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Letters from Otto Erich Deutsch (OED)

to Maurice JE Brown

These letters form the major portion of the letters within the Maurice JE Brown (MJEB) collection at the SIRC. It is clear that MJEB carefully filed away everything which may be of any use or interest in the future, and although these letters only tell one side of the story (what a pity MJEB only occassionally kept copies of the letters he sent, but the SIUK is trying to find MJEB's letters through OED's family), they offer a fascinating insight into the relationship between the two eminent Schubert Scholars.

A full catalogue of the letters is still being produced, but it will number them at approximately 738. Of these, I estimate that around a quarter are postcards, and there are also several envelopes on which Deutsch scribbled some last minute thoughts after he had closed the contents.

The letters cover the period from May 1949 to 5th November 1965. They seem to start in mid flow so to speak, as if they had been corresponding for a little while before MJEB started to keep the letters. In May 1949 Deutsch (born 5th Sept 1883, he died aged 84 in 1968) was aged 65, and Brown (born in 1906) was 43. Deutsch was living in Cambridge, England, having escaped from Austria just before the war, and had joint British citizenship. Brown was living in Marlborough, Wilts, where he taught science at the grammar school. Deutsch returned to Vienna late in 1952, and the correspondence continued, initially with censor's stamps, though after a while censorship was obviously relaxed.

The first letter is in German (which I don't read very well), but the rest, other than quotes and the occasional accidental slip, are all in English. Deutsch's English was pretty good (i.e. much better that that of most children leaving school today), though he was very concerned about the correct use of English grammar, and thus frequently turned to Brown (whose German was excellent) to translate letters, poems, articles etc.

Up until the end of February 1952 the letters are all handwritten, after that time the majority are typed (and look very messy to those of us brought up with word processors where small mistakes can be readily changed), though there are occasional handwritten letters, and many, but by no means all, of the postcards are handwritten.

The two scholars clearly got on pretty well, and had great professional respect for each other. Deutsch appears to have treated Brown as his 'heir' as a Schubertian, frequently passing on tasks to him, and they often asked for advice from each other. They visited each other from time to time, and these visits are mentioned in the letters. Nevertheless, the letters are still rather formal and reserved. They start "Dear Mr. Brown", and it's not until April 1951 (literally the first letter after the publication of the Thematic Catalogue, in the preface of which he thanks Brown for his help of various kinds) that Deutsch gets friendly enough to drop the "Mr". From then until the end of the correspondence, it's "Dear Brown", with the occasional "My Dear Brown" towards the end. This distinction was clearly significant to Deutsch, as there is one letter in May 1951 with the greeting "Dear Mr Brown, or rather Dear Brown". They are nearly always signed "yours ever". There are a very small number of drafts of letters from MJEB to OED, in one in June 1951 he addresses the letter to "My Dear Professor Deutsch" and signs it "My very good wishes".

The majority of the content of the letters is professional with relatively little in the way of personal remarks, and where there are such remarks, they normally reflect a serious illness, or emotional conflict. Deutsch is clearly very careful to preserve MJEBs scholarly credentials, and there is no sign of any 'competition' between them. There are a number of discussions of joint projects, with almost more effort expended on exactly how the credits should read, than on the research itself.

The first few years of these letters cover the period when some of Deutsch's famous works, including the Thematic catalogue and Memoirs were being published, the Documents having been published in 1946. There are various references to publishing details, checking galley proofs, last minute corrections etc. OED asks advice on how best to index the works, wording of dedications, and so on. From some of Deutsch's comments it is clear that these books were hardly runaway successes from a financial point of view, with relatively few copies sold, so it is perhaps no suprise that it may take a while to track down a copy of some of them.

Later on, there is considerable discussion of German editions of the works, and originally, OED wanted MJEB to do the translation of the Memoirs. MJEBs first book Schubert's Variations was published during these years (1954), and there are frequent references to his disappointments in attempting to find a publisher, before his agreement with Macmillan. Works from other Schubertians are mentioned several times - it is clear that OED though more of Einstein's book than MJEB, and there are some sideways swipes at such as Kobald and Flower.

I've now finished a initial pass through the letters (A full day's study got me up to the late 50s, and another half day finished it off), but not the more detailed analysis that would be required to discover and appreciate all the nuggets contained within their pages. Paul Reid, erstwhile editor of the SIUK journal, The Schubertian has produced a glossy 16 page write up of the letters appropriately entitled Dear Brown. Information about how to acquire a copy is given on our SIUK Goodies page. There now follows a few interesting little snippets from the letters to whet your appetite. Unless otherwise stated, these are from OED to MJEB. Comments from me in square brackets thus - [[a comment from RM]].

Date Comment
19/10/50 As for the measurement, there is a difference between the Austrian "schuh" (or Fuß) = 0.316m and the English foot = 0.384m. Schubert was 4 schuh, 11 zoll, 2 strich = 1.5669m high, not 1.5886m. He really was under the norm of 1.580m. Please, check it. [[Schubert's height was entered on a conscription form in 1818, and was also estimated when the body was exhumed for the first time. The scholarly interest is not whether he was or was not under 5 feet tall per se, but whether he was too small to be drafted into the army. Many early commentators suggested that the reason that he accepted becoming a teacher in his father's school was to avoid the draft, as school masters were exempt. This is now considered unlikely for two reasons - he was (just) too small anyway, and the exemption applied to masters, not humble assistants, which is what he was.]]
22/10/50 I have in the meantime checked once more the figures for Schubert's height in 1818: feet and centimetres are correct, only it should have been Austrian feet on pp83f [[page number of the Documents]]. Instead of "2 lines", which means 1 zoll or 1 inch, it should read "2 strich", the strich being the smallest measurement in the records of the recruiting officers in Austria at that time = ¼ zoll, or inch. It might be of interest to you that 1 Fuß = 0.3161m in Austria, 0.3048 in England, was 0.3138 in Berlin, 0.3 in Baden, 0.2912 in Bavaria, 0.2893 in Bremen, 0.2865 in Hamburg and 0.2825 in Leipsig.
30-31/10/50 As for schuh and Fuß: both terms were in use in Vienna. Is the English plural of foot really foot? Thus you wrote, while Blom [[Eric Blom, translator of the Documents, and some time editor of Grove's dictionary]] and I have feet. Apropos, the French foot was even longer 0.325m.
5/4/51 ...Red letter day... [[Date of publication of the Thematic Catalogue]]
3/5/51 ...Waterhouse [[who had written a review of the Thematic Catalogue in the Birmingham Post]] has already proposed to immortalise me in the letter D. I think it would not be necessary to quote my numbers in songs, operas, masses, but only for the instrumental works. [[D numbers are now widely quoted for everything, including songs, etc. Despite Deutsch's views, they are useful for songs, since there are several with similar names, or multiple settings of the same words]]
8/5/51 ...the other remark about immortality was meant, of course, in quotations, my life and after-life is in Schubert's shadow.
18/5/51 ...this morning I thought it remarkable that Schubert had so much time to write leisurely in face of an early death.
28/5/51 ...I despise Anselm Hüttenbrenner in any age, but Josef became crazy later only. His devotion to Anselm was a mania then. [[Anselm and Joseph Hüttenbrenner were close friends of Schubert. Joseph helped him enormously with publishers, and generally organising his finances. Anselm was a composer who Schubert appears to have appreciated above his more dedicated brother. It was Anselm who kept the Unfinished Symphony secret and locked away for more than 30 years, until Herbeck prised it away from him by promising to perform one of Anselm's pieces. As he grew older, Anselm became more and more bitter, blaming the world for not recognising his genius. Joseph's servants managed to use the manuscripts of two acts of Claudine von Villa Bella, one of Schubert's operas to light a fire... In his old age, he became more obsessed with his brother's 'talents']]
5/8/51 So far I earned for the catalogue [[i.e. the Thematic Catalogue]] £96, and that may be the result for a long time to come. It is a pity if one is compelled to live from writing. What do you think I spent in money on the catalogue during all those years?
9/2/52 Your suggestion to include some letters by Ferdinand Schubert, referring to the posthumous works seems to me very good, if Dents agree to increase the size a little. I would then include in an appendix similar letters by Jenger, Schober, Schwind, Spaun, Bauernfeld, etc; perhaps even Mendelssohn. [[This refers to suggestions for additions to the Memoirs in English translation - these additions were made]].
16/4/52 [[Several different attempts at coming up with a name for the Memoirs, the final suggestion being "Schubert, Private Memoirs, Collected Reminiscences, Edited by..."]]
23/4/52 Mendelssohn's Italian Symphony is very Schubertian.
21/5/52 ...Schober treated Kreissle in 1861 not better than Ferdinand in 1848. He was a nasty customer. Schwind became to hate him. [[Oooh, vitriol. Franz von Schober was Schubert's closest friend for many years, and was blamed by many for leading Schubert astray, resulting in Schubert's syphilis (it was Deutsch who first broke the news of Schubert's syphilis to the world). Heinrich Kreissle von Hellborn wrote the first Schubert biography (copies of the German 1st edition of 1865 and the English translation of 1869 are in the MJEB collection), and got little out of Schober, who never left detailed reminiscences. I don't know what particular event the reference is to, however. Ferdinand Schubert, Schubert's elder brother who acted (somewhat questionably from a legal point of view) as the heir to all Schubert's works demanded the manuscript of Alfonso und Estrella back from Schober, who wrote back a rude letter. Schober was pretty justified in his stance, however, as he did write the libretto, and it was only when Schober was arranging for the work to be premiered under Liszt (who made heavy cuts - the opera failed) that he asked for it back. In any case, Schober only had a copy, the original was still with the Pachlers in Graz. Moritz von Schwind was another very close friend of Schubert who became a famous painter of fairy tales, and who left many pictures of Schubert, most, unfortunately, painted after Schubert's death.]]
11/6/52 ...I shall be at Harrogate, Old Swan Hotel from June 17 to 19. [[He went to see his doctor - sorry for the personal entry, but the Old Swan is just around the corner from my house. It is also the hotel where Agatha Christie was found after she went missing for 2 weeks in the 20s.]]
28/7/52 "Dear Brown, my friend" [[A very delicate, personal letter from OED explaining why Brown was not to be offered the translation of the Memoirs - it came down to finance, as ever]].
15/9/52 ...our first contact through Blom, showing me the list of Schubert's works in your Grove article. [[The first mention of how they met. At one stage, OED promised to give MJEB a brief biography of himself, but if it was done it must have been done verbally, as there is no sign of it. Brown wrote the article on Schubert in the 5th edition of Grove's dictionary. In the mid 70s, he wrote a new article for the New Grove's dictionary, but died before it appeared in print.]]
17/4/55 O.E.D. (the other one) [[to our non English readers, the 'other' OED is the Oxford English Dictionary]] says: Cycle - a series of poems or prose romances collected round or relating to a central event or epoch of mythic history and forming a continuous narrative. [[A rare flash of humour. The subject was connected with a discussion of how to categorise Schwanengesang]].
6/2/58 My first meeting with Schubert happened when I had to play in a pupils orchestra in my Gymnasium, which I visited recently; it was one of the Military Marches.
6/6/58 It seems to me that Schubert was never good when he wrote for a soloist, virtuoso or singer. Enclosed was a 3 page list of errors and comments on Brown's biography...
14/7/58 I am going to Gastein for two days (to look again for the symphony)....
13/1/59 Yesterday I saw the new Vienna Schubert film, another version of Lilac Time. Not too bad. The unfinished remains thus because Beethoven became definitely deaf.