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The third issue of Schenker's periodical Der Tonwille (1921–24).


Issue 3, 40 pages in length, comprises just one of each of the three main Tonwille article types: an article on a single work (19 pages), a theoretical article (4 pages), and "Miscellanea" (13 pages of small type). The lead article forms the third of a "trilogy" of articles (though Schenker does not characterize them as such) on piano sonatas of Haydn (E-flat, Hob. XVI:52), Mozart (A minor, K. 310), and Beethoven (Op. 2, No. 1) that spans issues 2 and 3. The second article begins in dialogue form, ending as a polemic against two 19th-century editors, Hans von Bülow and Karl Klindworth.

The "Miscellanea" was an object of sharp dispute between Schenker and Hertzka. Its contents had been mostly destined for issue 2 but Hertzka had objected to some of the material and issue 2 was published without any "Miscellanea." It was then considered for publication as a separate booklet; but ultimately was deferred to issue 3 with an article against Paul Bekker and some anti-French material omitted. (In the published English translation, the omitted anti-French paragraphs and the anti-Semitic section, "Ein Sommererlebnis" (A Summer Incident"), have been restored to their proper places, and the Bekker material is translated in full in the appendix to vol. II.)

Publication History

The main work on the Haydn sonata was done in March and June–August 1922, much of it while on vacation in the Tyrol; "Die Kunst zu hören" was written on August 30, 1922, after his return to Vienna; and the whole issue delivered to UE on September 4, 1922. It was sent to the printer on September 14 (OC 52/327), and was published on January 19, 1923 (OC 52/339).

Contents List

  • "Haydn: Sonate Es-Dur" [Haydn's Sonata in E-flat major, Hoboken XVI:52], 3–21 [I, pp. 99–117]
  • "Die Kunst zu hören" [The Art of Listening], 22–25 [I, pp. 118–20]
  • "Vermischtes" [Miscellanea], 26–38 [I, pp. 121–37]

  • Enclosures: double-sided Urlinie sheet for the Haydn sonata
  • Advertisements (at back):
  • Musikalische Seltenheiten (p. 39)
  • Schoenberg, Harmonielehre (p. 40)
  • Beethoven-Schenker: Klavier-Sonaten (cover)


  • Ian Bent

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  • OJ 6/7, [2] Handwritten letter from Schenker to Moriz Violin, dated January 29, 1922

    Schenker offers to lend Violin his performing materials for two keyboard concertos by C. P. E. Bach. He inquires about musical life in Hamburg, reports on his most recent work, continues to despair of his financial situation.

  • OC 1B/10-11 Handwritten letter from Schenker to Hertzka (UE), dated February 22‒23, 1922

    Schenker returns materials for the Fifth Symphony article, reports a delay in providing information for the facsimile edition of the "Spring" Sonata, and complains that he has futilely lavished time on the purification of the German language for the second edition of Die letzten fünf Sonaten ... Op. 109. — He agrees in principle to Hertzka's idea of an "Urlinie-Ausgabe" of the Beethoven sonatas, and agrees to announce it in Tonwille 2, but asks how the first seventeen sonatas are to be done retrospectively, and rejects the suggestion that his pupils might make the preparatory graphs.

  • OJ 8/4, [12] Handwritten postcard from Schenker to Moriz Violin, undated [June 17, 1922]

    Schenker explains why the "Miscellanea" is missing from Tonwille 2; he likens Hertzka's heavy-handedness to Prince Metternich's police-state tactics.

  • DLA 69.930/10 Handwritten letter from Schenker to Halm, dated September 25, 1922

    Acknowledges OJ 11/35, 20 and composition; expects to be able to comment on Halm's Klavierübung in Tonwille 4; reports Leipzig University's decision not to appoint him; speculates on the impact of Kontrapunkt 2 and Der freie Satz; public difficulty in accepting Urgesetze. — Aristide Briand: The importance of being well-read on a topic before commenting in public: Schoenberg and Reger; newspapers. — Maximilian Harden: although faithful to Schenker, Harden had not mastered the topics on which he wrote. — National Govenment: Schenker's publishing plans, including "The Future of Humanity": man's anthropomorphic thinking is a delusion, he needs to adapt to nature, to return to a primitive state, to abandon "development" and "progress" and return to primordial laws; inferior man wants to "govern" (bowel wants to become brain); Schenker deplores "artifice" (French) as against nature (German). — Things French: praises German superiority over French in its joy of work. — Higher Plane: the German should not abase himself before the Frenchman.

  • DLA 69.930/11 Handwritten letter from Schenker to Halm, dated November 2, 1922

    Schenker acknowledges receipt of two booklets on youth and the new republic, returns them, comments on them critically: idealistic German democrats desire maximal remuneration with minimal work; illustrates point by difficulties with maids in Schenker household; German democrats naively overestimate social and intellectual status of non-German commoners (French, British, American); Schenker decries cosmopolitanism and those Germans who advocate individuality at the expense of society; Schenker praises the fascists as countering communism and social leveling, compares Mussolini's Italy favorably with present-day Germany.

  • OJ 6/7, [4] Handwritten letter from Schenker to Moriz Violin, dated December 21, 1922

    Schenker reports the imminent publication of Tonwille 3, and some new publishing ventures, including a (new) edition of music by C. P. E. Bach and an "Urlinie Edition" of the Short Preludes by J. S. Bach.

  • OJ 10/3, [39] Typewritten letter from Deutsch to Schenker, dated December 29, 1922

    Deutsch provides a full overview of Schenker income from the current sales reported by Universal Edition of the "Moonlight" Sonata facsimile edition, and also his debts at Seidel's Book Dealership; Schenker owes Deutsch 76.65 marks. Deutsch is dissatisfied with Universal Edition's behavior with respect to the publication.

  • OJ 8/4, [20] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated January 21, 1923

    Schenker reports on the publication progress of Der Tonwille, and on his plans to get his pupils to help him distribute copies to schools and potentially interested readers.

  • OJ 14/45, [20] Handwritten letter from Moriz Violin to Heinrich Schenker, dated February 6, 1923

    Violin thanks Schenker for Tonwille 3 and reports on growing social unrest and anti-French feeling in Germany.

  • OJ 10/1, [74] Handwritten letter from Dahms to Schenker, dated February 9, 1923

    Dahms reports change of address and explains circumstances; has sent a prospectus to UE; progress on subscriptions to his de luxe edition and a new American contact; synopsis of his planned Bel Canto book. — He praises the "Miscellanea" in Tonwille 3, and comments on Schenker's understanding of democracy.