10 pp. Notated in ink on 12-stave music paper. With occasional corrections in pencil, some with individual completion dates and notes regarding text upon which the pieces are based. Recto of final leaf with pencilled notes and sketch of a song with text commencing "Als die Marie zu uns kommen."
Das Rote Wichtlein und andere Erzählungen. Autograph musical manuscript of 10 short pieces for piano solo: Zum Anfang; Schlafendes Trautchen; Tänschen auf der Blumenwiese; Wenn die Englein singen; Kleiner Marsch; Tanz der Brotschberggeister; Das Rote Wichtlein; Waldesmärchen; Der kleine Kobold; and Schlussgesang. 10 pp. Notated in ink on 12-stave music paper. With occasional corrections and annotations in pencil and a one-measure overpaste to Das rote Wichtlein. 1f. (recto title within green border with titling highlighted in red and green, verso with 4-line autograph poem with text commencing "Nun komm mein liebes Mütterlein" and a note to foot "Ernst Jacob zu Eigen! Mai 1923"). With autograph inscription signed to title (in German): "To my excellent student, Miss Wilhelmina, in fond remembrance Mannheim, April 27, 1923."
Folio. Modern green cloth-backed boards with gray/green wrappers hand-stencilled with floral motifs in green, blue and orange bound in. Slightly worn, browned, and creased; final leaf with small old tape repair to blank margin.
None of these works appear to have been published with the exception of Das Rote Wichtlein, in a version for voice and piano published by C.F. Kahnt in Leipzig in 1925.
German teacher, theorist and composer, Grabner "studied composition in Leipzig with Reger [from 1910], becoming his assistant in Meiningen (1912). In 1913 Pfitzner invited him to the Strasbourg Conservatory as a theory teacher; after 1918 he held similar posts in Heidelberg and Mannheim. He moved back to Leipzig in 1924, first as a lecturer in composition at the conservatory, then as university music director (1930) and professor (1932). Finally, he lectured in Berlin at the Musikhochschule (1938–45) and the conservatory (1950–51). His importance lies chiefly in his work as a theorist and teacher. Starting from Riemann's notion of harmonic function and its symbology, Grabner rejected its basis in harmonic dualism, which had become a pedagogical handicap. His ‘monistic’ function theory proved both durable and influential, helping to maintain function theory as the leading method of harmonic analysis in Germany. Grabner's pupils included Fortner, Riisager and Distler... His compositional style evolved directly from that of Reger..." Hanspeter Krellmann and Daniel Harrison in Grove Music Online.
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