Böcker av Heinrich Schenker

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Für den Musiktheoretiker Heinrich Schenker (1868 - 1935) stand "das 'Meisterwerk in der Musik' (so der Titel einer seiner Zeitschriften) im Zentrum. In zahlreichen Analysen von Werken großer Komponisten (Bach bis Brahms) legte er die tragende Struktur tonaler Musik nach seinen Schemata von 'Urlinie' und 'Ursatz' dar. So legte Schenker mit dem hier vorliegenden Werk eine profunde "Darstellung des Inhaltes unter fortlaufender Berücksichtigung auch des Vortrages und der Literatur" vor: "So musste naturgemäß mein erstes Ziel sein, den musikalischen Inhalt des Werkes darzustellen. Als nicht minder naturgemäß schloss sich dann das nächste zweite Ziel an, auf Grund der durch die Analyse gewonnenen neuen Ergebnisse die entsprechend veränderte Vortrags­art mindestens soweit festzulegen, als es Worte in solchem Falle immerhin auszudrücken gestatten. Nun aber galt es drittens, das Resultat der Analyse sicher zu stellen und vor Missverständnissen zu bewahren ... (Untertitel und Vorrede) Nachdruck der Originalausgabe aus dem Jahr 1912.

Beethoven's Last Piano Sonatas: An Edition, with Elucidation presents English language editions of the four volumes of Heinrich Schenker's Die letzen Sonaten von Beethoven: Kritische Ausgabe mit Einf¿hrung und Erl¿erung (The Last Piano Sonatas by Beethoven: Critical edition with Introduction and Commentary). Editor and translator John Rothgeb builds upon Schenker's text, adding explanations of certain points in the commentary, referencesto corrections and other remarks entered by Schenker in his personal copies of the volumes, and graphic presentations of several passages.

Beethoven's Last Piano Sonatas: An Edition, with Elucidation presents English language editions of the four volumes of Heinrich Schenker's Die letzen Sonaten von Beethoven: Kritische Ausgabe mit Einführung und Erläuterung (The Last Piano Sonatas by Beethoven: Critical edition with Introduction and Commentary). Editor and translator John Rothgeb builds upon Schenker's text, adding explanations of certain points in the commentary, referencesto corrections and other remarks entered by Schenker in his personal copies of the volumes, and graphic presentations of several passages.

In this previously unpublished essay Schenker, one of the most influential music theorists of the twentieth century, turned his attention to the performer's role, arguing that the cult of the virtuoso has led to an overemphasis on technical display and discussing specific ways in which performers can better serve the composer's ideas.