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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. |
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