With the 13 known letters by Hugo Leichtentritt to Ferruccio Busoni, another correspondence has been added to our edition. Leichtentritt is probably best known today for his Musikalische Formenlehre (1911), whose revised edition (1920) clearly shows the impact of Busoni’s aesthetics. But the letters also reveal that Leichtentritt perceived himself primarily as a composer, and they throw some light on his (mostly unsuccessful) attempts at publishing his musical works as well as on his work as a music critic and as an author of concert programmes. We also get his out-of-the moment evaluations of the political environments in Germany around 1915 and 1923, respectively.
Transcription of and critical commentary to these letters have been provided as part of the Bachelor theses by Juliane Imme and Marlene Everling. Due to the COVID-19 pandemic, the Busoni letters to Leichtentritt could not yet be obtained from the Library of Congress (Washington); they will be added to our edition as soon as possible.
<TEI xmlns="http://www.tei-c.org/ns/1.0" xml:id="D0400003">
<teiHeader>
<fileDesc>
<titleStmt>
<title xml:lang="de">Briefe Hugo Leichtentritts veröffentlicht</title>
<title xml:lang="en">Introducing: Letters by Hugo Leichtentritt</title>
<author key="E0300314">Christian Schaper</author>
</titleStmt>
<publicationStmt>
<publisher>Institut für Musikwissenschaft und Medienwissenschaft der Humboldt-Universität zu Berlin</publisher>
<pubPlace>Berlin</pubPlace>
<date when="2020-12-05T00:00:00"/>
<availability>
<licence target="http://creativecommons.org/licenses/by-nc-sa/4.0/">Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0)</licence>
</availability>
</publicationStmt>
<seriesStmt>
<title type="main">Ferruccio Busoni – Briefe und Schriften</title>
<title type="genre">News</title>
<editor key="E0300314">Christian Schaper</editor>
<editor key="E0300313">Ullrich Scheideler</editor>
</seriesStmt>
<sourceDesc>
<ab>Born digital</ab>
</sourceDesc>
</fileDesc>
<encodingDesc>
<projectDesc>
<p>Erfassung von Briefen und Schriften von Ferruccio Busoni, ausgehend von Busonis Nachlass in der Staatsbibliothek zu Berlin · Preußischer Kulturbesitz.</p>
</projectDesc>
<editorialDecl>
<p>Die Übertragung folgt den Editionsrichtlinien des Projekts. <ptr target="http://www.busoni-nachlass.org/E1000003"/>
</p>
</editorialDecl>
</encodingDesc>
<revisionDesc>
<change when-iso="2020-12-05" who="#E0300314">Neuigkeit verfasst.</change>
</revisionDesc>
</teiHeader>
<text type="news">
<body>
<div xml:lang="de">
<p>Mit den 13 überlieferten Briefen <persName key="E0300093">Hugo Leichtentritts</persName> an <persName key="E0300017">Ferruccio Busoni</persName> wurde der Edition <ref target="#E010009">ein weiterer Briefwechsel</ref> hinzugefügt. Der Musikhistoriker <persName key="E0300093">Leichtentritt</persName> ist heute vor allem als Autor einer <title key="E0800301">Musikalischen Formenlehre</title> (<date when-iso="1911">1911</date>) bekannt, auf deren erste Revision (erschienen <date when-iso="1920">1920</date>) <persName key="E0300017">Busoni</persName> entscheidenden Einfluss ausübte. Der Briefwechsel mit <persName key="E0300017">Busoni</persName> zeigt <persName key="E0300093">Leichtentritt</persName> von weniger bekannten Seiten: als Komponisten auf meist vergeblicher Verlegersuche, daneben auch als Musikkritiker und Autor von Programmheften. Mit <persName key="E0300017">Busonis</persName> Gang ins <placeName key="E0500132">Zürcher</placeName> Exil <date when-iso="1915">im Jahr 1915</date> sowie der Situation im <placeName key="E0500015">Deutschen Reich</placeName> <date when-iso="1923">anno 1923</date> geraten außerdem politische Ereignisse in den Blick – und die offenkundigen Schwierigkeiten, sich aus dem jeweiligen Moment heraus auf sie einen Reim zu machen.</p>
<p>Die Transkription und Kommentierung der Briefe erfolgte im Rahmen der BA-Abschlussarbeiten von <persName key="E0300327">Juliane Imme</persName> und <persName key="E0300418">Marlene Everling</persName>. Die musikgeschichtlich noch bedeutsameren Gegenbriefe <persName key="E0300017">Busonis</persName>, aufbewahrt in der Library of Congress in <placeName key="E0500157">Washington</placeName>, konnten bisher pandemiebedingt nicht beschafft werden; sie werden der Edition so bald wie möglich hinzugefügt werden.</p>
</div>
<div xml:lang="en">
<p>With the 13 known letters by <persName key="E0300093">Hugo Leichtentritt</persName> to <persName key="E0300017">Ferruccio Busoni</persName>, <ref target="#E010009">another correspondence</ref> has been added to our edition. <persName key="E0300093">Leichtentritt</persName> is probably best known today for his <title key="E0800301">Musikalische Formenlehre</title> (<date when-iso="1911">1911</date>), whose revised edition (<date when-iso="1920">1920</date>) clearly shows the impact of <persName key="E0300017">Busoni’s</persName> aesthetics. But the letters also reveal that <persName key="E0300093">Leichtentritt</persName> perceived himself primarily as a composer, and they throw some light on his (mostly unsuccessful) attempts at publishing his musical works as well as on his work as a music critic and as an author of concert programmes. We also get his out-of-the moment evaluations of the political environments in <placeName key="E0500015">Germany</placeName> around <date when-iso="1915">1915</date> and <date when-iso="1923">1923</date>, respectively.</p>
<p>Transcription of and critical commentary to these letters have been provided as part of the Bachelor theses by <persName key="E0300327">Juliane Imme</persName> and <persName key="E0300418">Marlene Everling</persName>. Due to the COVID-19 pandemic, the <persName key="E0300017">Busoni</persName> letters to <persName key="E0300093">Leichtentritt</persName> could not yet be obtained from the Library of Congress (<placeName key="E0500157">Washington</placeName>); they will be added to our edition as soon as possible.</p>
</div>
</body>
</text>
</TEI>