Essays from the Fourth International Schenker Symposium

This book constitutes the second volume of essays that are based on presentations given at the Fourth International Schenker Symposium held at Mannes College. The volume is divided into two sections: one devoted to Heinrich Schenker the person, and the other to a series of Schenkerian analyses. The first section situates Schenker in his historical context by examining the theorist himself, and helps us to distinguish Schenker the person from the theoretic system he inspired. The essays of the second section variously appeal to theoretic notions such as formal function, Sonata Theory, set theory, hermeneutics, and other concepts. They are typical of current Schenkerian analytic scholarship which rarely today is practiced in a “pure,” unmodified form. Rather, Schenkerian studies tend to be pluralistic, both in the repertoires that they investigate and the analytic tools that they employ. One aspect in which the analytic essays do reflect Schenker’s own practice is in their treatment of compositions as if they were timeless artworks. Das Buch bildet den zweiten Band mit Essays des Vierten Internationalen Schenker Symposions am Mannes College, New York. Der Band ist in zwei Abschnitte aufgeteilt: der erste Teil widmet sich der Person Heinrich Schenkers im historischen Kontext, der zweite Abschnitt präsentiert eine Reihe von Schenker-Analysen, die den aktuellen Stand der Schenker-Schule repräsentieren, die heute viel weiter gefasste Gegenstände und Methoden beinhaltet, als von Schenker ursprünglich vertreten. Contents / Inhalt L. Poundie Bernstein, Preface: Schenker / Schenkerian Analysis – Schenker: Wayne Alpern, The Triad of the True, the Good, and the Beautiful: Schenker’s Moralization of Music and His Legal Studies with Robert Zimmermann and Georg Jellinek – Antonio Cascelli, Chopin’s Music in the Development of Schenker’s Analytical Thought – Schenker Document Project: Ian Bent, Introduction – Hedi Siegel, Schenker’s Letters to Felix Salzer: A Nod to the Future – John Rothgeb, The Schenker-Jonas Correspondence in the Oswald Jonas Memorial Collection – Nicholas Marston, Schenker’s Concept of a Beethoven Sonata Edition – Wiliam Drabkin, An Autobiographical Letter of Schenker’s from 1928 – Ian Bent, “Niemals also ist der Verleger ein ‘Mäzen’ des Künstlers’”: Schenker and the Music-Publishing World – Schenkerian Analysis: Lauri Suurpää, Initiating, Medial, or Closing? Tensions among Boundaries of Form, Prolonged Harmonies, and Key Areas in the First Movement of Haydn’s Symphony No. 39 – Ryan McClelland, Brahms’s Op. 111 and the 8-line Urlinie – Boyd Pomeroy, Brahms’s Fused Formal Spaces and Their Analytical Implications: The Finale of the C-Minor String Quartet, Op. 51, No. 1 – Sigrun Heinzelmann, The Problem(s) of Prolongation in Ravel – Martin Kutnowski, Formal Conflicts in Scriabin’s Op. 22, No. 1 – Noam Sivan, Linear Structure vs. Perceived Stillness in Ravel’s Une barque sur l’océan – Deborah Burton, Men Who Love Too Much: Operatic Heroes and the Metric and Tonal Disturbances that Follow Them – Index of Names and Compositions