“That Bright New Light”: Schenker, Universal Edition, and the Origins of the Erläuterung Series, 1901–1910
“That Bright New Light”: Schenker, Universal Edition, and the Origins of the Erläuterung Series, 1901–1910
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“那明亮的新光”：申克，通用版，以及 Erläuterung 系列的起源，1901-1910
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发表时间：
2005
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影响因子：
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通讯作者：
Ian D. Bent
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作者：
Ian D. Bent
1912年，申克开始重新构思已经出版、正在印刷或准备出版的四部作品，将其作为一个系列，与他的《新音乐理论与音乐》平行，统称为《阐释版》：他的C. P. E.巴赫键盘作品与配套小册子，Ein Beitrag zur Ornamentik（1903年; 1908年第2版）;巴赫的《半音阶幻想与赋格》（1910）;贝多芬的最后五首钢琴奏鸣曲（1913-20）;以及他关于贝多芬第九交响曲的专著（1912）。仔细阅读与前两者相关的文本，可以揭示申克新形成的音乐话语模式的特征，并帮助我们理解申克为什么如此重视它。检查申克与J. G. Cotta和Universal Edition（以及后者的出版记录和目录）和他的日记，使有关作品的详细历史和他未能成功地建立第二个系列成为可能;它还揭示了他在未来的环球版中为自己设想的核心角色，并揭示了他与埃米尔·赫茨卡的复杂互动，与他的私人赞助人的关系，以及他被排除在维也纳音乐圈之外的感觉。
Abstract In 1912, Schenker began to reconceptualize four works already published, in press, or in preparation as a series parallel to his Neue musikalische Theorien und Phantasien , under the collective title Erlauterungsausgaben (elucidatory editions): his editions of C. P. E. Bach keyboard works with companion brochure, Ein Beitrag zur Ornamentik (1903; 2nd ed. 1908); J. S. Bach9s Chromatic Fantasy and Fugue (1910); Beethoven9s last five piano sonatas (1913–20); and his monograph on Beethoven9s Ninth Symphony (1912). A close reading of the texts associated with the first two of these brings out the characteristics of Schenker9s newly forged mode of musical discourse and helps us understand why Schenker prized it so highly. Inspection of Schenker9s correspondence with J. G. Cotta and Universal Edition (also the latter9s publication records and catalogues) and his diary makes possible a detailed history of the works concerned and of his unsuccessful attempt to establish the second series; it also reveals the central role he envisioned for himself in the future of Universal Edition and casts light on his complex interactions with Emil Hertzka, on relationships with his private patrons, and on his sense of exclusion from Viennese musical circles.