“That Bright New Light”: Schenker, Universal Edition, and the Origins of the Erläuterung Series, 1901–1910

Abstract

AbstractIn 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 Erläuterungsausgaben (elucidatory editions): his editions of C. P. E. Bach keyboard works with companion brochure, Ein Beitrag zur Ornamentik (1903; 2nd ed. 1908); J. S. Bach's Chromatic Fantasy and Fugue (1910); Beethoven's last five piano sonatas (1913–20); and his monograph on Beethoven's Ninth Symphony (1912). A close reading of the texts associated with the first two of these brings out the characteristics of Schenker's newly forged mode of musical discourse and helps us understand why Schenker prized it so highly.Inspection of Schenker's correspondence with J. G. Cotta and Universal Edition (also the latter's 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.