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Schenker Schenker (1929)
Eine Rettung der klassischen Musik‐Texte: das Archiv für Photogramme der National‐Bibliothek, Wien (Widmung Anthony van Hoboken)Der Kunstwart, 42/vi
Oswald Jonas (1934)
THE PHOTOGRAM-ARCHIVES IN VIENNAMusic & Letters, 15
Bamberger (1936)
Das Wiener Photogramm-ArchivMusikblätter des Anbruch, 18/i
Haas Haas (1928a)
Das Archiv für Photogramme musikalischer MeisterhandschriftenRadio‐Wien, 4/xviii
Hoboken Hoboken (1928)
Das Meisterarchiv in WienFrankfurter Zeitung und Handelsblatt, 11
Deisinger (2014)
Heinrich Schenker, Anthony van Hoboken und das “Archiv für Photogramme musikalischer Meisterhandschriften an der Musiksammlung der Nationalbibliothek Wien”Wiener Geschichtsblätter, 69/iii
Haas Haas (1928)
Wichtigere Neuerwerbungen der Musiksammlung an der Nationalbibliothek zu Wien und Bericht über das ihr angegliederte Meisterarchiv, Widmung A. van HobokenZeitschrift für Musikwissenschaft, 11
L. Nowak (1957)
Das Archiv für Photogramme musikalischer MeisterhandschriftenÖsterreichische Musikzeitschrift, 12
ABSTRACT In 1927 Anthony van Hoboken, at Heinrich Schenker's urging, founded the Archive for Photograms of Musical Master Manuscripts, the goal of which was to collect photographic reproductions of the autograph manuscripts of famous composers so that they could be made generally available for the purposes of study and preparing editions without the originals themselves being susceptible to damage. The administration of the Archive required a Board of Trustees, on which Schenker and the music historian Robert Haas sat under Hoboken's chairmanship. After the official inauguration of the Archive in October 1927, Hoboken and the Board of Trustees sent out an Appeal to publicise their intentions; this was followed by a radio broadcast, given by Otto Erich Deutsch, and several magazine articles which called attention to the new institution. In the years that followed, there were repeated conflicts of interest among the trustees. Tensions arose, for instance, in connection with the International Schubert Congress of 1928, organised by Hoboken and Haas under the auspices of the Archive, in which Schenker refused to participate. A collected edition of the works of C. P. E. Bach, planned in 1930, never materialised: Schenker could not be persuaded to act as one of its editors. A crisis was reached in 1932, when Hoboken drastically reduced his annual financial contribution to the enterprise. Nonetheless, the Archive developed into an internationally recognised centre for musical documentation, whose holdings steadily increased over time.
Music Analysis – Wiley
Published: Jul 1, 2015
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