600} rektur des Mozart-Aufsatzes. — Um ½7h zu Halberstam: er ist zufrieden; in bezug auf die Fußbäder scheint er schwankend zu sein – das erste Fußbad hat mir jedenfalls nicht gutgetan!

© Transcription Marko Deisinger.

24, fair weather.

— From Lanzer (registered letter): reply to legal action. — Korngold is in my territory with reference to Furtwängler and the Ninth Symphony. 1 — At 10:30, a walk. — Weight, in gray suit: 81.55 – 81.10 kg!?! — Work on the {3600} revisions to the Mozart "article". — At 6:30, to Halberstam: he is pleased; he appears to be undecided with regard to the footbaths – the first footbath, at any rate, did me no good!

© Translation William Drabkin.

24. Schön.

— Von Lanzer (rec. Br.): Klagebeantwortung. — Korngold in meinem Revier in bezug auf Furtwängler u. die IX. 1 — Um ½11h Spaziergang. — Waage in Grau: 81.55 – 81.10 kg!?! — An der Kor- {3600} rektur des Mozart-Aufsatzes. — Um ½7h zu Halberstam: er ist zufrieden; in bezug auf die Fußbäder scheint er schwankend zu sein – das erste Fußbad hat mir jedenfalls nicht gutgetan!

© Transcription Marko Deisinger.

24, fair weather.

— From Lanzer (registered letter): reply to legal action. — Korngold is in my territory with reference to Furtwängler and the Ninth Symphony. 1 — At 10:30, a walk. — Weight, in gray suit: 81.55 – 81.10 kg!?! — Work on the {3600} revisions to the Mozart "article". — At 6:30, to Halberstam: he is pleased; he appears to be undecided with regard to the footbaths – the first footbath, at any rate, did me no good!

© Translation William Drabkin.

Footnotes

1 J. K., "Musik. Nicolai-Konzert unter Wilhelm Furtwängler. – Wilhelm Backhaus. – Adolf Busch," Neue freie Presse, No. 23896, March 24, 1931, morning edition, pp. 6–7; a clipping is preserved in Schenker's scrapbook (OC 2), on page 81. "My territory" refers to Korngold’s quasi-Schenkerian language in describing the performance of the Ninth Symphony, for example the first movement as "a single, extended moment."