The Masterwork in Music: Volume I, 1925

Heinrich Schenker, Richard Kramer, Hedi Siegel, William Drabkin, Ian Bent, John Rothgeb

• Publisher: Dover Publications
• Year: 2014
• eBook ISBN: 9780486799353
• Topic: Media & Performing Arts
• Subtopic: Classical Music

The three volumes of The Masterwork in Music present complete English translations of major works by Austrian music theorist Heinrich Schenker, one of the twentieth century's leading figures in the field. First published in German between 1925 and 1930, these essays represent Schenker's greatest writings in analysis prior to the 1935 definitive formulation of his theory of music in Der freie Satz (Free Composition). This new publication of the long-awaited English translation, which first appeared in the distinguished Cambridge University Press edition, provides a valuable resource for scholars. Editorial annotations and elucidations by Dr.William Drabkin and his translators offer additional insights.
Volume One includes analyses of keyboard pieces by Bach, Scarlatti, Chopin, and Beethoven, along with studies of solo violin music by Bach. Volume Two contains a major essay on Mozart's Symphony No. 40 in G minor and shorter studies of works by Bach, Haydn, and Reger. Volume Three's contents include Schenker's celebrated analysis of Beethoven's "Eroica" Symphony and other works.

I

THE ART OF IMPROVISATION

DIE KUNST DER IMPROVISATION {11–40}

TRANSLATED BY

RICHARD KRAMER

Our generation has squandered the art of diminution, the composing-out of sonorities [Klängen], and, like the fox in the fable, declares sour those grapes which it cannot reach. No longer able to understand the art of diminution bequeathed to us in the teaching of the masters, and the example they set, it turns ear and mind away from a fundamental law with which it can no longer cope, either creatively or in imitation.

This generation has not the slightest inkling that all its despair and impotency, the tormented quest for that which is ever different – different from the art of the master, different even from nature itself – originates simply in the incapacity for the artistic linearization of tonal concepts that are given in nature. It anaesthetizes its incapacity with the gesture of novelty, under the proud and highly suggestive title ‘progress’. That became the customary dodge of every reaction from the darkness below, and it remains so today. The stabs in the back which genius must suffer perpetrated at first by a few individuals from below, then multiplied by the masses – simulate a proud revolution, certain of victory. But the perpetrators overlook that genius, unlike emperor or prince, cannot be deposed by the caprice of the masses, that in the eternally aristocratic realm of genius the methods of political revolution are without value. Its revolutions here must remain mere fictions, the imaginary movements of non-professionals, arranged and incited by journalists and book-writers from outside, entirely without effect and outside the true history of the intellect. Finally even this self-induced deafening must fail, for it never transforms incapacity into ability: Naturam non expellas furca.¹

And thus it comes about today that from every corner where novelty and progress are ‘manufactured’, veritable intellectual outbacks, shrieks of a passionate promise for the future resound: this generation would like at the least to stimulate the next towards some decisive artistic novelty, but it feels itself incapable of accomplishing even this deed. If, however, the promise of a deed counts for very little in the political world – revolutions promise much and hold to nothing – how much less do such promises mean in the realm of art!

Thus our generation dwells not even in its own present. It no longer demands of itself the strength to pay its debts to the great masters – and thus the strength to receive the past in itself, which is the presupposition for all virtuous life in the present. Nothing really remains for it but to depend solicitously on the future of the next generation – {12} why ever should it presume to anticipate the work of that generation? – and, in so doing, does battle against an apparition of stagnation. It does not suspect that it itself is the apparition, and that all the effort that it expends to produce something new and to oppose stagnation is not nearly sufficient to rise even a step above the masses.

As the past so often teaches, the few individual representatives of the immutable authority from above remain, and all the more proudly, after the continually repeated reactions of those from below. An authority from above can never be produced from below. As little as the living are able to comprehend death, so little can the spiritually dead comprehend the spiritual life of a genius. And yet this remains to be demonstrated.

*

Music is the living motion of tones in the space given in Nature: the composing-out (the rendering in melodic line, the linearization) of the Nature-given sonority (see Harmonielehre, p.281/p.211; ‘Freier Satz’; ‘Elucidations’).² The law of all life, the motion which, as procreation, issues forth beyond the boundaries of individual being, penetrates into man in this sonority which Nature has preordained in his hearing. Everything in music is born of this motion, of this procreative force. Yet all procreation is bestowed through the spontaneous grace of life-bestowing Nature. Those whom Nature has sent into the world unfit for procreation: what will they accomplish against her? What does this most wretched of generations, with all its insolence born in delusion and its dogmatically demanding temperament, want in its current alignment against Nature when she has, so to speak, denied it its spiritual loins?

Consequently, it is entirely remote from my thought to oblige the caprice of man when I speak here of the art of improvisation according to the testimony in C.P.E. Bach’s theoretical and practical works, and from the examples by Handel (examples which can, of course, be multiplied endlessly). I want only to offer a modest contribution to the art of diminution, which is the principal agent in the free fantasy, and at the very least to alert the ear to the inner laws of diminution in order to protect it from the stagnation induced in precisely those who speak out most loudly against it.

I

Diminution in its entirety surely does not allow of a single theory, for the subject matter is too vast: no theorist could furnish a method in {13} diminution technique for all genres of composition. Accordingly, even C.P.E. Bach is satisfied with a minimum, with the art of diminution in the free fantasy, as presented in his Versuch über die wahre Art, das Clavier zu spielen, II, 41.³ It was the opportunity provided by just this topic that prompted the great master of tone and word to speak out, and he is very clearly conscious of this, as follows from the first two paragraphs of the chapter.⁴ They read:

[§1] A fantasy is called free when it contains no regular distribution of bars, and modulates to more keys than is usual in other kinds of pieces which are either composed or improvised in a regular metre.

[§2] For these latter pieces, a knowledge of the entire range of composition is required: for the former, merely a basic understanding of harmony and some rules governing its disposition are adequate. Both types demand natural ability, the fantasy in particular. It is possible that one who has studied composition with success, and has demonstrated his skill with the pen, will nevertheless improvise poorly. On the other hand, I believe that one can always predict with certainty good progress in composition for one who has a gift for improvisation, provided that he does not begin his studies too late, and that he writes profusely.

Still, I recommend that one read again what Bach says on the elaboration of fermatas (Versuch, 1, 2, §9) as well as on the elaboration of cadenzas (1, 3, §30).⁵ Although diminution at a fermata or in a cadenza plays a different role than it does in the free fantasy, these explanations are nevertheless of great value for a general theory of diminution.

*

§§3, 6 and 8–11 are concerned with tonal areas in the free fantasy. §3 eve...

Table of contents

• Cover
• Title Page
• Copyright Page
• Contents
• Foreword by Ian Bent
• General preface
• A note on the translation
• German words, phrases, technical terms and abbreviations used in the music examples
• Bibliographical abbreviations
• Foreword
• 1 The art of improvisation
• 2 Abolish the phrasing slur
• 3 The Largo of Bach’s Sonata No.3 for Solo Violin [BWV 1005]
• 4 The Prelude of Bach’s Partita No.3 for Solo Violin [BWV 1006]
• 5 Bach: Twelve Short Preludes, No.6 [BWV 940]
• 6 Bach: Twelve Short Preludes, No.7 [BWV 941]
• 7 Bach: Twelve Short Preludes, No.12 [BWV 942]
• 8 Domenico Scarlatti: Keyboard Sonata in D minor
• 9 Domenico Scarlatti: Keyboard Sonata in G major
• 10 Chopin: Etude in E♭ minor, Op. 10, No.6
• 11 Chopin: Etude in G♭ major, Op. 10, No.5
• 12 A postscript to Beethoven’s Opus 110
• 13 Further consideration of the Urlinie: I
• 14 Elucidations
• 15 Miscellanea: thoughts on art and its relationships to the general scheme of things
• Appendix of scores
• Index