Structural Hearing. Tonal Coherence in Music
New York: Charles Boni. 1952.

Presentation copy. First edition. Two volumes. 235x165mm. pp. xix (i), 283; xvi, 349. Original grey cloth, with top half of spine blocked in black, lettered in gold and black. Original beige dustjackets with black and red striped pattern on the spine, letter in black and red. Some slight chipping to head of spine of dust jacket of volume one but otherwise in fine condition. The front free endpaper is inscribed "To Larry who in a critical moment has done so much for this book. In gratitude and friendship, Felix". Salzer was a student of the pioneer of music theory, Heinrich Schenker who was the first person to define and analyse the deep, organic forces that lie behind tonal music. Salzer took this work forward, expanding and modifying it into this long and complex book. Importantly, Salzer drew on a far wider range of musical styles giving examples from the 16th to the 20th centuries thus demonstrating how a structural analysis underlies and unifies the whole of musical language. Salzer was, through his mother Helene, a Wittgenstein (a nephew of Ludwig and Paul, the concert pianist). The Wittgensteins owned the autograph score of Beethoven's Piano Sonata op109, Schenker's study of which had revolutionised his ideas of how to arrive at the true 'Urtext' of a musical work. Salzer grew up and worked in this stupendously civilised central European musical milieu. "Structural Hearing" is the fruit of his engagement with this culture.