-
OJ 5/19, 1 Handwritten letter from Schenker to Kalbeck, undated [?April 1889]
Schenker asks Kalbeck for a critique, apparently of some
sonatas.
-
OJ 5/19, 2 Handwritten letter from Schenker to Kalbeck, undated [?April or May
1889]
Schenker thanks Kalbeck for the critique. — He is preparing for his
state examination in Roman law, and looks forward to an eventual career in music
theory. — He will send Kalbeck three sonatas.
-
OJ 11/42, [1] Handwritten letter from Maximilian Harden to Schenker, dated October 11,
1892
Since there has been no response to an earlier letter requesting major
revisions in a submitted article, Harden has made the changes himself; he asks Schenker to
write a second article on the omitted material; and he begs Schenker's pardon for having to
act unilaterally.
-
OJ 11/42, [2] Handwritten postcard from Maximilian Harden to Schenker, dated November 29,
1892
One of Schenker's articles will be published in an upcoming issue of Die
Zukunft; Harden asks for further submissions; agrees with Schenker's positive assessment of
the Italian soprano Gemma Bellincioni.
-
OJ 11/42, [3] Handwritten postcard from Maximilian Harden to Schenker, dated May 22,
1893
Harden asks Schenker to write a review of Verdi's Falstaff in time for the
Berlin opening of the opera.
-
OJ 11/42, [4] Handwritten postcard from Maximilian Harden to Schenker, dated June 27,
1893
Harden thanks Schenker for an article on Smetana; encourages him to write on
the Viennese appetite for Italian operas; and sends greetings to [Adolph?]
Gelber.
-
OJ 11/42, [5] Handwritten postcard from Maximilian Harden to Schenker, dated September 29,
1893
Harden encourages articles from Schenker on Leoncavallo and
Bruckner.
-
OJ 11/42, [6] Handwritten postcard from Maximilian Harden to Schenker, dated October 19,
1893
Harden thanks Schenker for sending an [unidentified] article with a lighter
tone than some of Schenker's other work.
-
OJ 71/42, [1] Handwritten message from Harden to Schenker, on handwritten letter from Hermann Woff
to Harden, dated October 20, 1893
Wolff encourages Harden to find him a collaborator for an article on music and
concert life; having read Schenker's article on Bruckner, he praises Schenker for his clear
and accurate understanding of Bruckner's music. Harden commends Wollf's praise to Schenker,
and suggests that he write an article about "conductors."
-
OJ 11/42, [8] Handwritten postcard from Maximilian Harden to Schenker, dated November 9,
1893
Harden asks after Schenker's health and encourages him to write an article on
prominent conductors and an article on music education.
-
OJ 9/6, [D] Handwritten postcard from Eugen d’Albert to Schenker, undated
Eugen d'Albert extends an invitation to Schenker.
-
OJ 9/6, [F] Handwritten calling card from Eugen d’Albert to Schenker, undated
Eugen d'Albert invites the Schenkers to the the Opera.
-
OJ 9/6, [G] Handwritten calling card from Eugen d’Albert to Schenker, undated
Eugen d'Albert thanks Schenker for his condolences.
-
OJ 9/6, [L] Handwritten letter from Eugen d’Albert to Schenker, undated
Eugen d'Albert cancels and suggests an alternative
time.
-
OJ 9/6, [N] Handwritten letter from Eugen d’Albert to Schenker, undated
Eugen d'Albert will try to free himself up for a meeting
tomorrow.
-
OJ 11/42, [9] Handwritten postcard from Maximilian Harden to Schenker, dated February 16,
1894
Harden asks for Schenker's permission to put off publishing Schenker's article
on prominent conductors until Harden himself writes something personal about Hans von Bülow,
who had died four days earlier.
-
OJ 9/6, [1] Handwritten letter from Eugen d'Albert to Schenker, dated February 19,
1894
Eugen d'Albert has instructed his publishers to send Schenker all his
compositions, and asks Schenker to write about them in Die Zukunft.
-
OJ 11/42, [10] Handwritten postcard from Maximilian Harden to Schenker, dated March 1,
1894
Harden sends greetings to Schenker and [Adolph?] Gelber; he encourages
Schenker to add mention of Hans von Bülow to his upcoming article on conductors, and asks
Schenker to perform a thorough revision because the draft was not entirely
clear.
-
OJ 9/6, [2] Handwritten letter from Eugen d'Albert to Schenker, dated March 8,
1894
Eugen d'Albert will be in Vienna for two days and seeks a first meeting
with Schenker.
-
OJ 9/6, [3] Handwritten letter from Eugen d'Albert to Schenker, dated March 14,
1894
Eugen d'Albert regrets their having been unable to meet, and looks
forward to making Schenker's acquaintance soon.
-
OJ 11/42, [11] Handwritten postcard from Maximilian Harden to Schenker, dated April 13,
1894
Harden wonders whether it is worth publishing an article by Schenker on
Verdi's Falstaff now that the production has moved on from Berlin to Paris.
-
OJ 9/6, [4] Handwritten letter from Eugen d'Albert to Schenker, dated April 25,
1894
Eugen d'Albert looks forward to seeing Schenker's most recent article,
and agrees to Schenker's postponing until the Fall his feature article on d'Albert.
He thanks Schenker for taking an interest in his work.
-
OJ 11/42, [12] Handwritten letter from Maximilian Harden to Schenker, undated [probably post-April
13, 1894, certainly pre-May 5, 1894]
Harden thanks Schenker for his submissions, especially "Konzertdirigenten,"
and asks him again to consider writing an article on Verdi's Falstaff.
-
OJ 11/42, [13] Handwritten postcard from Maximilian Harden to Schenker, dated May 1,
1894
"The road is clear."
-
OJ 11/42, [14] Handwritten letter from Maximilian Harden to Schenker, dated May 11, 1894
Harden urges Schenker to ask Brahms to write something for Die Zukunft about
the recently deceased Hans von Bülow.
-
OJ 11/42, [15] Handwritten postcard from Maximilian Harden to Schenker, undated; postmarked June
14, 1894
Harden says he will look over an article by Schenker soon; he wonders whether
Brahms or Rosenthal will contribute anything on Bülow to Die Zukunft; and he encourages
Schenker to send him more articles in the future.
-
OJ 9/6, [5] Handwritten letter from Eugen d'Albert to Schenker, dated July 2,
1894
Eugen d'Albert thanks Schenker for a recommendation of his work. Things
being difficult, he would have had to give up composing had he not also played the
piano. He announces completion of his next opera.
-
OJ 11/42, [16] Handwritten postcard from Maximilian Harden to Schenker, dated July 15,
1894
Harden agrees in principle to Schenker's publishing elsewhere some material on
which Harden had some claim; he advises Schenker that he has no following among the audience
of Die Neue Review; he has heard nothing from Brahms or Rosenthal about contributing
something about Bülow to Die Zukunft.
-
OJ 9/6, [6] Handwritten letter from Eugen d'Albert to Schenker, dated August 11,
1894
Eugen d'Albert promises his biographical jottings by the end of next
week and reports on progress with his new opera.
-
OJ 13/29, [B] Handwritten letter from Rosenthal to Schenker, undated
Rosenthal is ready to write an article ‒ evidently about Mozart ‒ but wishes
to discuss it first.
-
OJ 9/6, [7] Handwritten letter with inclosure from Eugen d'Albert to Schenker, dated
September 2, 1894
Eugen d'Albert incloses his autobiographical contribution to Schenker's
forthcoming feature article in Die Zukunft. He apologizes for the non-arrival of the
MS piano reduction of his new opera, Ghismonda, which he describes as a
"psychological character sketch," and thanks Schenker for his
interest.
-
OJ 9/6, [8] Handwritten letter from Eugen d'Albert to Schenker, dated September 7,
1894
Eugen d'Albert asks for the piano reduction of his opera Ghismonda back
urgently.
-
OJ 11/42, [17] Handwritten letter from Maximilian Harden to Schenker, dated September 8,
1894
Harden welcomes an article by Schenker on Eugen d'Albert, and encourages
Schenker to get d'Albert to revise an autobiographical sketch that will precede Schenker's
article.
-
OJ 9/6, [9] Handwritten letter from Eugen d'Albert to Schenker, dated September 8,
1894
Eugen d'Albert provides further information about his relationship with
Franz Liszt.
-
OJ 13/29, [C] Calling card from Rosenthal with a handwritten note presumably to Schenker,
undated
Greetings
-
OJ 11/42, [18] Handwritten postcard from Maximilian Harden to Schenker, dated October 4,
1894
Harden urges Schenker to press Brahms [for material on Bülow]; he thinks that
d'Albert will benefit from Schenker's article about him in Die Zukunft; he reports cordial
impressions of Humperdinck from Cosima and Siegfried Wagner; and he asks whether an article
he wrote was any good.
-
OJ 11/42, [19] Handwritten letter from Maximilian Harden to Schenker, dated October 11,
1894
Harden rebuffs accusations by Schenker that seem to involve a delay in
Harden's response to a submission that Schenker hopes to move to another publication, and he
accuses Schenker of reneging on a promise to write about [Johann] Strauss's operetta
Jabuka.
-
OJ 11/42, [20] Handwritten postcard from Maximilian Harden to Schenker, dated October 13,
1894
Harden denies that he will try prevent Schenker from publishing his material
wherever he chooses; and he commiserates with Schenker over a presumed slight by Hermann
Bahr of Die Zeit.
-
OJ 11/42, [A] Handwritten letter from Maximilian Harden to Schenker, undated [probably October or
November 1894]
Harden casts aspersions on Hermann Bahr. — Advises that he probably won't have
room to publish one of Schenker's articles, but requests that Schenker send it for his
review.
-
OJ 11/42, [21] Handwritten letter from Maximilian Harden to Schenker, dated November 24,
1894
Harden encourages Schenker to write articles on the string quartet and on
[Johann] Strauß and Humperdinck, but not on Brahms. — He explains why he lost his temper
with Schenker in an earlier letter (see OJ 11/42, [19]). — He urges Schenker to procure some
corresondence between Rosenthal and Rubenstein for publication in Die Zukunft; and he casts
aspersion on Die Zeit.
-
OJ 9/6, [10] Handwritten letter from Eugen d'Albert to Schenker, dated December 10,
1894
Eugen d'Albert regrets having been able to find a time for them to meet
while he was in Vienna, and gives his temporary forthcoming
address.
-
OJ 13/29, [1] Handwritten letter from Rosenthal to Schenker, dated December 14, 1894
Rosenthal has placed an article elsewhere than Die Zukunft.
-
OJ 11/42, [22] Handwritten letter from Maximilian Harden to Schenker, dated December 20,
1894
Harden rejects one of Schenker's submissions; he is resigned to Rosenthal's
refusal to publish in Die Zukunft, but tells Schenker that Rosenthal has maligned him; he
requests a referral via Gelber to someone, perhaps Viktor Adler, who would write about
Austrian social relations for the journal.
-
OJ 9/6, [11] Handwritten letter from Eugen d'Albert to Schenker, dated March 30,
1895
Eugen d'Albert gives his forthcoming moves and return dates to
Vienna.
-
OJ 11/42, [23] Handwritten letter from Maximilian Harden to Schenker, dated May 30, 1895
Harden tells Schenker that a submission from d'Albert would be welcomed; he
encourages Schenker to send him a copy of a previously published lecture which he will
consider publishing despite usual practise; and he asks whether Brahms or Rosenthal will
contribute any Bülow letters to Die Zukunft.
-
OJ 9/10a, [1] Handwritten letter from Hermann Bahr to Schenker, dated July 4, 1895
Article can be split across two issues, though with
disadvantages.
-
OJ 9/10a, [2] Handwritten letter from Hermann Bahr to Schenker, dated July 25, 1895
Bahr apologizes for misunderstanding Schenker, and requests an article by
him on music education.
-
OJ 11/42, [24] Handwritten letter from Maximilian Harden to Schenker, dated October 29,
1895
Harden suggests that Schenker make substantial revisions in an unidentified
submission.
-
OJ 11/42, [25] Handwritten postcard from Maximilian Harden to Schenker, dated November 2,
1895
Harden advises that one of Schenker's ideas for an article cannot be published
because Harden's printer does not have musical notation.
-
OJ 11/25, [1] Handwritten letter from Max Graf to Schenker, undated [c. 1896]
Encouraged by Hermann Bahr, Graf requests a (first) meeting and discussion with
Schenker.
-
OJ 15/6, [1] Handwritten calling card from Richard Wahle to Schenker, dated March 24,
1896
Richard Wahle thanks Schenker.
-
OJ 11/42, [26] Handwritten postcard from Maximilian Harden to Schenker, dated March 27,
1896
Harden welcomes Schenker's submission of a review of Karl Goldmark's Das
Heimchen am Herd.
-
OJ 9/6, [12] Handwritten letter from Eugen d'Albert to Schenker, dated April 5,
1896
Eugen d'Albert apologizes for not having yet performed Schenker's Zwei
Clavierstücke, Op. 1. He discusses arrangements for pupil Paula Szalit, and incloses
the piano reduction of his opera "Ghismonda," and reports on its Dresden
reception.
-
OJ 9/6, [13] Handwritten letter from Eugen d'Albert to Schenker, dated April 24,
1896
A conflict of loyalty over concert agent obliges Eugen d'Albert to
decline a concert with Arnold Rosé.
-
OJ 13/29, [2] Handwritten letter from Rosenthal to Schenker, dated May 26, 1896
Rosenthal thanks Schenker for his words of friendship.
-
OJ 12/47, [1] Handwritten postcard from Ernst Mach to Schenker, dated December 2, 1896
Mach essentially agrees with Schenker, and gives Wallaschek's
address.
-
OJ 11/42, [27] Handwritten letter from Maximilian Harden to Schenker, dated December 23,
1896
Harden rejects the notion of publishing an article by Schenker anonymously; he
agrees with Schenker that a frontal attack on modernism is necessary; he says he does not
know Hofmannsthal's poetry, but hears he has great talent.
-
OJ 9/6, [14] Handwritten letter from Eugen d'Albert to Schenker, dated January 2,
1897
Eugen d'Albert acknowledges receipt of Schenker's Zwei Clavierstücke,
Op. 1, which he hopes to perform in the near future, and notifies Schenker of errors
in the libretto of his "Die Abreise." He apprises Schenker of his next time in
Vienna. He is negotiating for a publisher for Schenker's future compositions, and
sends New Year good wishes.
-
OJ 9/6, [15] Handwritten postcard from Eugen d'Albert to Schenker, dated January 27,
1897
Eugen d'Albert is in Vienna and seeks a meeting with
Schenker.
-
OJ 9/6, [16] Handwritten calling card from Eugen d'Albert to Schenker, dated January 28,
1897
Eugen d'Albert invites Schenker to Hotel Bristol at 5
o'clock.
-
OJ 6/3, [1] Handwritten envelope from Schenker to Moriz Violin, unpostmarked [1897]
envelope only
-
OJ 9/6, [17] Printed invitation from Eugen d'Albert to Schenker, dated April 1,
1897
Eugen d'Albert invites Schenker to the first performance of his opera
"Gernot."
-
OJ 6/3, [2] Handwritten letter with envelope from Schenker to Moriz Violin, postmarked April 2,
1897
Schenker has a recommendation for his compositions from Goldmann via Busoni. He
is working on his Scherzo in C. Violin must visit Prof. Jerusalem.
-
OJ 11/42, [28] Handwritten postcard from Harden to Schenker, postmarked April 7, 1897
Harden has already accepted an article.
-
OJ 11/42, [29] Handwritten postcard from Harden to Schenker, dated April 18, 1897
Harden asks whether Schenker's article on Brahms is still
available.
-
OJ 9/6, [18] Handwritten letter from Eugen d'Albert to Schenker, dated May 8,
1897
Eugen d'Albert expresses his determination to study and perform
Schenker's piano pieces in the coming winter, and alludes to Schenker's forthcoming
meeting with Paula Szalit.
-
OJ 5/19, 3 Handwritten letter from Schenker to Kalbeck, dated May 10, 1897
Schenker asks Kalbeck to listen to some of his
compositions.
-
OJ 9/27, [1] Handwritten letter from Busoni to Schenker, undated [May 10, 1897]
Busoni invites Schenker to call on him [for the first time].
-
OJ 12/7, 1 Handwritten letter from Kalbeck to Schenker, dated May 17, 1897
Kalbeck invites Schenker to come the next morning to play some of his
compositions.
-
OJ 5/19, 4 Handwritten letter from Schenker to Kalbeck, dated May 19, 1897
Schenker offers to send Kalbeck articles.
-
OJ 9/27, [2] Handwritten letter from Busoni to Schenker, undated [c. May 20, 1897]
Busoni acknowledges receipt of a packet of Schenker's compositions. He suggests
that Schenker might combine three of the piano pieces into a single three-section work. He will
not now be able to visit Mannheim, where the two men were planning to meet.
-
OJ 12/7, 2 Handwritten notecard from Kalbeck to Schenker, dated May 21, 1897
Kalbeck praises the articles Schenker has sent him, and hopes the
"Lienau-Schlesinger project" has not fallen through.
-
OJ 6/3, [3] Handwritten calling card with envelope from Schenker to Moriz Violin, postmarked May
22, 1897
Schenker reports that he is off [to Germany] and will see Violin on June
3.
-
OJ 9/27, [3] Handwritten letter from Busoni to Schenker, dated June 2, 1897
Busoni warns Schenker that acceptance of his music may be slow on account of
its "intense subjectivity." He will play some of his compositions in public, and accepts the
dedication of what became the Fantasie, Op. 2.
-
OJ 9/6, [19] Handwritten letter from Eugen d'Albert to Schenker, dated June 11,
1897
Eugen d'Albert suggests his opera "Rubin" might be better suited to the
Viennese public than "Gernot," which he considers an advance on the former. He asks
Schenker for his reservations about "Gernot." He raises a question about Schenker's
piano "Fantasie", Op. 2.
-
OJ 9/27, [4] Handwritten letter from Busoni to Schenker, dated June 29, 1897
Busoni thanks Schenker for the selection of his articles that he has sent him.
He looks forwrd to an argument over their different views of Berlioz.
-
OJ 6/3, [A] Handwritten letter from Schenker to Moriz Violin, undated [?1897 or 1899]
Schenker announces that he has completed a string quartet, and hopes to see
Violin shortly.
-
OJ 6/3, [4] Handwritten envelope from Schenker to Moriz Violin, postmarked July 27, 1897
envelope only
-
OJ 9/27, [5] Handwritten letter from Busoni to Schenker, dated August 31, 1897
Busoni is pleased to learn that Breitkopf & Härtel has agreed to publish
some of Schenker's compositions. He expects to be in Vienna in December and can then discuss
his proposal to combine three of Schenker's compositions into one Fantasie and other
technical suggestions.
-
OJ 9/6, [20] Handwritten letter from Eugen d'Albert to Schenker, dated September 9,
1897
Eugen d'Albert reports difficulty with the Szalit
family.
-
OJ 9/27, [6] Handwritten letter from Busoni to Schenker, dated September 11, 1897
Busoni states his willingness to act as a go-between to Schenker and
Breitkopf, and characterizes Breitkopf's approach to composers. The prospect of writing an
article for Die Zukunft is attractive to him.
-
OJ 9/6, [21] Handwritten postcard from Eugen d'Albert to Schenker, dated September 13,
1897
Eugen d'Albert has no alterations to make to Schenker's Fünf
Klavierstücke.
-
OJ 6/3, [B] Handwritten letter from Schenker to Moriz Violin, undated [?1897]
Schenker is unwell and advocates rest for both of them.
-
OJ 9/6, [22] Handwritten postcard from Eugen d'Albert to Schenker, dated October 18,
1897
Eugen d'Albert has disclaimed responsibility for Paula Szalit because her
family is insisting that she play (in public) throughout the coming winter.
-
OJ 9/6, [23] Handwritten letter from Eugen d'Albert to Schenker, dated October 21,
1897
Eugen d'Albert gives his travel plans for the late Fall. He describes
the difficult situation with Paula Szalit and her family.
-
OJ 9/6, [24] Handwritten postcard from Eugen d'Albert to Schenker, dated October 28,
1897
Eugen d'Albert seeks to mollify an awkwardness that has arisen between the two
men.
-
OJ 9/6, [25] Handwritten letter from Eugen d'Albert to Schenker, dated November 21,
1897
Eugen d'Albert asks Schenker to write about two of his operas; he will
have nothing further to do with Paula Szalit.
-
OJ 9/6, [26] Handwritten postcard from Eugen d'Albert to Schenker, dated November 24,
1897
Eugen d'Albert is not aware of having been guilty of "uncollegial behavior" to
a third party.
-
OJ 11/42, [30] Handwritten letter from Maximilian Harden to Schenker, dated December 2,
1897
Harden rejects a submission by Schenker. — He tells him that his glowing
review of Goldmark's Das Heimchen am Herd, which turned out to be a terrible work, has
compromised the integrity of Die Zukunft; and he informs Schenker that a collaboration
between the two of them is now virtually unthinkable.
-
OJ 9/6, [28] Handwritten letter from Eugen d'Albert to Schenker, dated January 17,
1898
Eugen d'Albert promises to play some of Schenker's piano compositions in
recitals, and asks to meet.
-
OJ 5/19, 6 Handwritten letter from Schenker to Max Kalbeck, undated [c. January 20,
1898]
Schenker writes of impending performances of his piano music by Eugen
d'Albert and Ferruccio Busoni, and of the latter's enthusiasm.
-
OJ 5/19, 5 Handwritten letter from Schenker to Kalbeck, dated February 14,
1898
Kalbeck's remarks have helped alleviate an unwelcome surprise by Eugen
d'Albert.
-
OJ 9/27, [7] Handwritten letter from Busoni to Schenker, dated February 19, 1898
Busoni acknowledges receipt of Schenker's letter, the manuscript of his
Fantasie, and [a printed copy of] his Fünf Klavierstücke. He praises the Fantasie while
suggesting that the two new linking passages are perhaps over-long. He cautions Schenker
over the subjectivity of the work, and advocates cutting two of the variations from the
final section. He reiterates that he will support the work [while not directly answering
Schenker's question regarding Breitkopf & Härtel].
-
OJ 9/6, [29] Handwritten letter from Eugen d'Albert to Schenker, undated [late
February/March 1898]
Eugen d'Albert sends Schenker the libretto, orchestral score, and piano
reduction of his opera Die Abreise for study and then forwarding to Gustav Mahler.
Schenker's piano pieces should be played no fewer than five at a
time.
-
OJ 9/6, [30] Handwritten letter from Eugen d'Albert to Schenker, dated May 4,
1898
Eugen d'Albert asks for return of the orchestral score of his opera Die
Abreise, and seeks recent compositions by Schenker.
-
OJ 9/27, [8] Handwritten letter from Busoni to Schenker, dated May 6, 1898
Busoni accepts with pleasure the dedication to him of Schenker's
Fantasie.
-
OJ 9/6, [31] Handwritten letter from Eugen d'Albert to Schenker, dated October 6,
1898
Eugen d'Albert asks whether it would be appropriate to invite Gustav
Mahler to a performance of a vocal-orchestral piece. He encloses a photograph of
himself. He asks about Schenker's compositions.
-
OJ 5/19, 7 Handwritten letter from Schenker to Kalbeck, dated October 28, 1898
Schenker sends Kalbeck his composition Op. 2, and news of his Op.
10.
-
OJ 12/7, 3 Handwritten calling card from Kalbeck to Schenker, dated October 31,
1898
Kalbeck expresses delight at the present [of Schenker's Op.
2].
-
OJ 9/27, [10] Handwritten envelope from Busoni to Schenker, dated December 31, 1898
envelope only
-
OJ 13/29, [3] Handwritten letter from Rosenthal to Schenker, dated March 18, [1899?]
Rosenthal is eager to see Schenker's promised Fantasy, Op. 2.
-
OJ 6/3, [5] Handwritten letter from Schenker to Moriz Violin, dated April 27, 1899
Ludwig Karpath wishes to take lessons -- theory with Schenker, piano with Violin
-- starting May 1.
-
OJ 6/3, [6] Handwritten envelope from Schenker to Moriz Violin, postmarked May 8, 1899, morning
envelope only
-
OJ 6/3, [7] Handwritten envelope from Schenker to Moriz Violin, postmarked May 8, 1899,
afternoon
envelope only
-
OJ 13/32, [A] Calling card from Albert von Rothschild with recommendation for Schenker,
undated
Albert von Rothschild recommends Schenker as a practising musician and
theorist.
-
OJ 15/6, [2] Handwritten letter from Richard Wahle to Schenker, dated June 18, 1899
Wahle gives Schenker the name of a member of the state parliament who may be of
service to his brother-in-law, Salo Guttmann, and asks Schenker to provide more information
about him.
-
OJ 13/32, [B] Calling card from Alphons von Rothschild to Schenker, undated
Alphons is keen to resume piano lessons, and sends a New Year
souvenir.
-
OJ 6/3, [8] Handwritten letter from Schenker to Moriz Violin, undated [?early July 1899]
Schenker tells Violin not to be troubled by their recent [unspecified] abortive
search: Weinberger is still on their side. He invites Violin to a Trischak [card]
party.
-
OJ 6/3, [9] Handwritten letter from Schenker to Moriz Violin, undated [?late July 1899]
Schenker arranges with Violin to meet at the Weinberger headquarters, lunch, and
then for Violin to go on to meet Professor Jerusalem.
-
OJ 13/32, [C] Calling card from Alphons von Rothschild to Schenker, undated
Alphons checks that he has the right edition
-
OJ 6/3, [10] Handwritten envelope from Schenker to Moriz Violin, postmarked August 7,
1899
envelope only
-
OJ 13/32, [D] Calling card from Alphons von Rothschild to Schenker, undated
Alphons rergrets having been unable to attend Schenker's concert, and hopes to
see him soon.
-
OJ 15/12, [A] Handwritten calling card from Weinberger to Schenker[?], undated
Message regarding song[?] compositions.
-
OJ 15/12, [B] Handwritten calling card from Weinberger to Schenker, undated
Thanks (unspecified)
-
OJ 15/12, [C] Handwritten calling card from Weinberger to Schenker, undated
Weinberger offers his services to Schenker.
-
OJ 5/19, 8 Handwritten letter from Schenker to Kalbeck, dated September [recte November?]
6, 1899
Schenker asks to play his Syrische Tänze and Op. 10 to
Kalbeck.
-
OJ 9/27, [9] Handwritten letter from Busoni to Schenker, undated [?November 7, 1899]
Busoni describes Schenker's Syrian Dances as "Secessionist." He advises Schenker
to think in the present, not in the future.
-
OJ 12/7, 4 Handwritten notecard from Kalbeck to Schenker, dated November 8,
1899
Kalbeck welcomes what Schenker may bring him, and suggests a
date.
-
OJ 9/6, [31a] Handwritten postcard from Eugen d’Albert to Schenker, postmarked November 14,
[1899]
Eugen d'Albert thanks Schenker for his "Syrian Dances" for piano duet, and
sends the piano reduction of his opera "Kain."
-
OJ 5/19, 9 Handwritten letter from Schenker to Kalbeck, dated November 14,
1899
Schenker reminds Kalbeck of their arrangement.
-
OJ 12/7, 5 Handwritten postcard from Kalbeck to Schenker, postmarked November 15,
1899
Kalbeck moves Schenker's morning visit to the afternoon, and warns that
his piano is out of tune.
-
OJ 12/26, [1] Stenographic letter from the Rothschild Artists' Foundation to Schenker, dated
November 20, 1899
The Rothschild Artists' Foundation awards Schenker stipend of 600
Gulden.
-
OJ 15/12, [4] Handwritten letter from Weinberger to Schenker, dated January 5, 1900
Requests publicity for his firm in concert program.
-
OJ 6/3, [11] Handwritten letter with envelope from Schenker to Moriz Violin, postmarked January 27,
1900
Schenker declares to Violin that they did not play badly [at the first
performance the previous evening of Schenker's Syrian Dances]. He invites Violin to play
Trischak the next day.
-
OJ 6/3, [12] Handwritten letter from Schenker to Moriz Violin, undated [c. February 1,
1900]
Schenker is about to write to Busoni. -- He is just off to the Leiners' house to
substitute for Violin [while the latter is in Berlin]. -- Eduard [Violin] is asking for a
handout.
-
OJ 6/3, [13] Handwritten letter with envelope from Schenker to Moriz Violin, dated February 8,
1900
When Violin returns from Berlin, Schenker will send him his Zweistimmige
Inventionen, Op. 5: he inquires whether Busoni has said anything about them. -- He raises the
substitute lessons he is giving to the Wiener and Leiner families: Violin has failed to instruct
him on the fee to be charged. Can he ask 10 Florins? -- He disagrees with Mahler's performance
of the "Eroica."
-
OJ 9/27, [11] Handwritten letter from Busoni to Schenker, dated February 11, 1900
Busoni has been playing Schenker's Syrian Dances with friends and is delighted
with them.
-
OJ 6/3, [14] Handwritten letter from Schenker to Moriz Violin, dated April 5, 1900
Moriz Schenker has tickets for a tour of the Brahms monument plinth and Heinrich
asks if anyone in Violin's family can use them.
-
OJ 6/3, [15] Handwritten letter with envelope from Schenker to Moriz Violin, postmarked April 27,
1900
Schenker reprimands Violin for not writing to him from Berlin, and asks to see
him [now he is in Vienna]. -- He sends a message to Eduard Violin.
-
OJ 6/3, [16] Handwritten letter with envelope from Schenker to Moriz Violin, postmarked August 22,
1900
Schenker writes from Lunz to describe the vacation accommodation available and to
give Moriz and Fanny Violin the alternatives for joining him and the Mayerhofer family.
-
OJ 6/3, [17] Handwritten letter with envelope from Schenker to Moriz Violin, postmarked August 31,
1900
Schenker tells Violin he can come to Lunz to visit, but adds
caveats.
-
OJ 9/6, [32] Handwritten postcard from Eugen d'Albert to Schenker, dated September 2,
1900
Eugen d'Albert gives the schedule of forthcoming performances of his
opera.
-
OJ 6/3, [18] Handwritten letter with envelope from Schenker to Moriz Violin, postmarked September
13, 1900
Fanny Violin has informed Schenker that Moriz has been unwell. Schenker regrets
that he cannot renew his invitation to him to stay in the Lunz holiday household because there
is no longer space. He reports on Irene Mayerhofer's health. If the Mayerhofers leave earlier
than expected, he will let Violin know.
-
OJ 9/6, [33] Handwritten letter from Eugen d'Albert to Schenker, dated October 17,
1900
Eugen d'Albert reports the success of his operas "Kain" and "Die
Abreise" in Prague and Dresden, and points out that Vienna is the only sizeable
German[sic] stage not to have staged "Die Abreise."
-
OJ 6/3, [19] Handwritten letter with envelope from Schenker to Moriz Violin, postmarked November 1?,
1900
Schenker offers Violin advice on the planning of a concert and its financing,
promising to have his Hamlet incidental music ready in time. He reports on fees at the Leiners
and Wieners.
-
OJ 6/3, [20] Handwritten letter with envelope from Schenker to Moriz Violin, dated December 11,
[1900]
Schenker again raises the question of fees for the Wiener and Leiner families,
and suggests a way that they can resolve the differences. He is pleased that a song by him, sung
by Eduard Gärtner, was well received.
-
OJ 14/45, [5] Handwritten lettercard from Moriz Violin to Schenker, postmarked December 29, 1900
Violin sends Schenker New Year's greetings. -- He explains why he will be
remaining in Berlin until at least January 15, 1901. -- He apologizes over Mrs. Mayerhofer and
sends New Year's greetings to her.
-
OJ 5/19, 10 Handwritten letter from Schenker to Kalbeck, dated April 12, 1901
Schenker sends Kalbeck his recent journalistic work.
-
OJ 9/3, [1] Handwritten letter from Guido Adler to Schenker, dated October 25, 1901
The Vienna chapter of the International Music Society invites Schenker to give
a lecture.
-
OJ 13/29, [4] Handwritten letter from Rosenthal to Schenker, dated December 31, 1901
Rosenthal responds to Schenker regarding the effect of "habit and prejudice"
on the performer; wishes to discuss phrasing-slurs in Chopin with him.
-
OJ 9/6, [34] Handwritten postcard from Eugen d'Albert to Schenker, dated January 6,
1902
Eugen d'Albert proposes they meet on January 10.
-
OJ 13/26, [1] Handwritten postcard from Richard Robert to Schenker, dated January 10, 1902
Robert has only the first edition of C. P. E. Bach's Versuch; he offers keyboard
scores of Bach cantatas.
-
OJ 70/35, [1] Handwritten postcard from Schoenberg to Moriz Violin, undated, postmarked March 9,
1902
Schoenberg asks Violin to arrange the next day's reheasal.
-
OJ 14/23, [1] Handwritten postcard from Seligmann to Schenker, dated April 1, 1902
Seligmann invites Schenker to an evening of chamber music at his
place.
-
OJ 70/35, [2] Handwritten letter from Schoenberg to Moriz Violin, dated April 10, 1902
Schoenberg rarely goes to the [Buntes] Theater. He insists on receiving a
report from Violin on a performance of his Verklärte Nacht.
-
OJ 9/3, [2] Handwritten letter from Guido Adler to Schenker, dated July 2, 1902
Adler inquires whether Schenker is willing give his lecture for the [Vienna
chapter of the] International Music Society in the coming season.
-
OJ 11/10, [1] Handwritten picture postcard from Frimmel to Schenker, postmarked September 24,
1902
Frimmel makes an in-joke.
-
OJ 12/29, [1] Handwritten calling card from Carl Lafite to Schenker, October 2, 1902
Lafite invites Schenker to visit him.
-
OJ 12/29, [1] Handwritten calling card from Carl Lafite to Schenker, October 2, 1902
Lafite invites Schenker to visit him.
-
OJ 9/3, [3] Handwritten letter from Guido Adler to Schenker, dated October 5, 1902
Adler inquires whether Schenker is willing give a further lecture for the
[Vienna chapter of the] International Music Society in the coming season.
-
OJ 11/10, [2] Handwritten picture postcard from Frimmel to Schenker, postmarked October 19,
1902
Frimmel sends greetings.
-
OJ 13/29, [5] Calling card from Rosenthal with handwritten note to Schenker, dated November 18,
1902
Rosenthal has reserved a ticket for Schenker. — He recommends Frl. Fritzi
Neumann.
-
OJ 12/19, [1] Handwritten calling card from Julius Korngold to Schenker, dated November 21,
1902
Korngold requests access to the score of a Bach arrangement by
Schenker.
-
OJ 11/10, [3] Handwritten lettercard from Frimmel to Schenker, dated November 29, 1902
Frimmel issues an invitation to tea.
-
OJ 13/29, [6] Handwritten letter from Rosenthal to Schenker, dated December 14, 1902
Rosenthal identifies Fritzi Neumann, and explains the background to her
application.
-
OJ 6/4, [20] Handwritten envelope from Schenker to Moriz Violin, postmarked January 2,
1903
envelope only
-
OJ 15/6, [3] Handwritten postcard from Richard Wahle to Schenker, postmarked January 9,
1903
Wahle is sorry that Schenker seems too busy to see him and tries to arrange a
get-together the following day.
-
OJ 6/4, [21] Handwritten envelope from Schenker to Moriz Violin, postmarked January 9,
1903
envelope only
-
OJ 11/10, [3a] Handwritten picture postcard from Frimmel to Schenker, postmarked [January?] 18,
1903?
Frimmel thanks Schenker for his postcard.
-
OJ 14/23, [2] Printed invitation from Seligmann to Schenker, dated January 25, 1903
Printed invitation to the opening of an exhibition of Seligmann’s
paintings.
-
OJ 11/10, [4] Handwritten postcard from Frimmel to Schenker, dated February 1, 1903
Frimmel expresses pleasure at Schenker's new edition.
-
OJ 14/23, [3] Handwritten postcard from Seligmann to Schenker, postmarked February 9,
1903
Seligmann asks Schenker to join him and two other players in an evening of
chamber music at his place.
-
OJ 6/4, [22] Handwritten letter from Schenker to Juli Genovefa Violin, dated February 15,
1903
Schenker sends condolences to Moriz Violin's mother on the death of her daughter,
Nina Violin.
-
OJ 6/4, [23] Handwritten letter with envelope from Schenker to Moriz Violin, postmarked February 16,
1903
Schenker sends condolences to Violin on the death of his elder sister, Nina
Violin. — He reports on recent activities with Eduard Gärtner and card playing, on the current
Seligmann exhibition, and a recent experience at the Mayerhofer residence.
-
OJ 14/23, [4] Handwritten postcard from Seligmann to Schenker, dated February 24, 1903
Seligmann informs Schenker that the chamber music planned for the next day
will be held at his own place.
-
OJ 6/4, [25] Handwritten letter from Schenker and others to Moriz Violin, undated [?March
1903]
Schenker sympathizes with Moriz Violin for his dejection, reassures him that he
will become successful, and encourages him to return to Vienna; he tells him of new card games.
— Mrs Irene Mayerhofer and her daughter append brief messages.
-
OJ 6/4, [26] Handwritten letter from Schenker to Moriz Violin, undated [? March 1903]
Schenker sees prospects for himself, and believes likewise for Violin. He
supports Violin returning to Vienna.
-
OJ 12/7, 6 Handwritten notecard from Kalbeck to Schenker, dated March 9, 1903
Kalbeck invites Schenker to his home.
-
OJ 14/23, [5] Handwritten postcard from Seligmann to Schenker, postmarked June 30, 1903
Seligmann has been in touch with Ludwig Bösendorfer regarding Schenker’s
application (for a teaching post at the Vienna Conservatory); he also suggests that Schenker
contact Baron Rothschild, concerning a donation to help establish a Lyceum in
Vienna.
-
OJ 6/4, [27] Handwritten letter from Schenker to Moriz Violin, undated [summer 1903]
Schenker (apparently writing from Gmunden) tries to get Violin to influence
affairs at the Vienna Conservatory. — Schenker is sure the number of professors at the
Conservatory will increase, so considers his own [chance of procuring a professorship] to "have
improved." He is sure transfer to state control (Verstaatlichung) is bound to
happen.
-
OJ 9/6, [35] Handwritten letter from Eugen d'Albert to Schenker, dated July 18,
1903
Eugen d'Albert agrees to look out for vacant posts suitable for Schenker
while he is in Germany. He hopes to see him at his forthcoming premiere in Prague,
and looks forward his new [C. P. E. Bach keyboard works] edition.
-
OJ 14/23, [6] Handwritten postcard from Seligmann to Schenker, postmarked July 25, 1903
Seligmann congratulates Schenker on his Beitrag zur Ornamentik, which he finds
excellent. He hopes that Mahler will write him a letter of reference, and believes that
Guido Adler would also assist him in obtaining a teaching post at the Vienna
Conservatory.
-
OJ 11/10, [5] Handwritten letter from Frimmel to Schenker, dated August 8, 1903
Commenting on Schenker's edition of C. P. E. Bach keyboard works and Beitrag zur
Ornamentik, Frimmel largely agrees with Schenker's remarks on ornaments.
-
OJ 15/6, [4] Handwritten letter from Fritz Wahle to Schenker, dated August 20, 1903
Fritz Wahle thanks Schenker for receipt of Eine Beitrag zur Ornamentik; he
praises its serious intent, but there may be some things about which he would
disagree.
-
OJ 9/27, [12] Handwritten letter from Busoni to Schenker, dated August 25, 1903
Busoni thanks Schenker for a copy of his edition of C. P. E. Bach keyboard
pieces. Busoni would like to include an orchestrated selection of the Syrische Tänze in his
Berlin concert series next season.
-
OJ 6/4, [28] Handwritten letter with envelope from Schenker to Violin, postmarked August 27,
1903
Having prepared his Mädchen Lieder for printing, Schenker, in Gmunden, is about
to work on his Trio. Busoni will be performing his Syrische Tänze in Berlin. He asks Violin to
check with Eduard Gärtner about financial support for Aron Mittelmann.
-
OJ 6/4, [29] Handwritten envelope from Schenker to Moriz Violin, postmarked August 29, 1903
envelope only
-
OJ 9/27, [13] Handwritten letter from Busoni to Schenker, dated September 3, 1903
Busoni offers three arguments why Schenker should adopt Schoenberg's
orchestrations of the Syrische Tänze, but leaves Schenker to decide whether to make his own
orchestrations. He sets a deadline of October 19 for receipt of orchestral materials. He
suggests a change of title to Jüdische Tanzweisen."
-
OJ 14/15, [1] Handwritten letter from Schoenberg to Schenker, dated September 12, 1903
Schoenberg reports his progress on orchestrating Schenker's Syrische Tänze, and
raises the matter of his fee for the work. He has approached Busoni about having his own
symphonic poem performed.
-
OJ 14/45, [6] Handwritten letter from Moriz Violin to Schenker[?], dated September 14,
1903
In a bleak and formal message, Violin declares that withdrawal of friendship by
the recipient of this letter would carry "great danger" for his (Violin's) way of life. He hopes
for a peaceable solution.
-
OJ 14/15, [2] Handwritten letter from Schoenberg to Schenker, undated [September 15,
1903?]
Schoenberg accepts Schenker's offer [unspecified], and hopes to see him in Vienna
two days later.
-
OJ 14/23, [7] Handwritten letter from Seligmann to Schenker, undated [probably late summer or
early autumn 1903]
In this long letter, Seligmann advises Schenker on how to prepare an
application for a teaching post at the Vienna Conservatory: what to include and whom to get
in touch with at the Conservatory and the Gesellschaft der Muikfreunde. He thinks that a
position at the projected Lyceum in Vienna offers a better prospect and advises enlisting
the help of his patron Baron Rothschild.
-
OJ 14/15, [3] Handwritten letter from Schoenberg to Schenker, undated [September 21,
1903?]
Schoenberg will visit Schenker the next day.
-
OJ 11/46, [1] Handwritten letter from Josef Hellmesberger jun. to Schenker, dated September 22,
[1903]
Hellmesberger informs Schenker of the likely tryout date with the Vienna
Philharmonic, and asks him to send the parts of his work punctually.
-
OJ 14/15, [4] Handwritten letter from Schoenberg to Schenker, undated [September 29,
1903?]
Schoenberg has delivered No. 3 of the Syrische Tänze and hopes to deliver No. 4
the next day.
-
OJ 14/15, [5] Handwritten letter from Schoenberg to Schenker, undated [c. September 30,
1903?]
Schoenberg will deliver No. 4 of Schenker's Syrische Tänze the next day.
-
OJ 15/12, [5] Handwritten letter from Weinberger and Hertzka (Weinberger) to Schenker, dated October
6, 1903
Weinberger sends the newly copied orchestral parts of Syrian Dance No.
3.
-
OJ 15/12, [6] Handwritten letter from Weinberger and Hertzka (Weinberger) to Schenker, dated October
6, 1903
Copying of parts for Syrian Dances is delayed.
-
OJ 14/15, [6] Handwritten letter from Schoenberg to Schenker, undated [October 13, 1903?]
Schoenberg inquires whether Schenker has yet sent the [orchestral] materials to
Busoni.
-
OJ 13/29, [7] Handwritten letter from Rosenthal to Schenker, dated October 28, 1903
Rosenthal inquires about Schenker's being performed in
Berlin.
-
OJ 14/15, [7] Handwritten letter from Schoenberg to Schenker, undated [November 10, 1903?]
Schoenberg needs to speak with Schenker.
-
OJ 15/12, [7] Handwritten letter from Weinberger to Schenker, dated November 17, 1903
Weinberger asks for a report on the performance of the Syrian Dances, and for the
return of the orchestral material.
-
OJ 9/6, [36] Handwritten postcard from Eugen d'Albert to Schenker, dated November 22,
1903
Eugen d'Albert reports a position vacant in Frankfurt.
-
OJ 9/6, [37] Handwritten postcard from Eugen d'Albert to Schenker, postmarked December 7,
1903
Eugen d'Albert expresses sympathy for Schenker's
indisposition.
-
OJ 9/6, [38] Handwritten postcard from Eugen d'Albert to Schenker, postmarked December 30,
1903
Eugen d'Albert needs to see Schenker urgently.
-
OJ 14/15, [8] Handwritten letter from Zemlinsky, Gutheil, and Schoenberg to Schenker, dated January,
1904
Invitation to attend a meeting to discuss the promotion of new music in Vienna
through education and performance.
-
OJ 14/15, [9] Printed invitation with handwritten entries from the Ansorge-Verein to Schenker, dated
February 11, 1904
Invitation to an "Ansorge-Grube-Schönberg evening."
-
OJ 14/15, [13] Handwritten letter from Schoenberg to Schenker, undated [February 12, 1904?]
Schoenberg expresses disappointment, and tells Schenker the time and place of the
next subcommittee meeting [of the Vereinigung schaffender Tonkünstler].
-
OJ 14/15, [10] Handwritten letter from Schoenberg to Schenker, undated [February 16, 1904?]
Schoenberg specifies why he considers Schenker's participation [in the
Vereinigung schaffender Tonkünstler] essential.
-
OJ 70/35, [3] Handwritten postcard from Schoenberg to Moriz Violin, dated February 21,
1904
Since none of his [Op. 6?] songs is for female voice, Schoenberg decides not
to send them to Violin.
-
OJ 14/15, [11] Handwritten letter from Schoenberg to Schenker, dated February 25, 1904
Schoenberg encourages Schenker to attend the next meeting [concerning the
Vereinigung schaffender Tonkünstler], and invites him to his home for supper on Friday.
-
OJ 14/23, [8] Handwritten postcard from Seligmann to Schenker, postmarked February 27,
1904
Seligmann asks Schenker to join him for lunch at the home of Court Counselor
Theodor Gomperz, in connection with a musical matter.
-
OJ 14/15, [12] Handwritten letter from Schoenberg to Schenker, undated [1904?]
Schoenberg tries to clarify his position vis-à-vis Schenker, and urges him to
attend the Thursday sub-committee [of the Vereinigung schaffender Tonkünstler].
-
OJ 5/19, 11 Handwritten letter from Schenker to Kalbeck, dated March 4, 1904
In thanking Kalbeck for his advice, he extols the virtues of the first
volume of Kalbeck's Brahms biography.
-
OJ 70/35, [4] Handwritten letter from Schoenberg to Moriz Violin, dated April 5, 1904
Schoenberg asks for Violin's withdrawal from the Vereinigung schaffender
Tonkünstler in writing, and indicates that he cnnot understand it.
-
OJ 12/29, [2] Handwritten postcard from Carl Lafite to Schenker, postmarked May 26,
1904
Lafite acknowledges receipt of Schenker's chorus "Agnes."
-
OJ 11/17, [1] Handwritten letter from Eduard Gärtner to Schenker, undated [August/September
1904?]
Eduard Gärtner welcomes the chance to hear some of Schenker's Lieder played,
and asks if Schenker could visit him in Reichenau.
-
OJ 12/29, [3] Handwritten calling card from Carl Lafite to Schenker, undated, probably fall/winter
1904/1905
The Damenchor-Verein has deferred performance of Schenker's choral work until
March [1905].
-
OJ 15/6, [5] Handwritten letter from Fritz Wahle to Schenker, dated November 3, 1904
Fritz Wahle, who was probably at the receiving end of some witticisms of
Schenker’s during a drinking session after a concert featuring a keyboard concerto by C. P. E.
Bach, heaps praise on Schenker for having brought the work to life, and for having performed the
piece so well – with his own cadenzas.
-
OJ 11/10, [6] Handwritten postcard from Frimmel to Schenker, postmarked November 10, 1904
Frimmel sends congratulations for Schenker's (and Violin's) great
success.
-
OJ 15/12, [8] Handwritten postcard from Weinberger to Schenker, dated December 5, 1904
Weinberger archive has no wind music by Haydn.
-
OJ 14/37, [1] Handwriten calling card from Paula Szalit to Schenker, undated
Paul Szalit sends Schenker tickets for her forthcoming concert, and apologizes
for the poor seats.
-
OJ 11/10, [7] Handwritten postcard from Frimmel to Schenker, dated March 14, 1905
The promised Handel Organ Concertos volume has not yet arrived. — Frimmel asks
for the score of the C. P. E. Bach concerto that Schenker played the previous fall. Tickets for
his Beethoven lectures will be sent soon.
-
OJ 11/10, [7a] Handwritten calling card from Frimmel to Schenker, undated [March 17 or 18,
1905]
Frimmel encloses ticket for his Beethoven lectures.
-
OJ 11/10, [8] Handwritten postcard from Frimmel to Schenker, postmarked March 18, 1905
Frimmel acknowledges receipt of Schenker' Handel Organ Concertos volume and
says the latter's C. P. E. Bach keyboard words edition will feature in his forthcoming
lecture series.
-
OJ 11/10, [9] Handwritten postcard from Frimmel to Schenker, postmarked March 20, 1905
Frimmel acknowledges loan [of C. P. E. Bach Klavierwerke]. He offers a
discount for his Beethoven lecture course to Schenker's pupils.
-
OJ 11/10, [10] Handwritten letter from Frimmel to Schenker, dated March 21, 1905
Frimmel has had to postpone his lecture series on Beethoven until the Fall. —
He invites Schenker to afternoon tea at a date to be settled.
-
OJ 9/6, [39] Handwritten postcard from Eugen d'Albert to Schenker, dated May 25, 1905
Eugen d'Albert acknowledges receipt of a package from Schenker and indicates
that he will remain in Italy until the Fall.
-
OJ 9/6, [40] Handwritten letter from Eugen d'Albert to Schenker, dated June 3,
1905
Eugen d'Albert asks to hold on to the "book" that Schenker has sent him
until mid-June.
-
OJ 9/6, [41] Handwritten letter from Eugen d'Albert to Schenker, dated June 15,
1905
Eugen d'Albert gives reasons why he cannot use "Amor und Psyche" as a
basis for a composition. He asks whether Schenker will be in Prague for the première
of his opera "Flauto Solo."
-
OJ 9/6, [42] Handwritten letter from Eugen d'Albert to Schenker, dated July 11,
1905
Eugen d'Albert asks about the Vienna Volksoper as a suitable venue for
his opera "Flauto Solo," and the ethics of not approaching Gustav Mahler
first.
-
OJ 5/19, 12 Handwritten letter from Schenker to Kalbeck, dated November 2,
[1905]
Schenker wants his book [Harmonielehre] to be published this winter,
alluding to the impact his criticisms of certain composers will make on their
reputations.
-
OJ 12/7, 7 Handwritten letter from Kalbeck to Schenker, dated November 4, 1905
Kalbeck feels that he cannot help advocate Schenker's book
[Harmonielehre] to Simrock, but wishes Schenker well.
-
OJ 9/6, [44] Handwritten letter from Eugen d'Albert to Schenker, dated November 8,
1905
In this significant letter, Eugen d'Albert agrees [to help Schenker find
a publisher for his Harmonielehre] and has already written to Brockhaus. He seeks to
interest Schenker in his new opera "Flauto Solo," the première of which, in Prague,
is in four days' time.
-
OJ 9/31, [1] Stenographically handwritten letter from Cotta to Schenker, dated November 9,
1905
Cotta regrets that it is unable to undertake Schenker's book.
-
OJ 9/31, [2] Stenographically handwritten letter from Cotta to Eugen d’Albert, dated November 14,
1905
Following Eugen d'Albert's intervention on Schenker's behalf, Cotta is asking
to see the manuscript of Harmonielehre.
-
OJ 9/6, [45] Stenographic memorandum from Max Brockhaus Musikverlag to Eugen d'Albert,
dated November 14, 1905
Brockhaus replies negatively to Eugen d'Albert's inquiry [re:
publication of Schenker, Harmonielehre]; memo forwarded to
Schenker.
-
OJ 9/31, [3] Stenographically handwritten letter from Cotta to Schenker, dated November 15,
1905
Cotta will consider Schenker's proposal further, and asks for sight of the
manuscript.
-
OJ 9/6, [45a] Handwritten letter from Eugen d’Albert to Schenker, undated [c. November 18,
1905]
Having recommended Schenker's Harmonielehre to J. G. Cotta, publisher,
Eugen d'Albert hands the matter over to Schenker. He proposes a meeting after his
recital on November 23, and thanks Schenker for attending the première of his opera
"Flauto solo" in Prague.
-
OJ 14/37, [2] Handwriten calling card from Paula Szalit to Schenker, undated
Paul Szalit encloses for Schenker a ticket for her forthcoming
concert.
-
OJ 9/31, [4] Stenographically handwritten letter from Cotta to Schenker, dated December 5,
1905
Cotta agrees to publish Harmonielehre. — It estimates the extent of the book,
the cost to Schenker, and his likely takings.
-
OJ 9/31, [5] Stenographically handwritten letter from Cotta to Schenker, dated December 12,
1905
Cotta sends Schenker a copy of the contract with their signature; they
estimate publication at c.March 1906.
-
OJ 14/11, [1] Handwritten calling card from Ferdinand Scherber to Schenker, dated January 17,
1906
The manuscript that Schenker has requested will not be available because of
the relocation of the Music Collection.
-
OJ 9/31, [6] Stenographically handwritten letter from Cotta to Schenker, dated January 27,
1906
Cotta sends a list of music examples that are missing from Schenker's
material.
-
OJ 9/31, [7] Stenographically handwritten letter from Cotta to Schenker, dated February 7,
1906
Cotta will in future send galley-proofs.
-
OJ 9/6, [45b] Handwritten letter from Eugen d’Albert to Schenker, undated [Spring
1906]
Eugen d'Albert thanks Schenker for [Strauss's] "Salome" and finds it
execrable.
-
OJ 9/31, [8] Stenographically handwritten letter from Cotta to Schenker, dated May 31,
1906
Cotta advises against splitting Harmonielehre into two volumes, and recommends
restriction of the size of the Nachwort.
-
OJ 9/31, [9] Stenographically handwritten letter from Cotta to Schenker, dated June 5,
1906
Cotta advises against publishing the Nachwort simultaneously with the
Harmoneilehre.
-
OJ 9/31, [10] Stenographically handwritten letter from Cotta to Schenker, dated June 27,
1906
Cotta asks for return of proofs as soon as possible; setting of music examples
is delayed.
-
OJ 9/31, [11] Stenographically handwritten letter from Cotta to Schenker, dated August 30,
1906
Cotta promises further proofs of Harmonielehre, and asks Schenker not to makes
large additions.
-
OJ 14/23, [9] Handwritten postcard from Seligmann to Schenker, postmarked September 2,
1906
Seligmann thanks Schenker for his words of approval on his feuilleton about
the Salzburg Festival in the Neue Freie Presse.
-
OJ 9/31, [12] Stenographically handwritten letter from Cotta to Schenker, dated September 24,
1906
Cotta urges swift return of proofs, stresses the need to publish before
Christmas, and requests copy of the title-page.
-
OJ 9/31, [13] Stenographically handwritten letter from Cotta to Schenker, dated October 2,
1906
Cotta gives pressing reasons why Harmonielehre must be published by
November.
-
OJ 9/31, [14] Stenographically handwritten letter from Cotta to Schenker, dated October 8,
1906
Cotta expresses satisfaction that Schenker has decided to separate the
"Nachwort" from publication of Harmonielehre.
-
OJ 9/6, [43] Handwritten letter from Eugen d’Albert to Schenker, undated [November 1,
1906[?]]
Eugen d'Albert complains of his treatment by Gustav Mahler over the
forthcoming première of his opera "Flauto Solo"; he asks Schenker to contact Rudolf
Lothar.
-
OJ 12/7, 8 Handwritten letter from Kalbeck to Schenker, dated November 19,
1906
Kalbeck looks forward to Schenker's supplement to Harmonielehre, and has
not net received a review copy of Harmonielehre itself.
-
OJ 14/23, [10] Handwritten postcard from Seligmann to Schenker, postmarked November 21,
1906
Seligmann thanks Schenker for an act of kindness.
-
OJ 12/27, [1] Stenographically handwritten letter from Cotta to Schenker, dated November 26,
1906
Cotta acknowledges receipt of money for [printing and marketing of]
Harmonielehre.
-
OJ 15/6, [6] Handwritten letter from Fritz Wahle to Schenker, undated [November ?27–28,
?1906]
In a letter written in the course of two evenings, Fritz Wahle thanks Schenker
for sending him a copy of his latest book (probably Harmonielehre), which he wants to be
among the first to read. He congratulates Schenker for having maintained such high goals in
the writing of the work, which only Philistines would misunderstand, or seek to
misrepresent. The letter includes an attempt to compare a servant who doesn’t know how to
wear his master’s clothes to a philistine critic who has no concept of the value of a
serious act of creation.
-
OJ 12/38, [1] Handwritten letter from Hans Liebstöckl to Schenker, November 29, [1906]
Liebstöckl regrets having annoyed Schenker by unwantedly disclosing his name as
author of Harmonielehre in the Illustrirtes Wiener Extrablatt, promises to write about it
"conscientiously," and disclaims being a Reger adherent.
-
OJ 12/27, [2] Stenographically handwritten letter from Cotta to Schenker, dated December 4,
1906
Cotta has carried out wishes expressed in CA 60.
-
OJ 9/6, [46] Handwritten letter from Eugen d'Albert to Schenker, dated December 15,
1906
Eugen d'Albert asks Schenker to put the word out to the Viennese press
that he was deliberately kept in the dark over the première of his opera "Flauto
Solo" at the Vienna Court Opera and feels much aggrieved. Lothar has not contacted
him.
-
OJ 12/27, [3] Stenographically handwritten letter from Cotta to Schenker, dated December 29,
1906
Cotta has sent a complimentary copy of Harmonielehre to Eugen
d'Albert.
-
OJ 9/31, [15] Printed letter from Cotta to Schenker, dated January 2, 1907
Cotta announces that Robert Kröner is now a partner, and gives his form of
signature.
-
OJ 12/27, [4] Stenographically handwritten letter from Cotta to Schenker, dated January 7,
1907
Cotta inquires whether Schenker's name may be divulged.
-
OJ 14/15, [14] Handwritten letter from Schoenberg to Schenker, undated [c. February 1,
1907]
Schoenberg expresses disappointment at Schenker's non-attendance, and hopes he
can attend the performances of his String Quartet [No. 1] and [First] Chamber Symphony on
February 5 and 8.
-
OJ 9/6, [47] Handwritten postcard from Eugen d'Albert to Schenker, postmarked February 4,
1907
Eugen d'Albert asks if Schenker is coming to the concert, otherwise suggests a
time to meet.
-
OJ 9/2, [2] Invoice from Cotta to Schenker, dated March 9 1907
Invoice from Cotta for copy of Harmonielehre sent to Karl
Goldmark.
-
OJ 12/48, [1] Handwritten note from Gustav Mahler to Schenker, undated [May 23?, 1907]
Mahler thanks Schenker for his good wishes.
-
OJ 9/32, [3] Invoice from Cotta to Schenker, dated August 1907
Invoice from Cotta for copy of Harmonielehre.
-
OJ 11/10, [11] Handwritten letter from Frimmel to Schenker, dated August 10, 1907
Frimmel invites Schenker to contribute to the Beethoven-Jahrbuch, and suggests
topics. — He hopes to meet up with him in Steinach.
-
OJ 12/27, [5] Stenographically handwritten letter from Cotta to Schenker, dated September 5,
1907
Cotta encloses 1906 sales report for Harmonielehre.
-
OJ 9/32, [24] Sales Report from Cotta, dated September 5, 1907
1906 sales report for Harmonielehre
-
OJ 9/31, [16] Stenographically handwritten letter from Cotta to Schenker, dated September 16,
1907
Cotta hopes for the manuscript of Kontrapunkt [I] soon, and asserts that the
same terms of contract will apply as those for Harmonielehre.
-
OJ 14/15, [15] Printed invitation from Schoenberg to Schenker, undated [c. November 1,
1907]
Invitation to a concert of music by pupils of Schoenberg.
-
OJ 15/6, [7] Handwritten notecard from Richard Wahle to Schenker, dated November 9, 1907
Richard Wahle thanks Schenker for his expression of sympathy.
-
OJ 12/27, [10] Stenographically handwritten letter from Cotta to Schenker, dated December 12,
1907
Cotta enclose a letter from Karl Grunsky and inquire whether they may disclose
Schenker's name to him as the author of Harmonielehre.
-
OJ 9/31, [17] Stenographically handwritten letter from Cotta to Schenker, dated December 18,
1907
Cotta note the review of Harmonielehre by Max Burkhart, and look forward to
receiving the manuscript of Kontrapunkt shortly.
-
OJ 12/38, [A-B] Handwritten letter and envelope from Hans Liebstöckl to Schenker, undated
Liebstöckl returns Schenker's score of Das Rheingold with apologies for
lateness.
-
OJ 5/15, [1] Incomplete handwritten draft letter from Schenker to Grunsky, dated January 21,
1908
Schenker has not responded to Grunsky's invitation because of pressure of work
with Kontrapunkt. — He thanks Grunsky for his review of Harmonielehre; justifies favoring
the piano repertory there; remarks on Strauss and Reger with respect to "good" and "bad." —
He refers to his Formenlehre as vol. III of his Neue musikalische Theorien und
Phantasien.
-
OJ 5/35, [1] Handwritten draft letter from Schenker to Ernst Rudorff, dated January 21,
1908
Schenker makes a first approach to Rudorff; it concerns interpretation of a
passage in Chopin's Ballade No. 2, Op. 38; — He asserts his belief in consulting -- and
teaching students to consult -- only original sources, and in the Urtext
principle.
-
OJ 13/37, 1 Handwritten letter from Ernst Rudorff to Schenker, dated January 23, 1908
Grunsky replies to Schenker's inquiry about a passage in Chopin's Ballade No.
2, and welcomes Schenker's advocacy of the Urtext principle.
-
OJ 12/9, [1] Handwritten postcard from Karpath to Schenker, postmarked February 10, 1908
Karpath asks to speak with Schenker and Moriz Violin regarding a professorship
for Schenker.
-
OJ 11/10, [12] Handwritten picture postcard from Frimmel to Schenker, dated February 20,
1908
Frimmel thanks Schenker for his complimentary copy of the latter's
Harmonielehre.
-
OJ 9/6, [48] Handwritten postcard from Eugen d'Albert to Schenker, postmarked February 21,
1908
Eugen d'Albert invites Schenker to attend the dress rehearsal of his opera
"Tiefland."
-
OJ 9/6, [49] Handwritten postcard from Eugen d'Albert to Schenker, postmarked February 29,
1908
Eugen d'Albert thanks Schenker for his congratulations.
-
OJ 11/10, [13] Handwritten postcard from Frimmel to Schenker, dated April 25, 1908
Frimmel draws Schenker's attention to an article in the Musikalisches
Wochenblatt.
-
OJ 9/31, [18] Stenographically handwritten letter from Cotta to Schenker, dated April 25,
1908
Cotta has sent a copy of Harmonielehre to the Gesellschaft der Musikfreunde,
and thinks that pre-publication excerpting of Kontrapunkt would be
advantageous.
-
OJ 11/29, [1] Handwritten letter from Grunsky to Schenker, dated May 3, 1908
Grunsky thanks Schenker for revealing his identity as author of Harmonielehre.
— He asks Schenker's views on Bruckner, and on his own views of musical
form.
-
OJ 5/15, [2]-[3] Handwritten incomplete draft of a letter from Schenker to Grunsky, undated [?c. June
1, 1908]
Responding to Grunsky's request, Schenker gives his assessment of Bruckner's
music. First exploring common ground between him and Grunsky, he then offers "technical
reasons" why he regards Bruckner as "possessing minimal powers of invention," therefore
cannot call him a "master." In the process, he compares the "Komponisten" (composers) of the
present day unfavorably with the "Tonsetzer" (tonal craftsmen) of the past.
-
OJ 9/31, [19] Stenographically handwritten letter from Cotta to Schenker, dated June 2,
1908
Cotta asks if they may divulge Schenker's name to Rudolf
Breithausen.
-
OJ 14/23, [11] Handwritten postcard from Seligmann to Schenker, postmarked June 4, 1908
Seligmann gives the travel arrangements for their excursion (planned for
Sunday, June 7) and asks Schenker to meet him to discuss final
arrangements.
-
OJ 11/29, [2] Handwritten postcard from Grunsky to Schenker, postmarked June 5, 1908
Grunsky will reply as soon as possible.
-
OJ 14/23, [12] Handwritten postcard from Seligmann to Schenker, postmarked June 7, 1908
Seligmann suggests postponing the excursion to Kreuzenstein Castle by a
week.
-
OJ 14/23, [13] Handwritten letter from Seligmann to Schenker, undated [probably June
1908]
Seligmann cannot meet Schenker at the coffee-house that evening. He suggests
that Moriz Violin might join them on the excursion to Kreuzenstein Castle on
Sunday.
-
OJ 9/6, [50] Handwritten postcard from Eugen d'Albert to Schenker, postmarked August 21,
1908
Eugen d'Albert asks Schenker to pick him up at his hotel to go to the dress
rehearsal.
-
OJ 9/32, [4] Invoice from Cotta to Schenker, dated September 1, 1908
Invoice for copies of Harmonielehre to Busoni, the Gesellschaft der
Musikfreunde, and Löwe.
-
OJ 9/32, [12] Sales Report from Cotta ro Schenker, undated [September 8[?], 1908]
1908 sales report for Harmonielehre
-
OJ 12/27, [6] Cover letter for sales report from Cotta to Schenker, dated September 9,
1908
Cotta encloses 1907 sales report for Harmonielehre and notifies him of his
share of the sales profits.
-
OJ 9/32, [25] Sales Report from Cotta, dated September 9, 1907
1907 sales report for Harmonielehre
-
OJ 11/29, [3] Handwritten letter from Grunsky to Schenker, dated September 10, 1908
Grunsky acknowledges receipt of Schenker's Beitrag zur Ornamentik and two
letters; — He recognizes that he and Schenker hold "opposite views" on Bruckner's music but
welcomes Schenker's openness to discussion; — He counters Schenker's arguments on Bruckner's
approach to form, rhythm, theme, and musical character; — He admits his own "antipathy"
toward the music of Brahms.
-
OJ 13/37, 2 Handwritten letter from Ernst Rudorff to Schenker, dated September 12,
1908
Rudorff thanks Schenker for a copy of his Beitrag zur Ornamentik, refers to
Beyschlag's Die Ornamentik der Musik, and expresses pleasure that he and Schenker are in
agreement.
-
OJ 5/35, [2] Handwritten draft or letter-copy from Schenker to Ernst Rudorff, undated [September
17, 1908]
Schenker is pleased at Rudorff's agreement with his ideas in the Beitrag zur
Ornamentik, and speaks of his difficulties with the Viennese music profession. — He takes
leave to have a copy of his Harmonielehre dispatched to Rudorff.
-
OJ 12/27, [7] Stenographically handwritten letter from Cotta to Schenker, dated September 18,
1908
Cotta looks forward to receiving Kontrapunkt, and has sent copies of
Harmonielehre to Sophie Guttmann and Ernst Rudorff.
-
OJ 5/15, [5] Handwritten incomplete draft of a letter from Schenker to Grunsky, undated
[?mid-late September 1908?]
Ecstasy is an end in itself in Bruckner's music, producing artificiality. Cf.
Beethoven, Brahms. — Cites instances in Bruckner's Seventh Symphony; his music is
technically backward. — Posterity will see both Bruckner and Berlioz as of lower status than
Haydn, Brahms, and other masters.
-
OJ 5/15, [6] Fragmentary handwritten draft letter from Schenker to Grunsky, undated [? mid‒late
September 1908?]
Discusses Bruckner's compositional technique, content, and "eccentric" form:
highly fragmentary document.
-
OJ 12/38, [C] Handwritten letter from Hans Liebstoeckl to Schenker, dated September 24, no
year
Liebstöckl thanks Schenker for a critical communication, and invites Schenker to
meet him.
-
OJ 13/37, 3 Stenographically handwritten letter from Ernst Rudorff to Schenker, dated September
24, 1908
Grunsky thanks Schenker for the copy of his Harmonielehre and praises it; in
particular he approves of its attacks on Wagner, whom he speaks of as a malign
force.
-
OJ 12/27, [8] Stenographically handwritten letter from Cotta to Schenker, dated September 26,
1908
Cotta acknowledges receipt of the manuscript of Kontrapunkt.
-
OJ 5/35, [3] Handwritten draft or letter-copy from Schenker to Ernst Rudorff, dated September 28,
1908
Schenker comments on Wagner's alterations to Beethoven's Ninth Symphony, and
outlines his own plans, wishing to see Wagner reduced to the same subordinate place as Gluck
[unaware of the provocation this will be to Rudorff!]. — He takes issue with Beyschlag's
interpretation of the turn in Haydn's music.
-
OJ 13/37, 4 Stenographically handwritten letter from Ernst Rudorff to Schenker, dated October 1,
1908
Grunsky expresses his opinions on the turn in Haydn's music and the status of
Gluck in relation to Mozart and Wagner.
-
OJ 5/15, [4] Incomplete handwritten letter draft from Schenker to Grunsky, undated [?between
September 23 and December 31, 1908]
Schenker reports progress on his Kontrapunkt. — The main problem in music is
"how length can be produced." — He recollects his love for the pious Bruckner, and his
admiration for the latter's music, but speaks of its "defects," comparing the music
favorably with that of Tchaikovsky. Bruckner's stumbling block was form.
-
OJ 12/27, [9] Stenographically handwritten letter from Cotta to Schenker, dated October 9,
1908
Cotta advises against splitting Kontrapunkt into two
half-volumes.
-
OJ 5/35, [4] Handwritten draft incomplete letter from Schenker to Ernst Rudorff, incompletely
dated [?October 11,] 1908
Schenker explains his position on Gluck, Mozart, and Wagner.
-
OJ 5/6, [2] Draft of handwritten letter from Schenker to Cotta, undated [October 12?,
1908]
Schenker accepts Cotta's verdict against splitting Kontrapunkt into
two.
-
OJ 9/31, [20] Stenographically handwritten letter from Cotta to Schenker, dated October 15,
1908
Cotta states that Kontrapunkt will be produced under the terms of the contract
for Harmonielehre.
-
OJ 11/10, [14] Handwritten picture postcard from Frimmel to Schenker, undated [1908]
Frimmel informs Schenker that a contribution from him [to the Beethoven Jahrbuch]
is now too late for inclusion in vol. II.
-
OJ 11/29, [4] Handwritten postcard from Grunsky to Schenker, postmarked November 5,
1908
Grunsky hopes to meet Schenker at the Haydn festival in Vienna. He urges
Schenker to read Halm on Bruckner.
-
OJ 13/37, 5 Handwritten letter from Ernst Rudorff to Schenker, dated November 21,
1908
Rudorff's poor health is restricting his activities. — He praises Schenker's
Harmonielehre, especially its views on the church modes. — He also endorses Schenker's
condemnation of Wagner's musical influence.
-
OJ 9/6, [51] Handwritten postcard from Eugen d'Albert to Schenker, postmarked December 10,
1908
Eugen d'Albert hopes to see Schenker at his Friday concert so that they can
talk afterwards.
-
OJ 5/16, [2] Handwritten draft letter from Schenker to Hertzka (UE), dated December 25,
1908
Schenker justifies his selection and treatment of instruments in the
Instrumentations-Tabelle, with acid comments about the English, and dismissal of French
contributions.
-
OJ 9/31, [21] Stenographically handwritten letter from Cotta to Schenker, dated December 30,
1908
Cotta urge Schenker to return galley-proofs of Kontrapunkt.
-
OJ 13/36, [1] Handwritten letter from Elisabeth Rudorff to Schenker, dated January 11,
1909
Elisabeth Rudorff asks Schenker's advice on choice of a C. P. E. Bach
collected edition as a present for her father.
-
OJ 9/31, [22] Stenographically handwritten letter from Cotta to Schenker, dated January 14,
1909
Cotta agrees to reset the title-page of Harmonielehre with Schenker's name as
author, and to distribute the second edition coincident with the release of Kontrapunkt
I.
-
OJ 13/37, 6 Handwritten letter from Elisabeth Rudorff to Schenker, dated January 15,
1909
Elisabeth Rudorff thanks Schenker for having UE send copies of his editions of
C. P. E. Bach keyboard pieces and Handel organ concertos for her father's birthday
present.
-
OJ 13/37, 7 Handwritten letter from Ernst Rudorff to Schenker, dated January 25, 1909
Rudorff thanks Schenker for the help he gave his daughter in choosing a
birthday present of Bach and Handel, and for his recent letter; — Laments the death of
Robert Hausmann.
-
OJ 7/4, [50] Handwritten postcard from Schenker to Moriz Violin, dated January 26, 1909
Schenker has news to tell him regarding Richard Heuberger and Wilhelm Bopp;
reminds of forthcoming attendance at [a recital by] Artur Schnabel.
-
OJ 12/27, [11] Stenographically handwritten letter from Cotta to Schenker, dated April 10,
1909
Cotta promises the next batch of proofs shortly.
-
OJ 9/31, [23] Stenographically handwritten letter from Cotta to Schenker, dated June 1,
1909
Cotta accedes to splitting Kontrapunkt into two half-volumes, and proposes a
publication schedule for the first half-volume.
-
OJ 7/4, [51] Handwritten postcard from Schenker to Moriz Violin, dated June 10, 1909
Schenker must miss seeing an Ibsen play, because the latest batch of proofs of
Kontrapunkt I have to be finished.
-
OJ 7/4, [52] Handwritten postcard from Schenker to Moriz Violin, dated June 10, 1909
Schenker is in Steinach, awaiting Moriz Violin's arrival.
-
OJ 6/4, [46] Handwritten letter from Schenker to Moriz Violin, dated June 22, 1909
Schenker reports a successful deal with Hertzka at Universal Edition, and refers
to monetary matters between them.
-
OJ 5/6, [3] Note by Schenker, dated July 5, 1909
Reflection on giving and taking in general and in art
-
OJ 7/4, [53] Handwritten postcard from Schenker to Moriz Violin, dated August 26, 1909
Schenker leaves Steinach on Sunday [29th].
-
OJ 9/32, [5] Invoice from Cotta to Schenker, dated September 1, 1909
Invoice for copies of Harmonielehre to Sofie Guttmann and Ernst
Rudorff.
-
OJ 12/9, [2] Handwritten postcard from Karpath to Schenker, dated September 12, 1909
Karpath calls a meeting.
-
OJ 7/4, [54] Handwritten picture postcard from Jenny Kornfeld to Moriz Violin, dated September 23,
1909
Jenny Kornfeld sends Moriz Violin best wishes for recovery, and greetings to
Fanny Violin; — her husband (Emil Kornfeld) adds his greetings.
-
OJ 14/23, [14] Handwritten letter from Seligmann to Schenker, undated [probably autumn
1909]
Seligmann has been unable to get a newspaper to accept an article on Byron’s
Manfred, written by a friend of Schenker’s
-
OJ 5/35, [5] Handwritten draft letter from Schenker to Ernst Rudorff, dated October 10,
1909
Schenker, on receipt of the score of a Rudorff choral work, praises its
textural clarity and melodic articulation, comparing them favorably to the writing of the
current generation. — He reports the success of his own recent theory works, and inroads
made into the Vienna Academy for Music and Performance Art.
-
OJ 7/4, [55] Handwritten postcard from Schenker to Moriz Violin, dated November 5, 1909
Schenker on the delusion of progress; epigonism versus
progress-art.
-
OJ 6/4, [47] Handwritten letter from Schenker to Moriz Violin, dated November 7, 1909
Schenker has Mittelmann coming, and hopes to complete proofs of Introduction to
the Instrumentationstabelle today and 9th.
-
OJ 13/37, 8 Handwritten letter from Ernst Rudorff to Schenker, dated November 14,
1909
Rudorff apologizes for his publisher's treating Schenker as a conductor; —
laments that Germany's conductors ignore his music; — asks for help in a matter concerning
an overture of his.
-
OJ 13/37, 9 Handwritten postcard from Ernst Rudorff to Schenker, dated November 15,
1909
Rudorff asks Schenker not to give Jakob Fischer the score of his Herbstlied if
asked.
-
OJ 6/4, [48] Handwritten letter from Schenker to Moriz Violin, dated November 22, 1909
Schenker proposes program order for forthcoming concert.
-
OJ 12/23, [1] Stenographically handwritten letter from Cotta to Schenker, dated November 27,
1909
Adolf Kröner thanks Schenker for his contribution to the Cotta
Album.
-
OJ 7/4, [56] Handwritten postcard from Schenker to Moriz Violin, dated December 3, 1909
Schenker reports a conversation with "G." re conducting the "Kreuzstab"
Cantata.
-
OJ 9/31, [24] Stenographically handwritten letter from Cotta to Schenker, dated December 8,
1909
Cotta welcomes the recognitions that Schenker has been accorded recently, and
hopes they will affect his work propitiously.
-
OJ 7/4, [57] Handwritten postcard from Schenker and others to Moriz Violin, dated December 13,
1909
Schenker and others ask if Violin can obtain free tickets for a Pugno
recital.
-
OJ 13/37, 10 Handwritten letter from Ernst Rudorff to Schenker, dated December 17,
1909
Rudorff reports on situation with his "Eckbert" Overture, and comments
adversely on publishers.
-
OJ 15/15, [F] Handwritten letter from Weisse to Schenker, undated
Weisse apologizes that was unable to attend on December 22, and asks Schenker to
reschedule so that he can discuss his latest piano pieces and an "Elfenlied."
-
OJ 9/30, [A] Handwritten calling card from Carl and Toni Colbert to Schenker, undated
The Colberts remind Schenker that he promised to visit their home when Paul
Szalit was there.
-
OJ 7/4, [60] Handwritten postcard from Schenker to Violin, dated March 14, 1910
Schenker will see Violin tomorrow. He has been "pumped" by Robert
Hirschfeld.
-
OJ 7/4, [61] Handwritten postcard from Schenker to Violin, dated March 23, 1910
Schenker suggests they return the due borrowed items to the Archive
together.
-
OJ 7/4, [62] Handwritten postcard from Schenker to Violin, dated April 8, 1910
Schenker gives Violin his opinion, and has a draft letter to show
him.
-
OJ 11/25, [2] Handwritten letter from Graf to Schenker, dated May 17, 1910
Graf justifies his request for a discussion, refused by Schenker, about some
details in Beethoven's "Leonora" overtures.
-
OJ 7/4, [63] Handwritten postcard from Schenker to Violin, dated June 3, 1910
Proofs of the Chromatic Fantasy & Fugue have arrived.
-
OJ 9/31, [25] Stenographically handwritten letter from Cotta to Schenker, dated June 27,
1910
Cotta reiterates the requests made in CA 112.
-
OJ 7/4, [64] Handwritten postcard from Schenker to Violin, dated July 4, 1910
Schenker has sent all materials to Cotta and is about to depart [for
Karerpass].
-
OJ 6/4, [49] Handwritten letter from Schenker to Violin, dated [July] 9, 1910
Schenker announces his arrival in the Karerpass, speaks of the costs, and
outlines his concerns over money, including money he has to send to his mother on August 1. — He
will write a letter to a female patron. — He describes the magnificence of the mountain
views.
-
OJ 7/4, [65] Handwritten picture postcard from Schenker and Jenny Kornfeld to Violin, dated July 12,
1910
Heinrich asks Violin to bring tarot cards; Jenny Kornfeld asks for
sunshine.
-
OJ 15/15,[D] Handwritten letter from Weisse to Schenker, dated July 20, [1910]
Weisse has ‒ unfairly, in his view ‒ been failed in Latin. He is spending the
summer in Ischl, and asks Schenker if he could visit him in the Dolomites, even if for a
short time, to prove that he is not as immature as some of his schoolteachers seem to
think.
-
OJ 6/4, [50] Handwritten letter from Schenker to Violin, dated July 22, 1910
Joking about some humorous rhyming verse of Violin's, Schenker reports that he
has sent off an important letter, and asks Violin to send him 12 swim-bladders. — He has defied
the cost of laundry in the Karerpass, being still worried about money. — He comments on Max
Graf's recent support of Schoenberg.
-
OJ 7/4, [66] Handwritten picture postcard from Schenker to Violin, dated August 2, 1910
Schenker awaits impatiently a letter from Violin; second proofs of the Chromatic
Fantasy are imminent.
-
OJ 7/4, [67] Handwritten postcard from Schenker to Violin, dated August 11, 1910
Schenker has had an ear blockage removed and can hear again.
-
OJ 6/4, [51] Handwritten letter from Schenker to Violin, dated August 19, 1910
Schenker sends Violin 50 florins in partial repayment of a debt, expressing
anxieties about his financial situation. — No word yet from Cotta. — The effect of the hotel
fire on hotel businesses. — Emil Kornfeld arrives today.
-
OJ 9/31, [26] Stenographically handwritten letter from Cotta to Schenker, dated August [20?],
1910
In response to CA 118, Cotta advises Schenker to send his proposal for a
Handbibliothek in advance of a possible visit to Stuttgart to present it in
person.
-
OJ 14/23, [A] Handwritten letter from Seligmann to Schenker, undated, c. 1910?
This letter concerns a member of the Thorsch family, and a course of lessons
and payment, and advice on the attitudes of aristocratic families.
-
OJ 9/32, [6] Invoice from Cotta to Schenker, dated September 4, 1910
Invoice for the printing and publishing costs of Kontrapunkt
1.
-
OJ 9/32, [13] Handwritten letter and sales report for 1909 for Harmonielehre from Cotta, dated
September 6, 1910
1909 sales report for Harmonielehre, with covering letter
-
OJ 12/27, [12] Stenographically handwritten letter from Cotta to Schenker, dated September 14,
1910
In response to Schenker's outline of his prospective Handbibliothek, Cotta
advise against its publication before that of vol. III [Niedergang]; and would not be able
to entertain the project until after publication of vol. III.
-
OJ 12/27, [13] Stenographically handwritten letter from Cotta to Schenker, dated September 21,
1910
Cotta reasserts its unwillingness to consider publication of the
[Handbibliothek] project until after publication of vol. III.
-
OJ 7/4, [68] Handwritten postcard from Schenker to Violin, dated September 21, 1910
Schenker reports a proposition that Robert Hirschfeld has put to him, and
suggests lunch in Vienna.
-
OJ 6/4, [52] Handwritten letter from Schenker to Violin, dated September 23, 1910
Schenker gives Violin his reactions to Wilhelm Bopp's cancelation of a planned
"historical" concert of music by C.P.E. and J.S. Bach and Handel at the Akademie, and urges that
they adhere to their original plan.
-
OJ 14/44, [1] Handwritten letter from the Vereinigung Wiener Musikreferenten (Theodor Antropp and
Paul Stauber) to Schenker, dated September 30, 1910
The Association invites Schenker to give a lecture series on Beethoven's Ninth
Symphony.
-
OJ 9/30, [C] Printed invitation from Carl and Toni Colbert, undated [c. October 1, 1910]
The Colberts announce that they are "at home" on the second and fourth Friday of
each month from November to May.
-
OJ 9/31, [27] Stenographically handwritten letter from Cotta to Schenker, dated October 4,
1910
Publication of Kontrapunkt 1 having taken place this day, Cotta confirms the
orders of complimentary and review copies to Jenny Kornfeld, Ernst Rudorff, Ludwig Karpath,
and Schenker himself.
-
OJ 15/6, [8] Handwritten letter from Fritz Wahle to Schenker, dated October 7, ?1910
Fritz Wahle thanks Schenker for sending him his latest book -- almost
certainly the first half-volume of Kontrapunkt; he has looked through the table of contents
and read the introduction. He hopes that the two of them could get together
sometime.
-
OJ 13/37, 11 Handwritten postcard from Ernst Rudorff to Schenker, dated October 11,
1910
Rudorff asks Schenker to send his two packages to Lauenstein, not
Großlichterfelde.
-
OJ 13/26, [2] Handwritten postcard from Richard Robert to Schenker, dated October 13,
1910
Robert acknowledges receipt of Kontrapunkt I, and expresses his admiration for
it.
-
OJ 9/18, [1] Typewritten letter from Wilhelm Bopp (Akademie für Musik) to Schenker, dated October
13, 1910
Bopp is pleased that matters have been settled, and hopes to make Schenker's
acquaintance.
-
OJ 14/23, [15] Handwritten postcard from Seligmann to Schenker, postmarked October 14,
1910
Seligmann thanks Schenker for his kind words about the most recent feuilleton
(on artistic life in Vienna).
-
OJ 9/31, [28] Stenographically handwritten letter from Cotta to Schenker, dated October 15,
1910
Cotta has already sent a copy of vol. II/1 to Ernst Rudorff.
-
OJ 13/37, 10a Printed form letter from Rudorff to Schenker, dated January, 1910
Rudorff thanks all his birthday well-wishers.
-
OJ 13/37, 12 Handwritten letter from Ernst Rudorff to Schenker, dated October 20, 1910
Rudorff tells Schenker of Heinemann's book against Wagner; — Simrock is
sending Schenker Rudorff's Third Symphony.
-
OJ 9/31, [29] Stenographically handwritten letter from Cotta to Schenker, dated October 24,
1910
Cotta hopes that Schenker will honor his contract to pay the publishing costs
[of Kontrapunkt 1] in January.
-
OJ 9/31, [30] Stenographically handwritten letter from Cotta to Schenker, dated October 26,
1910
Cotta has sent a review copy [of Kontrapunkt 1] to Max Graf and welcomes a
recent favorable notice of that work.
-
OJ 12/27, [14] Stenographically handwritten postcard from Cotta to Schenker, dated October 27,
1910
Cotta has sent a complimentary copy of Harmonielehre to Robert
Fuchs.
-
OJ 15/6, [9] Handwritten letter from Fritz Wahle to Schenker, dated November 10, 1910
Fritz Wahle thanks Schenker for sending him a copy of his critical edition of
Bach’s Chromatic Fantasy and Fugue. He agrees with all of Schenker’s remarks on performance,
adding that all serious musicians will learn a great deal from the performance markings of
the masters.
-
OJ 13/37, 13 Handwritten letter from Ernst Rudorff to Schenker, dated November 16,
1910
Rudorff approves of the [highly controversial] Introduction to Schenker's
Kontrapunkt I. — He discusses favorably Schenker's edition of the Chromatic Fantasy and
Fugue, raising some technical matters.
-
OJ 11/29, [5] Handwritten letter from Grunsky to Schenker, dated December 1, 1910
Grunsky thanks Schenker for the gift of his Chromatische Phantasie und Fuge,
and criticizes it for excessive polemic.
-
OJ 7/4, [69] Handwritten postcard from Jenny Kornfeld and Heinrich Schenker to Violin, dated
December 9, 1910
Jenny Kornfeld asks to speak with Moriz Violin re her divorce petition. Heinrich
gives his availability and reports on his mother's situation.
-
OJ 9/32, [26] Stenographically handwritten sales report from Cotta, dated [?December 31],
1910
1910 sales report for Kontrapunkt 1
-
OJ 9/18, [2] Typewritten letter from Wilhelm Bopp (Akademie für Musik) to Schenker, dated January
14, 1911
Bopp regrets that he was unable to attend Schenker's chamber music
concert.
-
OJ 9/30, [1] Handwritten letter from Tony Colbert to Schenker, undated [January 1911?]
Mrs. Colbert regrets that she will not be able to take piano lessons during
February.
-
OJ 5/34, [1] Handwritten draft letter from Schenker to Alphons Rothschild, incompletely dated
[March 2, 1911]
Highly rhetorical letter in which Schenker thanks Alphons Rothschild for the
financial support for his first two volumes, and notifies him of the forthcoming monograph
on Beethoven's Ninth Symphony.
-
OJ 12/9, [3] Handwritten letter from Karpath to Schenker, dated March 10, 1911
Karpath answers Schenker's reproaches that neither Violin's Über das sogenannte
Continuo nor the first half-volume of his Kontrapunkt have been announced or reviewed in the
Neues Wiener Tagblatt.
-
OJ 9/18, [3] Typewritten letter from Wilhelm Bopp (Akademie für Musik) to Schenker, dated March 24,
1911
Bopp asks for a meeting with Schenker.
-
OJ 9/18, [4] Typewritten letter from Wilhelm Bopp (Akademie für Musik) to Schenker, dated March 27,
1911
Bopp warns Schenker of his unavailability one day.
-
OJ 8/1, [2] Handwritten picture postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin,
dated April 15, 1911
A jokey message giving the menu of a meal eaten in Pressbaum.
-
OJ 9/18, [5] Typewritten letter from Wilhelm Bopp (Akademie für Musik) to Schenker, dated May 16,
1911
Bopp sends Schenker an invitation to a concert.
-
OJ 9/4, [4] Handwritten invitation, with typewritten envelope, from the Akademie für Musik to
Schenker, undated [May 16?, 1911]
Invitation to a student concert at the Akademie.
-
OJ 12/9, [4] Handwritten postcard from Karpath to Schenker, dated May 29, 1911
Karpath promises Schenker he will publish an announcement [about the lecture
series "The Decline of the Art of Music"].
-
OJ 14/23, [16] Handwritten lettercard from Seligmann to Schenker, postmarked June 1,
1911
Seligmann gives Schenker a revised version of his newspaper notice, which he
thinks will be published in the next two days.
-
OJ 8/1, [3] Handwritten picture postcard from Jenny Kornfeld and Heinrich Schenker to Moriz Violin,
dated June 11, 1911
Heinrich Schenker and Jenny Kornfeld report the delights of the Vienna
Woods.
-
OJ 8/1, [4] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated July 1,
1911
Schenker reports on Jeanette's and his journey to Sulden.
-
OJ 15/15, [J] Handwritten letter from Weisse to Schenker, dated July 9, [1911]
On summer holiday with little in the way of fixed plans, Weisse will be working
on some new piano pieces and asks Schenker's advice about form in the Ballade, Fantasy, and
Rondo.
-
OJ 8/1, [5] Handwritten picture postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin,
dated July 10, 1911
Schenker asks why Violin is silent about visiting them.
-
OJ 8/1, [6] Handwritten postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated
July 22, 1911
Violin has written an unclear letter: Schenker presses him to say why he isn't
coming to visit; and Jenny Kornfeld urges him not to be so poor a
correspondent.
-
OJ 14/23, [17] Handwritten lettercard from Seligmann to Schenker, dated July 25, 1911
Seligmann has found a newspaper article that Schenker was looking for. He is
recuperating in Ischl.
-
OJ 8/1, [7] Handwritten picture postcard from Heinrich Schenker to Moriz Violin, dated August 4,
1911
Schenker inquires after Violin's location and company; — reports his work on
Riemann's theories.
-
OJ 15/16, [1] Handwritten letter from Weisse to Schenker, dated August 6, 1911
Weisse reports that he has reworked his fifth waltz and composed two other piano
pieces. He will now switch to composing songs, and asks a question about setting poems with more
than three stanzas.
-
OJ 6/5, [1] Handwritten double letter from Heinrich Schenker and Jenny Kornfeld to Moriz Violin,
dated August 18, 1911
Heinrich and Jenny Kornfeld are in the Sulden Valley, Tyrol. Heinrich writes
about his planned refutation of the theories of Hugo Riemann and the need to establish his own
theories in Germany; — and about separate accommodation arrangements for Jenny. Jenny writes
more somberly about the coming autumn and its difficulties.
-
OJ 5/27, [1] Excerpt from a letter from Schenker to Evelina Pairamall, dated August 20,
1911
Schenker contrasts "elemental drives" with "artistic creations," the latter
based on "falsehoods" except in the works of geniuses.
-
OJ 6/5, [2] Handwritten double letter from Heinrich Schenker and Jenny Kornfeld to Moriz Violin,
dated August 26, 1911
With Heinrich and Jenny Kornfeld still in Sulden (Tyrol), Heinrich alludes to
the uncertainty about their return on account of a recent storm and destruction to the road;
— they have decided that, on return to Vienna, Jenny shall stay in a hotel until an
apartment is found for her; — Violin is asked to mail a letter to Schenker's attorney which
concerns Jenny's maintenance payments; Jenny reports that she is unrecognized in
Sulden.
-
OJ 8/1, [8] Handwritten picture postcard from Heinrich Schenker and Jeanette Kornfeld to Moriz
Violin, dated August 27, 1911
Schenker and Jeanette vie with short stanzas. — Heinrich reports a walk to
Gomagoi.
-
OJ 8/1, [9] Handwritten postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated
September 8, 1911
Schenker asks if a letter has arrived at Violin's address, and asks for it to be
forwarded to him if so.
-
OJ 8/1, [10] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated September 11,
1911
Schenker complains that Violin has failed to turn up for an agreed meeting at the
right place. He comments favorably on a new composition by Violin. He is going to the Pollaks in
the evening.
-
OJ 6/5, [3] Handwritten letter from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated
September 26, 1911
Seemingly in response to a cry for companionship, Heinrich and Jenny Kornfeld express
their willingness to help, and ask what would be best.
-
OJ 6/5, [4] Handwritten letter from Jenny Kornfeld and Heinrich Schenker to Moriz Violin, dated October 5,
1911
Jenny Kornfeld gives Violin an account of the verdict of October 3, 1911 on her divorce
plea.
-
OJ 8/1, [11] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated October 9,
1911
In promising to visit Violin, Schenker gives details of the lessons he has to
give over three days; — reports pending visit by Vrieslander.
-
OJ 8/1, [12] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated October 10,
1911
Citing Hebbel, and referring to the mystery "Frau O.," Schenker speaks of
Violin's unreliability, and also of Jenny Kornfeld's financial
difficulties.
-
OJ 8/1, [13] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated October 29,
1911
Schenker has booked four seats for the theater [for Wedekind:
Erdgeist].
-
OJ 8/1, [14] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated November 3,
1911
Schenker complains of Violin's dilatoriness, and asks to meet
him..
-
OJ 8/1, [15] Handwritten postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated
November 5, 1911
Schenker reports a difficult encounter with "Frau O."; also reports a first
victory in Jenny Kornfeld's divorce application.
-
OJ 8/1, [16] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated November 7,
1911
Schenker urges Violin to request Hertzka send a copy of his Continuo
essay.
-
OJ 8/1, [17] Handwritten postcard from Heinrich Schenker and Jenny Kornfeld to Moriz Violin, dated
November 27, 1911
Schenker reports the impossibility of Jenny Kornfeld's defending herself in her
divorce plea; and Jenny writes that she has had to send an inventory of all her chattels to Emil
Kornfeld.
-
OJ 9/6, [52] Handwritten letter from Eugen d’Albert to Schenker, dated November 27,
1911
Eugen d'Albert inquires whether Schenker would be interested in taking
on a female pupil.
-
OJ 9/6, [52a] Handwritten postcard from Eugen d’Albert to Schenker, undated [?December 1,
1911]
Eugen d'Albert write that "the lady" is an American, and that he should not be
held responsible for her.
-
OJ 15/16, [2] Handwritten letter from Weisse to Schenker, dated December 8, 1911
Weisse has a new piano piece to show Schenker, and asks to come the next
day.
-
OJ 9/6, [53] Handwritten postcard from Eugen d’Albert to Schenker, dated December 20,
1911
Eugen d'Albert tries to arrange a meeting with Schenker.
-
OJ 9/6, [54] Handwritten postcard from Eugen d’Albert to Schenker, postmarked December 26,
1911
Eugen d'Albert invites Schenker to tea on the 30th.
-
OJ 15/16, [3] Handwritten letter from Weisse to Schenker, dated January 13, 1912
Weisse thanks Schenker for having taught him to make fine adjustments in his
compositions, and for imbuing him with greater clarity; he marvels at the subtlety of Schenker's
musical sensibility, and speaks of his joy at being Schenker's pupil.
-
OJ 6/5, [5] Handwritten letter from Weisse to Schenker, dated January 29, 1912
Weisse gives his suggested order of the compositions by him to be included in the
February 22, 1912 concert.
-
OJ 9/6, [55] Handwritten letter from Eugen d’Albert to Schenker, dated February 12,
1912
Eugen d'Albert asks Schenker's opinion of his opera "Verschenkte
Frau."
-
OJ 12/9, [5] Handwritten letter from Karpath to Schenker, dated March 3, 1912
Karpath expresses approval of Schenker's Kontrapunkt I and Moriz Violin's book on
the continuo. —He thinks highly of Violin and of Hans Weisse as a composer.
-
OJ 11/22, [1] Envelope from the Gesellschaft der Musikfreunde to Schenker, dated March[?] 16, 1912
-
OJ 15/15, [G] Handwritten letter from Weisse to Schenker, dated March 16, [1912]
Weisse sends a newspaper clipping for Schenker's possible use in his Ninth
Symphony monograph.
-
OJ 9/6, [56] Handwritten postcard from Eugen d’Albert to Schenker, postmarked May 11,
1912
Eugen d'Albert has instructed Felix Hupka to call on Schenker, and asks
Schenker to listen to his compositions.
-
OJ 15/16, [4] Handwritten letter from Weisse to Schenker, dated June 1, 1912
Weisse is concerned that Schenker will turn his attention from himself to Felix
Hupka, whom Schenker has just taken on as a pupil.
-
OJ 9/6, [57] Handwritten letter from Eugen d’Albert to Schenker, dated June 11,
1912
Eugen d'Albert suggests they attend a concert together on June
24.
-
OJ 11/10, [15] Handwritten letter from Frimmel to Schenker, dated June 17, 1912
In response to Schenker's inquiry as to the locations of autograph manuscripts
of Beethoven's last five piano sonatas, Frimmel refers Schenker to the Berlin Academy's
Urtext edition and to Nottebohm's writings.
-
OJ 11/22, [2] Typewritten letter from the Gesellschaft der Musikfreunde (Marchet, Krause) to
Schenker, dated June 21, 1912
The writers announce plans to institute a regular program of lectures under the
auspices of the Gesellschaft der Musikfreunde, and invite Schenker to participate by offering a
lecture or lecture series.
-
OJ 15/16, [5] Handwritten letter from Weisse to Schenker, dated June 27, 1912
Weisse asks to be informed of Schenker's contact with Emil Hertzka; Mahler's
Ninth Symphony is "filth"; Schenker's Beethovens Neunte Sinfonie has just appeared and he will
study it.
-
OJ 5/14, [1] Handwritten letter from Schenker to the Gesellschaft der Musikfreunde, dated June 29,
1912
Schenker responds the the Gesellschaft der Musikfreunde's invitation to give a
lecture or series of lectures on a topic of his own choosing; commenting on the reasons behind
the proposal, and the style of lecture expected, he expresses his willingness, proposes a
subject, and states his fee.
-
OJ 15/16, [6] Handwritten letter from Weisse to Schenker, dated July 7, 1912
Weisse asks Schenker a technical question about musical form; reports that Julia
Culp is considering singing his Mädchen-Lieder.
-
OJ 11/17, [2] Handwritten letter from Eduard Gärtner to Schenker, dated July 14, 1912
Eduard Gärtner regrets that he is unable to help.
-
OJ 13/37, 14 Handwritten letter from Rudorff to Schenker, dated July 18, 1912
Rudorff writes admiringly of Schenker's new book, Beethovens Neunte Sinfonie;
— He responds to Schenker's question about the whereabouts of the autograph manuscript of
Beethoven's Piano Sonata in E major, Op. 109, speaking also of his own former editorial
work.
-
OJ 15/16, [7] Handwritten letter from Weisse to Schenker, dated July 21, 1912
Weisse reports on progress with his string quintet.
-
OJ 15/6, [10] Handwritten letter from Fritz Wahle to Schenker, dated July 26, 1912
Fritz Wahle thanks Schenker profusely for sending him his book on Beethoven’s
Ninth Symphony, which he will read through quickly. He has acquired a copy of the score of
the work.
-
OJ 12/29, [4] Typewritten letter from Carl Lafite (Gesellschaft der Musikfreunde) to Schenker,
dated July 27, 1912
Lafite acknowledges OJ 5/14, [1] and Schenker's assent to taking part in the
planned series of lectures.
-
OJ 9/6, [57a] Handwritten postcard from Eugen d’Albert to Schenker, undated [July/August
1912]
Schenker has sent Eugen d'Albert a text as a possible basis for an opera
libretto, and d'Albert explains his reasons for rejecting it.
-
OJ 15/15,[I] Handwritten letter from Weisse to Schenker, dated August 4, [1912]
Weisse reports of progress with his string quintet; expresses his delight at
Schenker's monograph on Beethoven's Ninth Symphony, and speaks of "a bridge between art and
theory"; and expresses misgivings about Moriz Violin's pamphlet on the Vienna Academy. He
appeals to Schenker to give him piano lessons, and reports other matters.
-
OJ 13/37, 15 Handwritten notecard from Rudorff to Schenker, dated August 7, 1912
Rudorff is convinced the autograph of Op. 109 was acquired from the Joachim
estate by Mrs. Wittgenstein.
-
OJ 15/16, [8] Handwritten letter from Weisse to Schenker, dated August 10, 1912
Weisse speaks of Schenker's monograph on Beethoven's Ninth Symphony and progress
with his own string quintet; — reiterates his desire to transfer from Violin to Schenker for
piano lessons; — refers to lectures that he is about to take with Guido Adler, and quotes from
Florence May's biography of Brahms. — He will write to Lorle Meissner; — gives his address in
Pontresina.
-
OJ 15/6, [11] Handwritten letter from Fritz Wahle to Schenker, dated August 10, 1912
Fritz Wahle explains how he came to acquire Schenker’s book on Beethoven’s
Ninth Symphony. He has read Moriz Violin’s pamphlet about the leadership of the Vienna
Academy and hopes that some good will come of it. In response to a letter from Schenker, he
expresses his agreement with what Schenker has to say about Wagner, and again praises his
friend for the serious intent of his writings.
-
OJ 15/16, [9] Handwritten letter from Weisse to Schenker, dated August 15, 1912
Weisse asks detailed question on musical form for the Scherzo of his string
quintet.
-
OJ 9/30, [2] Handwritten letter from Tony Colbert to Schenker, dated August 23, [1912]
Mrs. Colbert pleads to resume piano lessons with Schenker.
-
OJ 15/16, [10] Handwritten letter from Weisse to Schenker, dated August 27, 1912
Weisse has been studying an example of rondo form in Mozart; he is enjoying the
culture of Basel; gives his return date to Bad Ischl.
-
OJ 12/21, [1] Handwritten letter from Carl Krebs to Schenker, dated August 30, 1912
Krebs is unable to give Schenker information as to the whereabouts of the
autograph manuscript of Beethoven's Piano Sonata in E major, Op. 109
-
OJ 11/22, [3] Envelope from the Gesellschaft der Musikfreunde to Schenker, dated September 9,
1912
-
OJ 12/29, [5] Typewritten letter from Carl Lafite (Gesellschaft der Musikfreunde) to Schenker,
dated September 14, 1912
Lafite invites Schenker to call on him to discuss the conditions of the
lectures.
-
OJ 9/30, [3] Handwritten letter from Tony Colbert to Schenker, undated [September 16,
1912]
Mrs. Colbert begs to be accepted back as a pupil on one lesson a week. She has
asked Sofie Deutsch whether she would give over one of her two lessons to her and Mrs. Deutsch
has declined; she now asks whether Mrs. Stirling might agree to do the same.
-
OJ 12/29, [6] Typewritten letter from Carl Lafite (Gesellschaft der Musikfreunde) to Schenker,
dated September 18, 1912
The Gesellschaft der Musikfreunde can accommodate a series of only three
lectures for Schenker; Lafite proposes days and times, asks Schenker for a revised topic,
and proposes a fee.
-
OJ 12/29, [7] Draft letter from Schenker to Carl Lafite, undated [September 20, 1912]
Draft of GdM Exh. 332, [3], in which Schenker turns down Lafite's proposal in
polemical manner.
-
OJ 12/29, [8] Typewritten postcard from Carl Lafite to Schenker, dated September 25,
1912
Since several letters to Schenker have been returned unopened, Lafite regrets
that the Gesellschaft der Musikfreunde must renounce its collaboration with Schenker in the
lecture series.
-
OJ 15/6, [12] Handwritten notecard from Fritz Wahle to Schenker, dated September 25,
1912
Fritz Wahle thanks Schenker for his book on Beethoven’s Ninth Symphony and
expresses his agreement about the concept of program music. He hopes that the two of them
could get together for a few hours, and sends his greetings to their mutual friend Moriz
Violin.
-
OJ 5/14, [2] Handwritten draft letter from Schenker to the Gustav Marchet (Gesellschaft der
Musikfreunde), dated September 27, 1912
Schenker details to the President of the Gesellschaft der Musikfreunde, Gustav
Marchet, letters that he has received from the Society's General Secretary, Carl Lafite; he
lodges his complaint at the way in which he has been treated, which he considers impolite and
publicly demeaning, and withdraws his offer of lectures.
-
OJ 9/30, [4] Handwritten letter from Tony Colbert to Schenker, dated September 27, 1912
Mrs. Colbert suggests works she might study. -- She is enjoying Schenker's (newly
published) monograph on Beethoven's Ninth Symphony.
-
OJ 15/16, [11] Handwritten letter from Weisse to Schenker, dated October 6, 1912
Weisse has heard nothing from Moriz Violin and is anxious to transfer to Schenker
for piano lessons.
-
OJ 9/6, [55a] Handwritten letter from Eugen d’Albert to Schenker, undated [?May 10,
1912]
Eugen d'Albert proposes that Schenker take on a 15-year old
musician.
-
OJ 13/29, [8] Handwritten letter from Rosenthal to Schenker, dated November 10, 1912
Rosenthal apologizes for mishandling of ticket issue, and raises the matter of
forming an artists' organization.
-
OJ 13/29, [9] Handwritten postcard from Moriz Rosenthal, Wilhelmine and Jacob Klein to Schenker,
undated, postmarked November 13, 1912
Greetings
-
OJ 9/6, [58] Handwritten letter from Eugen d’Albert to Schenker, dated December 4,
1912
Eugen d'Albert thanks Schenker for his communication, and hopes to meet
with him, perhaps in mid-December.
-
OJ 15/16, [12] Handwritten letter from Weisse to Schenker, dated December 18, 1912
Diatribe by Weisse against Otto Vrieslander's plan to produce a simplified
version of Schenker's Harmonielehre, impugning Vrieslander's motives.
-
OJ 15/16, [13] Handwritten letter from Weisse to Schenker, dated February 11, 1913
Weisse proposes composing a completely new first movement for his string
quintet.
-
OJ 15/15, [E] Handwritten lettercard from Weisse to Schenker, undated, [February 1913]
Weisse reports that Bruno Walter, whom he encountered in the street, does not
know the difference between counterpoint and fugue.
-
OJ 15/16, [14] Handwritten letter from Weisse to Schenker, dated March 29, 1913
Weisse apologizes for having interrupted Robert Brünauer's lesson, and declares
his allegiance to Schenker effusively. He asks to call on March 31 (his
birthday).
-
OJ 12/9, [6] Handwritten letter from Karpath to Schenker, dated April 3, 1913
Karpath exchanges newspaper clippings with Schenker. — Announces a forthcoming
review of Schenker's monograph on Beethoven's Ninth Symphony (1912). — Tells of a potential new
pupil for Schenker who is currently studying with Schreker. — Complains at being persecuted by
supporters of Schoenberg.
-
OJ 13/23, [1] Printed form letter from Hugo Riemann to Schenker, postmarked April 15,
1913
Riemann requests autobiographical information for his
Lexikon.
-
OJ 15/16, [15] Handwritten letter from Weisse to Schenker, dated April 15, 1913
Weisse comments on Brahms's juxtaposition of the diatonic and chromatic and use
of modal mixture in his Waltz in C# major, Op. 36, No. 6, and asks Schenker to write about
this.
-
OJ 15/16, [16] Handwritten letter from Weisse to Schenker, dated June 9, 1913
Weisse reports receipt of a letter from Moriz Violin.
-
OJ 15/16, [17] Handwritten letter from Weisse to Schenker, dated July 8, 1913
Weisse sends a copy of a book [unidentified] and thanks Schenker again for his
teaching.
-
OJ 15/16, [18] Handwritten letter from Weisse to Schenker, dated July 16, 1913
Weisse asks for guidance on technical questions in his rewriting of the first
movement of his string quintet.
-
OJ 15/16, [19] Handwritten letter from Weisse to Schenker, dated August 12, 1913
Weisse reports on progress with his string quintet, and lists his travel plans
for late September.
-
OJ 15/15, [1] Handwritten postcard from Weisse to Schenker, dated September 1, 1913
At the end of a relatively unproductive summer, Weisse is looking forward to
seeing his teacher.
-
OJ 10/3, [1] Part of handwritten letter from Ludwig Scheibler to Otto Erich Deutsch, dated September 6,
1913
Scheibler states that the pieces contained in Schenker's C. P. E. Bach: Klavierwerke are
late works and inferior to the early and middle-period works.
-
OJ 15/15, [2] Handwritten postcard from Weisse to Schenker, dated October 10?, 1913
Weisse asks for advice about modal mixture.
-
OJ 11/36, [1] Handwritten letter from Hammer to Schenker dated September 12, 1913
Hammer approaches Schenker regarding piano lessons for his wife.
-
OJ 15/16, [20] Handwritten letter from Weisse to Schenker, dated September 13, 1913
Weisse reports a conversation with Franz Steiner about Richard Strauss and his
alleged interest in Schenker's work. — Weisse looks forward to having three lessons a week with
Schenker.
-
OJ 11/36, [2] Handwritten letter from Hammer to Schenker dated September 17, [1913]
Hammer cannot afford Schenker's fee; he dislikes the modern piano and has a Stein
grand piano, a Hammerklavier copy, and a clavichord.
-
OJ 15/15, [H] Handwritten letter from Weisse to Schenker, dated [September] 23, [1913]
Weisse expresses his delight at the approach just made to his teacher from
publishing house of C. F. Peters. He affirms his indebtedness to his teacher for all that he has
learned and, regarding himself more a son than a mere pupil of Schenker’s, he asks to be
addressed in future by the familiar "Du," though he would want to continue to use "Sie" when
addressing his teacher.
-
OJ 12/9, [7] Typewritten letter from Karpath to Schenker, dated September 24, 1913
Karpath is pleased to have introduced Paul Breisach to Schenker as a new pupil.
He wants to send another young man ‒ whose mother is divorced and could pay only a reduced fee ‒
to him for instruction.
-
OJ 10/3, [3] Typewritten postcard from Otto Erich Deutsch to Schenker, dated September 25, 1913
Deutsch has forwarded Schenker's (non-extant) reply to Ludwig Scheibler, and states that Louis Koch
has taken over the autograph manuscripts of Carl Meinert.
-
OJ 11/36, [3] Handwritten letter from Hammer to Schenker undated [September 26, 1913]
Hammer regrets Schenker's refusal to teach his wife.
-
OJ 15/16, [21] Handwritten letter from Weisse to Schenker, dated October 7, 1913
Weisse extols the virtues of Schenker's monograph on Beethoven's Piano Sonata Op.
109.
-
OJ 12/9, [8] Handwritten letter from Karpath to Schenker, dated October 9, 1913
Karpath had asked Schenker for support for Mittelmann and complains at Schenker's
rude reaction.
-
OJ 15/6, [13] Handwritten notecard from Fritz Wahle to Schenker, dated October 15, 1913
Fritz Wahle thanks Schenker for sending his critical edition of Beethoven’s
Op. 109, which he has not yet had time to read carefully.
-
OJ 15/15, [L] Handwritten letter from Weisse to Schenker, undated [October 22, 1913]
Weisse reiterates his congratulations on the approach from C. F. Peters, and
sends his teacher two newspaper clippings of Johannes Messchaert's recital, given the day
before.
-
OJ 15/15,[C] Handwritten letter from Weisse to Schenker, undated [October 31, 1913]
Returning home from a lesson with Schenker, Weisse makes observations on the
second part of the Brahms's Waltz in B minor, Op. 39, No. 11, and seeks his teacher's
approval of his interpretation.
-
OJ 9/7, [1] Handwritten letter from Hermine d’Albert to Schenker, dated November 1,
1913
Hermine d'Albert writes that Schenker's letter to her husband has caused
him some distress, and he will provide an explanation in person. She hopes that
Schenker will be sitting near to her at the concert.
-
OJ 9/7, [A] Handwritten letter from Hermine d’Albert to Schenker, undated
Hermine d'Albert on behalf of her husband invites Schenker for
tomorrow.
-
OJ 10/1, [1] Handwritten letter from Dahms to Schenker, dated November 9, 1913
Dahms acknowledges receipt of Schenker's letter of September 27 and the
Erläuterungsausgabe of Op. 109, is reading other work of Schenker's, and is glad to be
disseminating his work.
-
OJ 5/27, [2] Handwritten letter from Schenker to Evelina Pairamall, dated November 12,
1913
Schenker thanks Evelina Pairamall warmly for sending him an article by
Saint-Saens on manuscripts in Berlin, which covers an autograph manuscript of Beethoven's Ninth
Symphony, and reports to her his own work on another autograph of that work. -- He asks if she
is returning to Vienna soon, and promises to show her his discoveries, concluding with a joke
employing musical technical terms.
-
OJ 15/15, [K] Handwritten letter from Weisse to Schenker, undated [November 1913]
This communication consists of three parts: p. 1 offers an interpretation of a
passage from Brahms's Horn Trio, first movement; p. 2 is a quotation from Schopenhauer
concerning the ethical status of a search for artistic truth; p. 3 offers an interpretation of
the Waltz No. 12 from Brahms's Op. 39.
-
OJ 6/5, [29] Handwritten letter from Heinrich Schenker to Valerie Violin, dated November 28,
1913
Heinrich and Jeanette have regarded it as their duty to invite Fanny Violin on
each occasion that they invited Moriz and Valerie; their conduct is thus blameless; only now
have they understood Fanny's true meaning in writing as she did after two years. They wish to
place no pressure on her and to help her overcome her illness.
-
OJ 15/15, [M] Handwritten postcard from Weisse to Schenker, undated [December 24?, 1913?]
Photograph of Hans Weisse with inscription..
-
OJ 10/1, [2] Handwritten letter from Dahms to Schenker, dated March 27, 1914
Dahms wishes to start his musical studies afresh in Schenker's "shool," asks
whether there is anyone in Berlin who can teach him, also explores the possibility of coming to
Vienna.
-
OJ 10/1, [3] Handwritten letter from Dahms to Schenker, dated April 13, 1914
Schenker outlines his financial situation and rehearses alternative plans for
study with Schenker.
-
OJ 15/15, [3] Handwritten postcard from Weisse to Schenker, dated April 17, 1914
Weisse gives Schenker the ancient Greek term for the German verb
"anschauen."
-
OJ 9/6, [59] Handwritten calling card from Eugen d’Albert to Schenker, dated April 19,
1914
Eugen d'Albert thanks Schenker for his [50th birthday]
congratulations.
-
OJ 10/1, [4] Handwritten letter from Dahms to Schenker, dated June 2, 1914
Dahms says he is not well liked in some Berlin quarters for opposing "fashionable
music." — He plans to study Schenker's theory autodidactically in Berlin, then come to Vienna in
the winter.
-
OJ 10/1, [5] Handwritten letter from Dahms to Schenker, dated June 26, 1914
Dahms inquires after Schenker's study of Op. 110, and hopes to review it. He is
sure there will come a day when Schenker's work is fully appreciated.
-
OJ 15/16, [22] Handwritten letter from Weisse to Schenker, dated July 7, 1914
Weisse reports that he is engrossed in reading Jean-Paul, is resting, practising
piano, and studying Brahms's Second Symphony.
-
OJ 10/1, [6] Handwritten letter from Dahms to Schenker, dated July 15, 1914
Dahms communicates from the Black Forest, commiserating over Schenker's
experiences with the Vienna Konzerthausgesellschaft.
-
OJ 15/16, [23] Handwritten letter from Weisse to Schenker, dated July 16, 1914
Weisse thanks Schenker for clippings of two articles from the Münchener Zeitung.
Returning them, he critiques Alexander Berrsche's references there to the theory of the trill as
expounded in Schenker's Beitrag zur Ornamentik.
-
OJ 9/30, [5] Handwritten letter from Tony Colbert to Schenker, undated [September 13,
1914]
Mrs. Colbert pleads for reduction of lessons to once every other week on account
of the war work she is doing and the difficulties that she and her husband are
facing.
-
OJ 15/16, [24] Handwritten letter from Weisse to Schenker, dated September 17, 1914
Commenting on an article by Paumgartner, Weisse asks to come and play some new
compositions, and warns that he may be called up for war service.
-
OJ 13/26, [3] Handwritten postcard from Richard Robert to Schenker, dated September 18,
1914
Robert asks Schenker meet with him, prefereably to visit him, on Saturday or
Sunday.
-
OJ 15/34, [1] Handwritten letter from Viktor Zuckerkandl to Heinrich Schenker, dated September 23,
[1914]
Zuckerkandl asks to call on Schenker.
-
OJ 9/30, [6] Handwritten letter from Tony Colbert to Schenker, dated November[?] 2[?],
1914
Mrs. Colbert has done no piano practice, and explains her circumstances; but she
asks Schenker to fit her in for a lesson every two weeks.
-
OJ 12/9, [9] Typewritten letter from Karpath to Schenker, dated November 14, 1914
Karpath invites Schenker to contribute to the periodical Der Merker, of which he
has recently become the editor-in-chief.
-
OJ 12/9, [10] Typewritten letter from Karpath to Schenker, dated November 21, 1914
Karpath describes his editorial policy for the periodical Der Merker and asks
Schenker for contributions.
-
OJ 12/9, [11] Handwritten calling card from Karpath to Schenker, dated January 8, 1915
Karpath thanks Schenker for his condolences.
-
OJ 10/1, [7] Handwritten field postcard from Dahms to Schenker, dated April 5, 1915
Dahms has been conscripted and writes from the battle front. He has submitted an
article on Schenker's edition of Op. 110.
-
OJ 10/1, [8] Handwritten field postcard from Dahms to Schenker, dated April 25, 1915
Dahms writes of the "fatherland" and of Hindenburg's
"voice-leading."
-
OJ 10/1, [9] Handwritten field postcard from Dahms to Schenker, dated June 4, 1915
Dahms echoes Schenker: The German character must prevail over
others.
-
OJ 5/45, [1] Copy letter from Schenker to Weisse, in Jeanette Schenker’s hand, dated June 17,
1915
In a six-page letter, and following harsh exchanges the previous day, Schenker
castigates Weisse for trying to avoid paying for four lessons, speaking of his own difficulties
in managing the profession of private teacher, and the unfair ways in which artists are treated
financially.
-
OJ 15/34, [2] Handwritten letter from Viktor Zuckerkandl to Heinrich Schenker, undated [August 20,
1915]
Zuckerkandl reports on life in the military.
-
OJ 10/1, [10] Handwritten field postcard from Dahms to Schenker, dated October 2, 1915
Dahms is unable to describe his [wartime] experiences. He has had to revise his
opinions.
-
OJ 10/1, [11] Handwritten field postcard from Dahms to Schenker, dated October 13, 1915
Dahms is sick.
-
OJ 10/1, [12] Handwritten field postcard from Dahms to Schenker, dated October 29, 1915
Dahms inquires why Schenker singled out Strauss's Alpine
Symphony.
-
OJ 10/1, [13] Handwritten letter from Dahms to Schenker, undated but presumably November 1,
1915
Dahms acknowledges Schenker's letter with joy; he is committed to the struggle
against the "other side."
-
OJ 10/1, [14] Handwritten field postcard from Dahms to Schenker, dated January 8, 1916
Dahms is able to do some work, longs for peace, looks forward to Op.
111.
-
OJ 12/9, [12] Handwritten letter from Karpath to Schenker, dated January 13, 1916
Karpath accepts an article of Schenker's [for Der Merker] and asks for a
modification.
-
OJ 10/1, [15] Handwritten field postcard from Dahms to Schenker, dated January 15, 1916
Dahms cannot write openly because of censorship.
-
OJ 10/4, [1] Handwritten letter from Sophie Deutsch to Schenker, dated January 26,
1916
Sofie Deutsch informs Schenker of the bequest of a sum of money to fund his
future publications; she wishes him success in his "selfless work," and signs herself "your
grateful pupil."
-
OJ 12/9, [13] Handwritten letter from Karpath to Schenker, dated January 26, 1916
Karpath is worried about the disappearance of Aron Mittelmann, and asks Schenker
to help him search.
-
OJ 12/9, [14] Handwritten lettercard from Karpath to Schenker, dated January 28, 1916
Karpath reports a summons to appear before a military court with respect to Aron
Mittelmann.
-
OJ 12/9, [15] Handwritten postcard from Karpath to Schenker, postmarked February 1, 1916
After attendance at the court [regarding Mittelmann], Karpath asks Schenker to be
in touch with him.
-
OJ 12/9, [16] Handwritten letter from Karpath to Schenker, dated February 2, 1916
Following an unanounced and abortive visit by Schenker, Karpath asks Schenker to
call him by telephone.
-
OJ 12/9, [17] Handwritten letter from Karpath to Schenker, dated February 6, 1916
Karpath sends an unidentified letter [from Mittelmann]. — He asks Schenker before
his attendance at court to take on jointly with himself the surety for
Mittelmann.
-
OJ 12/9, [18] Handwritten letter from Karpath to Schenker, dated February 7, 1916
Karpath informs Schenker that the latter is expected by Dr. Kammerer the
following day, before Kammerer addresses the court.
-
OJ 12/9, [19] Handwritten letter from Karpath to Schenker, dated February 8, 1916
Karpath reports attorney Kammerer's assessment and recommendations on the
Mittelmann case.
-
OJ 10/1, [16] Handwritten field postcard from Dahms to Schenker, dated February 21, 1916
Visit to Vienna has to be deferred.
-
OJ 10/1, [17] Handwritten envelope from Dahms to Schenker, dated March 1, 1916
Dahms laments lack of idealism and underappreciation of mastery.
-
OJ 71/19a, [1] Fragment of a typewritten letter from Emil Kammerer to Ludwig Karpath, undated;
Handwritten letter from Ludwig Karpath to Schenker, dated March 6, 1916
Karpath forwards a letter from the attorney Kammerer's office saying that the
conclusion of the case against Mittelmann is expected soon.
-
OJ 11/22, [5] Handwritten postcard from the Gesellschaft der Musikfreunde (Bella) to Schenker, dated
March 8[?], [1916]
Mandyczewski invites Schenker to the Archive for March 10.
-
OJ 12/9, [20] Handwritten postcard from Karpath to Schenker, dated March 9, 1916
Karpath reports the imminent dismissal of the case against
Mittelmann.
-
OJ 10/1, [18] Handwritten letter from Dahms to Schenker, dated March 31, 1916
Dahms acknowledges Op. 111; Schenker's achievement will outlive the "moderns". —
Reports on a Brahms concert attended. — He is in a rest home and working.
-
OJ 15/16, [25] Handwritten letter from Weisse to Schenker, dated April 7, 1916
Weisse extols the virtues of Schenker's monograph on Beethoven's Piano Sonata
Op. 111, but expresses reservations about the political footnotes. He asks to bring a new
song to Schenker, since he is about to go to the battlefield.
-
OJ 10/1, [19] Handwritten letter from Dahms to Schenker, undated but presumably May 1,
1916
Dahms laments the state of music and criticism in Berlin. — When the war is over
he plans to draw a line under his life so far and start again.
-
OJ 10/1, [20] Handwritten letter from Dahms to Schenker, dated June 15, 1916
Dahms may be transferred to Wilna. — Has reviewed Op. 111 for the
Kreuz-Zeitung.
-
OJ 10/1, [21] Handwritten letter from Dahms to Schenker, dated June 30, 1916
Dahms holds out hope for the position of music critic at Der Abend of Vienna,
about which Schenker has inquired.— He reviews his past work; coming to Vienna is
imperative.
-
OJ 15/16, [26] Handwritten letter, with original poetry, from Weisse to Schenker, dated July 3,
1916
As a sign of his recovery, Weisse sends Schenker two poems while stationed in
Berezhany, “Der alte Jude” and “Die Dirne."
-
OJ 9/30, [6a] Handwritten letter from Tony Colbert to Schenker, dated July 13
Mrs. Colbert thanks Schenker for flowers sent while she was in the
sanatorium.
-
OJ 14/23, [18] Handwritten lettercard from Seligmann to Schenker, postmarked August 1, 1916
Seligmann thanks Schenker for sending him the critical editions of Beethoven’s
Op. 110 and Op. 111. He enjoyed reading the attacks on Schenker’s rival authors, but he also
thinks that a more conciliatory language would be more appropriate for such publications. He
looks forward to the publication of Op. 106.
-
OJ 15/16, [27] Handwritten letter from Weisse to Schenker, dated August 3, 1916
Weisse hopes to see Kontrapunkt II soon. — He reflects on the state of
humanity in the light of being in the midst of the war. — He incloses a cutting of an
article [about sources of Saint-Saëns's music.]
-
OJ 10/1, [22] Handwritten postcard from Dahms to Schenker, dated November [recte August] 9,
1916
Dahms hopes to be going to Wilna.
-
OJ 10/1, [23] Handwritten letter from Dahms to Schenker, dated August 27, 1916
Dahms may be posted to Wilna, or may be discharged. He asks about the position of
music critic at the Vienna Der Abend.
-
OJ 10/1, [24] Handwritten letter from Dahms to Schenker, dated October 13, 1916
Dahms reacts to the news that the music-critic position at Der Abend is taken;
laments continued lack of opportunity to work.
-
OJ 5/27, [3] Handwritten letter (non-extant) from Schenker to Evenlina Pairamall, dated October
20, 1916
Schenker describes in detail how he works out Mrs. Pairamall's lesson schedule
according to her requests, and calculates her fee.
-
OJ 10/1, [25] Handwritten letter from Dahms to Schenker, dated November 26, 1916
Dahms reports on his situation, and seeks Schenker's interest in a forthcoming
lecture in Vienna by Willi von Möllendorf.
-
OJ 11/35, [0] Handwritten letter from Halm to Schenker, undated, probably November or December
1916]
Halm praises Schenker's Erläuterungsausgabe, and asks for a recommendation to
Universal Edition.
-
OJ 15/16, [28] Handwritten letter from Weisse to Schenker, dated December 1, 1916
Weisse is looking forward to leave in mid-December and to seeing
Schenker.
-
OJ 15/16, [31] Handwritten letter from Weisse to Schenker, dated November 9, 1917
Weisse now has a piano in his army lodgings, plays in the evenings, expects to
send Schenker an analysis of Brahms Intermezzo, Op. 119, No. 2, shortly. The Italian defeat
is near. He has sent a pamphlet by Walther Rathenau.
-
OJ 12/26, [2] Typewritten letter from the Rothschild Artists' Foundation to Schenker, dated
December 3, 1916
The Rothschild Artists' Foundation invites Schenker to serve on a panel of
jurors with Guido Adler and Alfred Grünfeld.
-
OJ 11/58, [1] Typewritten letter from the Israelitische Kultusgemeinde to Schenker, dated December
17, 1916
President Alfred Stern expresses his regret at Schenker's refusal to serve as
a juror alongside Guido Adler for the Rothschild Artists' Foundation.
-
OJ 13/36, [2] Printed form letter from Rudorff family to Schenker, dated December 31,
1916
Announces the death of Ernst Rudorff.
-
OJ 11/35, 1 Handwritten letter from Halm to Schenker, dated January 4, 1917
Halm reports on his recent and forthcoming publications
-
OJ 12/52, [1] Typewritten letter from Fritz Mendl to Schenker, dated January 12, 1917
Fritz Mendl informs Schenker of the bequests to him in Sofie Deutsch's will,
and asks him to come to a meeting.
-
OJ 15/16, [29] Handwritten lettercard from Weisse to Schenker, dated January 16, 1917
Back in military service after Christmas leave, Weisse reflects on the nature of
duty, and recommends F. W. Foerster’s Lebensführung to Schenker.
-
OJ 13/36, [3] Printed form letter from Rudorff family to Schenker, dated January, 1917
Form letter of thanks for condolences received.
-
OJ 11/35, 2 Handwritten letter from Halm to Schenker, dated January 27, 1917
Halm reports on his current piano and chamber music publishing plans, and
employment.
-
OJ 11/35, 9a Handwritten postcard from Halm to Schenker, dated February 3, 1917
Halm acknowledges Schenker's letters, and will write.
-
OJ 15/16, [30] Handwritten lettercard from Weisse to Schenker, dated February 3, 1917
Weisse asks if Schenker has not received his previous message; he is reading
Kontrapunkt I.
-
OJ 10/1, [26] Handwritten letter from Dahms to Schenker, dated March 2, 1917
Dahms's nerves are bad and he has difficulty doing any serious reading. —
Moellendorf has sent a review of the quarter-tone harmonium, and Dahms
comments.
-
OJ 10/1, [27] Handwritten letter from Dahms to Schenker, dated March 18, 1917
Dahms reacts to Schenker's suggestion of a stipendium for study in
Vienna.
-
OJ 11/35, 4 Handwritten letter from Halm to Schenker, dated March 18, 1917
Halm attempts to identify the fundamental differences between their two views,
with reference to Beethoven, Bruckner and Brahms. He and Karl Grunsky have been estranged for
some years.
-
OJ 12/9, [21] Printed notice by Ludwig Karpath, dated end of March 1917
Karpath announces that he is standing down as the chief editor of the periodical
Der Merker.
-
OJ 10/1, [28] Handwritten letter from Dahms to Schenker, dated April 20, 1917
Dahms comments on the political situation and decries widespread
corruption.
-
OJ 10/1, [29] Handwritten letter from Dahms to Schenker, dated June 8, 1917
Dahms hopes for a posting to Berlin; he is gaining strength from reading
Kierkegaard.
-
OJ 11/35, 5 Handwritten letter from Halm to Schenker, dated July 2, 1917
Halm seeks advice on choice of edition for the Beethoven variations, and offers
advice in negotiating with publishers.
-
OJ 10/1, [30] Handwritten letter from Dahms to Schenker, dated July 10, 1917
Dahms decries democracy's reliance on the "common man" and deplores its
disregard of intellectuals and artists.
-
OJ 11/35, 9b Handwritten postcard from Halm to Schenker, dated July 21, 1917
Halm thanks Schenker for arranging that Cotta send him NMTP vols. I and
II/1.
-
OJ 8/3, [49] Handwritten postcard from Schenker to Moriz Violin, dated October 7, 1917
Heinrich and Jeanette are unable to visit. Remarks on parliaments of the
regions.
-
OJ 15/15, [4] Handwritten field postcard from Weisse to Schenker, dated October 16, 1917
Back in military service, Weisse thanks Schenker profusely for his
teaching.
-
OJ 10/1, [31] Handwritten letter from Dahms to Schenker, dated November 9, 1917
Dahms is now with the War Ministry in Berlin. He comments on Korngold and
Bruckner.
-
OJ 8/3, [50] Handwritten postcard from Schenker to Valerie Violin, dated November 16,
1917
Schenker requests Moriz's full army address; pressure of work precludes a visit;
a parcel has gone astray.
-
OJ 8/3, [51] Handwritten postcard from Schenker to Moriz Violin, dated November 23, 1917
Schenker thinks the worst is over [in World War I]; accepts promised
jam.
-
OJ 10/1, [32] Handwritten letter from Dahms to Schenker, dated December 27, 1917
Dahms is expecting peace soon. Refers to Schenker's remarks on
Bruckner.
-
OJ 6/6, [5] Handwritten letter from Schenker to Valerie Violin, dated December 30, 1917
In response to the Violins' condolences on the death of his mother, Schenker
reflects sadly on her life and needs between 1890 and the late 1910s, attributing blame largely
to his younger brother Moriz, less to his older brother Wilhelm; — He explains why he and
Jeanette are unable to visit the Violins in the cold and without adequate
clothing.
-
OJ 15/16, [32] Handwritten letter from Weisse to Schenker, dated January 2, 1918
Weisse, in a fieldpost letter, writing in Sütterlinschrift, copies out a passage
from Goethe quoted in Chamberlain's "Grundlagen des neunzehnten Jahrhunderts," and informs
Schenker of his imminent change of address.
-
OJ 8/3, [55] Handwritten postcard from Schenker to Valerie Violin, dated January 6, 1918
Schenker recounts explosion of gas oven and subsequent activities. Jeanette has
transferred things to her apartment and stayed up late to help.
-
OJ 15/34, [3] Handwritten letter from Viktor Zuckerkandl to Schenker, dated January 14,
[1918]
Acknowledges one postcard; the other reaches him while writing the letter.
Reports and comments on article by Hans Friedrich in Der Merker. Remarks on the nature of
hatred, national and personal, in wartime.
-
OJ 11/35, 7 Handwritten letter from Halm to Schenker, dated January 20, 1918
Acknowledges DLA 69.930/2, January 17, 1918. Schenker has accused him of a
contradiction, and he concedes it, referring to several of his publications. UE has not
responded to his request for review copies of Schenker's works, so suggests a reciprocal
exchange.
-
OJ 5/38, [1] Handwritten letter from Heinrich Schenker and Jeanette Kornfeld to Wilhelm Schenker,
dated January 24, 1918
Heinrich comments on the attack of the mumps, from which Wilhelm's children are
suffering. Heinrich encourages Wilhelm and his family to move from Kautzen permanently, and in
that connection will investigate the cost of having Julia Schenker's body moved from Waidhofen
to Vienna for burial with the cooperation of the Vienna Kultusgemeinde. He envisions purchasing
burial plots for Jeanette and himself adjacent to Julia's grave. He thanks Dodi for her
invitation to stay with them if Vienna becomes intolerable.
-
OJ 8/3, [56] Handwritten postcard from Schenker to Moriz Violin, dated January 31, 1918
Schenker inquires as to the price of a jar of jam that Valerie Violin brought him
and lays down a "no presents" rule; reports Halm's difficulties in obtaining copies of
Schenker's works from UE.
-
OJ 14/45, [10] Handwritten letter from Moriz Violin to Heinrich Schenker, dated February 5,
1918
Schenker, Violin alleges, has accused him of a dearth of subject matter in letter
writing; Violin defends himself on grounds that his life has been disrupted by military service
and the impact of that on his physical and mental state. He accuses Schenker of insensitivity,
and treating him like his pupils. He defends his wife for giving food to the Schenkers, and
explains her motivation for so doing.
-
OJ 5/38, [2] Handwritten letter from Heinrich Schenker and Jeanette Kornfeld to Wilhelm and Dodi
Schenker, dated February 5, 1918
Heinrich relays back the price of transferring Julia Schenker's body from
Waidhofen to Vienna, and would hope to get a discount on that price via the Jewish Religious
Community. He reports on the planned Festschrift for his 50th birthday, and his current troubles
with UE. Jeanette characterizes their life as "farcical," and asks Dodi's advice in obtaining
twine for repairing shirts. She comments on the Versailles Council of War as confirming
Heinrich's warnings.
-
OJ 11/35, 8 Handwritten letter from Halm to Schenker, dated February 12, 1918
Halm acknowledges receipt of item from Schenker's publisher, and plans to
reciprocate, but has little time in which to order items. Copies of his essay about Schenker
have been misdirected.
-
OJ 14/33, [3] Handwritten letter from Steglich to Schenker, dated February 15, 1918
Steglich accepts Schenker's offer of a copy of the Op. 111 Erläuterungsausgabe;
he is a Riemann pupil, and has a keen interest in analyses.
-
OJ 6/6, [6] Handwritten letter from Schenker to Moriz Violin, dated February 17, 1918
Schenker warns Violin to expect a letter from Vrieslander concerning a
contribution to a Festschrift for Schenker's 50th birthday, and then airs a number of grievances
against Moriz and Valerie concerning jars of jam, Sunday visits, and insufficient food.
-
OJ 15/16, [33] Handwritten letter from Weisse to Schenker, dated February 18, 1918
Weisse apologizes profusely for not having paid his condolences to Schenker upon
the death of his mother.
-
OJ 15/16, [34] Handwritten letter from Weisse to Schenker, dated February 26, 1918
Weisse expresses his concerns about a proposed Festschrift in celebration of
Schenker's fiftieth birthday, fearing that the work will be written largely by eminent people
and journalists who have little knowledge of his teaching and so will not do justice to him as a
theorist; asks Schenker for his own opinion of the matter.
-
OJ 6/6, [7] Handwritten letter from Schenker to Moriz Violin, dated March 20, 1918
[50th Festschrift:] Schenker intends not to influence anyone in their decision to
contribute or not. — [Personal issues:] Schenker agrees to draw a line under issues discussed in
OJ 6/6, [6]; however, he accounts for his epistolary silence regarding Valerie Violin, including
the possible contact with Seligmann; he attempts to explain the matter of the jars of jam and
the absence of visits to Schönbrunn, describing vividly how tirelessly Jeanette works and how
dependent they both are on Sunday for work time; he expresses outrage that he and Jeanette live
so poorly while his pupils live lives of luxury, commenting bitterly on state of play over the
Sofie Deutsch stipend; he wishes the Violins well for their 6-month stay in Marburg.
-
OJ 14/33, [4] Handwritten field postcard from Steglich to Schenker, dated March 25, 1918
Steglich, on the battlefront in the Ukraine, acknowledges receipt of Schenker's
Erläuterungsausgabe Op. 111, and hopes to study it when things are quieter.
-
OJ 8/3, [57] Handwritten postcard from Schenker to Moriz Violin, dated April 7, 1918
Schenker has implemented the increase in fee, for his pupils, and describes how
intolerable life is in Vienna; -- is trying with dificulty to book summer lodgings; -- reports
Weisse's declining of the invitation to contribute to the Schenker Festschrift; -- he is working
hard on his library.
-
OJ 8/3, [58] Handwritten postcard from Schenker to Moriz Violin, dated April 13, 1918
Schenker reports on Kufferath's article in the Gazette de Lausanne discussing the
polemical materials in Die letzten fünf Sonaten ... op. 111, and on the treasonous stance of the
Arbeiterzeitung.
-
OJ 15/15, [5] Handwritten postcard from Weisse to Schenker, dated April 20, 1918
Weisse apologizes for not having written recently, expresses his frustration that
the war continues.
-
OJ 14/23, [19] Printed card of thanks from Adalbert Seligmann, dated April [29], 1918
A printed message thanking well-wishers for their sympathy.
-
OJ 15/16, [35] Handwritten letter from Weisse to Schenker, dated May 5, 1918
Weisse reports his renewed interest in counterpoint through the rereading of the
first volume of Schenker's Kontrapunkt; he has also come across Bussler's Freier Satz and has
heard mainly positive things about Ernst Kurth's Linearer Kontrapunkt, a book which he will
order and report on to his teacher.
-
OJ 8/3, [59] Handwritten postcard from Heinrich Schenker and Jeanette Kornfeld to Moriz Violin,
dated May 13, 1918
Schenker thanks Moriz Violin for an address; reports on planned visit to his
brother Wilhelm Schenker, and food promised by him and items sent by Felix Hupka; Heinrich and
Jeanette expect to spend the summer in Vienna.
-
OJ 15/15, [6] Handwritten postcard from Weisse to Schenker, dated May 27, 1918
Weisse, on three-month leave (June-August 1918) to finish work towards his
doctoral degree, asks Schenker for tuition in counterpoint and thoroughbass.
-
OJ 10/1, [33] Handwritten letter from Dahms to Schenker, dated June 15, 1918
Dahms sends 50th birthday wishes [and encloses a published article].
-
OJ 14/5, [4] Handwritten picture postcard from employee of the Austrian Provincial Bank to Heinrich
Schenker, dated June 19, 1918
Schenker's letter has been forwarded to Moriz Schenker.
-
OJ 11/17, [3] Printed funeral notice for Eduard Gärtner to Schenker, dated July 2, 1918
Announces death and date and time of funeral of Eduard Gärtner.
-
OJ 12/9, [22] Handwritten postcard from Karpath to Schenker, dated July 18, 1918
Karpath regrets that Schenker's letter came too late, and he was unable to act on
it.
-
OJ 14/33, [5] Handwritten letter from Steglich to Schenker, dated July 22, 1918
Steglich has studied the Op. 111 Erläuterungsausgabe. Rejecting the polemic as
redundant, he makes detailed suggestions concerning the relationship of the Arietta to the coda
of the first movement.
-
OJ 14/5, [5] Handwritten postcard from Moriz Schenker to Heinrich Schenker, dated July 22,
1918
Moriz Schenker has received Heinrich's letter and will visit him in a few days'
time.
-
OJ 12/9, [23] Typewritten letter from Karpath to Schenker, dated July 28, 1918
Karpath contests Schenker's argument that failing to write an obituary for Eduard
Gärtner was a neglect of duty, defends the position of the music critic, and draws attention to
a commemorative article on Gärtner.
-
OJ 8/3, [60] Handwritten postcard from Schenker to Moriz Violin, dated July 28, 1918
Comments on the death of Fritz Wahle and the illness of Eduard Gärtner; is trying
to negotiate the summer in the Tyrol, but may not succeed; congratulates Violin.
-
OJ 10/1, [34] Handwritten letter from Dahms to Schenker, dated July 29, 1918
Dahms thanks Schenker for his long letter; reports on his vacation in Munich and
visit with Vrieslander; he is looking forward to studying with Schenker in Vienna.
-
OJ 14/5, [6] Handwritten fieldpostcard from Moriz Schenker and Hans Guttmann to Heinrich Schenker,
dated August 8, 1918
Moriz Schenker regrets not having spoken to Heinrich but hopes to be in Vienna
again soon; he has Hans Guttmann staying, and has written to Sophie Guttmann; note by Hans
Guttmann.
-
OJ 15/5, [1] Handwritten letter from Eberhard von Waechter to Schenker, dated August 21,
1918
Waechter asks for a copy of Schenker's Kontrapunkt 2, because he is making a
critique of the Neue Musuikalische Theorien und Phantasien; he requests an article for Das Neue
Oesterreich from Schenker, and hopes for regular contributions in future.
-
OJ 8/3, [61] Handwritten postcard from Schenker to Moriz Violin, dated August 21, 1918
The Schenkers went to Mariazell on the 16th for a work-free vacation. - -
Schenker has had difficulties with Wilhelm and Moriz Schenker. - - He describes visit to Hupka
in Kapuvár (Hungary). - - Comments on Violin's forthcoming promotion to Lieutenant.
-
OJ 14/5, [7] Handwritten letter from Moriz Schenker to Heinrich Schenker, dated August 28,
1918
Moriz Schenker reports that he has received a letter from Sophie and Salo
Guttmann; he has dispatched flour to Heinrich's Vienna address; he will be in Vienna soon and
hopes to call on Heinrich.
-
OJ 14/5, [8] Handwritten letter from Moriz Schenker to Sophie and Salo Guttmann, dated August 28,
1918
Moriz Schenker promises Sophie and Salo Guttmann that he will help them by
writing to a senior official and guaranteeing their war loan, and asks for details. — He will be
traveling on business and hopes to see Hans Guttmann and Heinrich Schenker.
-
OJ 9/32, [37] Printed and handwritten letter from Cotta to Schenker, dated September 1,
1918
Payment advice note for sales 1917.
-
OJ 14/5, [10] Handwritten lettercard from Moriz Schenker to Heinrich Schenker, dated September 15,
1919
Moriz Schenker found Schenker not at home; can come Thursday; Heinrich's money is
available for collection.
-
OJ 15/5, [2] Handwritten letter from Eberhard von Waechter to Schenker, dated September 17,
1918
Waechter tries again to elicit contributions from Schenker to Das Neue
Oesterreich, and asks Schenker's opinion on an analysis of a Schubert song. Schenker's
honorarium for lessons is too high.
-
OJ 5/43, [1] Handwritten draft letter from Schenker to Eberhard von Waechter, dated September 28,
1918
Schenker thanks Waechter for sending some of his work and praises it for being on
the right path toward genius; he questions musical education and existing music periodicals.
-
OJ 15/16, [36] Handwritten letter from Weisse to Schenker, dated September 30, 1918
Still in military service, Weisse asks Schenker for advice regarding the
interpretation of the ritardandos in the first movement of Beethoven's Eighth Symphony.
-
OJ 11/30, [1] Handwritten postcard from Wilibald Gurlitt to Schenker, dated October 7,
1918
Gurlitt expresses admiration for Schenker's Beethovens Neunte Sinfonie, and
inquires whether his "Formenlehre" or "Kunst des Vortrags" has yet been published.
-
OJ 5/18, [A] Handwritten postcard from Schenker to Jonas, dated October 31, 1918
Lesson time set.
-
OJ 14/37, [3] Handwritten letter from Paula Szalit to Schenker, dated November 9, 1918
Paula Szalit describes her desire to return to the concert and teaching
worlds, and asks for a consultation.
-
OJ 6/6, [8] Handwritten letter from Schenker to Moriz Violin, dated November 9, 1918
Schenker reports news from Russia, Austria, Switzerland, and Poland, and comments
on the current political situation.
-
OJ 5/18, [B] Handwritten postcard from Schenker to Jonas, dated November 12, 1918
Change of lesson time.
-
OJ 10/1, [35] Handwritten postcard from Dahms to Schenker, dated December 13, 1918
Dahms and his wife have moved to Wasserburg, and he is beginning work again.
-
OJ 11/35, 9c Handwritten postcard from Halm to Schenker, dated December 13, 1918
Halm acknowledges DLA 69.930/4 and help, and promises to write soon.
-
OJ 11/35, 10 Handwritten letter from Halm to Schenker, dated December 14, 1918
Halm thanks Schenker for assistance over stipend; asks if Schenker has received
compositions sent to him; Halm's post-War prospects may be better.
-
OJ 15/16, [37] Handwritten letter from Weisse to Schenker, dated December 24, 1918
Weisse sends Schenker a volume [Handel keyboard works] as a Christmas present.
-
OJ 14/40, [1a] Typed letter from Türkel to Schenker, dated December 27, 1918
Acknowledges letter of December 25, 1918 [not surviving]; Türkel distances
himself from Schenker's recent actions [over stipends]; Schenker cannot count on restitution of
money overspent; these matters have nothing to do with Türkel or the Deutsch estate. Encloses[?]
copy of earlier "disclaimer" [= OJ 14/40, [1b]].
-
OJ 14/40, [1b] Typewritten declaration by Schenker, undated [December 27, 1918]
Schenker cedes the amount of the legacy left him in Sofie Deutsch's will against
the previously awarded sum of 10,000 Marks.
-
OJ 11/35, [10a] Handwritten letter from Halm to Schenker, dated December 31, 1918
Halm acknowledges DLA 69.930/6; asks for payment to be made to his Esslingen bank
a/c; comments on effects of currency changes; refers to assistance offered by Schenker.
-
OJ 5/45, [2] Handwritten postcard from Schenker to Weisse, dated January 8, 1919
Schenker informs Weisse that his payment is short and points out the advantages
of lump-sum payment.
-
OJ 11/35,9d Handwritten postcard from Halm to Schenker, dated January 12, 1919
Halm acknowledges receipt of 856 Mk.
-
OJ 8/3, [65] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated February 17,
1919
Rhyming joke
-
OJ 13/10, [6] Handwritten letter from Oppel to Schenker, dated February 19, 1919
Oppel thanks Schenker for EA, Opp. 110 and 111, which he has enjoyed, inquires
after EA, Opp. 101 and 106, and Kontrapunkt 2, and raises a possible thematic link between two
movements of Op. 110 (music example). His plan to study with Schenker has to be deferred; he
will soon send compositions, and asks for unsparing criticism.
-
OJ 12/9, [24] Typewritten letter from Karpath to Schenker, dated March 11, 1919
The amount [for Hammerschlag] was 500, not 400, Kronen.
-
OJ 8/3, [66] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated March 13,
1919
Discusses Violin's prospects of returning to the Vienna Conservatory now that its
president is leaving.
-
OJ 10/1, [36] Handwritten letter from Dahms to Schenker, dated March 15, 1919
Dahms is spending time with Otto Vrieslander, working through Schenker's
Harmonielehre with him and preparing himself for study with Schenker. He rejoices at the
crushing of German militarism.
-
OJ 12/9, [25] Handwritten letter from Karpath to Schenker, dated March 27, 1919
Mittelmann refused Schenker's 100 Kronen. Karpath has terminated Mittelmann's
working relationship with him.
-
OJ 10/1, [37] Handwritten letter from Dahms to Schenker, dated June 11, 1919
Dahms sends greetings on Schenker's birthday, finds solace in Nietzsche and
Kierkegaard, and is studying counterpoint with Vrieslander.
-
OJ 15/15, [7] Telegram from Weisse to Schenker, dated June 16, 1919
Weisse can arrive on the 25th.
-
OJ 8/3, [67] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated June 24,
1919
Notification of the restaurant at which the Schenkers now eat; Paul de Conne is
hoping to return to the Vienna Conservatory, too.
-
OJ 15/16, [38] Handwritten letter from Weisse to Schenker, dated July 15, 1919
On hearing that Schenker is already on holiday, and being not far from him (In
Bad Ischl), Weisse inquires about the possibility of paying a visit.
-
OJ 6/6, [9] Handwritten triple-letter from Jeanette Kornfeld and Heinrich Schenker to Valerie and
Moriz Violin, dated July 15, 1919
(1) Jeanette to Valerie: offers sympathy and reassurance about her illness;
describes the Tantalier Castle and its romantic associations; (2) Heinrich to Valerie:
recommends eating large quantities; (3) Heinrich to Moriz: supports food theory by reference to
his own proneness to nervous depression; suggests that Valerie recuperate in Zell am
See.
-
OJ 10/1, [38] Handwritten postcard from Dahms to Schenker, dated July 22, 1919
Dahms thanks Schenker for his postcard and letter, hopes to visit Schenker, and
asks how long he will be staying at Schloss Tantalier.
-
OJ 15/16, [39] Handwritten letter from Weisse to Schenker, dated August 2, 1919
Weisse accepts Schenker's invitation to visit him while on
holiday.
-
OJ 8/3, [68] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated August 2,
1919
Schenker inquires again after Moriz, Valerie, and the latter's health. He is
expecting visits from Dahms and Weisse.
-
OJ 10/1, [39] Handwritten letter from Dahms to Schenker, dated August 9, 1919
Dahms is busy writing; hopes to visit Schenker around August 25.
-
OJ 6/6, [10] Handwritten letter from Heinrich Schenker to Moriz Violin, dated August 17,
1919
Schenker hopes that colleagues will support Moriz Violin. – The court has favored
Emil Kornfeld unduly. – A move to Germany might save Schenker money, but he is uncertain how
many of his pupils would follow him there (only Pairamall has indicated willingness). – He asks
Weisse to act as an intermediary in booking a supply of wood for burning. – Dahms and Weisse are
due for simultanous visits. – He is glad to hear Valerie Violin is better.
-
OJ 10/1, [40] Handwritten letter from Dahms to Schenker, dated August 23, 1919
Dahms gives his travel plans.
-
OJ 10/1, [41] Newspaper clipping from the Berliner Illustrite Zeitung, dated August 24,
1919
Illustrated article in the Berliner Illustrirte Zeitung with satirical comments
and underlinings by Dahms
-
OJ 10/1, [42] Telegram from Mrs. Dahms to Schenker, dated August 31, 1919
Mrs. Dahms inquires whether her husband has yet left.
-
OJ 10/1, [43] Handwritten postcard from Dahms to Schenker, dated August 31, 1919
Dahms reports on his journey home and sends thanks for an unforgettable
experience.
-
OJ 8/3, [69] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated August 31,
1919
Heinrich and Jeanette have official permission to remain at Schloß Tantalier
until September 15. -- They have been exhausted by the visits of Weisse and Dahms. -- Weisse
[meanness] contrasts instructively with Dahms [generosity].
-
OJ 12/62, [2] Stenographically handwritten letter from Cotta to Schenker, dated September 1,
1919
[NMTP I and II/1:] Cotta encloses sales report for 1918 and a check for M.
346.92.
-
OJ 15/16, [40] Handwritten letter from Weisse to Schenker, dated September 1, 1919
Weisse thanks Schenker for his hospitality, and is glad to learn that he and
Jeanette will be able to remain on holiday at Klammerth's castle.
-
OJ 15/5, [3] Handwritten letter from Eberhard von Waechter to Schenker, dated September 2,
1919
Waechter is sending copy of his Schubert study, and offers to send the manuscript
of his forthcoming book for Schenker's assessment.
-
OJ 14/5, [9] Handwritten lettercard from Moriz Schenker to Heinrich Schenker, dated September 3,
1919
Moriz Schenker assures Heinrich that his deposited money is safe, and expresses
delight that all impediment to the marriage has been rescinded.
-
OJ 13/10, [7] Handwritten letter from Oppel to Schenker, dated September 7, 1919
Oppel expresses his pessimism in the aftermath of the war and the prospects for
his generation. He sends a chaconne for Schenker's comment, and reports his appointment as a
teacher in theory and composition at the Kiel Conservatory. Alfred Einstein asked him for a
review of the Erläuterungsausgabe, but he declined.
-
OJ 10/3, [2] Typewritten letter from Otto Erich Deutsch to Schenker, dated September 8, 1913
Deutsch encloses part of a letter from Ludwig Scheibler, which he says will interest Schenker. He
has finished work on two volumes of his documentary biography.
-
OJ 10/1, [44] Handwritten letter from Dahms to Schenker, dated September 10, 1919
Dahms thanks the Schenker's for his time with them, and reports what he is doing
currently; he endorses Nietzsche's view of Germany and the Germans, and speaks of the
unprincipledness that its legal system and officialdom fosters.
-
OJ 15/18, [1] Printed deposit slip from Wiener Bank-Verein, with handwritten entries, dated September
18, 1919
Schenker has deposited 346.92 Marks.
-
OJ 8/3, [70] Handwritten double-postcard from Heinrich Schenker and Jeanette Kornfeld (Schenker) to
Moriz and Valerie Violin, dated September 25, 1919
(1) Heinrich to Moriz: draws Moriz Violin's attention to an article in Der
Merker; (2) Jeanette to Valerie: needs to buy a suit, and asks advice as to
where.
-
OJ 10/1, [45] Handwritten letter from Dahms to Schenker, dated September 26, 1919
Dahms responds to Schenker's letter (non-extant). He reflects on Prussian
militarism. He declares that there is no such things as "military genius"; Germany was as guilty
as the Entente Powers for the war; soldiers were treated as slaves by their officers, with
Wilhelm II bearing the ultimate guilt. He rejects all political parties. England does not treat
its people as Germany does. He believes only in the German spirit, which he regards as the
spirit of the world. He cannot wait to leave Germany, and wants only to immerse himself in
Schenker's work.
-
OJ 5/18, [C] Handwritten postcard from Schenker to Jonas, dated September 27, 1919
Date and time of first lesson.
-
OJ 15/5, [4] Handwritten letter from Eberhard von Waechter to Schenker, dated October 1,
1919
Waechter asks for an article on performance for Der Merker, remarking that
analysis takes the performer only so far, after which the latter's feelings must take over. He
praises Schenker's prowess in analysis, and asks again if he may send the manuscript of his
latest book for Schenker's appraisal.
-
OJ 15/18, [2] Credit slip from Wiener Bank-Verein, dated October 10, 1919
Credits Schenker with 346.92 Marks and converts them to 1,121.40
Kronen.
-
OJ 15/18, [3] Account from Wiener Bank-Verein, dated October 10, 1919
Statement of account, balance 1,121.40 Kronen.
-
OJ 15/5, [5] Handwritten note from Eberhard von Waechter to Schenker, dated October 11,
1919
Waechter regrets Schenker's refusal to agree to write articles for Der Merker,
and expresses doubts about his "prophetic zeal."
-
OJ 10/1, [46] Handwritten postcard from Dahms to Schenker, dated October 17, 1919
Dahms reports on the present whereabouts of the autograph manuscript of Beethoven
Op. 101.
-
OJ 15/5, [6] Handwritten letter from Eberhard von Waechter to Schenker, dated October 19,
1919
Waechter understands Schenker's wish not to pre-publish his Art of Performance in
article form, and hopes that Schenker will provide a universal solution to the performance
problem; explains the editorial control of Der Merker, encouraging Weisse to submit his two
articles to it; expresses pleasure that he has procured from Halm reviews of Schenker's
Harmonielehre and Kontrapunkt 1; is unable to send his Musikkritik der Gegenwart at present.
-
OJ 8/3, [71] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated October 19,
1919
Banns of marriage have been posted; looking forward to visiting.
-
OJ 11/16, [A] Handwritten letter from Furtwängler to Schenker, undated
Furtwängler asks if he can call on Schenker that evening.
-
OJ 11/16, [B] Handwritten letter from Furtwängler to Schenker, undated
Furtwängler asks if he can call on Schenker the coming
Friday.
-
OJ 11/16, [C] Handwritten letter from Furtwängler to Schenker, undated
Furtwängler asks if he can call on Schenker the coming
Sunday.
-
OJ 11/16, [D] Handwritten letter from Furtwängler to Schenker, undated
Furtwängler hopes to visit Schenker in about a week's time.
-
OJ 11/16, [E] Handwritten letter from Furtwängler to Schenker, undated [1928‒30]
Furtwängler cancels meeting on account of illness.
-
OJ 11/16, [F] Handwritten letter from Furtwängler to Schenker, undated
Furtwängler asks for a meeting this evening at Meißl.
-
OJ 8/3, [72] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated November 2,
1919
The [wedding] date will be fixed next Wednesday; the engravings on the two rings.
– They are due at Furtwängler's concert, but cannot commit to any other times.
-
OJ 11/35, 11 Handwritten letter from Halm to Schenker, dated November 3, 1919
Acknowledges DLA 69.930/8, October 27, 1919, sends a serenade and asks for
comments. Sends best wishes for relocation to Germany and inquires as to city.
-
OJ 5/18, [D] Handwritten postcard from Schenker to Jonas, dated November 10, 1919
No lesson because of holiday.
-
OJ 10/3, [4] Handwritten letter from Otto Erich Deutsch to Schenker, dated November 15, 1919
Deutsch announces that he has taken over a book dealership, and seeks custom.
-
OJ 11/16, [1] Handwritten letter from Furtwängler to Schenker, dated November [18 or 19,]
1919
Furtwängler prizes Schenker's approval higher than that of others; he is
uncertain what role he is destined to play in the musical life of Vienna; he hopes to talk with
Schenker.
-
OJ 11/16, [2] Handwritten letter from Furtwängler to Schenker, dated November 27, 1919
Furtwängler proposes that they meet in a restaurant on Saturday evening.
-
OJ 10/1, [47] Handwritten letter from Dahms to Schenker, dated November 28, 1919
Dahms discusses his future prospects for study, particular where to study (he
discusses conditions in several cities), and with whom. He asks Schenker's advice. He is
resolved to leave Vrieslander because of the latter's pessimism.
-
OJ 8/3, [73] Handwritten postcard from Heinrich Schenker to Moriz Violin, December 15,
1919
Schenker reports on his meeting with Emil Hertzka and the latter's offers on Die
letzten fünf Sonaten ... op. 101 and the Kleine Bibliothek, about which Schenker wishes to talk
with Violin.
-
OJ 10/1, [48] Handwritten letter from Dahms to Schenker, dated December 21, 1919
Dahms thanks Schenker for his advice on the next stage of instruction. He wrote
to Halm, who confirmed what Schenker had said. He congratulates Schenker on the superhuman work
that he is doing under current adverse circumstances.
-
OJ 10/1, [49] Handwritten letter from Dahms to Schenker, dated December 27, 1919
Thanking Schenker for his kindness, he agrees that Schenker should delay the
payment of a sum of money to him, and asks if he might stay near Schenker for a few weeks during
the summer of 1920.
-
OJ 8/3, [74] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated December 30,
1919
One postcard and one letter to Violin have come back undelivered; indignation at
post office's incompetence.
-
OJ 11/35, 14 Handwritten letter from Halm to Schenker, dated January 5, 1920
Halm offers advice on securing satisfactory contractual terms, favoring
percentages over one-time payments.
-
OJ 10/3, [5] Handwritten letter from Otto Erich Deutsch to Schenker, dated January 8,
1920
Deutsch reports that Hertzka wants the music connoisseur edition of the
"Moonlight" Sonata to include facsimiles only, not textually cleaned editions. Deutsch
outlines the basis of the contract (editors will receive 8% of the retail price) and the
production timetable. He asks if Schenker would rather take on a different facsimile due to
competition from a Copenhagen publisher. Schenker's Theory of Harmony was not it stock in
Vienna.
-
OJ 10/3, [6] Handwritten letter from Otto Erich Deutsch to Schenker, dated January 9,
1920
Deutsch is sorry that a customer prevented him for speaking with the Schenkers
when they visited his store. Photographic originals will be needed for the connoisseur
edition.
-
OJ 11/35, 15 Handwritten letter from Halm to Schenker, dated January 11, 1920
Halm expresses reservations about Kleine Bibliothek plan; wishes Schenker might
write history of music. —PS: Advises Sschenker to insure a regular income before moving to
Germany.
-
OJ 8/3, [80] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated January 12, 1920
Schenker comments acerbically on the settlement with Emil Kornfeld. — Reports on
a contract Halm has shown him. — Inquires about the children's health and reports that Wilhelm
has been taken ill.
-
OJ 10/3, [7] Handwritten letter from Otto Erich Deutsch Deutsch to Schenker, dated January 16,
1920
Deutsch will write to the Beethoven House in Bonn to seek permission to
reproduce the manuscript of the "Moonlight" Sonata. He suggests using the first edition as
the source for the missing opening and closing bars, and asks Schenker to refrain from
polemics in his commentary. Copies of the manuscripts of Beethoven's piano sonatas Opp. 28,
109, 110 and 111 should not be difficult to obtain, and he has made inquiries regarding the
manuscripts of Beethoven's Piano Sonata Op. 106 and Mozart's A minor Rondo K.
511.
-
OJ 8/3, [81] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated January 31, 1920
Schenker asks Violin to inquire about availability of the apartment of one of the
Rosé String Quartet members.
-
OJ 10/3, [8] Handwritten postcard from Otto Erich Deutsch Deutsch to Schenker, dated February 12,
1920
The Beethoven House will only allow reproduction of the manuscript of the
"Moonlight" Sonata in return for a royalty. Deutsch has offered 5% of the retail
price.
-
OJ 8/3, [82] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated February 13, 1920
Amount of divorce settlement and its investment. — Op. 101/3 sketches arrived.
-
OJ 11/35, 16 Handwritten letter from Halm to Schenker, dated February 10, 1920
Halm acknowledges 69.930/9 and return of contracts. H is looking for a new
publisher for his compositions, and wonders whether Schenker would put in a good word to UE on
his behalf, or whether Schenker knows of a small press that might be suitable. Wishes
Furtwängler would perform something of his.
-
OJ 10/3, [9] Handwritten postcard from Otto Erich Deutsch to Schenker, dated March 1,
1920
Deutsch thanks Schenker for his suggestion of Brahms's Op. 117; Mr. Kalbeck
has suggested Brahms's "Sapphische Ode" (Op. 95, No. 4) and "Nachtwandler" (Op. 86, No.
3).
-
OJ 10/1, [50] Handwritten picture postcard from Dahms to Schenker, dated March 6, 1920
Dahms sends greetings from Berlin.
-
OJ 8/3, [83] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated March 8, 1920
Tonschl's report on conversation with Moriz Schenker, and advice.
-
OJ 8/3, [84] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated March 16, 1920
Moriz Schenker extends invitation to meet, confirms sum of 68,080 Kronen. —
Meeting with Hertzka scheduled for next day.
-
OJ 8/3, [85] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated April 12, 1920
Schenker inquires about Furtwängler, and reports progress with Hertzka.
-
OJ 11/35, 17 Handwritten letter from Halm to Schenker, dated April 13, 1920
Halm acknowledges receipt of DLA 69.930/9; voices misgivings about publishing
with UE and discusses publishers' unscrupulous tactics and the difficulty of legal redress.
-
OJ 8/3, [86] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated May 5, 1920
Schenker writes scathingly about his brother Moriz's attitude to Schenker's
problems.
-
OJ 10/1, [51] Handwritten letter from Dahms to Schenker, dated May 7, 1920
-
OJ 10/1, [52] Handwritten letter from Dahms to Schenker, dated June 9, 1920
Reflecting on the difficulty of finding housing and provisions, and on the recent
German federal elections, Dahms asks whether mastery of chorale and fugue is to be obtained
solely by exercises in the manner of [E. F.] Richter and others. — He inquires whether Schenker
knows Kurth's Grundlagen des linearen Kontrapunkts, and whether there are any worthwhile
[musical] people in Salzburg.
-
OJ 10/1, [53] Handwritten letter from Dahms to Schenker, dated June 15, 1920
Dahms sends birthday greetings and reflects on the sorry conditions for the arts
prevailing in the current political climate.
-
OJ 10/3, [10] Handwritten postcard from Otto Erich Deutsch to Schenker, dated June 15,
1920
The Beethoven House has given permission for the reproduction of the
"Moonlight" Sonata, and have suggested a photographer. Before arranging for the
reproduction, Deutsch asks Schenker to send his existing prints to determine if they are
suitable.
-
OJ 15/16, [41] Handwritten letter from Weisse to Schenker, dated "end of June, 1920"
Taking his leave of Schenker as a pupil, Weisse expresses his gratitude for all
that Schenker has done for his artistic and human development, and declares himself ready to
continue in the service of his teacher's highest ideals.
-
OJ 10/3, [11] Printed birth announcement from Deutsch Family [to Schenker], dated July 11,
1920
Otto Erich and Hanna Deutsch announce the birth of their son, Franz Peter, on
July 11, 1920.
-
OJ 15/16, [42] Handwritten letter from Weisse to Schenker, dated July 11, 1920
Weisse wishes Schenker an enjoyable summer holiday, and looks forward to visiting
him. He inquires about the possibility of moving into Reisnerstraße 38, in the event that the
Schenkers move elsewhere, and informs his teacher about the organization of a lecture series at
the Vienna Urania. He concludes with some remarks about literary works, Wedekind's Schloß
Wetterstein and Jean Paul's Levana.
-
OJ 10/1, [54] Handwritten postcard from Dahms to Schenker, dated July 12, 1920
Dahms is pleased that Schenker is in the mountains, and hopes for a meeting with
him in Munich on Schenker's way to Stuttgart.
-
OJ 10/3, [12] Typewritten postcard from Otto Erich Deutsch to Schenker, dated July 12,
1920
Deutsch has written to Edward Speyer about the sketchleaf [of the "Moonlight"
Sonata], and wishes Schenker success with his contract for the Little Library and Complete
Edition.
-
OJ 8/3, [87] Handwritten picture postcard from Heinrich Schenker to Moriz Violin, dated July 14,
1920
The Schenkers like Seefeld and are busy with proofs, etc. — Will Violin visit
them?
-
OJ 15/16, [43] Handwritten letter from Weisse to Schenker, dated July 19, 1920
Weisse reports his arrival for the summer in Ischl, and the grave illness that
has befallen his grandfather there. He sends Schenker three excerpts from Jean Paul's review of
Mme. de Staël's "On Germany" (1810), which he expects his teacher will find useful as cultural
and political ammunition against the French.
-
OJ 10/1, [55] Handwritten letter from Dahms to Schenker, dated July 30, 1920
Dahms finds the Berlin musicians on vacation to be ignorant – "artistic
bolshevism." — He now understands Kurth's work better for Schenker's comments.
-
OJ 8/3, [88] Handwritten postcard from Heinrich & Jeanette Schenker to Moriz Violin, dated July
30, 1920
Schenker reports that the attempt to procure an apartment in Reisnerstraße 17 has
failed, and complains about the corrupt circumstances.
-
OJ 10/3, [13] Typewritten postcard from Otto Erich Deutsch to Schenker, dated August 5,
1920
The photograph of Speyer's sketchleaves is still forthcoming. Deutsch has
discovered that a Dr. Wilhelm Kux possesses a further sketchleaf of the "Moonlight" Sonata,
and asks Schenker if he wants Deutsch to try secure a reproduction of it.
-
OJ 15/16, [44] Handwritten letter from Weisse to Schenker, dated August 10, 1920
Weisse explains that his grandfather's death prevents him from visiting Schenker
in Seefeld, but hopes that he might nonetheless visit him elsewhere before the end of the summer
holidays.
-
OJ 10/3, [14] Typewritten letter from Otto Erich Deutsch to Schenker, dated August 16,
1920
Deutsch has written to Wilhelm Kux [about his sketchleaf of the "Moonlight"
Sonata], and has received a letter from Edward Speyer, in which Speyer explains that he
cannot make a copy of his sketchleaf of the "Moonlight" Sonata while in the countryside.
Speyer also writes that a further sketchleaf of the "Moonlight" Sonata is held in the
Fitzwilliam Museum and has supplied a facsimile. Deutsch asks Schenker if he would like him
to write to the Museum to request a photograph of the sketchleaf.
-
OJ 10/1, [56] Handwritten letter from Dahms to Schenker, dated August 19, 1920
Dahms is having difficulty obtaining a passport, but still hopes to see Schenker
this summer, perhaps in Munich. — He sends his three biographical books to Schenker, but is
apprehensive of the latter's reaction to their hemeneutic elements; he hopes to writes something
more fitting.
-
OJ 11/35,18a Handwritten postcard from Halm to Schenker, dated August 21, 1920
Halm advises Schenker on choice of carbon copy systems.
-
OJ 8/3, [89] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated August 23, 1920
Gives date of return to Vienna, and confirms Tuesday meeting.
-
OJ 10/1, [57] Handwritten postcard from Dahms to Schenker, dated August 25, 1920
Dahms understands that he cannot meet with Schenker; the three books are about to
be dispatched.
-
OJ 10/1, [58] Handwritten postcard from Dahms to Schenker, dated September 2, 1920
Dahms explains the sources of the three books. — Vrieslander gave him an
enthusiastic account of his time in Seefeld.
-
OJ 9/30, [7] Handwritten letter from Carl Colbert to Schenker, dated September 6, 1920
Carl Colbert invites Schenker to submit an article to Der Abend for the 150th
anniversary of Beethoven's birth.
-
OJ 10/3, [15] Typewritten letter from Otto Erich Deutsch to Schenker, dated September 13,
1920
Deutsch asks Schenker to clarify whether bars are missing from the start of
the "Moonlight" Sonata manuscript, as well as from the end. Deutsch outlines Universal
Edition's intended format for the volume, and ask if Schenker approves of their proposals.
Deutsch has written again to Wilhelm Kux requesting a copy of the sketchleaf, and reminds
Schenker to examine the sketchleaf of the Sonata that was reproduced in the Musical
Times.
-
OJ 5/18, [E] Handwritten postcard from Schenker to Jonas, dated September 27, 1920
Schenker is unable to give Jonas lessons, and suggests Felix Hupka.
-
OJ 10/3, [16] Typewritten letter from Otto Erich Deutsch to Schenker, dated October 1,
1920
Deutsch encloses images of Wilhelm Kux's sketchleaf of the "Moonlight" Sonata
for Schenker to study. He is writing to the [Fitzwilliam] Museum in Cambridge about their
sketchleaf of the Sonata.
-
OJ 8/3, [91] Handwritten postcard from Heinrich and Jeanette Schenker to Moriz Violin, dated October
16, 1920
Schenker is curious how Violin gets on with Ferdinand Pfohl. — Is Violin seeking
a teaching position in Hamburg? — Reports on delivery of Kontrapunkt 2 to Cotta. — Will visit
Wally next Sunday.
-
OJ 8/3, [90] Handwritten postcard from Heinrich and Jeanette Schenker to Valerie Violin, undated,
postmarked [October] 17, 1920
The Schenkers are unable to visit Wally this Sunday, but will do so the following
Sunday.
-
OJ 15/15, [8] Handwritten postcard from Weisse to Schenker, dated November 2, 1920
Weisse asks for help in explaining the development section of the first movement
of Brahms's Piano Trio No. 1 in B major, Op. 8; asks for the address of Fräulein Fried.
-
OJ 10/3, [17] Typewritten letter from Otto Erich Deutsch to Schenker, dated November 6,
1920
Deutsch encloses two photographic prints of the Fitzwilliam Museum's
"Moonlight" Sonata sketchleaf. Edward Speyer has not yet had his sketchleaf photographed,
but has sent a description of its content, which Deutsch passes on.
-
OJ 10/3, [18] Typewritten postcard from Otto Erich Deutsch to Schenker, dated November 13,
1920
Deutsch has obtained a sheet with corrections for Beethoven's "Hammerklavier"
Sonata, which he would like to show Schenker. The photographic images of the "Moonlight"
Sonata will be made this week.
-
OJ 10/3, [19] Typewritten postcard from Leo Fischmann to Schenker, dated November 22,
1920
Leo Fischmann (legal attorney) invites Schenker to visit him at
home.
-
OJ 10/3, [20] Typewritten letter from Otto Erich Deutsch to Schenker, dated November 26,
1920
Replying to Schenker's postcard of November 20th, Deutsch writes that the
connoisseur edition is to be reproduced using photolithography, and repeats the particulars
of the Fitzwilliam Museum's "Moonlight" Sonata sketchleaves. Speyer has allowed his
sketchleaf of the Sonata to be photographed, and reports that he also owns a letter from
Beethoven to Schlesinger (Paris) about corrections to the C minor Sonata (Op. 111).
Universal Edition urgently requires a prospectus for the Beethoven day, and so Deutsch asks
for sight of the draft of Schenker's Preface.
-
OJ 11/16, [3] Handwritten letter from Furtwängler to Schenker, dated November 26, 1920
Furtwängler proposes that they meet on Tuesday [November 30, 1920].
-
OJ 10/3, [21] Typewritten letter from Otto Erich Deutsch to Schenker, dated December 11,
1920
Deutsch encloses the photographs of Edward Speyer's "Moonlight" Sonata
sketchleaves and asks Schenker to revise his Preface accordingly, before forwarding the
photographs and Preface to him. The photographic reproduction of the Sonata manuscript in
Bonn has been delayed by a chemical and glass shortage. Schenker's corrections were used for
the prospectus.
-
OJ 10/1, [59] Handwritten letter from Dahms to Schenker, dated December 22, 1920
Dahms sends the Schenkers best wishes for Christmas and the New Year; speaks of
Schenker as "our great leader"; inquires about progress on publication of three Schenker works
and whether Schenker has sufficient fuel and other necessities.
-
OJ 10/3, [22] Typewritten letter from Otto Erich Deutsch to Schenker, dated December 23,
1920
Deutsch confirms receipt of Schenker preface for the "Moonlight" Sonata
edition and five photographs of sketchleaves. He will send a formal contract in the next few
days.
-
OJ 10/1, [60] Handwritten letter from Dahms to Schenker, dated December 29, 1920
Dahms thanks Schenker for his assessment of the three of his books that he has
sent him; gives a chapter synopsis of his next book, concerning Nietzsche and music; reports on
his movement in the coming months.
-
OJ 11/35, 18b Handwritten letter from Halm to Schenker, dated December 30, 1920
Halm acknowledges letter, sends one newly-published composition, and tells
Schenker of a forthcoming performance of a concerto by him, and three compositions turned down
for publication.
-
OJ 10/1, [61] Handwritten letter from Dahms to Schenker, dated January 5, 1921
Dahms thanks Schenker for a photograph.
-
OJ 8/4, [1] Handwritten postcard from Schenker to Moriz Violin, dated January 10, 1921
Schenker asks Violin to arrange for payments and currency
conversion.
-
OJ 14/21, [1] Delivery note from Seidel'sche Buchhandlung to Schenker, dated January 26, 1921
Delivery note from Deutsch's book dealership (Seidel'sche Buchhandlung) for Frimmel,
Beethoven-Forschung Vol. 1/8.
-
OJ 10/3, [23] Handwritten letter from Otto Erich Deutsch to Schenker, dated January 30,
1921
The overdue ["Moonlight" Sonata edition] contract is finally ready, and
Deutsch hopes that Schenker is happy with the wording. The Bonn photographs are also ready.
Schenker should expect to receive an edited version of his commentary, and perhaps also an
English translation.
-
OJ 8/4, [2] Handwritten postcard from Schenker to Moriz Violin, dated February 6, 1921
Schenker congratulates Violin on obtaining a teaching post in Hamburg and reports
on progress on his written work and publications.
-
OJ 8/4, [3] Handwritten postcard from Schenker to Valerie Violin, dated February 8, 1921
Schenker accepts an invitation to lunch from Valerie Violin.
-
OJ 14/21, [2] Carbon copy of delivery note from Seidel'sche Buchhandlung to Schenker, dated 26 January, 1921, with
additional annotations, dated February 9, 1921
Annotated carbon copy of a delivery note from Deutsch's book dealership (Seidel'sche Buchhandlung)
for Frimmel, Beethoven-Forschung Vol. 1/8.
-
OJ 14/1, [4] Handwritten postcard from Felix Hupka to Schenker, dated February 18, 1921
In Leipzig Hupka reports that he has met Karl Straube, who inquired as to the
possibility of tempting Schenker to move to Leipzig, and also Alfred Heuss and Walter
Niemann.
-
OJ 8/4, [4] Handwritten postcard from Heinrich and Jeanette Schenker to Valerie Violin, dated
February 26, 1921
Schenker inquires about a series of payments from Miss Reich for
lessons.
-
OJ 10/1, [62] Handwritten letter from Dahms to Schenker, dated April 4, 1921
Dahms asks Schenker to recommend him to Cotta re: the book he is writing on
Italian opera.
-
OJ 8/4, [5] Handwritten postcard from Schenker to Moriz Violin, dated April 29, 1921
Schenker describes some of the last-minute activities prior to their moving to a
new apartment, at No. 8 Keilgasse, lists his works that are about to be published, and reports
that Buxbaum has been dismissed as cellist of the Arnold Rosé Quartet.
-
OJ 6/7, [1] Handwritten letter from Schenker to Moriz Violin, dated June 13, 1921
Schenker gives an account of the move into Keilgasse 8 and describes his study in
the apartment. He outlines his holiday plans, and explains how he is raising the fees for
lessons in the autumn.
-
OJ 10/1, [63] Handwritten letter from Dahms to Schenker, dated June 17, 1921
Dahms sends birthday greetings. — Cotta has turned down his book proposal. — He
will soon obtain a passport and hopes to visit the Schenkers during the summer.
-
OJ 8/4, [6] Handwritten picture postcard from Heinrich and Jeanette Schenker to Moriz Violin, dated
June 30, 1921
On holiday (for the first time) in Galtür in the Paznaun Valley, Schenker
composes two short verses in local dialect, and Jeanette a third, to convey something of the
Tyrolean atmosphere.
-
OJ 8/4, [7] Handwritten picture postcard from Schenker to Moriz Violin, dated July 6, 1921
In anticipation of preparing an edition of Handel's keyboard works, Schenker asks
Violin for the address of a library in Hamburg that would be likely to have an early print or
handwritten copy of Handel's first book of Suites.
-
OJ 10/1, [64] Handwritten letter from Dahms to Schenker, dated July 14, 1921
Dahms has to go to Berlin, after which he will explore visiting the Schenkers in
Galtür.
-
OJ 15/16, [45] Handwritten letter from Weisse to Schenker, dated July 20, 1921
Weisse has completed a string quartet, the parts of which are being copied out,
after which the score will be sent to the leader of the Rosé Quartet. He has been recommended as
a music teacher in a school being set up in India by Rabindranath Tagore, but cannot accept
because his knowledge of English is insufficient. He enquires about the progress of Schenker's
current projects.
-
OJ 11/35, 19 Handwritten letter from Halm to Schenker, dated July 28, 1921
Halm discusses an "intended gift," and the merits of Matthäus Hentz and K. T. Schmid to
receive it. Halm reports that he has moved from Esslingen to Wickersdorf, and that his Concerto for Large
Orchestra has been performed by Fritz Busch in Stuttgart, and comments on Cotta's hand-over of
Kontrapunkt.
-
OJ 14/23, [20] Handwritten postcard from Seligmann to Schenker, undated [probably August
1921]
Seligmann thanks Schenker for arranging to have one of his books sent to him,
but it has not yet reached him. He looks forward to seeing him in the
autumn.
-
OJ 10/1, [65] Handwritten letter from Dahms to Schenker, dated August 21, 1921
Dahms is unable to visit the Schenkers in Galtür. — He criticizes Berlin and its
artists and critics.
-
OJ 15/15, [9] Handwritten postcard from Weisse to Schenker, postmarked August 22, 1921
Weisse is taking a very late summer holiday and so cannot visit Schenker in
Galtür. He has finished composing a sonata and is writing out a fair copy.
-
OJ 14/45, [11] Handwritten letter from Moriz Violin to Schenker, dated September 1, 1921
Violin announces the formation of a piano trio ensemble with a violinist named
Wolfsthal and the cellist Friedrich Buxbaum, inquires about the proposed edition of Handel's
keyboard works, and reports on the incipient civil unrest in the wake of a national movement in
Germany.
-
OJ 15/15, [10] Handwritten postcard from Weisse to Schenker, dated September 12, 1921
Nearing the end of a two-week holiday in Bad Ischl, Weisse hopes to see Schenker
in Vienna the following Sunday.
-
OJ 10/1, [66] Handwritten picture postcard from Margarete and Walter Dahms to Schenker, dated
September 22, 1921
Dahms and his wife send greetings from Munich.
-
OJ 8/4, [8] Handwritten postcard from Schenker to Moriz Violin, dated September 23, 1921
Schenker alerts Violin to the imminent arrival of a payment.
-
OJ 10/3, [24] Typewritten letter from Otto Erich Deutsch to Schenker, dated September 24,
1921
Deutsch reports that the "Moonlight" Sonata edition is almost finished, but
because of translation problems he has asked Dr. Kalmus to show Schenker the latest revision
of the English preface. Schenker's photographic reproductions will be returned once a sample
print-out of the edition has been prepared and approved. The edition will launch in the
autumn, and Schenker's fee will have increased because of the delay.
-
OJ 11/10, [16] Handwritten letter from Frimmel to Schenker, dated September 26, 1921
Frimmel thanks Schenker for delivery of the latter's elucidatory editions of
Beethoven's piano sonatas Opp. 101 and 111, and expresses admiration.
-
OJ 14/45, [105] Handwritten postcard from Moriz Violin to Heinrich Schenker, dated October 6, 1921
Violin acknowledges receipt of payment, inquires about reviews of Der
Tonwille.
-
OJ 10/1, [67] Handwritten postcard from Dahms to Schenker, dated October 12, 1921
Dahms reports on his Italian sojourn and work.
-
OJ 14/45, [12] Handwritten letter from Moriz Violin to Schenker, dated October 30, 1921
Violin reports on his work, and on musicians in Hamburg, and congratulates
Schenker on his (publication) successes.
-
OJ 10/3, [25] Typewritten letter from Otto Erich Deutsch to Schenker, dated November 15,
1921
Deutsch notes the advance payments for Vrieslander's and Hoboken's copies of
the luxury edition of the "Moonlight" Sonata, both of which are to be delivered to
Vrieslander.
-
OJ 14/1, [5] Handwritten letter from Felix Hupka to Schenker, dated November 18, 1921
Hupka reports on his latest concert, in Munich. Otto Vrieslander and Herman Roth
were present, and Hupka reports their critical reactions to his program. He visited the home of
Paul Hirsch.
-
OJ 10/1, [68] Handwritten letter from Dahms to Schenker, dated November 22, 1921
Rome has been overtaken by commerce. — [material missing] — Berlin regards Dahms
as stuck in the past.
-
OJ 15/15, [11] Handwritten postcard from Hertha and Hans Weisse to Schenker, dated December 1,
1921
Weisse has returned a score to Universal Edition and written to Moriz Violin. He
has, with some reluctance, raised his lesson fee.
-
OJ 11/36, [4] Handwritten letter from Hammer to Schenker, dated December 9, 1921
Hammer owns several of Schenker's books and is beginning to understand their
concepts.
-
OJ 10/3, [26] Typewritten postcard from Otto Erich Deutsch to Schenker, dated December 28,
1921
A payment of 1,200 marks from Seidel's Book Dealership, on behalf of Deutsch,
has been made to Schenker's Deutsche Bank account.
-
OJ 10/3, [27] Typewritten postcard from Österreichisches Credit-Institut to Schenker, dated
December 30, 1921
The Österreichisches Credit-Institut informs Schenker that 1,200 marks has
been paid into his account from Seidel's Book Dealership, O. E. Deutsch & Co,
Vienna.
-
OJ 13/35, [1] Handwritten calling card from Hilde and Semion Rubinraut to Schenker, dated January
1922
Semion and Hilde Rubinraut send best wishes for the New Year.
-
OJ 6/7, [2] Handwritten letter from Schenker to Moriz Violin, dated January 29, 1922
Schenker offers to lend Violin his performing materials for two keyboard
concertos by C. P. E. Bach. He inquires about musical life in Hamburg, reports on his most
recent work, continues to despair of his financial situation.
-
OJ 14/45, [13] Handwritten letter from Moriz Violin to Schenker, dated February 2, 1922
In this direct reply to Schenker's previous letter, OJ 6/7, [2], Violin expresses
his dismay that some of the performing material for keyboard concertos by C. P. E. Bach,
including original cadenzas by Schenker, appear to have gone missing. — He reports on his
growing number of pupils, on the acquisition of a piano for his apartment, and on Hamburg's
extremely conservative musical tastes.
-
OJ 10/3, [28] Typewritten letter from Deutsch to Schenker, dated February 14, 1922
Deutsch offers to provide several books to Schenker instead of two or three hardback copies of the
"Moonlight" Sonata edition, and then details several misprints and factual errors in Romain Rolland's biography
of Beethoven.
-
OJ 14/21, [3] Delivery note from Seidel'sche Buchhandlung to Schenker, dated February 15, 1922
Delivery note from Deutsch's bookshop (Seidel'sche Buchhandlung) to Schenker for works by J. S.
Bach, Mozart and Brahms.
-
OJ 10/1, [69] Typed letter from Dahms to Schenker, dated March 11, 1922
Dahms's book, which has earned an award, is delayed at the bindery. He blames
this on the prevailing undisciplined conditions in Germany, criticizes the current government,
and predicts war.
-
OJ 10/3, [29] Handwritten letter from Deutsch to Schenker, dated March 20, 1922
Deutsch writes that the "Moonlight" Sonata facsimile edition is still being
printed, and that he cannot make a decision on the production of a second facsimile edition
until the new contract has been agreed with Universal Edition. The contract has been delayed
by Universal Edition's dispute with Drei Masken. If they have to abandon plans for the
facsimile edition of Beethoven's "Spring" Sonata Op. 24 because of the dispute, Deutsch
suggests Beethoven's String Quartet Op. 95 as an alternative.
-
OJ 11/36, [5] Handwritten letter from Hammer to Schenker dated March 23, 1922
Hammer praises Schenker's edition of Bach's Chromatic Fantasy & Fugue,
raising an issue about fingering on the clavichord.— He inquires after Tonwille 2, and hopes to
visit Schenker in Vienna soon.
-
OJ 10/3, [30] Typewritten letter from Deutsch to Schenker, dated April 8, 1922
Deutsch has learnt from Dr. [Greta] Kraus that Dr. Haas still does not want to allow them to
reproduce facsimiles of Beethoven's "Spring" Sonata Op. 24, because he feels bound to Drei Masken. When
Universal Edition have confirmed this to Deutsch, Deutsch will ask Schenker to propose a different Beethoven
manuscript.
-
OJ 8/4, [11] Handwritten postcard from Schenker to Moriz Violin, dated April 9, 1922
Schenker apologizes for not having been in touch with Violin, mainly owing to
overwork and a severe diabetic reaction, which required medical attention. He reports on a new
series of Beethoven sonata editions – an "Urlinie-Ausgabe" – he is planning to
undertake.
-
OJ 10/3, [31] Typewritten letter from Deutsch to Schenker, dated April 18, 1922
Deutsch informs Schenker that Drei Masken is publishing a facsimile of Beethoven's Piano Sonata in
C minor, Op. 111.
-
OJ 10/3, [32] Typewritten postcard from Deutsch to Schenker, dated April 20, 1922
Deutsch thanks Schenker for his suggestions [for further facsimile editions] and has passed them
on to Universal Edition.
-
OJ 10/3, [33] Typewritten postcard from Deutsch to Schenker, dated April 21, 1922
Deutsch has already written to Universal Edition about [Schenker's proposal for a facsimile
edition of] Beethoven's Piano Sonata Op. 109. Should this plan be realized, he hopes that Schenker will provide
a foreword.
-
OJ 10/3, [34] Typewritten letter from Deutsch to Schenker, dated April 26, 1922
Deutsch reports that Universal Edition has agreed to publish facsimile editions of Beethoven's
Piano Sonatas Opp. 109 and 110; he asks what sources Schenker could make available. Deutsch would also like to
know which Beethoven string quartet Schenker would recommend for a further facsimile edition.
-
OJ 6/7, [3] Handwritten letter from Schenker to Moriz Violin, dated May 6, 1922
This wide-ranging letter describes the difficulties encountered with Emil Hertzka
at Universal Edition, concerning an attack on the music critic Paul Bekker planned for the
"Miscellanea" of Tonwille 2. — He expresses his displeasure with Weisse for putting his success
as a composer in the way of aiding his teacher's cause, and for exploiting his teacher's
generosity. — Ends with generous praise for Violin's musicianship.
-
OJ 10/3, [35] Typewritten letter from Deutsch to Schenker, dated May 12, 1922
Deutsch has passed Schenker's suggestions for facsimile editions on to Universal Edition, and asks
for a reference for the Bekker article that Schenker mentioned.
-
OJ 15/15, [12] Handwritten postcard from Hertha Weisse to Jeanette Schenker, dated May 20,
1922
Hertha Weisse gives Jeanette Schenker the name and address of a tailor who can
make her a coat, and tells her how much material she needs to buy.
-
OJ 10/3, [36] Typewritten postcard from Deutsch to Schenker, dated May 22, 1922
Deutsch asks Schenker to visit him in his office in the next few days.
-
OJ 10/3, [37] Typewritten postcard from Deutsch to Schenker, dated May 26, 1922
Deutsch reports that Drei Masken will not publish a facsimile edition of Beethoven's "Spring"
Sonata Op. 24, and will instead publish editions of Beethoven's Piano Sonata in F-sharp Op. 78, a string quartet
by Haydn, and Schubert's Winterreise and B minor Symphony.
-
OJ 11/36, [6] Handwritten letter from Hammer to Schenker dated May 29, 1922
Hammer thanks Schenker for his letter and generosity, and invites Heinrich and
Jeanette to visit, suggesting May 31; — proofs of his monograph have arrived.
-
OJ 14/46, [1] Handwritten postcard from Fanny Violin to Jeanette Schenker, dated May 29, 1922
Fanny apologizes for missing Jeanette and plans to visit.
-
OJ 11/36, [7] Handwritten postcard from Hammer to Schenker, postmarked May 30, 1922
Hammer changes time of Schenker visit.
-
OJ 8/4, [12] Handwritten postcard from Schenker to Moriz Violin, undated [June 17, 1922]
Schenker explains why the "Miscellanea" is missing from Tonwille 2; he likens
Hertzka's heavy-handedness to Prince Metternich's police-state tactics.
-
OJ 10/1, [70] Handwritten postcard from Margarete and Walter Dahms to Schenker, dated June 19,
1922
The Dahmses sent birthday greetings and report on their life in
Italy.
-
OJ 14/21, [4] Invoice from Seidel'sche Buchhandlung to Schenker, dated June 30, 1922
Invoice from Deutsch's bookshop (Seidel'sche Buchhandlung) for works by Mozart and Brahms, and a
book by Hildebrand, which also shows a credit remittance for one copy of Schenker's facsimile edition of
Beethoven's "Moonlight" Sonata.
-
OJ 10/1, [71] Handwritten picture postcard from Dahms to Schenker, dated July 12, 1922
Acknowledges and praises Tonwille 2; inquires about Thal Verlag.
-
OJ 15/15, [13] Handwritten postcard from Weisse to Schenker, dated July 17, 1922
Weisse has returned to Vienna, thanks Schenker for the Galtür visit, and will
order the bread [for diabetics] the next day.
-
OJ 15/16, [46] Handwritten letter from Hans and Hertha Weisse to Schenker, dated July 21, 1922
Weisse reports from Vienna that a sum of money has arrived, and will be paid to
its intended recipient (Kohn), and gives an account of his and Hertha Weisse's travels in
Vorarlberg following a visit to the Schenkers in Galtür.
-
OJ 8/4, [13] Handwritten postcard from Schenker to Moriz Violin, dated July 9, 1922
Schenker reports the publication of the second part of Kontrapunkt and continued
difficulties with Universal Edition.
-
OJ 11/35, 20 Handwritten letter from Halm to Schenker, dated July 24 and August 19, 1922
Halm announces publication of his three suites for piano trio, and has arranged for two of
them to be sent to Schenker. He thanks Schenker for sending him Kontrapunkt II, and expresses admiration
for the "power of the broad conception" of Schenker's work. He is distressed at Schenker's attacks on
other countries and glorification of Germany, and speaks with appreciation of French and Russian music. He
describes his new publisher.
-
OJ 14/45, [14] Handwritten letter from Moriz Violin to Schenker, dated July 24, 1922
In this highly emotional letter, Violin describes his personal difficulties in
the face of spiraling inflation in Germany.
-
OJ 8/4, [14] Handwritten postcard from Schenker to Moriz Violin, dated August 5, 1922
Schenker commends Walter Dahm's latest book, Die Offenbarung der Musik, to Violin
as one which ought to have important consequences for the course of music.
-
OJ 10/18, [1] Handwritten letter from Elias to Schenker, dated August 10, 1922
Miss Elias is unable to get to Galtüt on account of bad weather. — She
compares prices in the Tyrol with those in Vienna. — She hopes to meet up with the Schenkers
in Innsbruck on the homeward journey. — She confirms that she will be able to meet her
financial obligations in teh coming year.
-
OJ 15/16, [47] Handwritten letter from Hans and Hertha Weisse to Schenker, dated August 11, 1922
Weisse reports that he is dealing with business matters entrusted to him by
Schenker, and thanks his teacher for arranging the posting of Kontrapunkt 2, which he is in the
midst of reading.
-
OJ 13/35, [2] Handwritten letter from Hilde Rubinraut to Schenker, dated September 1,
1922
Hilde Rubinraut explains her difficulties as a resident of Prague visiting
Vienna under current conditions; she asks Schenker in which currency she should pay his fee;
and seeks advice as to whether she should continue taking one piano and one theory lesson,
or opt, for a time, for two piano lessons.
-
OJ 14/45, [15] Handwritten letter from Moriz Violin to Schenker, dated September 3, 1922
Violin reports that his son Karl has suffered several setbacks of health,
including inflammation of a cardiac muscle. Plans for Musikhochschule in Hamburg are making
strides.
-
OJ 13/35, [3] Handwritten letter from Hilde Rubinraut to Schenker, dated September 7,
1922
Hilde Rubinraut asks Schenker to name a gilt-edged currency in which to pay
him, and decides to opt for two piano lessons per 3-weekly visit.
-
OJ 8/4, [15] Handwritten postcard from Schenker to Moriz Violin, dated September 10, 1922
Hearing of the Violins' son Karl's recent illness, Schenker sends his sympathy,
then reports on his financial troubles. His application for a post at the University of Leipzig
was received without enthusiasm, on the grounds that he is "more an artist than a
scholar."
-
OJ 14/45, [16] Handwritten lettercard from Moriz Violin to Schenker, dated September 13, 1922
Violin reports briefly about his son's health, then goes into the practical
issues arising from Schenker's active search for a post at a German music institute.
-
OJ 14/45, [17] Handwritten lettercard from Moriz Violin to Schenker, dated September 13, 1922
Apparently having returned from a visit to Vienna, Violin expresses his joy at
having seen Schenker recently.
-
OJ 8/4, [16] Handwritten postcard from Schenker to Moriz Violin, dated September 29, 1922
Schenker reports, among other things, that Hans Weisse has returned as a paying
pupil.
-
OJ 10/1, [72] Handwritten letter from Dahms to Schenker, dated October 28, 1922
Dahms chooses to remain in Italy in view of the "moral and physical devastation"
that he hears reported from Germany. — He is committed to Schust & Loeffler for a Haydn
biography. He reports on a review of his book "Offenbarung."
-
OJ 10/3, [38] Typewritten postcard from Deutsch to Schenker, dated October 30, 1922
Deutsch apologizes for the delay to Schenker's payment for the "Moonlight"
Sonata facsimile edition, for which Deutsch himself is to blame. Schenker's debt to Seidel's
Book Dealership is 301 marks and 300 kronen, which should be balanced by his income from the
facsimile edition.
-
OJ 12/59, [1] Handwritten letter from Siegfried Fritz Müller to Schenker, October 31,
1922
Siegfried Fritz Müller suspends his lessons with Schenker on account of his
father's financial circumstances.
-
OJ 11/35, 21 Handwritten letter from Halm to Schenker, dated September 30, 1922]
Halm acknowledges receipt of a letter, and returns newspaper
clippings.
-
OJ 14/45, [106] Handwritten postcard from Moriz Violin to Schenker, dated December 19, 1922
Violin points out that Universal Edition is advertising Schoenberg's
Harmonielehre but not Schenker's.
-
OJ 6/7, [4] Handwritten letter from Schenker to Moriz Violin, dated December 21, 1922
Schenker reports the imminent publication of Tonwille 3, and some new publishing
ventures, including a (new) edition of music by C. P. E. Bach and an "Urlinie Edition" of the
Short Preludes by J. S. Bach.
-
OJ 8/4, [17] Handwritten postcard from Schenker to Moriz Violin, dated December 23, 1922
Amplifying a thought expressed in a recent letter, Schenker speaks of a plan to
silence the throng that worships Schoenberg and the moderns, but money for it is
lacking.
-
OJ 10/1, [73] Typewritten letter from Walter and Margarete Dahms to Schenker, dated December 27,
1922
Dahms has been trying to improve his publishers' financial terms. — He is in
low-grade accommodation; housing in the "German colonies" is available only to officials. —
Reports on the concert season in Rome. — Die Musik would not accept an article from him on
Schenker's teachings. — Comments on a recent article by Paul Bekker, on Emil Hertzka's
"sabotaging" of Schenker, and Furtwängler's lack of whole-hearted support. — Is still working on
his latest book, for which he is arranging a de luxe edition by subscription. — Reports
unfavorably on an incident in which Otto Klemperer played the Italian fascist
hymn.
-
OJ 10/3, [39] Typewritten letter from Deutsch to Schenker, dated December 29, 1922
Deutsch provides a full overview of Schenker income from the current sales reported by Universal
Edition of the "Moonlight" Sonata facsimile edition, and also his debts at Seidel's Book Dealership; Schenker
owes Deutsch 76.65 marks. Deutsch is dissatisfied with Universal Edition's behavior with respect to the
publication.
-
OJ 13/35, [4] Handwritten letter from Hilde Rubinraut to Schenker, dated January 5,
1923
Hilde Rubinraut reports that she has her permanent Austrian visa. -- She is
pregnant, and will have to defer visits to Vienna for a few weeks.
-
OJ 8/4, [20] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated January 21,
1923
Schenker reports on the publication progress of Der Tonwille, and on his plans to
get his pupils to help him distribute copies to schools and potentially interested readers.
-
OJ 14/45, [20] Handwritten letter from Moriz Violin to Heinrich Schenker, dated February 6, 1923
Violin thanks Schenker for Tonwille 3 and reports on growing social unrest and
anti-French feeling in Germany.
-
OJ 10/1, [74] Handwritten letter from Dahms to Schenker, dated February 9, 1923
Dahms reports change of address and explains circumstances; has sent a
prospectus to UE; progress on subscriptions to his de luxe edition and a new American
contact; synopsis of his planned Bel Canto book. — He praises the "Miscellanea" in Tonwille
3, and comments on Schenker's understanding of democracy.
-
OJ 11/2, [1] Handwritten letter from Emma Fischer to Schenker, dated February 15, 1923
Baroness Fischer responds to Schenker's plan for distribution of issues of Der
Tonwille by suggesting contacts in the Vienna music schools and professional
association.
-
OJ 11/2, [2] Handwritten letter from Emma Fischer to Schenker, dated February 23, 1923
Baroness Fischer gives names and addresses of five of her pupils to whom Der
Tonwille should be sent; she regrets that Schenker will not spread his theory further by
means of lectures.
-
OJ 14/23, [21] Handwritten postcard from Seligmann to Schenker, postmarked February 24,
1923
Seligmann accepts an invitation to the Schenkers’ place for the following
Wednesday (February 28, 1923).
-
OJ 14/23, [22] Handwritten postcard from Seligmann to Schenker, postmarked September 30,
1924
Seligmann thanks Schenker for sending him a copy of Tonwille 7; he would like
to accept the Schenker’s invitation, but must wait for the neuralgia in his leg to
subside.
-
OJ 8/4, [21] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated April 5,
1923
Schenker asks after Violin and his family, reports on progress with Der Tonwille
and the edition of the Beethoven sonatas.
-
OJ 8/4, [22] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated April 26,
1923
Not having heard from him for a long time, Schenker’s asks for news of Violin and
his family.
-
OJ 14/45, [21] Handwritten letter from Moriz Violin to Heinrich Schenker, dated April 28, 1923
Violin reports on a brief trip to Berlin for respite from the strain of teaching
and his son’s illness. He is reading the second volume of Schenker’s Counterpoint, but asks him
for clarification of a matter concerning second-species counterpoint in two voices, discussed in
volume 1.
-
OJ 10/1, [75] Handwritten postcard from Dahms to Schenker, dated May 7, 1923
Dahms has received Vrieslander's essay on Schenker; reports progress on
subscriptions for his de luxe edition, proofs, and his work on Haydn; political comment.
-
OJ 10/1, [76] Handwritten postcard from Dahms to Schenker, dated May 19, 1923
Hertzka's excuse for not subscribing; gives summer address; asks ornamentation
question about the "Les adieux" sonata.
-
OJ 14/45, [22] Handwritten lettercard from Moriz Violin to Heinrich Schenker, dated May 31, 1923
Apparently replying to a letter from Schenker (not recorded in his diary), Violin
describes the widespread self-disparagement among Germans, and blames Jewish intellectuals for
the defeatist atmosphere in Germany.
-
OJ 8/4, [23] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated June 11,
1923
Responding to a letter from Violin despairing of the political situation in
Germany, Schenker quotes a passage from Pastor Gustav Frenssen's Letters from America, which
resonate with his own views that German society is, in effect, ruled by foreign despots.
-
OJ 10/1, [77] Handwritten letter from Dahms to Schenker, dated June 15, 1923
Dahms sends best wishes on Schenker's [55th] birthday, thanks him for his
assistance, and praises vol. I of Schenker's Beethoven sonata edition. Members of the German
community in Rome reject his assertions about genius.
-
OJ 11/10, [17] Handwritten postcard from Frimmel to Schenker, dated July 6, 1923
Frimmel makes a word-play on a feuilleton of the same date by Korngold
relating to Sigenfeld.
-
OJ 6/7, [5] Handwritten letter from Heinrich Schenker to Moriz Violin, dated July 9,
1923
Having settled into country life in the Tyrol, Schenker returns to his work, in
particular to the ongoing battles with Hertzka over the publication of Der Tonwille. He asks
Violin’s opinion about a subscription plan for a periodical that would appear four times a year
(instead of the current two), and hopes that his friend might spare a few days to visit him in
Galtür.
-
OJ 12/59, [2] Handwritten letter from Siegfried Fritz Müller to Schenker, dated July 12,
1923
Siegfried Fritz Müller asks for a testimonial for a piano teaching
position.
-
OJ 14/45, [23] Handwritten lettercard from Moriz Violin to Heinrich Schenker, dated July 12, 1923
Violin writes approvingly of Schenker’s scheme to make Der Tonwille available by
subscription, as a periodical publication, and has a plan in mind. He inquires about the cost of
staying in Galtür.
-
OJ 14/45, [24] Handwritten letter from Moriz Violin to Heinrich Schenker, dated July 14, 1923
Violin has met an industrialist by the name of Max Temming who would be willing
to help make Schenker’s work more widely accessible. Violin will probably not visit the
Schenkers in Galtür this summer, as prices have gone up in Germany.
-
OJ 15/16, [48] Handwritten letter from Hans and Hertha Weisse to Schenker, dated July 15, 1923
Weisse summarizes his recent travels in northern Italy and Switzerland, and
inquires about progress on Der freie Satz, a work which he thinks will be an indispensable
foundation for the analyses in Der Tonwille.
-
OJ 12/58, [1] Handwritten letter from Paul Müller to Schenker, dated July 19, 1923
Paul Müller asks Schenker to write a testimonial for his son, Siegfried Fritz,
and expresses satisfaction at the latter's progress.
-
OJ 12/58, [2] Handwritten letter from Paul Müller to Schenker, dated July 20, 1923
Paul Müller thanks Schenker for a testimonial for his son, Siegfried
Fritz.
-
OJ 6/7, [6] Handwritten letter from Heinrich Schenker to Moriz Violin, dated July 20,
1923
Schenker describes his efforts to make Der Tonwille more widely read, through its
distribution by his pupils and its display in music shop windows. He needs more help from pupils
and friends with the dissemination of his work, but complains that Hans Weisse has let him down
on more than one occasion by not writing about his work. Finally, he asks Violin’s advice about
whether he should accept an invitation to speak at a conference in Leipzig, or whether he should
simply stay at home and continue to write.
-
OJ 8/4, [24] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated August 9,
[1923]
Concerned that Violin has not arrived in Galtür, Schenker asks him if something
has gone amiss with his plans to visit.
-
OJ 14/45, [25] Handwritten lettercard from Moriz Violin to Heinrich Schenker, dated August 16, 1923
Violin cannot come to the Tyrol to visit the Schenkers, on account of the
turmoil in Germany and horrendous currency situation; he will come to Vienna for Christmas, but
only for a few days.
-
OJ 10/1, [78] Handwritten letter from Dahms to Schenker, dated August 23, 1923
Dahms has received Tonwille 4 but not yet examined it. — Has deferred work on
his Haydn book because of financial problems over Musik des Südens and poor take-up of
subscriptions. — Debates whether to attend the Leipzig musicology conference. — Comments on
German politics as the occupation of the Ruhr unfolds, and compares German attitudes with
Italian.
-
OJ 12/59, [3] Handwritten letter from Siegfried Fritz Müller to Schenker, dated September 7,
1923
Siegfried Fritz Müller reports on a recital that he has given, inclosing the
program and early reviews. –- He has just done an audition for the position for which he has
applied. -- He has to do a short period of military service, after which he will continue
his studies with Schenker.
-
OJ 15/16, [49] Handwritten letter from Weisse to Schenker, dated September 7, 1923
Weisse asks Schenker why he and his wife treated him so coldly when they recently
met on the street; he suspects this had something to do with his recent trip to Italy, protests
his innocence but affirms his unchanged love for his teacher.
-
OJ 5/45, [3] Copy, in Jeanette Schenker's hand, of a letter from Schenker to Weisse, dated September
12, 1923
Schenker explains his behavior a few days before, in reply to Weisse’s letter of
September 7, and his implicit displeasure at his pupil's lengthy trip to Italy in the summer.
-
OJ 5/45, [4] Handwritten picture postcard from Heinrich and Jeanette Schenker, not mailed, dated
September 13, 1923
The Schenker's record for themselves their visit to Julia Schenker's grave.
-
OJ 12/11, [1] Handwritten letter from Klenau to Schenker, dated September 17, 1923
First approach from Klenau: asks to visit Schenker.
-
OJ 12/11, [2] Handwritten letter from Klenau to Schenker, dated September 19, 1923
Klenau agrees the date and time for his visit to Schenker.
-
OJ 12/17, [1] Handwritten letter from Komorn to Heinrich Schenker, dated September 20,
1923
Miss Komorn is transferring her studies from Hans Weisse to Schenker. She asks
for suggested pieces to prepare, and for the day and time of her first
lesson.
-
OJ 12/11, [3] Handwritten letter from Klenau to Schenker, dated September 25, 1923
Klenau thanks Schenker for their discussion on September 21.
-
OJ 12/17, [2] Handwritten postcard from Komorn to Schenker, dated October 1, 1923
Mrs. Komorn will turn up for her first lesson as notified.
-
OJ 11/16, [4] Handwritten postcard from Furtwängler to Schenker, undated [October 3, 1923]
Furtwängler proposes that they meet on Thursday [October 4, 1923].
-
OJ 8/4, [25] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated October 3,
1923
Schenker asks for a few lines from Violin, just to let him know that things are
all right, so that he can send him a longer message.
-
OJ 12/11, [4] Handwritten letter from Klenau to Schenker, dated October 4, 1923
Klenau asks Schenker questions about the performance of the "Eroica"
Symphony.
-
OJ 14/45, [26] Handwritten lettercard from Moriz Violin to Heinrich Schenker, dated October 9, 1923
In response to Schenker’s recent postcard, Violin reports that his family are
mainly well, but that the political situation in Germany is so depressing that it is almost
impossible to write. He would be glad to have some news from Schenker.
-
OJ 12/11, [5] Handwritten letter from Klenau to Schenker, dated October 21, 1923
Klenau thanks Schenker for advice on performing the "Eroica"
Symphony.
-
OJ 6/7, [7] Handwritten letter from Heinrich Schenker to Moriz Violin, dated October 21,
1923
In a wide-ranging letter, Schenker expresses his joy at Karl Violin’s improving
health, and goes on to mention a number of personal successes he has lately had, including a
visit from Paul von Klenau to take advice for a forthcoming performance of Beethoven’s Missa
solemnis. He has also had some unexpected support from his publisher, who wants to expand Der
Tonwille to a quarterly publication. He is planning to take part in a series of charity concerts
(three Haydn piano trios), and has heard that Clemens Kraus and Hans Knappertsbusch are
overtaking Furtwängler as conductors in Vienna by accepting more modest fees.
-
OJ 11/36, [8] Handwritten letter from Hammer to Schenker dated October 22, 1923
Hammer buys all Schenker's publications, including Tonwille, but admits he has
difficulty understanding Schenker's Harmonielehre; — asks for loan of Halm's [Klavierübung]; —
gives his forthcoming dates;— comments on the lute and its tablature; — considers Busoni's
[Entwurf] wrong-headed.
-
OJ 15/15, [14] Handwritten postcard from Weisse to Schenker, dated October 23, 1923
Weisse accepts a social invitation from the Schenkers, and hopes to reciprocate
soon.
-
OJ 11/36, [9] Handwritten letter from Hammer to Schenker undated [October 25, 1923]
Hammer sympathizes with the composer's dilemma over middlemen, but points to
cases in which the painter has suffered a similar fate.
-
OJ 10/1, [79] Handwritten letter from Dahms to Schenker, dated November 1, 1923
Dahms has devoted a chapter of his Musik des Südens to "genius" in which he
asserts its absoluteness and the gulf between genius and mediocrity. — He concurs with
Hertzka's judgement of Furtwängler as a "coward"; In his quest for success, the latter has
compromised his belief in genius by pandering to Schoenberg. The Korngolds are coming to
Rome in August.
-
OJ 12/59, [4] Handwritten letter from Siegfried Fritz Müller to Schenker, dated November 13,
1923
Siegfried Fritz Müller has a teaching job and reports how it is going. -- He
is studying Schenker's writings. -- He gives an unfavorable reaction to Walter Dahm's book
[Die Offenbarung der Musik: Eine Apotheose Friedrich Nietzsches]. -- He reports Carl
Bamberger's trip to Finland.
-
OJ 10/1, [80] Handwritten letter from Dahms to Schenker, undated [c. November 18, 1923]
Having sent a subscription copy of Musik des Südens to Moriz Schenker and
received no acknowledgement, Dahms asks Schenker's help.
-
OJ 10/1, [81] Handwritten letter from Dahms to Schenker, dated November 20, 1923
Dahms has now received acknowledgement from Moriz Schenker. — He asks
Schenker's help in approaching financier Castiglioni for financial backing for his planned
bel canto book.
-
OJ 11/16, [5] Handwritten postcard from Furtwängler to Schenker, dated November 25, 1923
Furtwängler had been hoping to speak with Schenker at the performance of
[Handel's] Samson but realizes this is not possible; mentions his December program, hopes to see
Schenker.
-
OJ 11/36, [10] Handwritten letter from Hammer to Schenker dated November 25, 1923
Hammer thanks Schenker for hospitality on November 7, and recommends Eugen
Steinhof for lessons.
-
OJ 12/31, [1] Typewritten letter from Ernst Lamberg to Schenker, dated December 7, 1923
Concerning the Sofie Deutsch estate, Lamberg now has 2M Kronen to remit to
Schenker, and also 1.5M Kronen for the January 1924 disbursement of the Deutsch stipends. He
also sets out the arrangement that has been made for the event that the Verein zur Speisung
is dissolved.
-
OJ 14/45, [27] Handwritten letter from Moriz Violin to Heinrich Schenker, dated December 11, 1923
Violin reports the conversion to a new, stable currency in Germany; Hamburg has
been among the first cities to benefit from this, as a result of which he is somewhat better off
and the prospects for the future appear brighter. He plans to come to Vienna for Christmas, if
only for a few days; this will give him an opportunity to discuss arrangements for the
distribution of copies of Der Tonwille to libraries and schools.
-
OJ 10/1, [82] Handwritten letter from Dahms to Schenker, dated December 28, 1923
Dahms gratefully acknowledges receipt of a grant from Schenker, reports on his
book writing, and sends New Year greetings to Heinrich and Jeanette.
-
OJ 12/11, [6] Handwritten letter from Klenau to Schenker, dated December 28, 1923
Klenau praises Schenker's monograph Beethovens Neunte Sinfonie; regrets being
unable to visit Schenker and Schenker's being unable to attend his performance of the Missa
solemnis.
-
OJ 11/54, [A] Handwritten calling card from Hoboken to Schenker, undated
Hoboken and his wife are staying at the Hotel Sacher.
-
OJ 10/1, [83] Handwritten letter from Dahms to Schenker, dated January 4, 1924
Money has arrived. Dahms hopes for better conditions in 1924.
-
OJ 11/36, [11] Handwritten letter from Hammer to Schenker, dated January 5, 1923 [recte
1924]
Hammer refers to the making of a portrait; — he discusses German and Austrian art
with respect to Italian and French; — he comments favorably on Der Tonwille, but defends the art
of the French.
-
OJ 5/45, [5] Copy of letter from Schenker to Weisse, in Jeanette Schenker’s hand, dated January 12,
1924
Schenker outlines his attitude to Bamberger's leaving him, and offers advice to
Weisse.
-
OJ 15/16, [51] Handwritten letter from Weisse to Schenker, dated January 14, 1924
Responding to Schenker's explanation of a recent coldness between them, Weisse
asserts that his questions arise only from his own studies, not from work with his pupils; it is
not fear, but dependency on Schenker as a "medium," that drives him to ask such
questions.
-
OJ 11/35, 22 Handwritten letter from Halm to Schenker, dated January 22, 1924
Halm checks that Schenker has received a letter and score from him. — He asks
for guidance over Oppel's music.
-
OJ 15/31, [1] Handwritten letter from Hermann Wunsch to Schenker, dated January 31,
1924
Hermann Wunsch thanks Schenker for the award of 2M Kronen as a stipend
from the Sofie Deutsch bequest, and reports on his recent compositional
activity.
-
OJ 11/37, [2] Printed invitation to the 76th Exhibition, Union of Artists of the Vienna Secession,
undated [received February 5, 1924]
Invitation to an exhibition of works by Leopold Bauer and Victor
Hammer
-
OJ 12/17, [3] Handwritten notecard from Komorn to Schenker, dated February 1, 1924
Miss Komorn acquiesces to the fee increase; she is fortunate to have the small
number of lessons that she does.
-
OJ 14/21, [5] Handwritten receipt for payment by Schenker to Seidel'sche Buchhandlung, dated February 1,
1924
Receipt for a 180,000 kronen payment by Schenker to Seidel'sche Buchhandlung.
-
OJ 14/21, [6] Interim invoice from Seidel'sche Buchhandlung to Schenker, dated February 2, 1924
Delivery note from Seidel'sche Buchhandlung to Schenker for Beethoven's Piano Sonata in F-sharp,
Op. 78.
-
OJ 14/45, [30] Handwritten letter from Moriz Violin to Schenker, dated February 5, 1924
Violin reports that Max Temming is keen to support his plan to promote Schenker's
work. Following discussions with Schenker in Vienna, he makes some provisional calculations on
how the gift of money would give Schenker more time to devote to his writings. He also thinks
about the happy prospect of Schenker coming to Hamburg.
-
OJ 6/7, [8] Handwritten letter from Schenker to Moriz Violin, dated February 14, 1924
Schenker reports continuing trouble with Hertzka, especially over delays to the
publication of Tonwille 5 and 6, which were supposed to appear the previous year, and is
beginning to think about legal action. Hertzka has made his position so difficult that he feels
obliged to turn down Max Temming's offer of direct financial support for his work. He asks
Violin to help find a post in Hamburg for Carl Bamberger, a gifted pupil who, though he
neglected his piano studies for a while, is keen to make up for lost time. Finally, he asks if
Violin received any of the four volumes of the Beethoven piano sonata edition.
-
OJ 10/1, [84] Typewritten letter from Dahms to Schenker, dated March 5, 1924
Dahms thanks Schenker for information about Castiglione. The Deutsche
Verlagsanstalt is being difficult. He is again writing for German newspapers. Tonwille 5 has
excited him. He quotes a passage from the Musical Courier [which Schenker later quotes in
Das Meisterwerk 1]. Ludendorff's exposure of intrigues by the papacy has evoked a strong
reaction outside Germany.
-
OJ 14/45, [31] Handwritten letter from Moriz Violin to Schenker, dated March 16, 1924
Violin acknowledges receipt of Tonwille 5 and the Beethoven sonata edition. In
the former, he finds the graphs of the short preludes by Bach more difficult than anything that
Schenker has previously done. He will write to Bamberger with the offer of help (in finding an
accompanist post in Hamburg). In response to a question on the "Appassionata" Sonata from one of
his pupils, he offers an explanation for the falling direction of the transitional theme
(measures 24-30) and its reappearance in the development section (measures 94-100) in inverted,
ascending form; he asks if this interpretation is sensible.
-
OJ 15/31, [3] Handwritten letter from Hermann Wunsch to Schenker, dated March 29,
1924
Hermann Wunsch encloses a review of his second symphony, and asks for
Schenker's help in securing a performance in Vienna.
-
OJ 12/17, [4] Handwritten postcard from Komorn to Schenker, dated March 30, 1924
Mrs. Komorn asks for an extra lesson.
-
OJ 8/4, [28] Handwritten postcard from Schenker to Moriz Violin, undated [March 30, 1924]
Schenker confirms Violin's interpretation [given in his previous letter] of the
"Appassionata" Sonata, and describes continued difficulties with Hertzka. Herman Roth has
written to say that he and his son are using Schenker's analyses of Bach preludes in their
counterpoint classes, and expresses the hope that one day they will continue Schenker's work
independently.
-
OJ 8/4, [29] Handwritten postcard from Schenker to Moriz Violin, undated [April 11, 1924]
Schenker offers Violin advice about holidaying in Austria, recommending the Tyrol
above all. He expects that Otto Vrieslander and possibly Herman Roth will visit them [in
Galtür]. He also inquires about the establishment of a Hochschule for music in Hamburg.
-
OJ 11/36, [12] Handwritten letter from Hammer to Schenker, dated May 1, 1924
Hammer invites Schenker to a first sitting for his portrait.
-
OJ 10/3, [40] Typewritten letter from Deutsch to Schenker, dated May 9, 1924
Deutsch thanks Schenker for the most recent (sixth) issue of Tonwille. He read Schenker's comments
on Schubert's "Gretchen am Spinnrade" (Op. 2) with great interest, although he did not fully understand them.
Deutsch encloses an announcement from the publisher Vieweg that may be of interest to Schenker.
-
OJ 12/11, [7] Handwritten calling card from Klenau to Schenker, dated May 13, 1924
Klenau asks to make a brief visit.
-
OJ 12/11, [8] Handwritten letter from Klenau to Schenker, undated [May 20, 1924]
Klenau asks Schenker to read over an article that he has
written.
-
OJ 11/36, [13] Handwritten postcard from Hammer to Schenker, postmarked May 21, 1924
Hammer reschedules the next sitting for the portrait.
-
OJ 11/36, [15] Handwritten postcard from Hammer to Schenker, dated June 16, 1924
Hammer invites Schenker to resume sitting for his portrait.
-
OJ 11/36, [16] Handwritten postcard from Hammer to Schenker, postmarked June 17, 1924
Hammer sets the arrival time for the portrait sitting on June
18.
-
OJ 10/1, [85] Handwritten letter from Dahms to Schenker, dated June 18, 1924
The Dahmses send birthday greetings. They are staying in the Abruzzi; will not
get to Galtür; Dahms will visit Germany. He has read Tonwille 6 and 7 with interest.
-
OJ 12/17, [5] Handwritten letter from Komorn to Heinrich Schenker, dated June 18, 1924
Miss Komorn thanks Schenker profusely for all that he has taught her in the
past year.
-
OJ 14/46, [2] Handwritten letter from Fanny Violin to Heinrich Schenker, dated June 18, 1924
Fanny thanks Schenker for sending Tonwille 5 and 6 and reports holiday plans.
-
OJ 12/31, [2] Typewritten letter from Ernst Lamberg to Schenker, dated July 1, 1924
Ernst Lamberg informs Schenker that the Association for Feeding ... has
resolved to dissolve itself, and to make over a proportion of its capital to the Academy for
Music and Performing Arts.
-
OJ 5/24, [1] Handwritten draft letter from Schenker to Ernst Lamberg, dated July 8,
1924
Draft letter in which Schenker contends that Sofie Deutsch's intentions for
the administration of the stipends for composers that she created through her will are being
disregarded with the passing of the capital sum to the Academy for Music and Performing
Arts, and instructs Dr. Lamberg to write to Josef Marx, Director of the Academy, in these
terms.
-
OJ 12/31, [3] Typewritten letter from Ernst Lamberg to Schenker, dated July 11, 1924
Ernst Lamberg declines to write, as requested, to Josef Marx.
-
OJ 14/45, [32] Handwritten letter from Moriz Violin to Schenker, dated July 24, 1924
Writing from the nearby town of Schruns, in the Montafun Valley (Vorarlberg),
Violin asks Schenker to suggest a day when he and his wife might visit them in Galtür.
-
OJ 8/4, [30] Handwritten picture postcard from Schenker to Moriz Violin, dated July 28, 1924
Writing from Galtür to Schruns in the nearby Motafon Valley, Schenker invites the
Violins to visit them some time during their Austrian holiday, and shows them, on the picture,
the mountain pass where they can meet up.
-
OJ 15/15, [15] Handwritten postcard from Weisse to Schenker, dated August 2, 1924
Responding to a request for information about Brahms's meeting with Wagner,
Weisse promises to send Schenker the relevant volume of Max Kalbeck's biography of Brahms.
-
OJ 15/15, [16] Handwritten postcard from Weisse to Schenker, dated August 4, 1924
Weisse has sent Schenker a volume of Kalbeck's Brahms biography, and reports that
Universal Edition is about to send him the proofs for two of his compositions, a set of vocal
quartets and a string quartet.
-
OJ 8/4, [32] Handwritten picture postcard from Schenker to Moriz Violin, dated August 5, 1924
Schenker sends a greeting on the occasion of the Violins' return to Hamburg after
their holiday in Austria, writing a picture postcard showing the cottage where they presumably
went for a meal.
-
OJ 8/4, [31] Handwritten picture postcard from Heinrich and Jeanette Schenker and others to Moriz
Violin, undated [postmarked August 12, 1924]
In this postcard, begun by Heinrich Schenker, continued by Jeanette Schenker and
Carl Bamberger, and additionally signed by Anthony and Annemarie van Hoboken and Otto
Vrieslander, all express their regret that the Violins could not be with them.
-
OJ 14/45, [107] Handwritten postcard from Moriz Violin to Schenker, dated August 14, 1924
Violin thanks Schenker for his recent postcard, and reports that he will resume
negotiations with Max Temming concerning the distribution of copies of Der Tonwille when the
latter return to Hamburg.
-
OJ 15/16, [52] Handwritten letter from Weisse to Schenker, dated August 28, 1924
Weisse is so absorbed in his work that he is unable to give Schenker a precise
number of subscribers to Der Tonwille among his circle of pupils. He will see Gerald Warburg
soon, but confesses that the latter felt hurt by Schenker’s article “The Mission of German
Genius.” — Weisse will devote much time to composition during the coming season, and for this
reason will forego taking further lessons from Schenker.
-
OJ 14/45, [33] Handwritten letter from Moriz Violin to Schenker, dated August 29, 1924
Violin reports on continued negotiations with Max Temming on the distribution of
free copies of Der Tonwille, and gives a brief description of the Hamburger Fremdenblatt (in
which something about Schenker's writings may have recently appeared). He expresses his
embarrassment regarding the essay he had written at the behest of Otto Vrieslander on the
occasion of Schenker's 50th birthday, but agrees to let him see it.
-
OJ 15/16, [53] Handwritten letter from Weisse to Schenker, dated September 6, 1924
Weisse apologizes for not writing sooner, saying that he will return to Vienna by
the middle of the following week.
-
OJ 12/17, [6] Handwritten postcard from Komorn to Schenker, dated September 12, 1924
Mrs. Komorn inquires whether Schenker is back from vacation.
-
OJ 12/11, [9] Handwritten letter from Klenau to Schenker, dated September 17, 1924
Klenau sends a letter he has received from Heinrich Rickert, and thanks
Schenker for a discussion earlier the same day.
-
OJ 12/59, [5] Handwritten letter from Siegfried Fritz Müller to Schenker, dated September 21,
1924
Siegfried Fritz Müller has met with resistence in rural Switzerland to
Schenker's ideas. -- He describes his daily working practices. -- He plans to return to
Schenker for lessons in Spring 1925 and lists the works in his prepared
programs.
-
OJ 12/11, [10] Handwritten letter from Klenau to Schenker, dated September 23, 1924
Klenau sends a letter he has received from Felix Weingartner and his own
response.
-
OJ 9/12, [1] Handwritten letter from Carl Bamberger to Schenker, dated October 6, 1924
Bamberger writes of his pleasure at working in a theater, and his liking of
Danzig as a medieval city. He is studying Schenker's edition of the Beethoven sonatas, and
has ordered Harmonielehre and Kontrapunkt I and II. He is subscribing to Der Tonwille, and
is interesting one of his colleagues in Schenker's ideas. He inquires after two Schenker
pupils.
-
OJ 14/45, [34] Handwritten letter from Moriz Violin to Schenker, dated October 8, 1924
Violin has secured the agreement of Max Temming to subsidize 100 subscriptions to
Der Tonwille, and asks for a list of names and addresses for the recipients. With money growing
scarce, he has raised his fees, as a result of which several have left; but he has also gained
some new ones.
-
OJ 14/45, [35] Handwritten draft letter to Max Temming, in Schenker’s hand, dated October 10, 1924,
sent to Moriz Violin
In this draft letter to Max Temming, Schenker expresses his thanks for the
industrialist's financial support for the dissemination of Der Tonwille to university music
departments.
-
OJ 6/7, [9] Handwritten letter from Schenker to Moriz Violin, dated October 16, 1924
After thanking Violin for his touching fiftieth-birthday tribute of 1918,
Schenker outlines plans for sending out copies of Der Tonwille: he has drawn up a list, which
Violin is free to edit. Like Violin, he has lost pupils recently, and so wants to concentrate
more on the dissemination of Der Tonwille, with a new publisher.
-
OJ 5/7a, [1] (formerly vC 1) Handwritten postcard from Schenker to Cube, dated October 19, 1924
Schenker sends Cube a prospective student, and recommends level of payment.
-
OJ 11/54, [1] Handwritten letter from Hoboken to Schenker, dated October 20, 1924
Hoboken encloses photographs; reports his summer travel; is now living in
Paris.
-
OJ 14/45, [36] Handwritten letter from Moriz Violin to Schenker, dated October 22, 1924
In the process of arranging for copies of Der Tonwille to be distributed, Violin
discovers that a pupil of his paid twice as much for one issue as the marked price in Austria.
He has made some inquiries into this matter, and asks Schenker what an issue currently costs in
Austria. There are no respectable music institutions in Hamburg, so Violin will distribute
copies there personally.
-
OJ 14/45, [37] Handwritten letter from Moriz Violin to Schenker, dated November 23, 1924
Violin sends thanks to Jeanette for copying out the article he wrote in 1918. He
has sent off ten letters [re distribution of copies of Der Tonwille] and placed the order with
UE. He reports on Buxbaum and Pollak, and also Blüthner.
-
OJ 6/7, [10] Handwritten letter from Schenker to Moriz Violin, dated October 26, 1924
Schenker names ten universities that should receive complimentary copies of Der
Tonwille, explaining that university music departments (Seminare) are more suitable recipients
than conservatories and other types of music schools. With 1924 coming to an end, he will resign
from UE and shift publication of Der Tonwille to Piper or Drei-Masken Verlag in Munich. The
latter have agreed to publish his study of Beethoven's Sonata Op. 106
-
OJ 15/16, [54] Handwritten letter from Weisse to Schenker, dated November 3, 1924
Weisse acknowledges Schenker’s recent letter, wants to speak with him face to
face about a number of things but uses this letter to defend his "hypersensitivity" towards
Schenker as stemming from the love and honor that he bestows on him.
-
OJ 6/7, [11] Handwritten letter from Schenker to Moriz Violin, dated November 6, 1924
Schenker has received a photographic reproduction of the opening chorus of Bach's
St Matthew Passion. — Gives account of delays to the publication of Tonwille 8/9 and 10, blaming
Hertzka for being slow to send work to the engraver, and has written to him with a request to
dissolve the Tonwille contract with UE. — Refers to a recent review by (Julius) Korngold, and
recounts a long story about his piano dealer, Bernhard Kohn.
-
OJ 10/1, [86] Handwritten postcard from Dahms to Schenker, dated November 8, 1924
Dahms visited Germany for two weeks; invites the Schenkers to visit him in
Venice.
-
OJ 6/7, [12] Handwritten letter from Schenker to Moriz Violin, dated November 8, 1924
Hearing that Violin is unwell, Schenker wishes his friend a speedy recovery. —
Encloses a draft of a letter to the university music departments chosen to be given copies of
Der Tonwille. — Recounts a story according to which Eusebius Mandyczewski prevented distribution
of complimentary copies of Der Tonwille to needy scholars.
-
OJ 6/7, [13] Handwritten letter from Schenker to Moriz Violin, dated November 13, 1924
Schenker sends Violin Jeanette's handwritten copy of the essay Violin had
composed for Schenker's fiftieth birthday in 1918, and hopes that it may one day be published. —
Has received a conciliatory letter from Hertzka, but is determined to move Der Tonwille to a
Munich publisher.
-
OJ 14/45, [39] Handwritten letter from Moriz Violin to Schenker, dated December 10, 1924
This somewhat cryptic letter, possibly relating to a subscription order for Der
Tonwille, was sent with an enclosure that required some interpretation or action on the part of
Schenker. Violin also reports that the music department at the University of Berlin has
received, with gratitude, the copies of Der Tonwille.
-
OJ 12/51, [1] Typewritten letter from Joseph Marx (Akademie für Musik) to Schenker, dated December
13, 1924
Marx has submitted the form of award of the Sophie Deutsch stipends to the
Ministry of Education.
-
OJ 14/45, [41] Handwritten letter from Moriz Violin to Schenker, dated January 19, 1925
Violin reports on a successful concert in which he performed both as a soloist
and with the Klingler String Quartet. He thanks Schenker for Tonwille 10. He has received a copy
of Hans Weisse’s recent vocal quartets, and is puzzled by how a limited talent can write such
good music. He is going to see Max Temming, and has received four courteous letters of
acknowledgement from university music departments for copies of Der Tonwille.
-
OJ 9/34, [1] Handwritten letter from Cube to Schenker, dated January 21, 1925
Cube has had to extend his holiday to take care of his father, who has been forced to abandon his
second marriage under pressure from his firm.
-
OJ 15/15, [17] Handwritten postcard from Weisse to Schenker, dated January 22, 1925
Weisse alerts Schenker to the January 1925 issue of Die Musik, which contains two
pieces concerned with him. He suggests that Schenker travel to Munich, to negotiate a deal with
Alfred Einstein at Drei Masken-Verlag concerning the publication of a successor to Der
Tonwille.
-
OJ 6/7, [16] Handwritten letter from Schenker to Moriz Violin, dated January 24, 1925
Responding point by point to Violin's previously letter (OJ 14/45, [41]),
Schenker congratulates his friend on the success of his recent concert. He writes at length
about Hertzka's last efforts to hold onto Der Tonwille, and about successful negotiations with
Drei Masken Verlag over its successor, Das Meisterwerk in der Musik. He has now to prepare
enough material for a yearbook comprising fifteen gatherings by July 1, so that the volume can
be published by Christmas. Finally, he echoes Violin's assessment of Hans Weisse, adding a few
disparaging remarks about his character.
-
OJ 14/45, [42] Handwritten letter from Moriz Violin to Schenker, dated January 30, 1925
Violin lends Schenker the letters sent by university music departments
acknowledging receipt of their copies of Der Tonwille. The reviews of his recent concert were
cooler than the audience’s reception, and the concert suffered a financial loss; nonetheless he
hopes to persevere with public performances as a pianist. Finally, he wishes Schenker luck with
his new publisher, Drei Masken Verlag.
-
OJ 6/7, [17] Handwritten letter from Schenker to Moriz Violin, dated February 2, 1925
Schenker, repeating some of the points made in earlier letters, continues to give an account of
Hertzka's dishonest dealings with him over Der Tonwille and asks Violin to give him an accurate count of the
subscriptions that Max Temming paid for in the distribution of free copies of the journal to university music
departments. He asks if Violin suspects that anti-Semitism lurks behind some of the critical notices of his recent
concert. Finally, he mentions an article in Die Musik by Paul Bekker that numbers Schenker among the hermeneutists;
the same issue contains a review of Der Tonwille, by Max Broesicke-Schon, disputing the supreme genius of the
canonic composers.
-
OJ 8/4, [35] Handwritten postcard from Schenker to Moriz Violin, dated February 14,
1925
Schenker asks Violin urgently to send him the receipt for payment made to
Universal Edition (for the copies of Der Tonwille paid for by Max Temming).
-
OJ 9/12, [2] Handwritten letter from Carl Bamberger to Schenker, dated February 18,
1925
Bamberger reports that after six months of repetiteur work he has been granted
some conducting. -- He laments the lack of musical education of the Danzig citizens, and its
impact on the theater's repertory. Talent is not appreciated by the theater's
administrators. He wants to move on from Danzig, suggesting Dessau. -- He reports on his
reading of Der Tonwille, and his success in encouraging others to subscribe. -- He asks
Schenker a question about Schubert's song "Wohin?"
-
OJ 6/7, [18] Handwritten letter from Schenker to Moriz Violin, dated February 22, 1925
Schenker thanks Violin for his recent letter (and enclosure), which contains
evidence of Hertzka's false calculations of subscriptions to Der Tonwille – this letter in stark
contrast to the actions of his pupils Weisse and Brünauer, who had given more support to the
publication of Weisse's recently published vocal quartets than to his writings. Leaving Der
Tonwille behind, which has earned him little money and caused him much misery, he has written a
lengthy study of Bach's solo violin works, which will be published in the first volume of Das
Meisterwerk in der Musik, which will include a critique of Ernst Kurth's Grundlagen des linearen
Kontrapunkts.
-
OJ 9/12, [3] Handwritten letter from Carl Bamberger to Schenker, dated February 23,
1925
As a follow-up to his previous letter, Bamberger gives a full account of the
number of subscriptions to Der Tonwille that he has either instigated himself or encouraged
others to take on.
-
OJ 14/45, [109] Handwritten postcard from Moriz Violin to Schenker, undated, postmarked February 24,
1925
Visiting his dying brother Eduard in the Sophienspital in Vienna, Violin hopes
to see Schenker if at all possible.
-
OJ 10/1, [87] Handwritten letter from Dahms to Schenker, dated February 26, 1925
Dahms reports on the Vrieslanders' Italian travels; compares Hertzka
unfavorably to Drei Masken Verlag; He plans to sue Hertzka; comments on Bekker and Korngold.
-
OJ 11/36, [17] Handwritten letter from Hammer to Schenker, dated March 1, 1925
Hammer describes his travels and work in the past eight months, and compares the
piano playing of Otto Vrieslander with that of Schenker.
-
OJ 9/12, [4] Handwritten letter from Carl Bamberger to Schenker, dated March 4, 1925
Bamberger seeks Schenker's advice on the choice of works for a series of
Sunday morning concerts that is included in his new contract with Danzig.
-
OJ 12/17, [7] Handwritten letter from Komorn to Heinrich Schenker, dated April 7, 1925
Miss Komorn tries to arrange a meeting with Furtwangler.
-
OJ 6/7, [19] Handwritten letter from Schenker to Moriz Violin, dated April 10, 1925
Continuing the story of the ongoing financial battle against Hertzka and
Universal Edition, Schenker thanks Violin for providing confirmation of the subscriptions paid
for by Max Temming, then recounts that, at a meeting with Hertzka and his bookkeeper, the
order-book for Der Tonwille had several pages torn out. Schenker is upset that his lawyer Dr.
Baumgarten, though an old friend, is not fully supportive of his position and would prefer seek
a compromise with Hertzka; this, Schenker feels, would rob him of much of his hard-earned
royalties, especially from the Beethoven sonata edition. He now asks Violin to find a contact –
outside Hamburg – who would be willing to order nine copies of Tonwille 1, as evidence that this
issue is still in demand, despite Hertzka's claims to the contrary. He has attended a
performance of Hans Weisse's Sextet, of which he found the variation movement and the trio
section of the scherzo to be the most satisfactory parts.
-
OJ 11/35, 23 Handwritten letter from Halm to Schenker, dated April 6 and 15, 1925
Halm explains why he has not written before and reports successful performance
of his A major Symphony; wishes Schenker luck with move from UE to Drei-Masken Verlag;
reports events at Freie Schulgemeinde.
-
OJ 10/1, [88] Typewritten postcard from Dahms to Schenker, dated April 20, 1925
Dahms gives his new temporary address.
-
OJ 8/4, [36] Handwritten postcard from Schenker to Moriz Violin, dated April 23, 1925
Schenker thanks Violin for ordering copies of Tonwille 1. He gives a brief
account of a visit from Furtwängler, and mentions the arrival of the bronze medallion with
his likeness (designed by Alfred Rothberger).
-
OJ 15/15, [18] Handwritten postcard from Weisse to Schenker, dated April 27, 1925
Weisse has come across a letter from Brahms to his publisher Fritz Simrock, which
he thinks will be of interest to his teacher.
-
OJ 10/1, [89] Handwritten letter from Dahms to Schenker, undated [c. April 29, 1925]
Dahms has found a rental cottage in rural Pallanza, and invites the Schenkers
to visit. — Hindenburg's election as German President has given a "jolt" to Europe and
pleased Mussolini; it should produce shrewd politics, but he doubts whether Hindenburg will
be able to lift Germany out of mediocrity.
-
OJ 6/7, [20] Handwritten letter from Schenker to Moriz Violin, dated May 4, 1925
In a wide-ranging letter, Schenker sends Violin money for arranging the order of
Der Tonwille (which must consist of multiple copies of Tonwille 1); Hertzka's representative,
Robert Scheu, is currently studying the papers relating to Schenker's threat of legal action.
Schenker continues to express his astonishment at Furtwängler's ignorance of sonata form, a fact
that does not prevent him from earning huge fees for conducting in New York. He has turned down
a request from a lady who teaches in New York and a former pupil (now in St. Gallen), who wish
to spend some time with him in Galtür. He enquires about the personal difficulties that Violin
writes about in his letter, and asks him to say more; they will invite his sister for a visit.
He will send him a copy of the medallion (designed by Alfred Rothberger); the portrait by Viktor
Hammer is not yet finished.
-
OJ 6/7, [21] Handwritten letter from Schenker to Moriz Violin, dated May 16, 1925
Making preparations with his solicitor for the legal action against Universal
Edition, Schenker asks Violin to find out whether Max Temming paid for the additional
subscriptions to Der Tonwille directly through Albert Gutmann in Vienna, or through the firm of
Hofmeister in Leipzig. He is nearing completion of the contents of the first Meisterwerk
yearbook and asks Violin whether he has yet made summer plans and whether these might include a
trip to Galtür.
-
OJ 11/54, [2] Handwritten letter from Hoboken to Schenker, May 29, 1925
Hoboken wishes to become a pupil of Schenker; he has studied Schenker's
theoretical works under Vrieslander, and describes his progress so far; outlines previous
education in piano and music theory at the Hoch Conservatory,Frankfurt, and activity as composer
and conductor; after breaking his shoulder, he neglected his musical studies; outlines the areas
he wishes to study with Schenker; if accepted, he would take up residence in
Vienna.
-
OJ 6/7, [22] Handwritten letter from Schenker to Moriz Violin, dated May 30, 1925
Schenker thanks Violin for his latest efforts to account for subscriptions to Der
Tonwille. He sends him the smaller version of the bronze medallion designed by Alfred
Rothberger.
-
OJ 14/45, [43] Handwritten letter from Moriz Violin to Schenker, dated June 4, 1925
Violin thanks Schenker for sending him the small version of the medallion
designed by Alfred Rothberger. He does not want to give an account of the difficult times he
is facing, expecting that things will eventually turn out for the better. He returns some
money, left over from the purchase of copies of Tonwille 10, which Schenker had previously
sent him.
-
OJ 8/4, [37] Handwritten postcard from Schenker to Moriz Violin, dated June 9, 1925
Schenker asks Violin to write to one of the German university music
departments who received subscriptions to Der Tonwille through the generosity of Max
Temming, to find out if, and when, they received Tonwille 10, which was published in
January. He reports being on the verge of completing the first Meisterwerk
Yearbook.
-
OJ 11/54, [3] Handwritten letter from Hoboken to Schenker, dated June 10, 1925
Acknowledges Schenker's communication; is pleased to become a pupil of Schenker;
accepts fee and agrees to three lessons per week.
-
OJ 10/1, [90] Handwritten letter from Dahms to Schenker, dated June 16, 1925
Dahms sends birthday greetings to Schenker, and gratitude for the [Rothberger]
medallion. — Margarete Dahms has given birth to a girl. — Speaks of "rotten German laws."
-
OJ 12/20, [1] Handwritten postcard from Hedwig Kraus (Gesellschaft der Musikfreunde) to Schenker,
dated June 17, 1925
-
OJ 8/4, [38] Handwritten postcard from Schenker to Moriz Violin, dated June 22, 1925
Schenker thanks Violin for his most recent efforts concerning the
subscriptions to Der Tonwille; he is astonished to learn that Tonwille 10, published in
January 1925, did not reach some subscribers until June. He hopes that Violin will be able
to visit him in the Tyrol this summer, as he is expecting Vrieslander with his
son.
-
OJ 6/7, [23] Handwritten letter from Schenker to Moriz Violin, dated July 26, 1925
Two weeks after arriving in Galtür for the summer holidays, Schenker reports that
he has caught up on his sleep and has already dictated an essay on Reger's Variations and Fugue
on a Theme of J. S. Bach, Op. 81. He will not allow the legal wrangle with Universal Edition to
interfere with his holiday, but he is annoyed about not having been paid by Drei Masken Verlag
for the manuscript of Meisterwerk 1. He has responded to a critique of his Erläuterungsausgabe
of Op. 110, in an essay in Meisterwerk 1, but will not pursue other attacks upon his work and
those of his pupils. The Schenker medallion designed by Alfred Rothberger is going to a second
impression; but the mezzotint portrait by Viktor Hammer, which Jeanette finds a superior work,
has not yet been printed. Throughout the letter, Schenker urges Violin to bring his family to
Galtür sometime during the summer.
-
OJ 14/45, [108] Handwritten postcard from Moriz Violin to Schenker, dated July 28, 1925
Unable to leave Hamburg this summer because of financial difficulties, but having
nothing worth saying in a letter, Violin asks for some news from Schenker.
-
OJ 15/16, [55] Handwritten letter from Weisse to Schenker, incomplete, written c. August 5,
1925
Weisse apologizes for not having written for a long time. He has seen Furtwängler
and reports that the conductor knows nothing of his writings and has no idea about the Urlinie.
Universal Edition have declined to publish his Sextet. (In the missing portion of the letter,
which is summarized in Schenker's diary, he asks his teacher's help in finding another
publisher, perhaps with Wilhelm Altmann's intervention.)
-
OJ 6/7, [24] Handwritten letter from Schenker to Moriz Violin, dated August 15, 1925
After expressing his sympathy for Violin, in response to his friend's depressing
postcard, Schenker gives an account of some of the summer events, including a visit from
Vrieslander and Hoboken and work on two essays for Meisterwerk 2. While continuing to rail
against Hertzka and Universal Edition, he repeats the story of Drei Masken Verlag failing to
send him 250 Marks upon receipt of the manuscript of Meisterwerk 1. His brother Moses is,
however, acquainted with the principal owner of Drei Masken, Felix Sobotka, and through this
connection the payment has been made.
-
OJ 11/36, [18] Handwritten letter from Hammer to Schenker, dated August 18, 1925
Hammer enloses a first pull of the mezzotint of Schenker, but expresses
dissatisfaction with it. Gives his itinerary.
-
OJ 8/4, [39] Handwritten picture postcard from Schenker to Moriz Violin, undated, postmarked
August 27, 1925
Schenker sends greetings from the Tyrol, reports the publication of an article
on him by Elsa Bienenfeld, which includes a reproduction of his pupil Alfred Rothberger's
bronze medallion.
-
OJ 14/45, [45] Handwritten letter from Moriz Violin to Schenker, dated August 28, 1925
Violin, in a philosophical mood, thanks Schenker for his concerns; he paints a
pessimistic picture of the world in general, embracing the injustices that his friend must
also suffer.
-
OJ 11/36, [19] Handwritten letter from Hammer to Schenker, dated September 1, 1925
Hammer explains why he can't just take the test print of his Schenker
mezzotint as the final product. -- He speaks of money difficulties.
-
OJ 9/35, [1] Handwritten letter from Gustav von Cube to Schenker, dated September 7, 1925
Finding himself adversely affected by the current financial crisis, Gustav von
Cube asks Schenker to help find work for his son Felix, to help help him finance his
studies.
-
OJ 11/10, [18] Handwritten postcard from Frimmel to Schenker, dated September 10, 1925
Frimmel will correct [errors pointed out by Schenker], and reports that his
Beethovenhandbuch is in press.
-
OJ 11/36, [20] Handwritten letter from Hammer to Schenker, dated September 11, 1925
Hammer is working on the plate of the Schenker mezzotint.
-
OJ 5/7a, [2] (formerly vC 2) Handwritten letter from Schenker to Gustav von Cube, dated September 13, 1925
Schenker explains to Cube's father why his first teaching assignment went awry, but promises to
continue to help him; he suggests Anthony van Hoboken may be able to assist him.
-
OJ 11/36, [21] Handwritten postcard from Hammer to Schenker, dated September 17, 1925
Hammer asks for a short sitting the next day.
-
OJ 11/36, [22] Handwritten postcard from Hammer to Schenker, dated September 17, 1925
Hammer asks for a short sitting the next day.
-
OJ 9/12, [5] Handwritten letter from Carl Bamberger to Schenker, dated September 27,
1925
Bamberger is officially a "conductor" at Danzig. -- He asks how to obtain a
Rothberger medallion of Schenker and inquires after Hammer's etching. -- He reports on
Hupka's progress in Cologne, and inquires after F.E. von Cube.
-
OJ 11/54, [4] Handwritten letter from Hoboken to Schenker, dated September 28, 1925
Van Hoboken reports on his recent travels, describing the house that he has
rented for a year in Vienna; he is to register in Vienna for nine months for study purposes; he
thanks Schenker for the plan of work he has sent, and will start lessons with Schenker on
October 13, 1925; encloses $60 in advance monthly payment.
-
OJ 11/54, [B] Handwritten calling card from Hoboken to Schenker, undated
Hoboken gives his current address.
-
OJ 9/8, [1] Handwritten letter from Wilhelm Altmann to Schenker, dated October 3,
1925
Altmann asks Schenker to send his [Hammer] portrait to the editor of Die
Musik.
-
OJ 12/17, [8] Handwritten letter from Komorn to Heinrich Schenker, dated October 5,
1925
Cessation of lessons comes as a blow, but Mrs. Komorn thanks Schenker
unreservedly for all she has learned.
-
OJ 11/36, [23] Handwritten letter from Hammer to Schenker, dated October 6, 1925
Hammer encloses as a gift two prints of his mezzotint of Schenker; Weisse will
convey to Schenker a print from which the printing block of the mezzotint can be made for
Die Musik's purposes. -- The Albertina has just purchased one of the
proofs.
-
OJ 15/15, [19] Handwritten letter from Weisse to Schenker, dated October 7, 1925
Weisse asks Schenker to look at some suitable frames for Hammer's portrait of
him. He reports that several autograph manuscripts of Brahms are being put up for sale, of
which that of the cadenzas Brahms wrote for Beethoven's Fourth Concerto are particularly
interesting. He quotes from a letter by Gerald Warburg, indicating that Schenker's latest
theoretical concepts are being taught at Damrosch's music school in New
York.
-
OJ 11/54, [5] Handwritten letter from van Hoboken to Schenker, dated October 11, 1925
Van Hoboken will leave Munich for Vienna on October 14 and attend lesson on
October 15.
-
OJ 10/3, [41] Typewritten postcard from Deutsch to Schenker, dated October 20, 1925
Deutsch thanks Schenker for quickly providing his text [for the forthcoming Schubert issue of
Moderne Welt]. He has written to Thomas Mann regarding the reference to Schubert's "Der Lindenbaum" in Mann's
novel Der Zauberberg. The Deutsches accept Schenker's invitation for an afternoon snack, but can only come on a
Sunday after Novemeber 2.
-
OJ 9/4, [1] Typewritten letter from Franz Schmidt (Akademie für Musik) to Schenker, dated October
21, 1925
Schmidt reports the response from the Federal Ministry of
Education.
-
OJ 14/45, [46] Handwritten letter from Moriz Violin to Schenker, dated October 23, 1925
Informing Schenker that he is beginning to recover after a disastrous year,
Violin reports that he has formed a trio with the violinist Mauritz van den Berg and the
cellist Friederich Buxbaum, and has scheduled concerts for January. His son has started
school, which he also regards as a blessing.
-
OJ 6/7, [25] Handwritten letter from Schenker to Moriz Violin, dated October 25, 1925
In this wide-ranging letter, Schenker commiserates with Violin about the high
cost of living, and his inability to raise his fees to keep up with it (in particular, he
feels unable to ask the wealthy Hoboken to pay more than his other pupils). He reports on
sales of a medallion bearing his image, and the imminent arrival of a mezzotint of his
portrait, made by Viktor Hammer, of which his brother Moses Schenker has bought the original
drawing. Vrieslander will write an essay about his work in Die Musik, accompanied by the
portrait, and things are now going well with the corrections to Meisterwerk 1 and the
writing of Meisterwerk 2.
-
OJ 10/3, [42] Typewritten letter from Deutsch to Schenker, dated November 6, 1925
Deutsch informs Schenker that due to space constraints the editors have (without Deutsch's prior
knowledge) cut the first four paragraphs of Schenker's article, leaving only the last two paragraphs, which
refer particularly to Schubert. He asks Schenker to agree to this cut, but also offers him the option of
removing his article so that it can be used in full elsewhere. Deutsch asks Schenker to look at a Beethoven
manuscript at Heck's.
-
OJ 10/3, [43] Typewritten postcard from Deutsch to Schenker, dated November 7, 1925
Deutsch thanks Schenker for agreeing to the cuts to his article, and asks to come to the Schenkers
on November 22 for the planned snack.
-
OJ 9/8, [2] Handwritten postcard from Wilhelm Altmann to Schenker, dated November 21,
1925
Altmann acknowledges receipt of the [Hammer] portrait. — He refers to a booklet
explaining Schenker's Urlinie.
-
OJ 10/3, [44] Typewritten letter from Deutsch to Schenker, dated November 22, 1925
Deutsch enjoyed today's afternoon tea at the Schenkers and will return the Vrieslander and Hammer
books to Schenker tomorrow. He asks Schenker to speak to Hoboken about the possibility of him purchasing
Deutsch's collection of Schubert first editions.
-
OJ 10/1, [91] Handwritten letter from Dahms to Schenker, dated December 1, 1925
The [Hammer] mezzotint has arrived; Dahms expresses a reservation about
it. — He has been writing for Die Musik. — He succeeded in getting compensation from UE.
-
OJ 14/45, [110] Handwritten postcard from Moriz Violin to Schenker, dated December 5, 1925
Violin gives Schenker the program of his concerts with van den Berg and
Buxbaum.
-
OJ 14/14, [1] Handwritten letter from Artur Schnabel to Schenker, dated December 6, 1925
Schnabel divulges only some details of his publisher's contract.
-
OJ 10/3, [45] Typewritten postcard from Deutsch to Schenker, dated December 9, 1925
Deutsch sends Schenker a dedication copy of the Schubert special issue of Moderne Welt, to which
Schenker contributed an article. Deutsch had already requested a copy to be sent to Schenker from the publisher,
but this has gone missing.
-
OJ 10/3, [46] Typewritten postcard from Deutsch to Schenker, dated December 15, 1925
Deutsch thanks Schenker for his postcard [not known to survive] and hopes to speak to him soon
about the matters raised therein. Deutsch, however, could neither read nor understand a sentence from Schenker's
postcard and affixes it to this reply.
-
OJ 8/4, [40] Handwritten postcard from Schenker to Moriz Violin, dated December 21,
1925
Interrupting his correcting of the proofs for the first Meisterwerk Yearbook,
Schenker sends Christmas greetings to the Violins, and informs his friend that an
out-of-court settlement was made with Universal Edition. Recent concert appearances of the
cellist Buxbaum and the violinist van der Berg give him reason to believe that their trio
concerts with Violin will be successful. He has arranged for Hammer’s portrait of him to be
sent to Hamburg.
-
OJ 14/45, [47] Handwritten letter from Moriz Violin to Schenker, dated December 25, 1925
Catching up on his correspondence on Christmas Day, Violin thanks Schenker for
his recent postcard, and hopes that 1926 will be a less troublesome year for him. He quotes
an extract from a negative review of Berg's Wozzeck, and reports on his practice and
rehearsal plans for the trios that he will perform with van der Berg and Buxbaum in a
month's time.
-
OJ 11/54, [6] Handwritten letter from van Hoboken to Schenker, dated January 3, 1926
Van Hoboken sends New Year greetings; reports that he is to see in the Paris
Conservatory Library the autograph manuscript of Beethoven's "Appassionata" Sonata, which
Einstein has apparently already photographed; he will travel to Vienna on January 6 for lesson
on January 9.
-
OJ 14/45, [50] Handwritten letter from Moriz Violin to Schenker, dated January 12, 1926
Violin asks Schenker if he would consider taking one of his pupils, Miss Agnes
Becker, as a pupil for the remainder of the teaching year.
-
OJ 6/7, [27] Handwritten letter from Schenker to Moriz Violin, dated January 15, 1926
Schenker agrees to to teach Violin's pupil Agnes Becker twice a week, as soon
as she is ready to come to Vienna. He reports Furtwängler's disillusionment with modern
music, and notes that Weingartner and Julius Korngold have expressed similar sentiments. He
is not optimistic that humanity in general will truly understand the classics, which
underscores the important of his (and Violin's) mission.
-
OJ 9/3, [4] Typewritten letter from Guido Adler to Schenker, dated February 10, 1926
Invitation to join the Conference Committee of the Beethoven Centennial
Celebration 1927.
-
OJ 8/4, [42] Handwritten postcard from Schenker to Moriz Violin, dated February 11,
1926
Schenker enquires about Violin's trio concerts with Buxbaum and van den Berg
went and ask if Hammer's portrait has arrived. He reports on the possible difficulties in
putting together the first Meisterwerk Yearbook, on account of the numerous music examples
and separate Urlinie graphs, and summarizes the contents of the second
Yearbook.
-
OJ 10/3, [47] Typewritten postcard from Deutsch to Schenker, dated February 15, 1926
Deutsch has received Schenker's request for a subscription to Die literarische Welt and has
dispatched the required payment transfer form.
-
OJ 14/45, [51] Handwritten letter from Moriz Violin to Schenker, dated February 18, 1926
Violin, in the aftermath of two enormously successful trio concerts with
Mauritz van den Berg and Friedrich Buxbaum, gives an account of Buxbaum's vanity and the
difficulty this causes in rehearsals and more generally for the ensemble. His doctor has
recommended that he spends three weeks in Bad Gastein this summer. He has not yet received
Hammer's portrait of Schenker.
-
OJ 6/7, [28] Handwritten letter from Schenker to Moriz Violin, dated March 1, 1926
In a wide-ranging letter responding to Moriz Violin's previous letter,
Schenker asks his friend to confide in him his personal troubles. He offers his support in
the wake of the recent display of vanity of the cellist Friedrich Buxbaum. He is trying to
find a way of getting the Hammer portrait to him safely, possibly by having it sent directly
from Artaria's art shop. Finally he confirms the lack of musical giftedness of his new pupil
Agnes Becker, recently arrived from Hamburg where Violin had been teaching
her.
-
OJ 14/45, [52] Handwritten letter from Moriz Violin to Schenker, dated March 6, 1926
Responding to Schenker's continuing queries, Violin gives some details of
recent illnesses, the cure for which his doctor has ordered him to spend part of the summer
in Bad Gastein. He is awaiting the arrival of the Hammer portrait, and is considering the
future of his piano trio ensemble.
-
OJ 14/45, [111] Handwritten postcard from Moriz Violin to Schenker, dated March 13, 1926
Violin thanks Schenker for Hammer's excellent portrait of him, which has
finally arrived.
-
OJ 10/3, [49] Handwritten letter from Hanna Deutsch to Schenker, dated March 20, 1926
Hanna Deutsch invites the Schenkers to afternoon tea on March 28, 1926.
-
OJ 10/3, [50] Typewritten letter from Deutsch to Schenker, dated March 26, 1926
Deutsch requests that the Schenkers' planned visit for afternoon tea be postponed because their
children and nanny have contracted flu.
-
OJ 5/9a, [1] Handwritten letter from Schenker to Georg Dohrn, dated April 5, 1926
Schenker answers Dohrn's inquiry as to the performance of the opening of the
second movement of Beethoven's Ninth Symphony.
-
OJ 10/3, [51] Handwritten letter from Hanna Deutsch to Jeanette Schenker, dated April 8, 1926
Hanna Deutsch tries to arrange a date for the Schenkers, Hoboken and Vrieslander to visit for
afternoon tea.
-
OJ 15/15, [20] Handwritten postcard from Weisse to Schenker, dated April 16, 1926
Schenker has, mistakenly, sent Weisse a copy of Reger's "Telemann" Variations
(Op. 134) instead of the "Bach" Variations (Op. 81) which he had lent him. Weisse asks what
is holding up the publication of the first Meisterwerk Yearbook, and suggests that Schenker
might write about Bruckner in the next one. A Brahms analysis would help strengthen his
position against his opponents. He also recommends that Schenker discuss a work that is less
than perfect, and cites Eduard Mörike's "Um Mitternacht" as an example of a poem whose
opening verses are beautiful but which deteriorates in meaning and poetic
quality.
-
OJ 9/5, [1] Handwritten letter from Gerhard Albersheim to Schenker, dated May 3, 1926
Albersheim asks Schenker to take him on as pupil.
-
OJ 10/1, [92] Typewritten letter from Dahms to Schenker, dated May 21, 1926
Dahms reports plans, with a young Munich publisher, to launch a popular music
"almanach," anti-modern, propagandizing for "our ideas," and later a serious periodical. —
He has to raise 10,000 Marks, and asks for Heinrich's help in doing this. — Margarete has
had surgery.
-
OJ 11/54, [7] Handwritten letter from Hoboken to Schenker, dated May 22, 1926
Hoboken excuses himself from May 22 lesson, looks forward to May 25 lesson.
-
OJ 14/45, [53] Handwritten letter from Moriz Violin to Schenker, dated June 7, 1926
Violin thanks Schenker for his recent postcard, gives a brief account of his
own illnesses, and gives a somewhat longer account of those of his son Karl, which will
complicate summer travel plans. He has learned from music shops in Hamburg that the
Erläuterungsausgabe of Op. 106 is not yet published, and has also heard that Schenker's
Beethoven sonata edition is no longer available; he asks Schenker if this is
true.
-
OJ 9/12, [6] Handwritten letter from Carl Bamberger to Schenker, dated June 15, 1926
Bamberger has introduced pianist Stefan Askenase to Schenker's
Erläuterungsausgabe of Op. 111, to the latter's delight. He would like to visit the
Schenkers in Galtür.
-
OJ 10/1, [93] Handwritten letter from Walter and Margarete Dahms to Schenker, dated June 17,
1926
Birthday greetings.
-
OJ 10/1, [94] Handwritten letter from Dahms to Schenker, dated June 26, 1926
Dahms thanks Schenker for his report [on the viability of the almanach
proposal]. — He plans to devote part of the almanach to Beethoven, and asks whether Schenker
might contribute something new, or grant permission to reprint some of what he has written
in Der Tonwille.
-
OJ 10/1, [95] Handwritten letter from Dahms to Schenker, undated, presumably late June or early
July, 1926
Dahms's almanach plans have failed. — Germany has shown its gratitude for his
work by denying him a divorce [from Agnes] for 15 years.
-
OJ 14/45, [112] Handwritten postcard from Moriz Violin to Schenker, dated July 5, 1926
Violin announces his arrival in Bad Gastein, to improve his health. The rest
of his family is in Bistrai, near Bielitz, in Silesia.
-
OJ 8/4, [43] Handwritten postcard from Schenker to Moriz Violin, written July 8, 1926
Schenker expresses his pleasure that the Violins are on holiday in Badgastein;
he enquires about whether Violin has received a complimentary copy of Meisterwerk 1, which
his publishers seem slow to dispatch, and whether he has further plans to give piano trio
concerts.
-
OJ 14/45, [54] Handwritten letter from Moriz Violin to Schenker, undated, written July 13,
1926
Replying to Schenker's postcard of July 8 and the receipt of the first
Meisterwerk Yearbook, Violin singles out the article "Weg mit dem Phrasierungsbogen" and
remarks on passages in two Chopin etudes and in Beethoven's "Pathétique" Sonata which
Schenker would find interesting. There is no news concerning his piano trio (with Mauritz
van den Berg and Friedrich Buxbaum) but he is considering playing a concerto in the 1926-27
season.
-
OJ 10/1, [96] Handwritten letter from Dahms to Schenker, dated July 14, 1926
Dahms acknowledges receipt of Das Meisterwerk 1, and will review it for the
Allgemeine Musikzeitung and his Almanach. — Is going to Berlin. — PS on acoustics of
under-dominant.
-
OJ 10/1, [97] Handwritten postcard from Dahms to Schenker, dated August 11, 1926
Dahms gives his travel plans and [temporary] Berlin address.
-
OJ 11/35, 24 Handwritten postcard from Halm to Schenker, dated August 11, 1926
Halm acknowledges receipt of Meisterwerk vol. I.
-
OJ 9/34, [2] Handwritten letter from Cube to Schenker, dated August 14, 1926
Cube is having difficulty getting his father to pay Schenker for lessons given over the previous
year, and asks Schenker to write firmly to the latter; speaks of his attempts to make contacts within Düsseldorf
artistic circles.
-
OJ 5/8 [1] Handwritten letter from Schenker to Gustav von Cube, dated August 18, 1926
Schenker insists that Gustav von Cube pay the fee for his son Felix’s last three
months of lessons with him. He does not teach without being paid, explaining that this would be
self-degrading – in his case all the more so, as he lives frugally and teaches only much as is
necessary to afford to pursue his own research.
-
OJ 15/16, [56] Handwritten letter from Weisse to Schenker, dated August 20, 1926
The composition of a clarinet quintet has kept Weisse from writing to Schenker.
Instead of writing a long letter to him about the first Meisterwerk Yearbook, he would like to
meet with him in Vienna to discuss its content.
-
OJ 11/54, [8] Handwritten letter from Hoboken to Schenker, dated August 22, 1926
Hoboken will probably not now visit Schenker in Galtür; explains his and his
wife's departure from Munich and their subsequent travels to Bern, Naples, and Capri, and
reports that his house in Vienna should be ready for occupancy on October 1. — Vrieslander and
he are considering founding a music journal, and wish to discuss the idea with Schenker.
-
OJ 9/35, [2] Handwritten letter from Gustav von Cube to Schenker, dated August 24, 1926
Responding to Schenker’s demand for final payment for his son’s lessons, Gustav
von Cube has arranged for 250 Marks to be paid to Schenker in Galtür; he will send the remainder
to Vienna.
-
OJ 5/7a, [3] (formerly vC 3) Handwritten letter from Schenker to Cube, dated August 26, 1926
Schenker has received indication of part-payment from Cube's father [for Cube's
lessons] and promise of the remainder soon. Schenker travels to Vienna August 28. Weisse has
completed a clarinet quintet.
-
OJ 5/7a, [4] (formerly vC 4) Handwritten postcard from Schenker to Cube, dated September 4, 1926
Schenker acknowledges Cube's note, sends best wishes, and refers to Der freie Satz.
-
OJ 14/45, [55] Handwritten letter from Moriz Violin to Schenker, dated September 5, 1926
Violin reports that he had to cut short his holiday in Bad Gastein because his
son Karl was again seriously ill. The costs of treatment amounted to nearly 4000 Marks, and
this sum must be paid by the end of the year.
-
OJ 6/7, [29] Handwritten letter from Schenker to Moriz Violin, dated September 7, 1926
Schenker conveys his personal grief over the serious illness of Violin's son
Karl. He philosophizes about the ills of the world, noting financial difficulties recently
faced by Vrieslander, Dahms, and van der Berg. He reports Robert Pollak's imminent departure
for San Francisco.
-
OJ 5/7a, [5] (formerly vC 5) Handwritten letter from Schenker to Cube, undated [c. October 7, 1926]
Schenker praises Cube's talent as a writer; informs Cube of forthcoming article on Schenker by
Vrieslander with portrait by Hammer; expresses his wish that Cube's father would pay all that he owes
him.
-
OJ 14/45, [56] Handwritten letter from Moriz Violin to Schenker, dated October 10, 1926
Violin reports that his son Karl's health has improved, but that he has to
find a new apartment because Karl cannot stay on the ground floor. He will obtain a copy of
the current issue of Die Musik, and reports that a review of (presumably) Meisterwerk 1 has
appeared in the Hamburger Fremdenblatt.
-
OJ 11/51, [1] Typed letter from Hindemith to Schenker, dated October 25, 1926
Finding his name mentioned adversely in Meisterwerk 1, Hindemith writes that
he has always striven to fulfill in his own work the fundamental truths that are stated in
Schenker's books. He encloses two scores, and is convinced Schenker will find the Urlinie in
them.
-
OJ 5/17, [1, vsn 1] Handwritten draft letter from Schenker to Hindemith, undated [November 3, 1926]
In response to Hindemith's letter of October 25, 1926, Schenker's 15-page first
draft states his preference for a meeting with Hindemith in Vienna. Schenker thinks differently
from Hindemith: the notion of a "good musician" is a delusion; artistic property is comparable
with material property; the music of today is quite different from that of the past, the rules
of the masterworks do not govern it, hence it is not art at all. Schenker reserves the right to
speak his own mind.
-
OJ 8/4, [44] Handwritten postcard from Schenker to Moriz Violin, dated November 10,
1926
Schenker enquires about the health of Violin and his son Karl. He has received
a cordial letter from Hindemith, assuring him that the fruits of his theory may be found in
his works, including the Urlinie; he has responded politely but candidly.
-
OJ 10/1, [98] Handwritten postcard from Dahms to Schenker, dated November 13, 1926
Dahms has written his review of Meisterwerk, and has dispatched a copy of his
Almanach to Schenker.
-
OJ 14/45, [57] Handwritten letter from Moriz Violin to Schenker, dated November 17, 1926
Violin reports on having moved to a new apartment, no longer on the ground
floor, which his sister and (especially) a friend in Berlin named Martha Loeb have helped to
finance. He is amused what Schenker told him about his letter from Hindemith, whose words,
he believes, ought to be taken at face value.
-
OJ 9/34, [3] Handwritten letter from Cube to Schenker, dated November 25, 1926
Cube asks for a letter of recommendation to be sent to the Provincial School
Council.
-
OJ 5/7a, [6] (formerly vC 6) Handwritten postcard from Schenker to Cube, dated November 28, 1926
Schenker acknowledges receipt OJ 9/34, [3]; has written letter of recommendation to Koblenz
authorities, and supporting letter to recipient.
-
OJ 11/54, [9] Handwritten postcard from van Hoboken to Schenker, dated December 2, 1926
Hoboken cannot attend December 3 lesson.
-
OJ 9/34, [4] Handwritten letter from Cube to Schenker, dated December 14, 1926
Cube was not given recognition, and has to take an examination for purposes of the appointment. Sends
Christmas greetings.
-
OJ 5/7a, [7] (formerly vC 7) Handwritten postcard from Schenker to Cube, dated December 19, 1926
Schenker acknowledges receipt OJ 9/34, [4], and asks to be told
outcome.
-
OJ 6/7, [30] Handwritten letter from Schenker to Moriz Violin, dated December 19, 1926
Schenker expresses his delight that his friend received sufficient financial
help to be able to move into a new apartment for the sake of his son Karl's health. He
reports having shown Agnes Becker some straightforward examples of the Urlinie, out of
desperation (she shows little aptitude for piano playing), and then explains that a great
deal of time, patience and faith are needed to understand such things. Of his current
pupils, only Elias, Brünauer, Hoboken and (to some extent) Albersheim are capable of
following the ramifications of the new theory, which he sees as his unique gift to the
world. At present, he is working on his "crowning work," Free Composition.
-
OJ 9/4, [2] Typewritten letter from the Alexander Wunderer (Akademie für Musik) to Schenker, dated
December 21, 1926
The accumulated interest is available for distribution for the Sofie Deutsch
stipend.
-
OJ 10/1, [99] Handwritten postcard from Dahms to Schenker, dated December 28, 1926
Dahms's review of Meisterwerk 1 is out. Christmas greetings.
-
OJ 9/34, [5] Handwritten letter from Cube to Schenker, dated December 31, 1926
Teaching situation has been resolved; asks Schenker's advice on an Urlinie graph; will hear from
Conservatory in New Year; sends New Year's greetings.
-
OJ 14/45, [60] Handwritten letter from Moriz Violin to Schenker, dated January 3, 1927
Violin reports on his son Karl's continued health problems and also his
affection for his "Onkel Heinrich" (and with it, a wish to be in Vienna rather than in
Hamburg). Agnes Becker has apparently sent Schenker some analytical work on a sonata for
comment. Finally, he announces a forthcoming concert, with (Egon) Pollak, of a concerto for
two pianos by C. P. E. Bach in an arrangement by Schenker.
-
OJ 10/3, [52] Typewritten postcard from Deutsch to Schenker, dated January 15, 1927
Deutsch asks Schenker if a (recent) edition of Beethoven’s Ninth Symphony was
based on the facsimile edition. He has sent the manuscript (of Schenker’s second Meisterwerk
yearbook) to the publishers. A Haydn facsimile and a Handel print can be discussed
later.
-
OJ 10/3, [53] Typewritten postcard from Deutsch to Schenker, dated January 16, 1927
Deutsch asks Schenker what he wrote about Domenico Scarlatti and Chopin as
non-German geniuses, for his forthcoming trip to Sweden. He has learned that Schubert was
paid for two summers’ teaching for the Esterházy family; he has valued two song manuscripts
belonging to the family at 4,000 marks.
-
OJ 11/54, [10] Handwritten letter from van Hoboken to Schenker, dated January 16, 1927
Van Hoboken acknowledges [non-extant] missive; has been unable to look up Gerald
Warburg; asks for John Petrie Dunn's address; has seen Otto Vrieslander.
-
OJ 10/3, [54] Typewritten postcard from Otto Erich and Hanna Deutsch to Schenker, dated January
18, 1927
Vrieslander would like to give a lecture on Schenker and Beethoven at the
centenary celebrations in Vienna; Deutsch asks Schenker to contact Vrieslander directly
about this.
-
OJ 10/3, [55] Typewritten postcard from Otto Erich and Hanna Deutsch to Schenker, dated January
18, 1927
Deutsch asks Schenker not to mention his name in connection with the
“curiosity” about Schubert mentioned in his postcard of January 15.
-
OJ 11/54, [11] Handwritten note from Annamarie van Hoboken to Jeanette Schenker, dated January 20,
1927
Mrs van Hoboken thanks Jeanette for her invitation, and will come on January
27.
-
OJ 15/15, [21] Handwritten postcard from Weisse to Schenker, dated January 21, 1927
Weisse provides Schenker with Gerald Warburg's address in New York City. He
also asks a question about Schenker's fingerings for the trills in the second movement of
Beethoven's Op. 111.
-
OJ 9/34, [6] Handwritten letter from Cube to Schenker, dated January 24, 1927
Acknowledges Schenker's reply and corrections. There will be no problem with his
teacher's examination in May. Reports on recent activities.
-
OJ 11/54, [12] Handwritten letter from van Hoboken to Schenker, dated January 28, 1927
Hoboken had to cancel his planned visit to John Petrie Dunn because of illness. —
He reports on library visits in London and Paris, discusses manuscripts and conditions for
photography, purchases. — He plans no further trips this season.
-
OJ 9/3, [5] Typewritten letter from Adler to Schenker, dated January 28, 1927
Invitation to give a lecture to the conference associated with the Beethoven
Centennial Celebration [March 1927].
-
OJ 5/7a, [8] (formerly vC 8) Handwritten postcard from Schenker to Cube, undated [January 31, 1927]
Schenker wishes Cube well in his new job, offers encouragement over his graphing
technique, and praises his writing.
-
OJ 9/4, [3] Typewritten letter from Joseph Marx and Alexander Wunderer (Akademie für Musik) to
Schenker, dated February 3, 1927
Schenker is asked to give the Federal Ministry of Education his opinion as to
how the Sofie Deutsch stipends should be adjudicated after his death.
-
OJ 5/3, [1] Handwritten draft letter from Schenker to Adler, dated February 7, 1927
Schenker declines invitation to give lecture.
-
OJ 5/4, [3] Draft letter from Schenker to the Akademie für Musik, dated February 7,
1927
Schenker repeats his intentions for the adjudication of the Sofie Deutsch
stipends after his death.
-
OJ 9/34, [7] Handwritten letter from Cube to Schenker, dated February 7 1927
Cube reports on his careers as critic and teacher.
-
OJ 5/7a, [9] (formerly vC 9) Handwritten letter from Schenker to Cube, dated February 15, 1927
Schenker acknowledges and returns Cube's review; reports on the progress of his
own publications.
-
OJ 6/7, [32] Handwritten letter from Schenker to Violin, dated February 16, 1927, with postscript
from Fanny Violin
Replying to Violin's previous letter, Schenker expresses surprise about (Egon)
Pollak's enthusiasm for C. P. E. Bach's Double Concerto. He also expresses uncertainty about
whether to accept an honor from the Academy of Arts and Science in Vienna. A translation and
adaptation of part of his Counterpoint, vol. 2, has been prepared; and Herman Roth's book on
counterpoint has also been published. He sends little Karl a picture of himself, and leaves
space for Violin's sister Fanny to add a short greeting.
-
OJ 13/25, [1] Handwritten letter from Albert Trentini (on behalf of Hermann Rinn) to Schenker,
dated February 23, 1927
Trentini invites Schenker to contribute to Der Kunstwart.
-
OJ 14/45, [61] Handwritten letter from Moriz Violin to Schenker, dated February 23, 1927
Following a brief description of a recent illness, Violin replies to
Schenker's question about accepting the Order of Merit from the Viennese Academy of Art and
Science and advises him to accept it. He realizes that staying in Hamburg would be bad for
his son's long-term health and has spoken to Artur Schnabel about the possibility of moving
to Berlin or Frankfurt. An influential man in Frankfurt is the father-in-law of Paul Klenau;
Violin knows of Klenau's respect for Schenker, and asks his friend to write to Klenau in
support of his application for a post there.
-
OJ 8/4, [46] Handwritten postcard from Schenker to Violin, postmarked [February] 26,
1927
Responding to a request from Violin, Schenker says he will write to Paul von
Klenau on behalf of Violin, apparently in connection with a possible position in
Frankfurt.
-
OJ 8/4, [47] Handwritten postcard from Schenker to Violin, dated February 27, 1927
Schenker is about to write to Paul von Klenau on Violin's behalf, but asks
whether he should wait until Easter, as suggested in Violin's previous
letter.
-
OJ 5/9, [1] Handwritten draft letter from Schenker to Deutsch, dated February 28,
1927
Schenker explains to Deutsch why he does not want to be considered for
an honor from the Austrian Republic. He thanks Deutsch (and Karl Kobald) for their
kind intention to put his name forward.
-
OJ 14/45, [62] Handwritten letter from Violin to Schenker, dated March 2, 1927
Violin thanks Schenker for his willingness to intervene on his behalf with
regard to a position in Frankfurt, and asks him to get in touch with Paul von Klenau before
a possible meeting in person at Easter.
-
OJ 10/3, [56] Typewritten letter from Deutsch to Schenker, dated March 7, 1927
Deutsch is touched by Schenker’s letter explaining why he doesn’t wish to be
considered for an honor (from the Austrian Republic), and will send Karl Kobald a summary of
its main points.
-
OJ 10/3, [57] Typewritten postcard from Deutsch to Schenker, dated March 13, 1927
Deutsch asks Schenker to recommend Dr. Willy Kahl (Cologne) to write for the
Bonn General-Anzeiger. He reports the arrival of galley proofs (for the second Meisterwerk
yearbook).
-
OJ 12/11, [11] Handwritten letter from Klenau to Schenker, undated [c. March 23, 1927]
Klenau agrees to approach his brother-in-law to help Moriz Violin. — He
responds to a comment by Schenker about Albert Schweizer.
-
OJ 10/3, [58] Typewritten postcard from Deutsch to Schenker, dated March 24, 1927
Deutsch will probably attend a lecture given by Wolfgang Graeser, and
encourages Schenker to do the same.
-
OJ 8/4, [48] Handwritten picture postcard from Schenker to Violin, dated March 27,
1927
Schenker has written to Paul von Klenau on Violin's behalf, and received an
assurance that Klenau will write to his brother-in-law (not father-in-law, as Violin had
originally thought) but thinks that Artur Schnabel will be more influential. Klenau will
visit the Schenkers on Saturday.
-
OJ 8/4, [49] Handwritten postcard from Schenker to Violin, dated March 29, 1927
In advance of seeing Klenau, Schenker reports on a meeting with Wilhelm
Altmann and Ludwig Rottenberg, who believe that only people under 30 years old are likely to
be appointed to a post of the sort that Violin is seeking in Frankfurt – a situation that he
finds appalling.
-
OJ 14/45, [63] Handwritten letter from Violin to Schenker, dated March 31, 1927
In reply to Schenker's recent postcards, Violin maintains that Klenau's
support for his appointment in Frankfurt is important, as the Ministry of Education in
Berlin can exert only a limited amount of pressure on the Frankfurt circle.
-
OJ 9/3, [6] Typewritten letter from Guido Adler to Schenker, dated April 4, 1927
Schenker is asked to have his photograph taken as a collaborator in the
Beethoven Centennial Celebration.
-
OJ 13/25, [2] Typewritten letter from Rinn to Schenker, dated April 6, 1927
Having received a letter from Schenker to Albert Trentini, Rinn welcomes the
prospect of Schenker contributing the occasional article to Der Kunstwart, and asks for a
title.
-
OJ 14/45, [113] Handwritten postcard from Violin to Schenker, dated April 6, 1927
In a reply to a recent letter, Violin thanks Schenker for the news concerning
the position he is hoping to obtain in Frankfurt and asks him whether Klenau might discover
what the people in Frankfurt think of him as a candidate.
-
OJ 10/1, [100] Typewritten letter from Dahms to Schenker, dated April 13, 1927
His Almanach has been a success but produced no financial return in a hostile
environment. — They are leaving Berlin for the south; he has lost faith in German spirit,
intellect, and morality.
-
OJ 10/3, [59] Typewritten express postcard from Deutsch to Schenker, dated April 14,
1927
Deutsch invites the Schenkers for afternoon tea at the weekend; Hoboken and
Vrieslander will also be there.
-
OJ 14/45, [64] Handwritten letter from Violin to Schenker, dated April 14, 1927
Violin thanks Schenker for his article (on Beethoven). He is still hoping for
a positive reply regarding Paul von Klenau's support for him in Frankfurt.
-
OJ 15/15, [22] Handwritten postcard from Weisse to Schenker, dated April 14, 1927
Weisse calls his teacher's attention to a recent article by Edmund Schmid,
which questions the objectivity of Schenker's Beethoven research and deplores the slavish
adherence of his disciples to the concept of Urlinie.
-
OJ 10/3, [60] Typewritten express postcard from Deutsch to Schenker, dated April 21,
1927
Deutsch looks forwarded to seeing the Schenkers at Hoboken’s place. The
Society of the Friends of Music would like their print of a Haydn sketchleaf to be returned;
Eusebius Mandyczewki is unable to find a copy of Scarlatti’s Op. 1 (a collection of six
keyboard sonatas).
-
OJ 11/54, [13] Handwritten postcard from van Hoboken to Schenker, dated April 22, 1927
Hoboken invites the Schenkers to a quartet concert.
-
OJ 8/4, [50] Handwritten postcard from Schenker to Moriz Violin, dated April 25, 1927
Schenker explains that what he is doing behind the scene to assist Violin in
obtaining a post in Frankfurt, and hopes for some news from Wilhelm Altmann. Artur Schnabel
will be more useful to his cause than Paul von Klenau and his brother-in-law Heinrich
Simon.
-
OJ 15/16, [57] Handwritten letter from Weisse to Schenker, dated April 29, 1927
Lacking an official state teaching certificate, Weisse asks Schenker for a
testimonial that states that he studied with him from 1908 to 1915, and in 1919, and that he is
fully qualified to teach harmony, counterpoint, composition, and piano.
-
OJ 10/3, [61] Typewritten postcard from Deutsch to Schenker, dated May 9, 1927
Deutsch asks Schenker to lend him the April 1927 issue of Der Schriftsteller.
He is grateful for having been introduced to the artist Viktor Hammer. He recommends that
Schenker visit the Beethoven exposition in the City Hall, and also the Planetarium, where an
“optical organ” is on display.
-
OJ 11/1, [1] Typewritten letter from Atelier Pietzner-Fayer to Schenker, dated May 10,
1927
Pietzner-Fayer extends the deadline for portrait photography to May
20.
-
OJ 9/12, [7] Handwritten letter from Carl Bamberger to Schenker, dated May 10, 1927
Bamberger has been appointed second conductor at the Darmstadt operahouse. He
asks to visit Schenker in Vienna.
-
OJ 10/3, [62] Typewritten postcard from Deutsch to Schenker, dated May 11, 1927
Deutsch has been invited to pose for an album of the Beethoven Committee; he
enquires whether Schenker has accepted an invitation to do so, in which case he will do the
same. He is delighted to learn that the (Photogram) Archive has been
agreed.
-
OJ 9/8, [3] Handwritten postcard from Wilhelm Altmann to Schenker, dated May 26, 1927
Altmann reports on conversion of Hoch Conservatory to
Hochschule.
-
OJ 6/7, [33] Handwritten letter from Schenker to Violin, dated May 27, 1927
Schenker has tried to find out more about the plans for the conservatory in
Frankfurt to be upgraded to a music Hochschule (and, presumably, for Violin to be posted
there), but he is reluctant to press his contacts too far, as this may prove
counterproductive.
-
OJ 9/34, [8] Handwritten letter from Cube to Schenker, dated May 28, 1927
Cube reports on the state teaching examination, on which he was graded
"satisfactory," deploring the way it was conducted.
-
OJ 5/7a, [10] (formerly vC 10) Handwritten letter from Schenker to Cube, dated June 1, 1927
Schenker congratulates Cube on appointment to professorship; reports that Oppel
has been appointed to a professorship at the Leipzig Conservatory, and on the spread of
Schenker's theory elsewhere; looks forward to visit from Cube.
-
OJ 10/3, [63] Typewritten postcard from Deutsch to Schenker, dated June 4, 1927
Deutsch has found a reference to the autograph manuscript of Beethoven’s Piano
Sonata in G, Op. 79, and tells Schenker he can find out more about it from the British
Museum. The Hammers are visiting him on Wednesday (June 8), and he hopes that the Schenkers
will be able to join them.
-
OJ 14/45, [65] Handwritten letter from Violin to Schenker, dated June 6, 1927
Violin still maintains that Paul von Klenau's petitioning on his behalf would
provide a strong measure of support for his application for a post in
Frankfurt.
-
OJ 14/45, [66] Handwritten letter from Moriz Violin to Schenker, dated June 17, 1927
In deepest admiration and gratitude, Violin sends Schenker (59th) birthday
greetings and pictures of his children.
-
OJ 10/3, [64] Typewritten letter from Deutsch to Schenker, dated June 24, 1927
Deutsch has received the second galley proofs to the second Meisterwerk
yearbook but did not read them as he did not have a source with which to compare them. He
will, however, assist Schenker correcting the page proofs, if necessary.
-
OJ 6/7, [34] Handwritten letter from Schenker to Moriz Violin, dated June 30, 1927
Schenker answers Violin's birthday greetings letter philosophically. He is
able to work on the final version Der freie Satz at leisure and in good spirits. He reports
on the establishment of an archive of photographic reproductions of autograph and gives an
account of a visit from Violin's sister Fanny: in return for a picture of Karl Violin, he is
enclosing two pictures of himself and one of Jeanette. Finally, he urges his friend to spend
part of the summer in Galtür.
-
OJ 89/1, [1] Handwritten letter from Schenker to van Hoboken, dated July 3, 1927
Schenker gives Hoboken Furtwängler's summer address and urges him to contact the
latter, which could yield advantage, not least for the Photogrammarchiv. — Has seen Schindler's
Beethoven biography with notes on performance. — Notifies Hoboken of the normalizing of his fee
at 50 schillings per lesson.
-
OJ 10/3, [65] Typewritten letter from Deutsch to Schenker, dated July 11, 1927
Deutsch tells Schenker that the second edition of Schindler’s Beethoven
biography is available, but not the first. --- He explains at length a misunderstanding over
the reprinting of Beethoven’s Piano Sonata Op. 57, with correction strips, before Universal
Edition reissued Schenker’s edition, revised in the light of the facsimile of the autograph
manuscript. --- He is thoroughly pleased with Hoboken’s text (announcing the Photogram
Archive) and gives an account of his and Hoboken’s movements over the summer.--- He reports
on a project in America to find a completion for Schubert’s “Unfinished” Symphony, and
expresses his regret that Drei Masken Verlag have been slow to prepare the second
Meisterwerk yearbook for publication.
-
OJ 11/16, [6] Handwritten letter from Furtwängler to Schenker, dated July 18, 1927
Furtwängler mentions several mutual acquaintances, and hopes to see Schenker in
Vienna.
-
OJ 10/3, [66] Typewritten postcard from Deutsch to Schenker, dated August 2, 1927
Deutsch has obtained a copy of the first edition of Schindler’s Beethoven
biography, which he will send to Galtür.
-
OJ 6/7, [35] Handwritten letter from Schenker to Violin, dated August 5, 1927
In a wide-ranging letter, Schenker underscores the importance of his friend's
taking a holiday, and tries to persuade him to visit him in Galtür. There he was visited by
Reinhard Oppel, who has been appointed to a theory post at the Leipzig Conservatory, where
he will teach from Schenker's texts. He comments at length on the decline of society, as
exemplified by the July Revolt. The second Meisterwerk volume has gone to the bookbinders;
until it is published, he will be working on Der freier Satz.
-
OJ 11/54, [14] Handwritten letter from van Hoboken to Schenker, dated August 7, 1927
Hoboken reports on recent travels, including the July 15, 1927 Vienna riots. – He
has made progress on his index of Haydn's works, and has purchased some Beethoven first
editions. – He hopes to meet Furtwängler soon, and has recently heard from Vrieslander. – He
asks Schenker to inscribe a copy of Meisterwerk 2 to John Petrie Dunn.
-
OJ 9/5, [2] Handwritten letter from Josef Albersheim to Schenker, dated August 8, 1927
The costs of his son's lessons with Schenker are a burden to Josef Albersheim; he
asks Schenker for some "accommodation," asserting that with teachers of Schenker's caliber
pupils normally attend for fewer lessons a month.
-
OJ 5/5, [1] Incomplete handwritten draft letter from Schenker to Josef Albersheim, dated August 12,
1927
Schenker articulates the reasons why Gerhard Albershim should continue his
lessons at the same frequency for another year.
-
OJ 89/1, [2] Handwritten letter from Schenker to van Hoboken, dated August 12, 1927
Schenker acknowledges van Hoboken's letter, OJ 11/54, 14, dated August 7, 1927;
encloses seven articles; responds regarding Haydn, Furtwängler, the "Appeal" for the
Photogrammarchiv, an exhibition in Frankfurt, John Petrie Dunn, Reinhard Oppel, Das Meisterwerk
in der Musik, vol. II, Otto Erich Deutsch, and an honorarium; and sends best wishes for the
Hobokens' trip to Switzerland, reporting on von Cube.
-
OJ 14/45, [67] Handwritten letter from Violin to Schenker, dated August 13, 1927
Violin reports that he was hoping to get away, but things came up that he had
to deal with, which made the summer the saddest of his life. His wife and son will move to
Vienna in the fall, and he will be there for Christmas.
-
OJ 11/32, [1] Typed letter from Robert Haas to Schenker, dated August 19, 1927
Acknowledges "Appeal"; looks forward to working with
Schenker.
-
OJ 89/1, [3] Handwritten letter from Schenker to van Hoboken, dated August 20, 1927
Schenker has a reply from Furtwängler, saying that he is about to see Hoboken. —
Final proofs of Meisterwerk II have arrived; where should he have a copy sent to Hoboken? —
Discusses possible meeting with Furtwängler (refers to Furtwängler's attitude toward the
"moderns"). — Reports visit by von Cube.
-
OJ 11/54, [15] Handwritten letter from van Hoboken to Schenker, dated August 28, 1927
Hoboken reports on meeting with Furtwängler regarding the Photogrammarchiv, and
expresses the hope that it will be possible to interest Furtwängler in performance according to
the sources in the Archive; he encloses the final version of the "Aufruf" for the Archive, and
discusses negotiations with the Austrian National Library and Ministry of Education. — Comments
on Oppel's plan to teach in Leipzig. — Agrees to Schenker's lesson plan and fee for 1927/28. —
Describes his travel plans, which include meetings with Louis Koch in Frankurt, Ludwig
Schiedermair in Bonn, contact with John Petrie Dunn in England, C. S. Terry in Scotland, and
Maurice Cauchie in Paris, and photographing [of sources] at the [Paris] Conservatory.
-
OJ 11/54, [16] Handwritten letter from van Hoboken to Schenker, dated August 30, 1927
Hoboken has met a violinist, Dr. Loewenstein, who consults early editions and
manuscripts for performance purposes, and who cites Otto Klemperer as interpreting from early
sources. -- Gives addresses for forthcoming travels.
-
OJ 11/54, [17] Handwritten letter from van Hoboken to Schenker, dated September 6, 1927
Van Hoboken reports from Drei Masken Verlag that Vrieslander's text for the
Meisterwerk prospectus is overlength, and seeks Schenker's opinion.
-
OJ 89/1, [4] Handwritten letter from Schenker to van Hoboken, dated September 6, 1927
Schenker comments on Hoboken's Appeal [for the Photogrammarchiv], sets out what
is necessary for correctly reading an autograph manuscript and understanding its relationship to
the first edition, and rails against the tendency of performers, including Furtwängler, to think
such matters trivial.
-
OJ 5/7a, [11] (formerly vC 11) Handwritten postcard from Schenker to Cube, dated September 7, 1927
Schenker acknowledges Cube's postcards; Cube will receive the appeal [for photostats of
MSS].
-
OJ 10/3, [67] Typewritten letter from Deutsch to Schenker, dated September 8, 1927
Deutsch has the text of the prospectus for the second Meisterwerk yearbook
prepared by Otto Vrieslander, which the publishers say is too long and he thinks is
unnecessarily repetitious. He is forwarding it to Schenker for his opinion.
-
OJ 10/3, [68] Typewritten letter from Deutsch to Schenker, dated September 12, 1927
Deutsch has sent Vrieslander’s prospectus of the second Meisterwerk yearbook
to the publisher almost unchanged, despite overlength. — He reports 200 new acquisitions
[for Hoboken's collection], particularly in Mozart, Haydn, and Chopin.
-
OJ 89/1, [5] Handwritten letter from Schenker to van Hoboken, dated September 13, 1927
Schenker acknowledges OJ 11/54, [17], and discusses the nature of a "prospectus"
and the suitability of Vrieslander's text for that purpose. — He expresses an interest in
Hoboken's latest discoveries, and asks whether the latter could inquire in London as to the
whereabouts of the autograph manuscript of Beethoven's Op. 106.
-
OJ 11/54, [18] Handwritten letter from van Hoboken to Schenker, dated September 18, 1927
Van Hoboken reports on his visit to John Petrie Dunn: his career, his grasp of
Schenker's theory, his situation at Edinburgh University, his publications. — Tomorrow he is to
visit C. S. Terry.
-
OJ 11/54, [19] Handwritten letter from van Hoboken to Schenker, dated September 29, 1927
Van Hoboken reports receipt of Meisterwerk II and reports progress in
photographing manuscripts in London and Paris.
-
OJ 11/32, [2] Typed letter from Robert Haas to Schenker, dated September 30, 1927
Haas invites Schenker to view the Photogrammarchiv.
-
OJ 89/1, [6] Handwritten letter from Schenker to van Hoboken, dated October 4, 1927
Schenker thanks van Hoboken [for subventing Yearbook 2], while complaining at
Drei Masken Verlag's failure to send him his author's copies and its lack of honesty; he praises
Hoboken for his collection and service to mankind.
-
OJ 8/4, [51] Handwritten postcard from Schenker to Moriz Violin, dated October 5, 1927
Schenker has asked a former pupil (Felix-Eberhard von Cube), who knows Dr.
Simon in Frankfurt, about the likely opening date of a music Hochschule there, but has
received little information in return. the second volume of Meisterwerk will be published
very soon.
-
OJ 10/3, [69] Typewritten picture postcard from Deutsch to Schenker, dated October 6,
1927
Deutsch regrets that Drei Masken Verlag has not yet sent Schenker his
complimentary copies [of the second Meisterwerk yearbook]; they will send an invoice for the
production costs. Hoboken ought to receive an honor from the Austrian state only after the
Photogrammarchiv is up and running. Deutsch has much to show Schenker from the first
editions of Beethoven sonatas. He wants to arrange a time to go through the corrections to
Schubert’s Symphony in B minor.
-
OJ 12/8, [1] Typed letter from Kalmus (UE) to Schenker, dated October 10, 1927
Kalmus explains the situation over Beethoven Sonata Op. 78.
-
OJ 10/3, [70] Typewritten picture postcard from Deutsch to Schenker, dated October 11,
1927
Deutsch has seen Otto Vrieslander, who surprisingly did not mention the recent
publication of his songs. He explains how different early print-runs of Beethoven’s works
may display telling differences, and how parallel publications in different cities could
sometimes show changes attributable to the composer (as is typically found in
Chopin).
-
OJ 10/3, [71] Typewritten picture postcard from Deutsch to Schenker, dated October 15,
1927
Deutsch accepts an invitation to the Schenkers on Wednesday, October 19. –
Drei Masken Verlag have told him that they have already paid Schenker’s honorarium and sent
him complementary copies [of the second Meisterwerk yearbook] in January and that the second
payment came to him from their branch in Vienna. – He has been working on a Beethoven
catalogue but must now turn his attention to Mozart, and then to Schubert.
-
OJ 10/3, [72] Typewritten picture postcard from Deutsch to Schenker, dated October 24,
1927
Deutsch has spoken to Alfred Kalmus about the revisions that Schenker (with
Deutsch’s assistance) has proposed for a reprinting of the score of Schubert’s “Unfinished”
Symphony. Kalmus said that time was pressing and he was unable to show the two men the
changes before the work went to press.
-
OJ 15/16, [58] Handwritten letter from Weisse to Schenker, dated October 27, 1927
Weisse congratulates Schenker on the publication of the second Meisterwerk
Yearbook, of which has expresses mainly admiration. But he is unhappy with Schenker's dismissal
of the fugue from Reger's Variations and Fugue on a theme of Bach, and with his reading of the
Urlinie in Schubert's Waltz Op. 9 (D. 365), No. 5, and Beethoven's Sonata Op. 10, No.
2.
-
OJ 9/34, [9] Handwritten letter from Cube to Schenker, dated October 29, 1927
Cube has had 'flu; reports on his [conservatory] teaching of Schenkerian theory
(though disguised from the authorities), his private teaching, his work in composition; he has
joined the Reichsverband deutscher Tonkünstler und Musiklehrer. Dunn has sent him his
translation [of part of Kontrapunkt], which he thinks may serve classroom use better than that
of Vrieslander. He is enjoying using his radio; sends two Galtür portraits; his father has had a
son.
-
OJ 9/8, [4] Handwritten picture postcard from Wilhelm Altmann to Schenker, dated November 8,
1927
Altmann thanks Schenker for Masterwork 2; — Has retired but is temporarily
continuing in his position; — Reports publication of his handbook for string quartet
players.
-
OJ 5/7a, [12] (formerly vC 12) Handwritten letter from Schenker to Cube, dated November 9, 1927
Schenker thanks Cube for the pictures enclosed with OJ 9/34, [9] and expresses
pleasure at Cube's reports of his teaching, composition, listening to the radio, Urlinie
studies, and advocacy of good editions; refers to Vrieslander's planned monograph on Schenker,
the prospectus for Meisterwerk I and II, and the call [for the
Photogrammarchiv].
-
OJ 11/10, [19] Handwritten picture postcard from Frimmel to Schenker, dated November 11,
1927
Frimmel thanks Schenker for having had Meisterwerk II sent to
him.
-
OJ 14/45, [68] Handwritten letter from Violin to Schenker, dated November 13, 1927
Violin thanks Schenker for sending him the second volume of Meisterwerk, which
he regards as a milestone in offering the strongest statement of his theories. He is
accompanying a cellist in early January and will not be able to get to Vienna at Christmas
after all. His wife and son – who is now able to get up and around – are hoping to go to
Vienna at Easter.
-
OJ 10/1, [101] Handwritten postcard from Dahms to Schenker, undated [c. November 14,
1927]
Meisterwerk 2 has still not arrived; Dahms gives an address in Nice.
-
OJ 10/3, [73] Typewritten postcard from Deutsch to Schenker, dated November 14, 1927
Deutsch has had a telephone call from Alfred Kalmus, who reported that
Schenker’s revised copy of Schubert’s “Unfinished” Symphony has been messed up, that it will
be returned to him, with a second, clean copy, and that Kalmus may visit Schenker to
apologize for this. – Deutsch will lend Schenker a copy of stories by Balzac, two of which
may be of interest from a musical point of view. He also hopes that work can be found for
the precocious Gerald Warburg.
-
OJ 11/54, [20] Handwritten letter from van Hoboken to Schenker, undated [November 14, 1927]
Van Hoboken inquires whether the next day is a holiday or lesson day,
provisionally suggesting a discussion with Robert Haas.
-
OJ 11/54, [21] Handwritten letter from van Hoboken to Schenker, undated [November 14, 1927]
Van Hoboken confirms meeting with Robert Haas.
-
OJ 8/4, [52] Handwritten postcard from Schenker to Violin, dated November 16, 1927
Schenker congratulates Violin on obtaining many private pupils, and for his
continued activity as a performer. He expresses his joy that Violin's son Karl will be
visiting Vienna next year.
-
OJ 10/3, [74] Typewritten postcard from Deutsch to Schenker, dated November 22, 1927
Deutsch suspects that with the typesetters' "messing up" of Schenker’s revised
copy of Schubert’s “Unfinished” Symphony the material has been made illegible. — He has been
in contact with people regarding a possible radio talk by Schenker, and one by himself on
the redesigning of the Mozarteum. — He reports that the pianist Heinz Jolles would like
Schenker to prepare an edition of one of Beethoven’s variation sets (WoO 80 or the
“Diabelli”), and that Josef Braunstein is gratified to hear of Schenker’s interest in his
recent book on the "Leonore" overtures.
-
OJ 11/35, 25 Handwritten postcard from Halm to Schenker, dated November 22, 1927
Halm acknowledges receipt of Meisterwerk vol. I.
-
OJ 10/1, [102] Handwritten postcard from Dahms to Schenker, dated November 30, 1927
Meisterwerk 2 has arrived, and Dahms rejoices at its content and form of
expression.
-
OJ 71/19, [1] Typewritten letter from Alfred Kalmus (WPhV) to Otto Erich Deutsch, dated November
30, 1927
Kalmus thanks Deutsch for his recent help with a Schubert publication, then
reports that one of their editors mistakenly added changes to Schenker’s annotated copy of
the “Unfinished” Symphony which was to be used for the new edition. He apologizes for the
error, and is returning Schenker’s copy together with another copy of the score into which
Schenker’s original notations have been entered as accurately as possible.
-
OJ 10/3, [75] Typewritten letter from Deutsch to Schenker, dated December 2, 1927
Deutsch encloses Schenker’s score of the “Unfinished” Symphony that was used
used for the new edition and Alfred Kalmus’s apologetic letter. He mentions the pianist
Heinz Jolles’ interest in Schenker’s editorial work, in the hope that Schenker might at some
point tackle Beethoven’s “Diabelli” Variations.
-
OJ 9/12, [8] Handwritten letter from Carl Bamberger to Schenker, dated December 2,
1927
Bamberger praises Schenker's initiative in the Photogrammarchiv and Anthony
van Hoboken's philanthropy; he is making progress as a conductor.
-
OJ 89/1, [7] Handwritten letter from Schenker to van Hoboken, dated December 5, 1927
Schenker praises a notice in the Neue freie Presse about the Photogrammarchiv,
and speaks of the task that lies ahead.
-
OJ 15/15, [23] Handwritten postcard from Weisse to Schenker, dated December 9, 1927
Weisse asks Schenker if he could see him about a matter of mutual
interest.
-
OJ 15/15, [24] Handwritten postcard from Weisse to Schenker, dated December 10, 1927
Weisse arranges to meet with Schenker the following morning (Sunday, December
11, 1927).
-
OJ 5/4, [4] Handwritten draft letter from Schenker to Franz Schmidt (Akademie für Musik), dated
December 13, 1927
Schenker hands the Sofie Deutsch stipendia to the Akademie für Musik on the
grounds that the interest on the capital has diminished too greatly.
-
OJ 15/15, [25] Handwritten postcard from Weisse to Schenker, dated December 17, 1927
Weisse thanks Schenker for supporting his latest project in principle, and for
informing him of Antony van Hoboken's intention to establish a publication related to the
the Photogram Archive.
-
OJ 89/1, [8] Handwritten letter from Schenker to van Hoboken, dated December 17, 1927
Reply from Dr. Richtera has arrived, and Schenker encloses it; Otto Erich Deutsch
is invited to give a lecture about the damages. — Hoboken has had a letter from Alban Berg that
may be intentionally ironic; Schenker reflects on the spirit of the Photogrammarchiv.
-
OJ 10/18, [2] Handwritten letter from Elias to Schenker, dated December 25, 1927
Miss Elias begs Schenker to accept her present of the Brahms piano
works.
-
OJ 14/45, [69] Handwritten letter from Violin to Schenker, dated December 27, 1927
Violin reports that his concert (cello recital) has been put back a week
because of a tendon problem in his left hand. He owes Otto Vrieslander a response to his
recent written work, but he feels that Vrieslander does not truly understand Schenker's
cause, does not have the same "orientation" towards it as he, and expresses himself poorly.
(Weisse, he says, could have done things better.) However, all this pettiness is nothing
compared with the achievement of Meisterwerk 2, and of the "crowning" work that will soon
follow.
-
OJ 89/1, [9] Handwritten double letter from Heinrich to Anthony van Hoboken and from Jeanette to
Annamarie van Hoboken, dated December 27, 1927
While commenting adversely on Křenek's opera "Jonny spielt auf," Heinrich sends
best wishes for the New Year and thanks for cactuses, acknowledges receipt of a check, and sends
greetings to Otto Vrieslander. — Jeanette thanks Annamarie van Hoboken for the Christmas
greetings and gift.
-
OJ 12/17, [9] Handwritten calling card from Komorn to Heinrich Schenker, dated December 29,
1927
New Years greetings and thanks.
-
OJ 6/7, [36] Handwritten letter from Schenker to Moriz Violin, dated December 29, 1927
Sending greetings for the New Year, Schenker expresses the hope that his
friend's fortunes will begin to improve in 1928. He agrees with Violin's pronouncements on
Vrieslander’s character and ability to convey Schenker's thoughts, and has no idea of what
to expect in Vrieslander's (supposedly) forthcoming monograph on him. Weisse, whom he
regards as a more skilled interpreter of his work, has announced plans for a monthly
journal, Die Tonkunst, to be edited with his pupils Oswald Jonas and Felix Salzer, which
will be based exclusively on Schenker's theoretical approach. But he is afraid that Weisse
might leave Vienna, to teach at Damrosch's music school.
-
OJ 15/15, [26] Handwritten postcard from Weisse to Schenker, dated January 2, 1928
Weisse gives Schenker Bruno Walter's address in Vienna, and informs his
teacher that invitations to contribute to Die Tonkunst have been sent out.
-
OJ 89/2, [1] Handwritten letter from Schenker to Hoboken, dated January 4, 1928
Schenker sends a feuilleton by Hans Liebstöckl regarding the premiere of Krenek's
opera "Jonny spielt auf."
-
OJ 12/38, [2] Handwritten picture postcard from Hans Liebstoeckl to Schenker, dated January 11,
1928
Without naming the composer or title, Liebstöckl expresses himself in disparaging
terms about Ernst Krenek and the latter's opera, Jonny spielt auf.
-
OJ 15/15, [27] Handwritten postcard from Weisse to Schenker, dated Januray 21, 1928
Weisse is trying to arrange a time to see Schenker. He has not heard from
Reinhard Oppel (presumably about his projected periodical, Die Tonkunst, but has received a
letter from Moriz Violin.
-
OJ 15/15, [28] Handwritten postcard from Weisse to Schenker, dated January 25, 1928
Weisse accepts a social invitation from Schenker, asks whether Viktor Hammer
might also join them.
-
OJ 10/3, [76] Typewritten picture postcard from Deutsch to Schenker, dated January 27,
1928
Deutsch has spoken to Alfred Kalmus about the revisions that Schenker (with
Deutsch’s assistance) has proposed for a reprinting of the score of Schubert’s “Unfinished”
Symphony. Kalmus said that time was pressing and he was unable to show the two men the
changes before the work went to press.
-
OJ 9/34, [10] Handwritten letter from Cube to Schenker, dated January 30, 1928
Cube reports progress in his class and private teaching, performance of his
compositions, his forthcoming lecture; outlines plan for an exhibition in Duisburg to celebrate
Schenker's 60th birthday; has heard nothing of Hoboken's "Aufruf."
-
OJ 12/6, [1] Handwritten letter from Jonas to Schenker, dated February 1, 1928
Jonas asks to meet with Schenker to discuss the "matter of the
periodical."
-
OJ 5/18, [F] Handwritten postcard from Schenker to Jonas, dated February 5, 1928
Sets meeting for February 8.
-
OJ 12/6, [2] Handwritten postcard from Jonas to Schenker, dated February 9, 1928
Jonas asks for address of John Petrie Dunn.
-
OJ 5/7a, [13] (formerly vC 13) Handwritten letter from Schenker to Cube, dated February 12, 1928
Schenker expresses joy at Cube's report of his class and private teaching; refers
to Hoboken's "Aufruf" and Vrieslander's prospectus; reports Weisse's plan for a monthly
periodical; thanks Cube for his efforts with book dealers in Duisburg and
Essen.
-
OJ 5/18, [G] Handwritten letter from Schenker to Jonas, dated February 14, 1928
Discusses plans to create of "journal," and conditions under which this might be
done.
-
OJ 10/3, [77] Handwritten letter from Hanna and Otto Erich Deutsch to Schenker, dated March 1,
1928
The Deutsches accept the Schenkers’ invitation for the afternoon of Wednesday,
March 7.
-
OJ 11/32, [3] Typed letter from Robert Haas to Schenker, dated March 1, 1928
The Photogrammarchiv has a source that Schenker is at liberty to
consult.
-
OJ 10/3, [78] Handwritten letter from Hanna Deutsch to Schenker, dated March 2, 1928
Hanna asks Schenker to accept her apologies for not being able to visit them
on March 7, as Otto Erich has been invited to tea with the President of the
Republic..
-
OJ 12/6, [3] Handwritten letter from Jonas to Schenker, dated March 3, 1928
Discusses the proposal to create a "journal," raised in previous correspondence,
and airs Schenker's misgivings. Plans to send an invitation to 2,000 people.
-
OJ 10/3, [79] Handwritten letter from Hanna Deutsch to Schenker, dated March 4, 1928
The Deutsches will visit the Schenkers on Wednesday, March 14. Hanna reports
that Hoboken has been unwell.
-
OJ 11/54, [22] Handwritten letter from Hoboken to Schenker, dated March 11, 1928
Hoboken recounts the difficulties he is having in getting 2,500 photographs of
autograph manuscripts made at the Paris Conservatory.
-
OJ 89/2, [2] Carbon copy of typed letter from attorney Hundt to counsellor Dr. Seidenberger, dated
March 12, 1928
Concerns guardianship of a Fräulein Müschenborn.
-
OJ 89/2, [3] Typed letter from Counsellor of Justice Seidenberger to Hoboken, dated March 13, 1928
Concerns guardianship of a Fräulein Müschenborn.
-
OJ 89/2, [4] Handwritten letter from Schenker to Hoboken, dated March 16, 1928
Schenker speaks of Hoboken's Photogrammarchiv as a "grand contribution," and of
the work to be done there; reports on a copy of Beethoven Sonata, Op. 90, by Archduke Rudolph. —
He will show Hoboken recent articles by Dahms and Vrieslander, and inquires about Hoboken's
birthday.— Furtwängler may come to Vienna permanently.
-
OJ 10/3, [80] Typewritten postcard from Deutsch to Schenker, dated March 19, 1928
Deutsch reports that Eusebius Mandyczewski, the Archivist at the Gesellschaft
der Musikfreunde, would like to prepare a revised edition of Schubert’s “Unfinished”
Symphony, and asks Schenker if he would be prepared to make his textual notes on the
symphony available to him.
-
OJ 11/54, [23] Handwritten letter from Hoboken to Schenker, dated March 21, 1928
Hoboken has still made no progress on photographic work at the Paris
Conservatory. — He will go to Rotterdam and Münster. — Speaks of the importance of his Archive
work and contacts he has made. Will probably go to a concert featuring music of Alban Berg. — He
asks Schenker to intervene with O. E. Deutsch.
-
OJ 10/3, [81] Typewritten postcard from Deutsch to Schenker, dated March 25, 1928
Deutsch’s plans to give a pre-concert talk on the radio have been messed up by
Max Ast at Austrian Radio. -- He asks Schenker to tell him about the authentic copies of
Beethoven’s works made for Archduke Rudolph. -- He has been on the track of a German mass
for the dead by Schubert (the Deutsche Trauermesse) and would like to show Schenker his work
on it.
-
OJ 10/3, [82] Typewritten postcard from Deutsch to Schenker, dated March 26, 1928
Deutsch writes about the sketches for a symphony in E major by Schubert, in
the possession of the Royal College of Music in London. He would like to have a copy made so
that the work can be published – possibly by Oxford University Press. The costs should be
borne by the publisher, not the Photogram Archive, which would nonetheless get a copy of the
reproduction.
-
OJ 89/2, [5] Handwritten letter from Schenker to Hoboken, dated March 26, 1928
Schenker conveys Deutsch's response to van Hoboken's questioning of a planned
facsimile of Schubert sketches. — Schenker discusses strategy for persuading Paris to supply
photographs for the Photogrammarchiv.
-
OJ 8/4, [54] Handwritten postcard from Schenker to Moriz Violin, dated April 2, 1928
The Schenkers invite Violin to an evening meal at their
apartment.
-
OJ 15/15, [29] Handwritten postcard from Weisse to Schenker, dated April 13, 1928
Recovering from illness, Weisse is unable to join the Schenkers for lunch,
suggests instead seeing Schenker on Sunday morning.
-
OJ 10/3, [83] Typewritten picture postcard from Deutsch to Schenker, dated April 16,
1928
Deutsch has had sharp words with Max Ast at Austrian Radio. He wants to give a
talk on Schubert’s lost “Gastein” (or “Gmunden”) Symphony and hopes that publicity from the
broadcasting company will eventually lead to the rediscovery of the manuscript. Eusebius
Mandyczewski is preparing a new edition of the “Unfinished” Symphony for Breitkopf &
Härtel; the Philharmonia pocket score, with Schenker’s and Deutsch’s revisions, is now in
print. Deutsch has discovered that the first edition of Beethoven’s Piano Sonata Op. 90
exists in two versions.
-
OJ 9/34, [11] Handwritten letter from Cube to Schenker, dated April 24, 1928
Cube describes difficulties with his colleagues, loss of pupils, and reactions to
his lecture; Scheuermann and Schmemann will put Schenker exhibits in their shop windows, items
requested; inquires after Weisse journal plan.
-
OJ 5/7a, [14] (formerly vC 14) Handwritten letter from Schenker to Cube, dated April 29, 1928
Schenker sympathizes with Cube over the hostilities he faces; contrasts his own theory to the
approach of Riemann. Has arranged for Hammer portraits to be sent to Cube [for bookshop exhibits], and directs him
to biographical information about himself. Describes the trials of his 20s, which were surpassed by the difficulties
he faced later with publishers and organizations. Upholds Joachim and Messchaert as models of performance art, and
speaks of his contact with Brahms. Asks whether Cube will be joining him in Galtür in the summer.
-
OJ 10/3, [84] Typewritten picture postcard from Deutsch to Schenker, dated May 1, 1928
Deutsch has picked up a copy of his and Schenker’s recent edition of the
“Unfinished” Symphony; he has made a complaint to Universal Edition and let the publisher
know of Schenker’s displeasure with the-- He is going away for a few days, but returning to
give a radio broadcast on Schubert’s settings of Walter Scott.
-
OJ 10/3, [85] Typewritten picture postcard from Deutsch to Schenker, dated May 15, 1928
Deutsch thanks Schenker for his kind words (about his recent radio broadcast)
and describes the difficulties in preparing things for publication in Radio Wien. He informs
Schenker that Brahms’s arrangement of a Schubert song has already been published. He has
discovered that the Guitar Quartet believed to be by Schubert is an arrangement, and that an
early cantata, Die Advokaten, is also based on the work of another
composer.
-
OJ 10/3, [86] Typewritten picture postcard from Deutsch to Schenker, dated May 22, 1928
Deutsch thanks Schenker for his most recent letter, and is sending him in
return the original version of the finale of Schubert’s Divertissement à
l’hongroise.
-
OJ 9/34, [12] Handwritten letter from Cube to Schenker, dated May 24, 1928
Cube acknowledges receipt of the Hammer engravings and reports on the planned
Scheuermann exhibition; reports on a forthcoming lecture and seminar, and the growth of his
student numbers.
-
OJ 15/15, [30] Handwritten postcard from Weisse to Schenker, dated May 25, 1928
About to leave Vienna, Weisse asks if he can see Schenker to say
good-bye.
-
OJ 5/7a, [15] (formerly vC 15) Handwritten postcard from Schenker to Cube, dated May 28, 1928
Schenker sends Cube an article written for the Beethoven centenary festival and suggests a
"connection" between Bonn and Düsseldorf; refers to American professors teaching the Urlinie in the USA;
outlines summer plans.
-
OJ 15/15, [31] Handwritten postcard from Weisse to Schenker, dated May 31, 1928
Weisse will bid up to twice the estimated price at auction for a copy of C. P.
E. Bach's Essay on the True Art of Playing Keyboard Instruments.
-
OJ 10/3, [87] Handwrittenwritten picture postcard from Hanna and Otto Erich Deutsch to Schenker,
dated June 10, 1928
The Deutsches hope to see the Schenkers once before both couples go away for
the summer, and they invite them for tea on Tuesday, June 12.
-
OJ 10/3, [88] Typewritten picture postcard from Deutsch to Schenker, dated June 14,
1928
Deutsch can show Schenker the reissue (Titelauflage) of Beethoven’s Sonata Op.
6 if he is interested. -- On the 27th, he is giving a radio broadcast on Schubert’s lost
symphony; he has obtained funding ($1,000) for the person who finds it. -- He is giving
another radio talk on July 3, on Schubert’s incidental music to Rosamunde.
-
OJ 10/3, [89] Typewritten letter from Deutsch to Schenker, dated June 17, 1928
Deutsch sends Schenker birthday greetings; he hopes that the last volume of
his “great work” [i.e. Der freie Satz] will bring satisfaction to him and comfort to the
world.
-
OJ 14/45, [70] Handwritten letter from Moriz Violin to Schenker, dated June 17, 1928
Violin sends 60th birthday greetings to Schenker, adding that he is unlikely
to leave Hamburg this summer.
-
OJ 9/10, [1] Telegram from the Photogrammarchiv to Schenker, dated June 19, 1928
Best wishes [on Schenker's 60th birthday]
-
OJ 89/2, [6] Handwritten letter from Schenker to Hoboken, dated June 22, 1928
With thanks for birthday greetings, Schenker expresses how highly he values the
Photogrammarchiv while endorsing van Hoboken's turning down of an "honor" that he was offered. —
Schenker has, at Einstein's request, updated his entry in Riemann's Musiklexikon. — With the
success of the Urlinie through Der Tonwille, he no longer considers himself isolated.
-
OJ 6/7, [38] Handwritten letter, with envelope, from Schenker to Moriz Violin, dated June 23,
1928
Schenker thanks Violin for his kind birthday greetings, explaining the
discrepant birth dates assigned to him. He reaffirms his spiritual solidarity with his
friend. He has read some articles and reviews mentioning his work, at all of which he
laughs.
-
OJ 10/3, [90] Typewritten letter from Deutsch to Schenker, dated June 27, 1928
Touched by Schenker’s response to his birthday greetings, Deutsch quotes a
passage from Johann Mayrhofer’s recollections of Schubert. He notes that the Columbia
Phonograph Company has sponsored a competition that could be viewed as a kind of Nobel Prize
for music.
-
OJ 5/7a, [16] (formerly vC 16) Handwritten picture postcard from Schenker to Cube, dated July 3, 1928
Schenker inquires whether Cube has encounted obstacles to his
plans.
-
OJ 8/4, [55] Handwritten picture postcard from Schenker to Moriz Violin, dated July 3,
1928
Schenker asks Violin to write to Fritz Stein, to ask him to return one of his
arrangements of a musical work.
-
OJ 9/34, [13] Handwritten letter from Cube to Schenker, dated July 6, 1928
Cube reports on Scheuermann exhibit, and consequent interest and sales, encloses
associated newspaper article; also on recent lecturing and composition activity. He is unlikely
to visit Schenker this year; recalls people at Galtür.
-
OJ 10/18, [3] Handwritten letter from Elias to Schenker, dated July 11, 1928
Miss Elias is glad that Schenker is "not dissatisfied" with her graphings of
his piano piece Op. 4, No. 1 and looks forward to her October lessons for a detailed
discussion. — She inquires about Vrieslander's "monograph." — She was interested to see the
autograph and first edition of "Erlkönig" juxtaposed in a Schubert
exhibition.
-
OJ 5/7a, [17] (formerly vC 17) Handwritten letter from Schenker to Cube, dated July 13, 1928
Schenker offers consoling words for low turn-out to Düsseldorf lecture; praises
recent article by Cube, but corrects overstated connection between himself and Brahms and
Joachim.
-
OJ 14/45, [71] Handwritten letter from Moriz Violin to Schenker, dated July 18, 1928
Owing to a "complete breakdown," Violin is recovering at a sanatorium in
Schierke, from where he writes. In response to Schenker's previous postcard, Violin had
written more than once to Prof. [Fritz?] Stein for the return of the manuscript of a Handel
arrangement by Schenker, and he will chase him up in August. A pupil of his, Harry Hahn, has
taken upon himself to lecture on Schenker's theories at the local society of composers; for
this he has prepared classroom-size enlargements of voice-leading graphs of a Bach prelude
and a Schubert waltz, and has proved a surprisingly competent and persuasive
speaker.
-
OJ 6/7, [39] Handwritten envelope from Schenker to Moriz Violin, postmarked July 22, 1928
Schenker asks about Violin's breakdown, and comments on Halm's avoidance of
fearful situations and on Cube's shop window exhibition.
-
OJ 8/4, [56] Handwritten picture postcard from Schenker to Moriz Violin, dated July 25,
1928
Writing to the sanatorium in the Harz mountains, Schenker ask Violin how
things are with him.
-
OJ 15/16, [59] Handwritten letter from Weisse to Schenker, dated July 26, 1928
Writing while on holiday (in Bad Aussee), Weisse apologizes for not having
replied to Schenker's previous letter. He is enjoying reading C. P. E. Bach's Versuch, and
reports the illness and recovery of Viktor Hammer, who was staying in Grundlsee near the Weisses
during the month of June.
-
OJ 11/54, [24] Typed letter from Hoboken to Schenker, dated August 27, 1928
Hoboken recounts his and his wife's travels through Germany, including encounters
with Thomas Mann and others. He expects to return to Vienna in mid-October.
-
OJ 8/4, [57] Handwritten postcard from Schenker to Moriz Violin, postmarked September 5,
1928
Having just returned from the Tyrol, Schenker asks how Violin and his family.
He would also like to see the voice-leading diagrams that Violin's pupil Harry Hahn has
prepared for his lectures.
-
OJ 89/2, [7] Handwritten letter from Schenker to Hoboken, dated September 5, 1928
The Schenkers have just returned to Vienna. — The "fantastic nature" of the
Hobokens' travels by auto. — The exceptional heat in Galtür. —Salzburg as magnificent but
too small to hold Mozart.
-
OJ 9/5, [3] Handwritten letter from Gerhard Albersheim to Schenker, dated September 5,
1928
Josef Albersheim has approved the continuation of his son's three lessons a
week; Gerhard looks forward to resumption.
-
OJ 5/7a, [18] (formerly vC 18) Handwritten postcard from Schenker to Cube, dated September 6, 1928
Freier Satz will be prepared for publication this year; gives news of former pupils and
supporters.
-
OJ 10/3, [91] Typewritten letter from Deutsch to Schenker, dated September 16, 1928
Deutsch belatedly answers Schenker’s postcard greeting from the summer and
invites him to tea on Wednesday, September 19.
-
OJ 14/45, [72] Handwritten letter from Moriz Violin to Schenker, dated September 21,
1928
Violin apologizes for not writing sooner; he has suffered a further health
setback. His pupil Harry Hahn will send Schenker the illustrations and a copy of his lecture
(on the Schubert waltz and Bach prelude). He enquires about Der freie Satz.
-
OJ 10/3, [92] Typewritten postcard from Deutsch to Schenker, dated September 27, 1928
Deutsch gives Schenker information about Brahms’s arrangement of a Schubert
song ("Ellens zweiter Gesang") and the guitar quartet attributed to
Schubert.
-
OJ 15/15, [32] Handwritten postcard from Hertha Weisse to Jeanette Schenker, dated September 28,
1928
In reply to a postcard from Jeanette Schenker, Hertha Weisse recommends
linoleum as a covering for the flat surfaces of a sideboard and bench.
-
OJ 10/3, [93] Typewritten letter from Deutsch to Schenker, dated September 29, 1928
Deutsch arranges to meet Schenker in [Hoboken’s] library on October
2.
-
OJ 5/7a, [19] (formerly vC 19) Handwritten postcard from Schenker to Cube, dated September 29, 1928
Schenker has received large-format Urlinie charts from Harry Hahn and recommends
format to Cube.
-
OJ 10/3, [94] Typewritten postcard from Deutsch to Schenker, dated October 3, 1928
Deutsch apologies for being late to his meeting with Schenker, because his
clock was running 10 minutes slow.
-
OJ 9/34, [14] Handwritten letter from Cube to Schenker, dated October 4, 1928
Cube acknowledges OJ 5/7a, [18] and [19], and comments; reports on his own recent activities and
plans, and on events in the Conservatory, on a forthcoming Schubert festival, and Radio Vienna. He is about to
return the Hammer etching.
-
OJ 10/3, [95] Typewritten picture postcard from Deutsch to Schenker, dated October 8,
1928
Deutsch has received information from Breitkopf & Härtel concerning the
three volumes of piano sonatas by Haydn in the collected edition; he thinks that they are
very expensive.
-
OJ 5/7a, [20] (formerly vC 20) Handwritten postcard from Schenker to Cube, dated October 8, 1928
Schenker acknowledges receipt of Hammer portrait; urges Cube when in Cologne to
visit Gerhard Albersheim's parents and Felix Hupka.
-
OJ 8/4, [58] Handwritten postcard from Schenker to Moriz Violin, dated October 9, 1928
Schenker is glad to hear that his friend's setback was only a minor one. He
has received a nice letter from Harry Hahn, together with a copy of his lecture and the
splendid voice-leading diagrams.
-
OJ 8/4, [59] Handwritten postcard from Schenker to Moriz Violin, dated October 22,
1928
The large-format graphs prepared by Harry Hahn have been greeted
enthusiastically by Schenker's pupils and friends; Schenker suggests that a "light
projection apparatus" (i.e. an overhead projector), which is now often available in schools
and hospitals, might be more practical.
-
OJ 15/15, [33] Handwritten postcard from Weisse to Schenker, dated October 23, 1928
Weisse points out a part-writing error in Schenker's Counterpoint, vol. 2. He
suggests that his teacher looks at Alois Haba's recently published Neue Harmonielehre, and
commends Oppel's recent article on Bach's fugal technique.
-
OJ 14/45, [73] Handwritten letter from Moriz Violin to Schenker, dated October 26, 1928
Violin queries Schenker's suggestion for displaying graphic work by
light-projection. He has recently made the acquaintance of a Hamburg organist name
Hahnemann, who teaches only according to Schenker's theory. Finally he asks whether the
"last volume" (Der freie Satz) has been published.
-
OJ 9/34, [15] Handwritten letter from Cube to Schenker, dated November 7, 1928
Cube reports his activities in Cologne, especially his work with Heinrich Lemacher, who is a
"connoisseur of the Urlinie"; reports on his compositions. Will visit Hupka and Albersheim next
time.
-
OJ 5/7a, [21] (formerly vC 21) Handwritten letter from Schenker to Cube, dated November 20, 1928
Sends best wishes for Cologne lecture-series; is planning to issue a folder of
Urlinien for use by teachers, and may deposit his handwritten Urlinien in the Photogrammarchiv,
which will be officially opened on November [25]. The "counter-examples" should be taken
slowly.
-
OJ 10/1, [103] Typewritten letter from Dahms to Schenker, dated November 23, 1928
Dahms is unable to attend the Schubert conference in Vienna. — His latest
appeals on marital situation have been rejected.
-
OJ 13/25, [3] Typewritten letter from Rinn to Schenker, dated December 7, 1928
Rinn enthusiastically thanks Schenker for his intention to write an article,
and for arranging to have the necessary photographic reproductions
prepared.
-
OJ 10/3, [96] Typewritten letter from Deutsch to Schenker, dated December 11, 1928
Deutsch outlines plans for the publication of catalogues of music manuscripts
worldwide and, in particular, new thematic catalogues of the music of Schubert, Mozart and
Beethoven. With the intervention of Leopold Richtera, he has been assured of a good working
relationship with the director of music at Radio Wien (RAVAG).
-
OJ 15/16, [60] Handwritten letter from Weisse to Schenker, dated December 16, 1928
Weisse reports the birth of his (first) child, a girl. In a postscript, he
informs Schenker that C. P. E. Bach's "Prussian" and "Württemberg" sets of keyboard sonatas
have been published in a modern edition.
-
OJ 8/4, [60] Handwritten poscard from Schenker to Moriz Violin, dated December 22,
1928
The Schenkers send the Violins their best wishes.
-
OJ 14/45, [74] Handwritten letter from Moriz Violin to Schenker, dated December 24, 1928
On his first teaching-free day, Violin writes to say that his health is good,
and to wish the Schenkers a happy holiday. His organist friend Hahnemann will probably write
to Schenker soon about performing some of his arrangements. Schnabel, too, wants to obtain
the score, parts and cadenzas for the keyboard concertos of C. P. E. Bach that Schenker has
prepared.
-
OJ 15/15, [34] Handwritten postcard from Weisse to Schenker, dated January 2, 1929
Weisse invites the Schenkers for a Sunday morning
get-together.
-
OJ 15/15, [35] Handwritten postcard from Weisse to Schenker, dated January 18, 1929
Weisse regrets that Schenker is still unable to visit. He has arranged for a
photograph to be made of a Brahms sonata autograph manuscript.
-
OJ 11/35, 26 Printed death notice of August Halm, dated February 1, 1929
Announces death of August Halm.
-
OJ 13/25, [4] Typewritten letter from Rinn to Schenker, dated February 7, 1929
Rinn reports that publication of "Eine Rettung der klassischen Musik-Texte"
must be delayed because a copy of the faulty Peters edition of Schubert's Sonata (Op. 78, in
G major), which is the subject of Schenker's essay, cannot be found anywhere in Munich. He
asks Schenker to send him his own copy, so that it can be used for the reproduction of the
musical text. He also mentions the death of August Halm, and his intention of marking the
event in the same issue in which Schenker's article is now to appear.
-
OJ 10/3, [97] Typewritten picture postcard from Deutsch to Schenker, dated February 12,
1929
Deutsch thanks Schenker for his recent postcard, then describes the
circumstances of his recent and forthcoming radio programs, which include a series of
concerts given by a “Kammerensemble” (chamber group) which includes professors from the
Vienna Academy. He has been to a man named Villers, who has been reconstructing orchestral
scores from piano reductions.
-
OJ 15/15, [36] Handwritten postcard from Weisse to Schenker, dated February 20, 1929
Owing to family illness, the Schenker's forthcoming visit is
postponed.
-
OJ 14/45, [75] Handwritten letter from Violin to Schenker, dated February 25, 1929
Violin has heard terrible things from Vienna on account of the extremely cold
weather, and hope that the Schenkers are in good health. His brother-in-law will take him on
holiday at Easter, and also pay for a family holiday in the summer.
-
OJ 6/7, [41] Handwritten letter from Schenker to Moriz Violin, dated February 27, 1929
Schenker thanks Violin for his concerns, describes how they survived the cold
weather earlier in February, reports that his monograph on the "Eroica" Symphony is finished
and that he has written an article about the Photogram Archive, which has acquired over
seven thousand pages of manuscripts. He looks forward to seeing his friend in the
summer.
-
OJ 15/15, [37] Handwritten postcard from Weisse to Schenker, postmarked March 2, 1929
Weisse asks Schenker to postpone a planned visit to the following Sunday, as
there is a Philharmonic Concert this Sunday.
-
OJ 14/45, [76] Handwritten letter from Moriz Violin to Schenker, dated March 3, 1929
On the point of departing for the Riviera with his brother-in-law – possibly
via Vienna – Violin asks Schenker to make a quick assessment of his voice-leading reduction
of Bach's first Two-Part Invention, in C major.
-
OJ 13/25, [5] Typewritten letter from Rinn to Schenker, dated March 7, 1929
Rinn apologizes for the small format in which the autograph of Schubert's
minuet was reproduced for Schenker's article "Eine Rettung der klassischen Musik-Texte." He
has publicized the work, and intends to send copies of it to university music departments
and inform other newspapers and journals of it. He expresses thanks for the efforts that
Schenker made in contributing to Der Kunstwart, and for his remarks on Bruckner's Ninth
Symphony.
-
OJ 6/7, [42] Handwritten letter, with envelope, from Schenker to Moriz Violin, dated March 7,
1929
In reply to Violin's previous letter, Schenker writes out a graphic analysis
of Bach's Two-Part Invention in C major, and wishes him an enjoyable holiday on the French
Riviera.
-
OJ 15/15, [38] Handwritten postcard from Weisse to Schenker, dated March 8, 1929
Weisse confirms an invitation to the Schenkers for the following
Sunday.
-
OJ 14/45, [77] Handwritten letter from Violin to Schenker, dated March 20, 1929
Violin thanks Schenker for his letter with the voice-leading sketch of Bach's
C major Invention, and for the article from Der Kunstwart on the Photogram Archive. He is
enjoying the climate of Nice, and seems to be getting on well with the French language; a
lady who overheard him playing the piano praised his expressive playing.
-
OJ 10/3, [98] Typewritten letter from Deutsch to Schenker, dated , March 22, 1929
Deutsch sends Schenker a newspaper clipping related to an idea of his
concerning the “League of Nations”.
-
OJ 13/25, [6] Typewritten letter from Rinn to Schenker, dated March 22, 1929
Rinn tells Schenker that Alfred Einstein has expressed an interest in
promoting Schenker's work on autograph manuscripts with a notice in the Berliner
Tageblatt.
-
OJ 9/34, [16] Handwritten letter from Cube to Schenker, dated March 26, 1929
Cube is listening by radio to music being performed in Vienna. The two caricatures are his
fellow composition teachers at Duisburg. Reports on his work at Cologne Conservatory: success with previous
lectures, and forthcoming lecture series.
-
OJ 10/3, [99] Typewritten picture postcard from Deutsch to Schenker, dated March 27,
1929
Deutsch asks which edition of the Schubert Minuet in B minor he had consulted
when writing an article in Der Kunstwart.
-
OJ 11/54, [25] Typed letter from Hoboken to Schenker, dated March 27, 1929
Hoboken has broken off his friendship with Otto Vrieslander after discovering
that the latter has been cheating him.
-
OJ 12/50, [1] Handwritten letter from Bernhard Martin to Schenker, dated March 27, 1929
Bernhard Martin sends Schenker an analytical sketch and a composition study,
for comment. He expresses his gratitude for all that he has learned from his lessons with
Schenker.
-
OJ 89/3, [1] Handwritten letter from Schenker to Hoboken, dated March 28, 1929
Schenker expresses surprise at Vrieslander's "deception" and approves Hoboken's
response to him.
-
OJ 9/34, [17] Handwritten letter from Cube to Schenker, dated April 5, 1929
Miss Edith Sauerbrey may call on Schenker.
-
OJ 5/7a, [22] (formerly vC 22) Handwritten letter from Schenker to Cube, date not visible (April 1929)
Schenker expresses pleasure at what Cube has sent him in OJ 9/34, [16] and [17],
and offers advice and a warning: ordinary people are not interested in beauty in art, but look
for quick, easy judgments.
-
OJ 15/15, [39] Handwritten postcard from Weisse to Schenker, dated April 13, 1929
Weisse arranges to meet Schenker outside the Musikverein before a performance
of Beethoven's Ninth Symphony.
-
OJ 15/15, [40] Handwritten postcard from Weisse to Schenker, dated April 16, 1929
In response to a query from Schenker concerning a pupil (Gerhard Albersheim),
Weisse explains the requirements of the state examination for prospective music teachers who
have not had a formal training at the Academy.
-
OJ 14/45, [78] Handwritten letter from Moriz Violin to Schenker, dated April 29, 1929
Violin has finally paid off a large debt, and promises to save enough money so
that he can spend a few days in Galtür with the Schenkers. He apologizes for any
indiscretion on the part of his sister Fanny.
-
OJ 8/4, [62] Handwritten postcard from Schenker to Violin, dated May 3, 1929
Schenker assures Violin that there is no friction whatever between his sister
Fanny and himself; he looks forward to seeing him in the summer.
-
OJ 10/3, [100] Typewritten picture postcard from Deutsch to Schenker, dated May 6, 1929
Deutsch invites the Schenkers to their place on Wednesday, May 8, or the
following Wednesday.
-
OJ 10/3, [101] Typewritten letter from Deutsch to Schenker, dated May 8, 1929
Deutsch reports that his series of radio concerts with professors from the
Vienna Academy is in jeopardy, because of Max Ast’s lack of enthusiasm for them, and that
Leopold Richtera has also let him down.
-
OJ 10/3, [102] Typewritten picture postcard from Deutsch to Schenker, dated May 13, 1929
Deutsch informs Schenker that Anthony van Hoboken is still abroad, but is
expected towards the end of the week (Friday, May 17).
-
OJ 9/34, [18] Handwritten letter from Cube to Schenker, dated May 14, 1929
Cube explores the possibility of a student of his, Erich Voss, studying with
Schenker.
-
OJ 5/7a, [23] (formerly vC 23) Handwritten letter from Schenker to Cube, dated May 15, 1929
Gerhard Albersheim will leave a space in Schenker's calendar that Schenker offers
to Erich Voss; will teach him himself because Weisse may not be up to date with Der freie Satz;
Voss to contact him.
-
OJ 15/16, [61] Handwritten letter from Weisse to Schenker, dated May 29, 1929
Weisse reports that Gerhard Albersheim is going to see him about the
possibility of having lessons from him. He congratulates Schenker on completing his study of
the "Eroica" Symphony, and hopes to be able to get together with his teacher sometime in the
next two weeks.
-
OJ 15/15, [41] Handwritten postcard from Weisse to Schenker, dated June 3, 1929
Weisse arranges to meet Schenker on Wednesday, June 11, 1929.
-
OJ 15/15, [42] Handwritten postcard from Weisse to Schenker, dated June 5, 1929
Weisse confirms arrangements to meet Schenker on June 11.
-
OJ 10/3, [103] Typewritten letter from Deutsch to Schenker, dated June 11, 1929
Deutsch gives Schenker a detailed, comprehensive account of how his royalties
on the sale of the third Meisterwerk yearbook are based.
-
OJ 12/50, [2] Handwritten letter from Bernhard Martin to Schenker, dated June 15, 1929
Bernhard Martin sends Schenker a "little treasure box" and wishes him and
Jeanette a recuperative vacation.
-
OJ 14/45, [79] Handwritten letter from Violin to Schenker, dated June 16, 1929
In spite of an earlier promise, Violin says he cannot visit the Schenkers in
Galtür because he must stay with his son, who has had an inflammation of his kidney
following the news of the death of Otto Schreier. He will instead take his son on a holiday
in the Harz Mountains, and hopes to visit Vienna in the autumn or over
Christmas.
-
OJ 12/50, [3] Handwritten letter from Bernhard Martin to Schenker, dated July 3, 1929
Bernhard Martin is working on Schenker's graphings of the E-flat major piano
sonata of Haydn in connection with his class teaching. He has obtained a copy of Schenker's
facsimile of the "Moonlight" Sonata and is seeking his edition of the Chromatic Fantasy and
Fugue. He inquires after the [projected] Erläuterungsausgabe of Op. 106 and Schenker's
periodical articles.
-
OJ 5/7a, [24] (formerly vC 24) Handwritten postcard from Schenker to Cube, dated July 6, 1929
Schenker has heard again from Erich Voß about lessons and shows signs of
annoyance. Has completed his "Eroica" study, and Der freie Satz looms.
-
OJ 89/3, [2] Handwritten letter from Schenker to Hoboken, dated July 6, 1929
Schenker encloses a newspaper clipping regarding a Haydn manuscript find, and the
statement from Vrieslander.
-
OJ 89/3, [3] Typewritten letter (carbon copy) from Hoboken to Schenker, dated July 7,
1929
Hoboken recounts recent travels. — Is now at Kliffende, where he is about to
build a house. — Reports meetings with Hubermann and Harburger; encloses a letter and articles
from the latter. — Refers to a Vrieslander problem.
-
OJ 89/3, [4] Handwritten letter from Schenker to Hoboken, dated July 12, 1929
Schenker thanks Hoboken for the Harburger items and agrees to write to
Vrieslander.
-
OJ 5/7a, [25] (formerly vC 25) Handwritten postcard from Schenker to Cube, dated July 14, 1929
Voß is coming to Vienna.
-
OJ 14/45, [114] Handwritten picture postcard from Moriz and Karl Violin to Schenker, undated,
postmarked July 16, [1929]
Violin and his son have taken a bus to Brocken in the Harz mountains, the
highest point in northern Germany.
-
OJ 9/34, [19] Handwritten letter from Cube to Schenker, dated July 18, 1929
Acknowledges two postcards; no word from Eric Voss; reports on teaching activities; reports on
composing and sends two sonatas for Schenker's comment.
-
OJ 5/7a, [26] (formerly vC 26) Handwritten postcard from Schenker to Cube, dated July 22, 1929
Acknowledges the sonatas Cube sent with OJ 9/34, [19]; reports on Reinhard Oppel
and on Hans Weisse's recent publication success; Schenker approves of Cube's use of pianistic
diminution.
-
OJ 89/3, [5] Typewritten letter (carbon copy) from Hoboken to Schenker, dated July 22,
1929
Hoboken gives his view on Vrieslander's honorarium demand.— He is not yet
finished with analyzing Brahms Op. 117, No. 1.
-
OJ 10/3, [104] Typewritten letter from Deutsch to Schenker, dated July 28, 1929
In a long letter, Deutsch thanks Schenker for encouraging him to apply for the
post of Head Archivist at the Gesellschaft der Musikfreunde following the death of the
previous postholder, Eusebius Mandyczewski, on July 13. He comments on the present state of
play at the Archive, above all on its insecure position. — He also expresses his regret that
Austrian Radio is no longer interested in his “Chamber Ensemble” broadcasts with professors
from the Vienna Academy, and that some of the players are no longer enthusiastic about them;
he hopes to start a new initiative of that sort in the autumn. — He is in good standing with
Hoboken, but the work on his private library is not bringing him rewards. — He enjoyed his
recent trip to Italy, and thinks that he might have become an art historian had he gotten to
know the country earlier.
-
OJ 89/3, [6] Handwritten letter from Schenker to Hoboken, dated August 2, 1929
Schenker has passed the [fee] verdict on to Vrieslander; alludes to Reinhard
Oppel, and advises on the analysis of Brahms Op. 117, No. 1.
-
OJ 15/16, [62] Handwritten letter from Weisse to Schenker, dated August 5, 1929
Weisse, absorbed by Schenker's ideas (especially the concept of "tonal space")
tells of his plans to write about his teacher's significance as a contemporary theorist. He
describes his progress in composition, which includes the completion of a set of six bagatelles
for piano and a Clarinet Quintet, and much work on an Octet. He asks about progress on Der freie
Satz and about the publication of Schenker's analysis of the "Eroica" Symphony, and reports his
and Hertha's joy in parenthood.
-
OJ 89/3, [7] Handwritten letter from Schenker to Hoboken, dated August 5, 1929
Further communications between Hoboken and Vrieslander should now go via
Kromer, not Schenker; Oppel leaves tomorrow; how is house-construction
going?
-
OJ 5/7a, [27] (formerly vC 27) Handwritten letter from Schenker to Cube, dated August 10, 1929
Schenker reponds, on information from Reinhard Oppel, to Cube's question in OJ
9/34, [19] about finding a publisher; advises Cube to seek friends who will play his music,
after which publication should ensue. Schenker gives detailed comments, with music examples, on
Cube's two piano sonatas, praising them highly and making suggestions for
improvement.
-
OJ 10/3, [105] Handwritten letter from Deutsch to Schenker, dated August 21, 1929
In this long letter, Deutsch seeks to explain Vrieslander’s behavior with
regard to the purchase of materials from an unscrupulous antiquarian dealer, and also to
account for Hoboken’s treatment of Vrieslander as a consequence. --- He accepts that funds
to set up a journal linked to the Photogram Archive are not unlimited, but understands why
Schenker cannot devote as much of his own time to the project as Hoboken might expect. ---
He describes Hoboken as a childish character, with little understanding of the world of
ordinary people, who might nevertheless ultimately produce a good piece of
scholarship.
-
OJ 15/7, [1] Handwritten letter from Arthur Waldeck to Schenker, dated August 27, 1929
Introductory letter from Arthur Waldeck to Schenker.
-
OJ 11/16, [7] Handwritten letter from Furtwängler to Schenker, dated August 30, 1929
Furtwängler comments retrospectively on the Heidelberg affair, and rejoices over
the "Eroica" monograph.
-
OJ 11/54, [26] Typewritten letter from Hoboken to [Reinhard Oppel], dated August 30, 1929
Hoboken advises Oppel on ordering materials from the Photogrammarchiv for study
purposes. — He hopes to see him in Kiel in late September.
-
OJ 89/3, [8] Handwritten letter from Schenker to Hoboken, dated September 10, 1929
Schenker increases his lesson fee by inflation. — He reports on Oppel and
Vrieslander, referring to his (Schenker's) not having been appointed to a professorship at
Heidelberg; on Albersheim's marriage, and approaches made to him by Cube and
Waldeck.
-
OJ 89/3, [9] Typewritten letter from Hoboken to Schenker, dated September 15, 1929
Hoboken encloses his analytical study of Brahms's Intermezzo, Op. 117, No. 1,
and raises several technical matters. — He reports on his building project, and responds to
Schenker's refusal, in OJ 89/3, [7], to continue acting as intermediary with Vrieslander. —
He encloses a check for his lesson fee.
-
OJ 10/3, [106] Typewritten picture postcard from Deutsch to Schenker, dated September 18,
1929
Deutsch asks Schenker to name a convenient time to speak with him in private
or, alternatively, for the Schenkers to come to his place some afternoon.
-
OJ 89/3, [10] Handwritten letter from Schenker to Hoboken, dated September 18, 1929
Schenker acknowledges check; — comments on Hoboken's work on a Chopin Etude; —
discusses an approach by Vrieslander; — explains how the possibility of a professorship at
Heidelberg had come about.
-
OJ 10/18, [4] Handwritten letter from Elias to Schenker, dated September 23, 1929
Miss Elias confirms her forthcoming lesson for October 1, and plans to finish
her voice-leading sketch of a fugue by Handel.
-
OJ 5/44, [1] Handwritten letter from Schenker to Arthur Waldeck, dated September 23, 1929
Schenker encourages Waldeck to spread his (Schenker's) ideas in America, and
apprises him of Dunn's translation of Kontrapunkt and his own recent and forthcoming
publications.
-
OJ 10/3, [107] Typewritten letter from Deutsch to Schenker, dated October 1, 1929
Deutsch gives Schenker information and advice about a standing
lamp.
-
OJ 10/3, [108] Typewritten letter from Deutsch to Schenker, dated October 7, 1929
Deutsch gives a comprehensive analysis of the prospect of a publication
devoted to the Photogram Archive: its content, its editorship, the frequency of its
appearance, and the publishing houses who might be interested in taking it on.
-
OJ 15/15, [44] Handwritten postcard from Weisse to Schenker, postmarked October 13, 1929
Weisse seeks to arrange a meeting with Schenker during the
week.
-
OJ 10/3, [109] Typewritten picture postcard from Deutsch to Schenker, dated October 14,
1929
Deutsch agrees that there should be momentum associated with the Photogram
Archive, but Haas can probably not be persuaded [to approve of Hoboken’s taking the
editorial duties]. --- He reports that work on Haydn (with Hoboken) has
resumed.
-
OJ 89/3, [11] Typewritten letter (typed copy) from Vrieslander to Schenker, dated October 23,
1929
Vrieslander reports that Hoboken has given him notice to vacate, and rehearses
the course of events leading up to this situation, events that intertwine with Vrieslander's
obligations to the Photogrammarchiv.
-
OJ 89/3, [12] Handwritten letter from Schenker to Hoboken, dated October 24, 1929
Schenker forwards Vrieslander's letter.
-
OJ 12/50, [4] Handwritten letter from Bernhard Martin to Schenker, dated October 31,
1929
Bernhard Martin sends Schenker graphings of a Mendelssohn Lied ohne Worte and
a J. S. Bach Kleines Präludium. -- He describes the duplicated and missing pages in his
misbound copy of Schenker's Harmonielehre. -- He suggests a correction to Schenker's use of
the term "portamento." -- Having read Otto Vrieslander's biography of C. P. E. Bach, he
proposes to perform a cantata by the latter and describes the concert program in which it
will feature.
-
OJ 10/3, [110] Typewritten picture postcard from Deutsch to Schenker, dated November 8,
1929
Deutsch has come in second place in the application to the Society of the
Friends of Music [for the directorship of its Archive], and will not accept an inferior
position there. He proposes a meeting with Schenker on Tuesday [the 12th] or Friday [the
15th].
-
OJ 10/3, [111] Handwritten picture postcard from Deutsch to Schenker, dated , November 11,
1929
Deutsch accepts Schenker’s invitation for Tuesday, November 12,
1929.
-
OJ 6/7, [43] Handwritten letter from Schenker to Moriz Violin, dated November 13, 1929
Urging his friend to write only when he feels up to it, Schenker gives Violin
some news of his own: that the Eroica Symphony monograph is finished but a publisher who is
capable of dealing with the numerous music examples must be found; that Schenker will work
unceasingly on Der freie Satz once the Eroica is out of the way; that the Photogram Archive
has grown in size in two years, and that so many requests for information have been received
that a yearbook is planned, with critical reports, new editions, and the like; that Hoboken
and Vrieslander have fallen out (over money matters); that Schenker's brother Mozio (Moses)
has separated from his wife after 25 years of marriage and that he his has been giving music
lessons to Mozio’s son, a cellist in the Baden city orchestra.
-
OJ 14/45, [80] Handwritten letter from Violin to Schenker, dated November 19, 1929
Violin apologizes for not having written, but does not want to burden Schenker
with negative thoughts. He will try to help find a publisher for the "Eroica" analysis, and
also offers some thoughts of comfort on hearing the news that Schenker's brother and
sister-in-law have separated. He has little energy left, but is somehow able to muster it
when needed, e.g. at a sold-out orchestral concert in which he played better than ever. He
promises to be in Vienna over Christmas.
-
OJ 6/7, [44] Handwritten letter from Schenker to Violin, dated November 24, 1929
After reply to some of the more personal points in Violin's previous letter,
Schenker welcomes his friend's efforts to look for a publisher for the Eroica Symphony
monograph, noting that, in spite of the difficulties that Hertzka has caused him, his books
are still in print and his status as a theorist has been acknowledged by the the fact that
the universities of Heidelberg and Leipzig have expressed an interest in appointing him. A
recent article in the Deutsche Tonkünstler-Zeitung will give Violin further ammunition when
approaching a publisher. That same issue also contains an article by Schoenberg touching on
various canonic works (Bach, Prelude in C sharp minor for the Well-Tempered Clavier, Book 1;
Beethoven, Seventh Symphony, finale; Mozart, slow introduction to the "Dissonant" Quartet).
He feels that it is beneath his dignity to make a formal reply; but to illustrate what he
means, and why he is contemptuous of Schoenberg, he provides several voice-leading graphs
and other music examples concerning these works.
-
OJ 13/25, [7] Typewritten letter from Rinn to Schenker, dated December 2, 1929
Rinn sends Schenker the October and November 1929 issues of Der Kunstwart. In
contrast to his own journal, he describes the progressive Münchener Neueste Nachrichten (for
whom Wilhelm Hausenstein, Joseph Roth, and Felix Salten were writing) as belonging to "the
other side."
-
OJ 15/15, [45] Handwritten postcard from Weisse to Schenker, dated December 10, 1929
Weisse will introduce Victor Vaughn Lytle to Schenker on Sunday morning; he
asks to borrow an issue (November 5, 1929) of the Deutsche Tonkünstler-Zeitung, which
Schenker has mentioned in his previous letter.
-
OJ 11/16, [8] Handwritten letter from Furtwängler to Schenker, dated December 16, 1929
Furtwängler asks to visit Schenker on December 19th.
-
OJ 89/3, [A] Handwritten letter from Schenker to Hoboken, undated [between November 14, 1928 and
January 1, 1929]
Schenker asks Hoboken to send a copy of a Schubert minuet to Munich, and draws
his attention to a Landshoff article and notice about the Andreas Bach
book.
-
OJ 14/45, [81] Handwritten letter from Violin to Schenker, dated December 19, 1929
Violin has two possible publishers for the "Eroica" monograph. One of these he
names as Rather in Leipzig, which has recently bought up Simrock. The other, Breitkopf &
Härtel, has been suggested by Furtwängler, who believes that the proposal would be supported
by Karl Straube. Violin also considers the possibility replying to a recent article by
Schoenberg.
-
OJ 6/7, [45] Handwritten letter from Schenker to Violin, dated December 23, 1929
Schenker, expressing misgivings about the medical profession, nonetheless
hopes that Karl Violin's impending operation is successful. He is still awaiting news about
a publisher for the "Eroica" monograph; Furtwängler's illness has delayed some lines of
enquiry, and Hertzka (at Universal Edition) has not been cooperative.
-
OJ 10/3, [112] Handwritten picture postcard from Hanna Deutsch to Schenker, dated December 24,
1929
The Deutsches accept Schenker’s invitation for Friday, December 27, 1929. They
thank him for his expression of sympathy over their son’s illness.
-
OJ 10/3, [113] Handwritten picture postcard from Deutsch to Schenker, dated December 30,
1929
Deutsch advises Schenker to send the manuscript [of an essay by Gerd
Albersheim] to Dr. Alfred Einstein, the editor of the Zeitschrift für
Musikwissenschaft.
-
OJ 12/50, [5] Handwritten letter from Bernhard Martin to Schenker, undated [January 1 or 2,
1930]
In thanking Schenker for all that he has learned from him, Bernhard Martin
sends New Year's greetings to Heinrich and Jeanette. He looks forward to the "Eroica
monograph."
-
OJ 13/25, [8] Typewritten letter from Rinn to Schenker, dated January 2, 1930
Rinn has sent Schenker copies of Der Kunstwart and will be in touch with him
about his next contribution, the extracts from the Masterwork yearbooks.
-
OJ 9/34, [20] Handwritten letter from Cube to Schenker, January 2, 1930
Offers New Year greetings; reports on his current mood, on the Conservatory, his private
teaching, and publication plans. Describes Urlinie of C major Prelude from WTC I. Reports on
compositional activity and reading.
-
OJ 5/7a, [28] (formerly vC 28) Handwritten letter from Schenker to Cube, dated January 12, 1930
Acknowledges OJ 9/34, [20], and gives detailed critique of Cube's analysis of
the C major Prelude from WTC I, including graphs; advises on additional reading and Cube's
plans to publish the analysis.
-
OJ 10/3, [114] Typewritten letter from Deutsch to Schenker, dated January 21, 1930
Deutsch explains that, without a fixed annual budget, the Board of Trustees
[of the Photogram Archive] is unable to function properly. Hoboken didn’t always deal
efficiently with the foreign contributors to the collection; a catalogue has still not been
prepared. And Deutsch has made himself ill by overwork. Hedwig Kraus has taken over the
directorship of the Archive of the Gesellschaft der Musikfreunde, with [Karl] Geiringer as
her assistant – to whom Deutsch would have greatly preferred Luithlen. He has been
exchanging letters with Vrieslander.
-
OJ 5/32, [1] Postal receipt from Schenker to Rinn, dated January 23, 1930
Schenker sends the Hammer portrait to Rinn.
-
OJ 14/45, [83] Handwritten letter from Violin to Schenker, dated January 24, 1930
Violin has learned that the proprietor of Rather-Verlag is unwell, and that
there would be no chance of Schenker's having his "Eroica" Symphony monograph published
there. He also reports on declining cultural and human values, of which the recent success
of jazz-based works, staged in German opera houses, is emblematic. He is going to Berlin to
investigate possible employment there.
-
OJ 10/3, [115] Typewritten picture postcard from Deutsch to Schenker, dated January 27,
1930
Deutsch clarifies one or two misunderstandings in Schenker’s previous
postcard: Vrieslander has been contracted by the publisher Strache to bring out some
unpublished sonatas by C. P. E. Bach.
-
OJ 11/54, [27] Typewritten letter from Hoboken to Schenker, dated January 30, 1930
Hoboken is unwell and cannot go out.
-
OJ 10/3, [116] Handwritten postcard from Hanna Deutsch to Schenker, dated February 1,
1930
The Deutsches invite the Schenkers for dinner on Wednesday, February 5, 1930.
Hoboken will also be there (without his wife).
-
OJ 10/3, [117] Handwritten picture postcard from Hanna Deutsch to Schenker, dated February 3,
1930
Hanna Deutsch accepts Schenker’s choice of date for supper (February
6).
-
OJ 10/3, [118] Handwritten picture postcard from Deutsch to Schenker, dated February 5,
1930
Deutsch confirms the time of his invitation to the Schenkers for the
evening.
-
OJ 89/4, [1] Handwritten letter from Schenker to Hoboken, dated February 22, 1930
Schenker advises that an analysis of the score of Beethoven's Missa solemnis
should be taken at a slow pace.
-
OJ 10/3, [119] Typewritten letter from Deutsch to Schenker, dated February 26, 1930
In contrast to the uprightness of Schenker’s other pupils, Hans Weisse and
Felix Salzer, Hoboken is described by Deutsch as an unsteady, unfocussed person who may yet
be able to do some good but whose restlessness gives him grounds to fear for the future of
his library, and his own future.
-
OJ 10/3, [120] Handwritten postcard from Deutsch to Schenker, dated March 2, 1930
Deutsch has come across information suggesting that there may be parts, even a
score, of the "Eroica" Symphony with corrections in Beethoven’s hand from the music library
of Archduke Rudolph and still located in Olmütz [Olomouc].
-
OJ 6/7, [47] Handwritten letter from Schenker to Violin, dated March 2, 1930
Schenker reports on two concerts at which Hans Weisse's Octet was performed
for the first time. Furtwängler was enchanted by it, Schenker was impressed by the quality
of the voice-leading in general, the construction of the finale movement (a passacaglia) in
particular. He was touched to see that a pupil of Weisse's, Dr. Felix Salzer, had subvented
the cost of the rehearsals and concerts, and the provision of food and drink for the
audience; this he compared with Antony van Hoboken's reluctance to help him with the
publication costs of his recent work.
-
OJ 15/16, [63] Handwritten letter from Weisse to Schenker, dated March 3, 1930
Weisse has delayed in replying to Schenker's recent letter because he has been
corrected copies of his Clarinet Quintet and Octet, which he will submit to the City of Vienna
Prize competition. He asks Schenker to help publicize the first performance of the Octet, at the
small auditorium of the Musikverein, and asks for the addresses of Angi Elias and Marianne Kahn
so that he can send them personal invitations. His wife is about to give birth to a second
child, and he hopes that Schenker's personal doctor Julius Halberstam might also be interested
in hearing the Octet.
-
OJ 10/3, [121] Typewritten picture postcard from Deutsch to Schenker, dated March 5,
1930
Deutsch tells Schenker that Hoboken may stay in Berlin, at least temporarily.
His friend Otto Stoessl works for Der Kunstwart but has not invited him to contribute to
that periodical. He has found a review in a Stuttgart music journal which contains words of
high praise for Schenker’s Erläuterungsausgaben of the late Beethoven
sonatas.
-
OJ 13/25, [9] Typewritten letter from Rinn to Schenker, dated March 8, 1930
Vrieslander's article about Schenker for Der Kunstwart is too technical and
too long for a journal with amateur readership; he has asked Vrieslander to shorten it. — He
expresses enthusiasm for Schenker's idea of writing about the relationship of the great
German poets to music.
-
OJ 10/3, [122] Typewritten picture postcard from Deutsch to Schenker, dated March 17,
1930
Deutsch was unable to hear Weisse’s new composition; he has sympathy for the
work of Eduard Beninger.
-
OJ 89/4, [2] Typewritten letter (carbon copy) from Hoboken to Schenker, dated March 19,
1930
Hoboken compares performances of Beethoven's Missa solemnis by Furtwängler and
Klemperer. — He has experienced pains in his arm, and has taken recuperative lessons from
Rudolf Breithaupt. — He details work he has been doing for the Photogramm Archive, work of
his own, and that for Schenker.
-
OJ 15/16, [64] Handwritten letter from Weisse to Schenker, dated March 21, 1930
Weisse has seen Furtwängler, who will write a letter of recommendation to
Breitkopf & Härtel with regard to Weisse's Octet. He suspects that Furtwängler will want
to consult Schenker about it, and asks his teacher not to be overly modest about the work of
one of his pupils, and to stress the need for an arrangement of the work for piano four
hands.
-
OJ 89/4, [3] Handwritten letter from Schenker to Hoboken, undated [March 23, 1930]
Schenker reacts to Hoboken's news that he has been consulting Breithaupt on piano
technique, and defines Hoboken's character as a pianist.
-
OJ 89/4, [4] Typewritten letter (carbon copy) from Hoboken to Schenker, dated March 29,
1930
Hoboken questions Schenker's separation of "artist" from "person," and says
that he does not want to become an eternal student.
-
OJ 10/3, [123] Typewritten letter from Deutsch to Schenker, dated April 1, 1930
Deutsch suggests that Schenker should get Breitkopf & Härtel to publish
his study of the "Eroica" symphony, on a commission basis. -- He thinks that Hoboken will
continue to study theory with Schenker while he improves his piano technique in Berlin. --
He has found a published version of Beethoven’s song "Neue Liebe, neues Leben," which
predates its publication in Op. 75 by about three years, and asks Schenker to compare the
two version with a sketch from 1798 that was published by Nottebohm.
-
OJ 5/9, [2] Handwritten letter from Schenker to Deutsch, dated April 3, 1930
Schenker confirms that a Beethoven sketch for "Neue Liebe, neues Leben" is
related to the earlier of his two settings of the song. Although he is grateful for
Nottebohm’s work on the Beethoven sketches, he transcribed only from the surface, not from
the depths of the composition. -- In a postscript, Schenker complains that, in a recent
feuilleton, the music critic Julius Korngold has quoted his terminology (e.g.
Auskomponierung) but failed to mention his name.
-
OJ 10/3, [124] Typewritten letter from Deutsch to Schenker, dated April 4, 1930
Deutsch thanks Schenker for confirming the relationship of a Beethoven sketch
to his song "Neue Liebe, neues Leben," which Gustav Nottebohm had
misunderstood.
-
OJ 10/3, [125] Typewritten letter from Deutsch to Schenker, dated April 6, 1930
Deutsch has learned that Hoboken intends to keep his apartment in Vienna at
least until 1932; his departure from the city is therefore only temporary.
-
OJ 5/32, [2] Postal receipt from Schenker to Rinn, dated April 8, 1930
Schenker returns the galley-proofs of Vrieslander's article about
him.
-
OJ 15/15, [46] Handwritten postcard from Weisse to Schenker, dated April 14, 1930
Weisse expresses his unease about the dedication to Furtwängler of an article
on the "Urlinie," by Walter Riezler. He thinks that Furtwängler, who does not really
understand the term, may have put Riezler up to writing it.
-
OJ 10/3, [126] Handwritten letter from Deutsch to Schenker, dated May 11, 1930
Deutsch asks for Schenker’s advice on the programming of an evening “Serenade”
of orchestral and choral music, to be conducted by Robert Heger.
-
OJ 13/25, [10] Typewritten letter from Rinn to Schenker, dated May 15, 1930
Rinn sends a copy of Vrieslander's article on Schenker, which will appear in
the next issue of Der Kunstwart. — He looks forward to receiving Schenker's essay on German
poets and music, and hopes that Schenker will consider writing some commentary-style pieces
for him.
-
OJ 14/45, [84] Handwritten letter from Moriz Violin to Schenker, dated May 15, 1930
Violin apologizes for not having written, but his family have moved to a more
affordable apartment and, around the same time, his wife was taken seriously ill with
appendicitis. Things are better now.
-
OJ 5/9, [3] Handwritten letter from Schenker to Deutsch, dated May 15, 1930
Discusses Beethoven's song "Neue Liebe, neues Leben" (Op. 75, No. 2). Dr. Rinn
will be inviting Deutsch to collaborate.
-
OJ 6/7, [48] Handwritten letter from Schenker to Moriz Violin, dated May 19, [1930]
After congratulating Violin on moving house, Schenker reports that an article
that is critical of the "Urlinie", by Walter Riezler, has apparently offended Furtwängler, a
childhood friend of the author. Furtwängler hoped that Hans Weisse might write a response;
in the end, Brünauer wrote one, and Weisse has sent it to Furtwängler. Schenker has himself
replied to an article by Eduard Beninger in the February 1930 issue of the Zeitschrift für
Musik. Owing to overwork, he was required to rest during the day between lessons; now he is
better. Oppel is again coming to Galtür and Schenker hopes that Violin will join him there,
too.
-
OJ 10/3, [127] Handwritten picture postcard from Deutsch to Schenker, dated May 23, 1930
Deutsch thanks Schenker for his musical illustration relating to Beethoven’s
"Neue Liebe, neues Leben" and gives details of the second of two outdoor music events
[Leopoldsplatz], scheduled for June 12.
-
OJ 10/3, [128] Handwritten picture postcard from Deutsch to Schenker, dated May 25, 1930
Deutsch is delighted that Schenker is happy with Drei Masken Verlag’s
willingness to publish the Eroica monograph as a third Meisterwerk yearbook. He has
encountered difficulties with the Vienna Philharmonic Orchestra regarding the program for
the first of two Serenades in the Leopoldsplatz in June.
-
OJ 10/3, [129] Handwritten letter from Deutsch to Schenker, dated June 6, 1930
Deutsch has discussed the printing of the music illustrations for Schenker’s
"Eroica" monograph with the lithographers Elbemühl. He hopes that Georg Tomay will complete
his calligraphic work before Schenker leaves for Galtür.
-
OJ 10/3, [130] Handwritten picture postcard from Deutsch to Schenker, dated June 7, 1930
Deutsch comments on the Beethoven military march (tattoo) he came across; he
is still looking for an arranger for Schubert’s marches for piano.
-
OJ 5/7a, [29] (formerly vC 29) Handwritten postcard from Schenker to Cube, undated [June 8, 1930]
Schenker sends copy of Vrieslander's article and comments on it, comparing it
unfavorably with Meisterwerk III; inquires about Cube's "article," asks whether Erich Voß is
with him; reports departure date for Galtür.
-
OJ 13/25, [11] Typewritten letter from Rinn to Schenker, dated June 13, 1930
Rinn hopes Schenker will soon finish his great work (i.e. Free Composition)
soon and devote himself to writing for Der Kunstwart.
-
OJ 14/45, [85] Handwritten letter from Moriz Violin to Jeanette Schenker, dated June 16,
1930
Violin thanks Jeanette Schenker for sending him a recent article. His wife and
daughter will spend the summer holiday with his brother-in-law, who is also paying for a
three-week holiday for him and his son Karl.
-
OJ 9/34, [21] Handwritten letter from Cube to Schenker, dated June 25, 1930
Acknowledges OJ 5/7a, [29] and offers mitigation for Vrieslander's
non-acquaintance with the Urlinie (to which Cube has just introduced new violin teachers).
Reports on Erich Voß, and on concert plans at Conservatory. Reports on his teaching. Threat of
financial difficulties; he has offered his services to the Hochschule für Musik in
Berlin.
-
OJ 14/45, [115] Handwritten postcard from Moriz Violin to Schenker, dated July 3, 1930
Violin is spending two weeks with Karl in Schierke, in the Harz Mountains. In
the fall, he will have to make a decision about what to do about his son.
-
OJ 12/50, [6] Handwritten letter from Bernhard Martin to Schenker, undated [?July c.10,
1930]
Bernhard Martin reports using Schenker's analysis of the Haydn E-flat major
piano sonata [Tonwille 3] with his secondary school class. -- As a violinist he is working
on the Brahms Op. 78 violin sonata. -- He inquires after the "Eroica monograph." --
Universal Edition has still not rectified his defective copy of Schenker's Harmonielehre. --
He asks about Furtwängler's studies with Schenker.
-
OJ 5/7a, [30] (formerly vC 30) Handwritten postcard from Schenker to Cube, dated July 10, 1930
Comparison of Otto Vrieslander with Hans Weisse. Weisse's Octet impressed
Furtwängler. Meisterwerk III due out in October (reports contents); is now revising Der freie
Satz.
-
OJ 6/7, [49] Handwritten letter from Schenker to Moriz Violin, dated July 10, 1930
Acknowledging his recent letter to Jeanette, Schenker expresses his regret
that Violin and his son Karl are still troubled by health problems and reports some recent
news. Furtwängler's intervention with Breitkopf & Härtel on behalf of Weisse's Octet was
in vain; he had also sought the same firm's agreement to publish the "Eroica" analysis, but
this will now appear as the third Meisterwerk Yearbook. The Schenkers are expecting many
visitors in Galtür, including Furtwängler, Reinhard Oppel, Schenker's nephew and his wife,
and Jeanette's sister and family. Hoboken is prepared to fund the publication of a collected
edition of the works of C. P. E. Bach (with financial support from the city of Hamburg), but
Schenker is cautious about this because his paid involvement in the project might result in
work that would jeopardize progress on Der freie Satz. He has been included in the latest
edition of Meyers Konversations-Lexicon, and has received favorable citation in Romain
Rolland's latest Beethoven book.
-
OJ 71/20, [1] Handwritten copy of a letter from Leo Kestenberg to Hans Weisse, in the hand of
Jeanette Schenker, dated July 15, 1930
Kestenberg, on the recommendation of Wilhelm Furtwängler, would like Weisse to
give lectures in Berlin but first wants to know more about his background.
-
OJ 14/45, [86] Handwritten letter from Moriz Violin to Schenker, dated July 23, 1930
Violin despairs of the future for his son, who has just turned 17, and about
life in general. He has faith only in Schenker, whom he sees as truly a product of his time,
because of his intimate attachment to the great achievements of bygone eras. He thinks that
the rest of the world will recognize in half a century what he knows now; he has no interest
in Furtwängler, who may appear to be modest in Schenker's company, but is no less arrogant
than any other idiot when left to his own devices. He is concerned about things that might
interfere with the completion of Schenker's last works.
-
OJ 6/7, [50] Handwritten letter from Schenker to Moriz Violin, dated July 31, 1930
Schenker assures his friend that he understands his difficulties, and that he
can be proud of holding his head high above those who do not understand music, or are
incapable of interpreting it beautifully. His own problems are focussed around money,
especially as his brother (Moses) has not given him the second part of his inheritance. He
has sought to find cheaper ways of producing the music examples for his latest writings: he
is more satisfied with the Eroica examples than the engraved illustrations from previous
volumes of Das Meisterwerk in der Musik, and is planning to issue Der freie Satz with a
volume of examples that is separate from the text. He repeats the news, from an earlier
letter, of his being mentioned in Romain Rolland's most recent Beethoven book, and of his
entry in Meyers Konversations-Lexicon, and also reports on an item about him in the Deutsche
Tonkünstler-Lexikon.
-
OJ 71/20, [2] Handwritten copy of a letter from Leo Kestenberg to Hans Weisse, in the hand of
Jeanette Schenker, dated August 4, 1930
Pleased that Weisse is intent on promoting Schenker’s theoretical work,
Kestenberg invites Weisse to give a lecture at the Central Institute for Music Education and
Teaching, and offers his support for Weisse speaking at the Academy for Church and School Music
and the Conservatory [Hochschule für Musik] in Charlottenburg.
-
OJ 89/4, [5] Handwritten letter from Schenker to Hoboken, dated September 29, 1930
Schenker invites Hoboken to tea to discuss attribution in the collected edition,
and congratulates Hoboken on his endeavor.
-
OJ 5/18, 1 Handwritten letter from Schenker to Jonas, dated October 7, 1930
In a letter dictated to Jeanette because of eye trouble, but signed and dated by
Heinrich, Schenker tells Jonas that Vrieslander, Roth, and von Cube were unable to support
themselves in Munich and have moved elsewhere.
-
OJ 14/45, [87] Handwritten letter from Moriz Violin to Schenker, dated October 13, 1930
Violin has just heard that Hans Weisse will be lecturing in Berlin in
December; he plans to go there to hear him. His pupil Agnes Becker, returning from a trip to
London, has discovered that Schenker's Beethoven sonata edition is much in demand,
especially from students at the Royal Academy of Music.
-
OJ 14/45, [88] Handwritten letter from Moriz Violin to Jeanette Schenker, dated October 18,
1930
Upon hearing from Furtwängler that Schenker is unwell, Violin asks Jeanette
for news about him.
-
OJ 6/7, [51] Handwritten letter, with envelope, from Schenker to Violin, dated October 21,
1930
Writing after a long and serious illness, Schenker assures his friend that he
is alive and well. The doctors have pronounced him generally fit, but he suffers from a
painful tightening of the thorax, and also a flickering that causes him to "lose" letters
and notes. He has had to give many double-lessons of late, in theory, which he finds tiring.
To Hoboken, who, though gifted, is concerned only about his money and often comes to lessons
without having prepared anything, he would rather play than give over-long lectures. He is
concerned, for his own sake as much as for Weisse's, about the lectures in Berlin that
Weisse will deliver, and about his eagerness to debate with Alfred Lorenz; he is glad that
Violin is going to Berlin, and will give him instructions about what to do there. His
Beethoven sonata edition brings in 100 shillings per month – a good deal for the publishers
– and his brother still has half of his inheritance. But he is still alive – with Der freie
Satz.
-
OJ 5/7a, [31] (formerly vC 31) Handwritten letter from Schenker to Cube, dated November 1, 1930
Dr. Leo Kestenberg of the Prussian Ministry of Art and Education has, at
Furtwangler's recommendation, asked Hans Weisse to deliver three lectures on Schenker's theory
in Berlin, to be repeated elsewhere. Cube should take heart from this turn of
events.
-
OJ 10/3, [131] Handwritten letter from Deutsch to Schenker, dated November 5, 1930
Deutsch advises Schenker to send a sample of proofs of the third Meisterwerk
yearbook to the editor of Der Kunstwart. He thanks him for copies of the letters written by
Leo Kestenberg.
-
OJ 5/7a, [32] (formerly vC 32) Handwritten postcard from Schenker to Cube, dated November 7, 1930
Schenker denies knowing a pupil-imposter; advises Cube to wait until after
Weisse's lectures in Berlin.
-
OJ 15/15, [47] Handwritten postcard from Weisse to Schenker, dated November 9, 1930
Weisse asks Schenker for the address of Reinhard Oppel, who may be able to
provide names of people in Berlin whom Weisse could invite to his forthcoming lecture
there.
-
OJ 5/7a, [33] (formerly vC 33) Handwritten postcard from Schenker to Cube, dated November 10, [1930]
Discusses attendance at Weisse's forthcoming lecture in Berlin; refers to two
articles in Die Musik.
-
OJ 11/32, [4] Typed letter from Robert Haas to Schenker, dated November 17, 1930
The proposed C. P. E. Bach contract is not yet clinched; hopes to see Schenker
and Hoboken soon.
-
OJ 12/6, [4] Handwritten letter from Jonas to Schenker, dated November 17, 1930
Jonas reports from Berlin on a lecture given shortly before in Munich to
introduce Schenker's teaching. Requests a letter of recommendation for use in Berlin.
-
OJ 13/25, [12] Typewritten letter from Rinn to Schenker, dated November 17, 1930
Rinn recommends an discussion in the Münchener Zeitung involving one of his
assistants, Alexander Berrsche. He looks forward to seeing the third Masterwork yearbook and
speaks of publishing a selection of "aphorisms" from the second and third
yearbooks.
-
OJ 5/32, [3] Postal receipt from Schenker to Rinn, dated November 20, 1930
Schenker sends Rinn Meisterwerk II and the page-proofs of Meisterwerk
III.
-
OJ 9/34, [22] Handwritten letter from Cube to Schenker, dated November 22, 1930
Cube thinks attending Weisse's lectures would enable him to make contact with
"people of stature" in Berlin, where he would like to teach Schenker's theory, and asks Schenker
for the time and place, referring to the difficulties of travel in these "catastrophic times."
Will check up on Reichert. Has been invited to give six lectures locally, and has a concert of
his compositions coming up.
-
OJ 5/18, 2 Handwritten letter from Schenker to Jonas, dated November 26, 1930
Having misread Jonas in OJ 12/6, [4] as requesting a letter of recommendation to
Furtwängler, Schenker declines to provide such a letter. Letters of thanks to Schenker from
other Berlin musicians have not led to more solid connections. Most musicians have not dared to
take a position publicly on Schenker's teaching.
-
OJ 6/7, [52] Letter from Schenker to Moriz Violin, in Jeanette Schenker's hand, dated November
26, 1930
Schenker summarizes the achievements and ambitions of several of his pupils
and followers (Albersheim, Cube, Vrieslander, Roth, Jonas, and Weisse), noting that Weisse
is the most ambitious of all of these though he is not completely at home in the new theory.
He fears that something might go wrong at Weisse's forthcoming lecture at the Central
Institute for Music Education, and hopes that Violin will listen with a sharp ear. Weisse
will give a trial run of the lecture at the Schenkers' apartment.
-
OJ 15/15, [48] Handwritten postcard from Weisse to Schenker, dated November 27, 1930
Weisse, having received a copy of the page-proofs for "Rameau oder Beethoven?"
from the third Meisterwerk Yearbook, calls Schenker's attention to two
misprints.
-
OJ 15/16, [65] Handwritten letter from Weisse to Schenker, dated November 27, 1930
Weisse thanks Schenker for the essay "Rameau oder Beethoven?". He is surprised
to hear that Jonas has sought Schenker's help in finding employment, and urges Schenker not
to write a letter of recommendation until a concrete piece of work materializes. He is about
to go to Berlin to deliver two lectures on Schenker's theories, and has heard that Moriz
Violin and Reinhard Oppel will be there; he would like to give one of these lectures at
Schenker's home before a small audience of his most dedicated pupils, and suggests a date
and time for this.
-
OJ 12/6, [5] Handwritten letter from Jonas to Schenker, dated November 28, 1930
Jonas regrets any misunderstanding over his request for "a few lines of
recommendation"; he had intended only to ask for "general lines," not recommendations to
individuals. Jonas clarifies Schenker's confusion over his Munich lecture, and points to his
devotion to Schenker's cause for fifteen years, stating what he considers to be the core of
Schenker's thought as he would publicly represent it.
-
OJ 15/15, [49] Handwritten postcard from Weisse to Schenker, dated November 28, 1930
Weisse is delighted by the chance to rehearse his forthcoming lecture at
Schenker's apartment. His Sextet will be performed at the Musikverein in Vienna; he goes
through a list of Schenker's circle of adherents who might be invited to his forthcoming
lectures at the Central Institute for Music Education and Teaching in
Berlin.
-
OJ 11/32, [5] Typed letter from Robert Haas to Schenker, dated November 29, 1930
Accepts Schenker's invitation to Hans Weisse's lecture, and gives two pieces
of information.
-
OJ 15/15, [50] Handwritten postcard from Weisse to Schenker, dated November 30, 1930
Weisse gives Schenker the address of the Central Institute for Education and
Teaching in Berlin, where he is about to deliver lectures on his teachers
theory.
-
OJ 10/3, [132] Typewritten picture postcard from Deutsch to Schenker, dated December 1,
1930
Deutsch accepts Schenker’s invitation for Friday, December 5 [to attend Hans
Weisse’s talk, given in preparation for his lectures on Schenker’s theories in
Berlin].
-
OJ 5/18, [3a] Handwritten letter from Schenker to Jonas, dated December 2, 1930
Schenker asks Jonas to draft a recommendation for himself, and approves Jonas's
formulation of the core of his teaching.
-
OJ 8/5, [1] Handwritten postcard from Schenker to Moriz Violin, dated December 2,
1930
Schenker suspects that Weisse, with Leo Kestenberg's support and Furtwängler's
help, is hoping for an appointment in Berlin.
-
OJ 10/3, [133] Handwritten picture postcard from Deutsch to Schenker, dated December 3,
1930
Deutsch has an engagement on Friday evening, December 5, and cannot stay for
the whole of Hans Weisse’s talk.
-
OJ 15/15, [51] Handwritten postcard from Weisse to Schenker, dated [December] 3, 1930
Carl Bamberger has just returned from Tokyo, and Weisse would like to bring
him to the Schenkers on Friday (December 5).
-
OJ 11/32, [6] Handwritten postcard from Robert Haas to Schenker, dated December 5, 1930
Haas is unable to attend [Weisse's lecture].
-
OJ 11/54, [29] Typewritten letter from Hoboken to Schenker, dated December 5, 1930
Hoboken depicts the abundance of music in Berlin, contrasting Furtwängler,
Klemperer and Kleiber. — He has decided to withdraw his planned financing of the
Photogramarchiv's collected edition of C. P. E. Bach.
-
OJ 12/6, [6] Handwritten letter from Jonas to Schenker, dated December 5, [1930]
Jonas thanks Schenker for OJ 5/18, [3a], outlines the contents of the general
letter of recommendation requested, and informs Schenker that the Edwin Fischer circle is very
interested is Schenker's work.
-
OJ 13/25, [13] Typewritten postcard from Rinn to Schenker, dated December 5, [1930]
Rinn has extracted "aphorisms" from the three Meisterwerk volumes and sent the
page-proofs to Otto Vrieslander. — He would like to see the Tonwille pamphlets, with a view
to reprinting some of its articles.
-
OJ 5/7a, [34] (formerly vC 34) Handwritten postcard from Schenker to Cube, dated December 5, 1930
Gives dates and place of Weisse's lectures in Vienna.
-
OJ 5/18, [3b] Handwritten letter from Schenker to Jonas, dated December 9, 1930
Letter of recommendation for Jonas.
-
OJ 14/45, [116] Handwritten picture postcard from Moriz Violin and others to Schenker, undated, c.
December 10, 1930
Moriz Violin, Hans Weisse, Anthony van Hoboken, Oswald Jonas and Felix Salzer
send greetings to Schenker, following Weisse's lectures in Berlin.
-
OJ 11/32, [7] Typewritten letter from Robert Haas to Schenker, dated December 11, 1930
Haas refers to the cancelation of the C. P. E. Bach edition. He explains why
he had to withdraw from Weisse's lecture at the last moment.
-
OJ 10/3, [134] Handwritten picture postcard from Deutsch to Schenker, dated December 14,
1930
Deutsch thanks Schenker -- and Hans Weisse -- for Weisse’s lecture. Hoboken
has recently acquired a second edition of Beethoven’s Sonata Op. 22, which Schenker may wish
to consult.
-
OJ 15/15, [52] Handwritten postcard from Weisse to Schenker, dated December 17, 1930
Weisse asks Schenker if he can come on Sunday to report on the lectures he has
recently given in Berlin.
-
OJ 10/3, [135] Handwritten letter from Deutsch to Schenker, dated December 25, 1930
Deutsch’s son Peter has broken a leg ice-skating. He is devastated by the news
of Hoboken’s withdrawal of support for the C. P. E. Bach collected edition). He will discuss
the terms [of payment] regarding the third Meisterwerk yearbook in person, and advises that
review copies be sent out in January.
-
OJ 15/15, [53] Handwritten postcard from Weisse to Schenker, dated December 27, 1930
Weisse thanks Schenker for his support; he has sent off the manuscripts (of
his lectures) to Drei Masken Verlag. He commends his teacher for the clarity of the
analytical graphing of the "Eroica" Symphony.
-
OJ 10/3, [136] Handwritten picture postcard from Hannah Deutsch to Schenker, dated December 30,
1930
The Deutsches invite the Schenkers for the afternoon of January 4,
1931.
-
OJ 11/54, [30] Handwritten letter from Hoboken to Schenker, dated January 5, 1931
Hoboken sends New Year's greetings and speaks of next lesson.
-
OJ 15/16, [66] Handwritten letter from Weisse to Schenker, dated January 8, 1931
Hearing that Schenker expects to complete Der freie Satz by early spring,
Weisse encourages his teacher to work systematically and unhurriedly at it. He reports on
Alfred Einstein’s defense of Schenker’s theories against Arnold Schering, and on a review of
a recent book on the Ninth Symphony in which the reviewer, Alfred Lorenz, sided with the
author against Schenker.
-
OJ 6/8, [1] Handwritten letter from Schenker to Violin, dated January 9, 1931
In this long and wide-ranging two-part letter, which includes a graphic
analysis of J. S. Bach’s Two-part Invention in E-flat major, Schenker praises the work of
Hans Weisse, who has recently returned from lecturing in Berlin and may be offered a post
there (on Furtwängler’s recommendation), emigrate to America (with the help of Gerald
Warburg), or even found an institute that would give employment to Felix Salzer and other
Schenkerian disciples under one roof. — A letter from Violin, which has just arrived in the
morning post, speaks of Violin’s own intention to establish a Schenker Institute in Hamburg.
For this, Schenker recommends Felix-Eberhard von Cube (in preference to Reinhard Oppel) and
Otto Vrieslander as possible theory teachers, if not Weisse himself. — The letter concludes
with a tirade against those who have caused him financial misery (including his brother
Mozio), culminating in a cynical passage in which Schenker advises his friend to look after
himself and engage some dull pedagog to teach conventional theory. In the end, he wishes
Violin luck with the enterprise, and thanks him for having helped rescue him from Hertzka’s
clutches.
-
OJ 10/3, [137] Typewritten letter from Deutsch to Schenker, dated January 24, 1931
Deutsch is sorry not to be able to meet with Schenker and Felix Salzer. — He
is concerned that others may think that he had a part to play in Hoboken’s withdrawing his
financial support for a collected edition of C. P. E. Bach’s works.
-
OJ 11/54, [31] Handwritten picture postcard from Hoboken to Schenker, dated February 3,
1931
Hoboken will miss today's lesson for health reasons.
-
OJ 12/9, [26] Handwritten letter from Karpath to Schenker, dated February 3, 1931
Karpath replies to a letter from Schenker showing himself to be in need of help.
— Karpath reports on contact with Robert Brünauer, who was seeking financial
support.
-
OJ 10/3, [138] Typewritten picture postcard from Deutsch to Schenker, dated February 4,
1931
Deutsch accepts an invitation to visit the Schenkers on Sunday, February
15.
-
OJ 15/15, [54] Handwritten picture postcard from Weisse to Schenker, dated February 5,
1931
Weisse reports having given a successful talk to the Society for Music
Pedagogy on the importance of counterpoint; Schenker’s concept of line made a big impression
on the audience.
-
OJ 10/1, [104] Typewritten letter from Dahms to Schenker, dated February 7, 1931
Dahms is looking forward to reading Meisterwerk III and inquires after Der
freie Satz. — He has cut himself off from Berlin and Germany; his marital situation has
finally been resolved, and he and his wife and child have settled in Paris.
-
OJ 9/34, [23] Handwritten letter from Cube to Schenker, dated February 10, 1931
Cube acknowledges issue of Der Kunstwart; encloses a letter from Walter Braunfels responding to his
plans to establish a Rhineland base for Schenkerian teaching at the Cologne Hochschule für Musik; wonders whether
Anthony van Hoboken might be approached for financial assistance on this, and if so how the approach should be
made.
-
OJ 15/15, [55] Handwritten picture postcard from Weisse to Schenker, dated February 13,
1931
Weisse thanks Schenker for sending him a Mozart quotation, asks for a source
for it, and makes a reference to a certain "Preetorius."
-
OJ 5/30, [1a] Handwritten draft letter from Schenker to Preetorius, undated [February 12–13,
1931]
Schenker draws Preetorius's attention to part of Meisterwerk III, and
invites him to consider his (Schenker's) theory of coherence in music as a basis for
that in other arts, hence unity among the arts. -- He envisions a "club" of artists
to discuss these matters.
-
OJ 15/16, [68] Handwritten letter from Weisse to Schenker, dated February 17, 1931
Weisse thanks Schenker for sending him letters from Felix-Eberhard von Cube
und Walter Braunfels, and in return sends Schenker a letter from Wilhelm Furtwängler. He
repeats a request for information about the source of a Mozart letter that he has been
quoting in a lecture to the Viennese Society for Music Pedagogy.
-
OJ 15/16, [68] Handwritten letter from Weisse to Schenker, dated February 17, 1931
Weisse thanks Schenker for sending him letters from Felix-Eberhard von Cube
und Walter Braunfels, and in return sends Schenker a letter from Wilhelm Furtwängler. He
repeats a request for information about the source of a Mozart letter that he has been
quoting in a lecture to the Viennese Society for Music Pedagogy.
-
OJ 10/1, [105] Handwritten picture postcard from Dahms to Schenker, dated February 23,
1931
Dahms acknowleges receipt of Meisterwerk 3.
-
OJ 12/9, [27] Typewritten picture postcard from Karpath to Schenker, dated February 23,
1931
Karpath thanks Schenker for sending volume III of the Yearbook.
-
OJ 10/3, [139] Typewritten letter from Deutsch to Schenker, dated February 24, 1931
Deutsch has found the source of a letter, of interest to Schenker, which was
cited in a recent newspaper article by Richard Benz.
-
OJ 12/6, [7] Handwritten letter from Jonas to Schenker, dated February 25, 1931
Jonas sends three essays and asks for Schenker's comments.
-
OJ 15/15, [56] Handwritten picture postcard from Weisse to Schenker, dated February 25,
1931
Weisse thanks Schenker and clarifies a remark of his own regarding the
analysis of a Bach prelude; comments on the content of an edition of Mozart’s letters, and
expresses shock at the death of John Petrie Dunn.
-
OJ 11/54, [32] Typewritten postcard from Hoboken to Schenker, dated February 28, 1931
Hoboken will seek a wanted issue of the Allgemeine musikalische Zeitung for
Schenker.
-
OJ 14/23, [23] Handwritten picture postcard from Seligmann to Schenker, undated [February 28, 1931]
Seligmann thanks Schenker for his recent correspondence, is heartened by what
Hans Weisse has written (about the reception of Schenker’s work in Berlin); he looks forward
to reading about Rameau (in the third Meisterwerk yearbook).
-
OJ 8/5, [2] Handwritten picture postcard from Schenker to Violin, dated February 28,
1931
Schenker has heard about Violin’s letter to Weisse [concerning the founding of
a Schenker Institute in Hamburg] and expresses his interest in it, noting that it will be
possible to teach composition only after Free Composition has been
published.
-
OJ 5/18, 3c Handwritten picture postcard from Schenker to Jonas, dated March 1, 1931
Schenker acknowledges receipt [of essays].
-
OJ 10/3, [140] Handwritten picture postcard from Hannah Deutsch to Schenker, dated March 2,
1931
Deutsch will meet Schenker at the Café Aspang on Thursday, March
5.
-
OJ 10/3, [141] Handwritten picture postcard from Deutsch to Schenker, dated March 3,
1931
Deutsch corrects his wife’s previous message, saying that he will meet
Schenker at the Café Aspang on Thursday, March 5, around 5 p.m., not in the
evening.
-
OJ 15/15, [57] Handwritten picture postcard from Weisse to Schenker, dated March 5, 1931
Weisse describes the extraordinary success of his lecture on Bach's Prelude in
D minor, at the Society for Music Pedagogy in Vienna.
-
OJ 10/3, [142] Typewritten letter from Deutsch to Schenker, dated March 6, 1931
Having spoken with a friend in confidence, he advises Schenker to apply to the
Ministry of Education for help with the printing costs of the “Eroica book” [i.e. the third
Meisterwerk yearbook], and to get Furtwängler and Hoboken to write in support of his
receiving an civic honor.
-
OJ 10/3, [143] Typewritten letter from Deutsch to Schenker, dated March 8, 1931
Distraught by the response to his letter of March 6, Deutsch explains the
efforts he has made on Schenker’s behalf and asks for further clarification about his
friend’s wishes.
-
OJ 12/50, [7] Handwritten letter from Bernhard Martin to Schenker, undated [1931?]
Bernhard Martin sends Schenker a circular sketch diagram of the opening of the
C minor fugue from WTC, Book I, which he has used in his class teaching. He has for two
years been developing from Schenker's publications proposals for music instruction in
schools, including counterpoint with practical exercises.
-
OJ 14/23, [24] Handwritten postcard from Seligmann to Schenker, postmarked March 11,
1931
Seligmann thanks Schenker for sending him the third Meisterwerk yearbook and
says he greatly enjoyed learning about Rameau in the opening essay. But, he says, Schenker
can hardly be surprised that he is ignored by the Ministry [of Education] if he constantly
offends the people who are responsible to the Minister.
-
OJ 10/3, [144] Handwritten picture postcard from Deutsch to Schenker, dated March 13,
1931
In this cryptic message, Deutsch creates a relationship among Beethoven,
Schenker, the music critic Julius Korngold, and the writer on music Richard
Specht.
-
OJ 8/5, [3] Handwritten picture postcard from Schenker to Violin, dated March 14,
1931
Schenker expresses his delight that Violin will soon be coming to
Vienna.
-
OJ 5/18, 4 Handwritten letter from Schenker to Jonas, dated March 16, 1931
Schenker comments on the essays that Jonas has sent him, and the prospects for
publication.
-
OJ 15/16, [69] Handwritten letter from Weisse to Schenker, dated March 19, 1931
Weisse asks Schenker’s approval to approach Furtwängler about Der freie Satz,
presumably to seek financial assistance for its publication. He has been given a copy of a
letter from Mozart to Baron van Swieten, but expresses his doubts about the tone of one of
Mozart’s phrases; he hopes to meet Schenker soon, to talk about Bruckner.
-
OJ 15/15, [58] Handwritten picture postcard from Weisse to Schenker, dated March 20,
1931
Weisse arranges to bring Furtwängler to Schenker’s apartment.
-
OJ 15/16, [70] Handwritten letter from Weisse to Schenker, dated March 21, 1931
Weisse reports to Schenker Furtwängler's confidence about obtaining money from
two wealthy people in Berlin to defray the publication costs of Der freie Satz and the
analysis of Beethoven’s "Eroica" Symphony, i.e. third volume of Das Meisterwerk in der
Musik. Weisse has suggested a sum of 4,000 marks for the former, as a conservative
estimate.
-
OJ 15/16, [71] Handwritten letter from Weisse to Schenker, dated March 25, 1931
Weisse, remaining confident that Furtwängler will provide financial assistance
with Schenker’s publications, thinks it is best to ask for help with the “Eroica” analysis
(Meisterwerk III) and Der freie Satz together; he will emphasize that the subvention for the
“Eroica” is the more urgent, and the cost of publishing the latter could be met by
subscription. From what Furtwängler has hinted, the prospects for Weisse lecturing, and
eventually teaching, in Berlin are not good; but Weisse may have other
plans.
-
OJ 5/7a, [35] (formerly vC 35) Handwritten letter from Schenker to Cube, dated March 28, 1931
Schenker put Cube's Cologne Highschool proposal to van Hoboken, and now reports on the reaction,
discussing the latter's character in so doing.
-
OJ 12/6, [8] Handwritten postcard from Jonas to Schenker, dated March 30, [1931]
Jonas thanks Schenker for OJ 5/18, 4; — reports that his own essay and a review
of Das Meisterwerk III will appear in the Zeitschrift für Musikwissenschaft; — asks question
about a discussion in Der Tonwille of a Bach fugue copied out by Beethoven.
-
OJ 15/16, [72] Handwritten letter from Weisse to Schenker, dated March 30, 1931
Following up a discussion with Schenker in the presence of Wilhelm
Furtwängler, Weisse draws up a list of Schenker’s early essays. Oswald Jonas and his wife
have been copying them and Jonas plans to write a Foreword to a new edition of these
writings.
-
OJ 5/18, 6 Handwritten letter from Schenker to Jonas, dated April 1, 1931
Schenker congratulates Jonas on his forthcoming publication; — responds to his
question about the discussion in Der Tonwille of a Bach fugue copied out by Beethoven; —
encloses calling card of Mozart.
-
OJ 10/3, [145] Handwritten picture postcard from Deutsch to Schenker, dated April 2,
1931
Deutsch comments on Schenker’s essay on a “lost Mozart letter,” to be
published in Der Kunstwart. He does not himself question its authenticity but advises
Schenker to get in touch with Richard Benz in Heidelberg about it.
-
OJ 5/18, 7 Handwritten picture postcard from Schenker to Jonas, undated [c.April 2,
1931(?)]
Schenker asks for reprint of essay.
-
OJ 15/15, [59] Handwritten picture postcard from Weisse to Schenker, dated April 3, 1931
Weisse thanks Schenker for copies of the [Mozart calling] card – He has given
the one intended for Felix Salzer to another pupil, and asks if Schenker has an extra one
for Salzer.
-
OJ 15/22, [1] Handwritten letter from Willfort to Schenker, dated April 3, 1931
Willfort thanks Schenker for the card with quotation from Mozart
letter.
-
OJ 15/16, [73] Handwritten letter from Weisse to Schenker, dated April 7, 1931
Weisse continues to urge a cautious approach to Furtwängler with regard to
financial support for recent and forthcoming publications.
-
OJ 12/24, [1] Handwritten letter from Kromer to Schenker, dated April 9, 1931
Kromer asks to meet with Schenker.
-
OJ 5/45, [6] Handwritten draft letter of recommendation by Schenker for Hans Weisse, dated April 13,
1931
In a letter of recommendation Schenker praises Weisse's creativity and
pedagogical skill, and declares him the best representative of his own theory.
-
OJ 6/8, [2] Handwritten letter from Schenker to Violin, dated April 14, 1931
Having heard that Weisse is leaving for America, Schenker asks if Violin has
had a response from Cube. He has had a postcard from a pupil of Cube’s, Erich Voss, who
would like to know the content of Der freie Satz.
-
OJ 15/16, [74] Handwritten letter from Weisse to Schenker, dated April 15, 1931
Weisse thanks Schenker for a letter of reference [for his teaching post at the
Mannes School of Music], and asks for some modifications. — He has not heard from
Furtwängler, whom he has also asked for a reference, and urges Schenker to be patient with
Furtwängler, too. — He is completing a set of three-voice piano pieces and wishes to
dedicate them to Schenker on the occasion of his leaving Vienna.
-
OJ 5/45, [7] Handwritten draft letter of recommendation by Schenker for Hans Weisse, dated April 15,
1931
In the second draft of a letter of recommendation Schenker praises Weisse's
creativity and pedagogical skill, his qualifications as a teacher of composition, and declares
him the best representative of his own theory.
-
OJ 12/6, [9] Handwritten letter from Jonas to Schenker, dated April 17, 1931
Acknowledges OJ 5/18, 6. Discusses plan for collected publication of Schenker's
essays and reviews. — Gives news of his own forthcoming publication.
-
OJ 5/18, 5 Handwritten picture postcard from Schenker to Jonas, dated April 19, 1931
Schenker acknowledges OJ 12/6, [9]. — The planned collection essays is
premature: 1,000 Marks is better spent on new works. — But the collection should be a
selection.
-
OJ 15/15, [60] Handwritten picture postcard from Weisse to Schenker, dated April 21,
1931
Weisse suggests possible dates and times for a meeting between himself and
Schenker, without Furtwängler.
-
OJ 10/3, [146] Typewritten letter from Deutsch to Schenker, dated April 21, 1931
Deutsch thanks Schenker for his completion of an untexted Schubert song. He
asks Schenker to help him to compare two versions of a set of variations. A deputation from
the Ministry of Education will pay a visit to Hoboken’s private library.
-
OJ 15/16, [75] Handwritten letter from Weisse to Schenker, dated April 21, 1931
Weisse has received from Furtwängler a letter ‒ probably one written to him by
Ludwig Karpath ‒ that suggests there is cause for optimism concerning financial support for
the publication of Schenker's writings. He copies out a glowing personal reference that
Furtwängler has written [in support of his application to teach at the Mannes School of
Music].
-
OJ 15/16, [76] Handwritten letter from Weisse to Schenker, dated April 24, 1931
Under increasing pressure from Schenker, Weisse assures his teacher that
Furtwängler will not be long in making up his mind to seek financial support for Schenker’s
publications. He asks to see Schenker.
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OJ 9/34, [24] Handwritten letter from Cube to Schenker, dated April 25, 1931
Cube is busy disposing of his house and dealing with his father's estate; he is
moving to Hamburg to work with Moriz Violin after a short holiday.
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OJ 11/54, [33] Handwritten picture postcard from Hoboken to Schenker, dated April 27, 1931
Hoboken reports when he will be back in Vienna.
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OJ 11/54, [34] Handwritten letter from Hoboken to Schenker, dated April 29, 1931
Hoboken may stay at the Semmering spa for a few more days, and discusses his
next appearance for a lesson. — He discusses Specht's Bildnis Beethovens.
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OJ 15/15, [61] Handwritten picture postcard from Weisse to Schenker, dated May 1, 1931
Weisse tries to arrange a date to meet Schenker.
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OJ 10/3, [147] Typewritten letter from Deutsch to Schenker, dated May 2, 1931
Deutsch asks Schenker to return the edition of the first version of
Beethoven’s Variations WoO 74. Needing a few weeks’ peace and quiet in the summer holidays,
he is looking for a place in the Tyrol that is more than 1,500 meters above sea level, and
asks Schenker’s advice about accommodation, possibly in Galtür.
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OJ 10/3, [148] Typewritten picture postcard from Deutsch to Schenker, dated May 6, 1931
Deutsch thanks Schenker for his advice about summer holiday accommodation; he
will make inquiries in Ischgl.
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OJ 9/34, [25] Handwritten letter from Cube to Schenker, dated May 9, 1931
Cube describes his feelings and final dealings with the Conservatory in Duisburg,
and preparations for work with Violin in Hamburg; he reports on his two best pupils, Erich Voss
and Lieselotte Müller.
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OJ 15/15, [62] Handwritten picture postcard from Weisse to Schenker, dated May 19, 1931
Weisse arranges to meet Schenker; he has written again to
Furtwängler.
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OJ 6/8, [3] Handwritten letter from Schenker to Violin, dated May 24, 1931
Schenker sends Violin clippings of a positive anonymous review of Das
Meisterwerk 3, and an article by Bruno Walter from the Neue freie Presse mentioning
him.
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OJ 15/16, [77] Handwritten letter from Weisse to Schenker, dated June 1, 1931
Weisse sends Schenker a letter written by Furtwängler, from which it can be
inferred that a major subvention for the printing costs of Meisterwerk III has been obtained
and that there is every reason to expect that a significant part of the costs of publishing
Der freie Satz will also be met.
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OJ 5/7a, [36] (formerly vC 36) Handwritten postcard from Schenker to Cube, dated June 6, 1931
Schenker will write to Cube from Galtür, with Mozart calling
card.
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OJ 8/5, [4] Handwritten picture postcard from Schenker to Violin, postmarked June 6,
1931
Furtwängler has sent 3,000 Marks via Hans Weisse for the costs of Das
Meisterwerk 3, and Weisse will continue to seek the funds for Der freie
Satz.
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OJ 10/3, [149] Typewritten letter from Deutsch to Schenker, dated June 11, 1931
Deutsch will not be spending the summer holiday in Ischgl, but with a family
in Nauders. He hopes to see Schenker before the Schenkers go on holiday.
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OJ 6/8, [4] Handwritten letter from Schenker to Violin, dated June 11, 1931
Schenker expresses his feelings about the establishment of a music school in
Hamburg named after him, believing it to represent a spiritual union of Violin with himself.
He is sending him some recent compositions by Weisse, which he finds well
composed.
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OJ 15/16, [78] Handwritten letter from Weisse to Schenker, dated June 12, 1931
Weisse expresses his joy and gratitude at Schenker's approval of the
three-voice piano pieces he has dedicated to him. Having sent his teacher several copies of
them, he asks for the names of the recipients of the other copies.
-
OJ 5/7a, [37] (formerly vC 37) Handwritten postcard from Schenker to Cube, dated June 12, 1931
Schenker sends pieces by Hans Weisse; promises letter from Galtür.
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OJ 15/16, [79] Handwritten letter from Weisse to Schenker, dated June 13, 1931
Weisse sends Schenker further corrections of printing errors [in Meisterwerk
III], and notes that the book has recently been reviewed.
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OJ 11/32, [8] Typed letter from Robert Haas to Schenker, dated June 27, 1931
Haas sends summer greetings, and agrees to advise Angi Elias.
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OJ 5/7a, [38] (formerly vC 38) Handwritten letter from Schenker to Cube, in Jeanette Schenker's hand, dated June 30, 1931
Schenker encloses the [Mozart calling] card, and sends an article from Der Kunstwart; he
emphasizes that Moriz Violin's new institute is a "school," not a "seminar," and offers detailed advice;
comments that his theory from Harmonielehre to Meisterwerk constitutes a self-contained whole; recommends use of
C. P. E. Bach's Versuch with his theory applied to the examples; and foretells the Urlinie-Tafeln that should be
available to Violin/Cub in Hamburg and to Weisse in New York. His eyes have suffered and need complete
rest.
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OJ 10/3, [150] Handwritten picture postcard from Deutsch to Schenker, dated July 1, 1931
Deutsch expresses concern that his last letter may have been misunderstood.
The question of textual corruption of musical masterworks may be raised at the Department of
International Intellectual Collaboration in Geneva. The Mozart letter on which Schenker
elaborated was mentioned in the first edition of Jahn but now survives only in poetic and
philosophical biographies of the composer.
-
OJ 8/5, [5] Handwritten picture postcard from Schenker to Violin, dated July 13,
[1931]
Schenker asks Violin if he has yet seen the review of Meisterwerk 3 in the
current issue of Die Musik, which has raised his standing in the world.
-
OJ 14/23, [25] Handwritten picture postcard from Seligmann to Schenker, postmarked July 17,
1931
Seligmann acknowledges the receipt of Schenker’s article about a lost Mozart
letter, published in Der Kunstwart. He was surprised to learn that some Mozart scholars
doubted its authenticity.
-
OJ 8/5, [6] Handwritten picture postcard from Schenker to Violin, dated July 24, 1931
Schenker expresses his astonishment at what the Violin family has had to
endure, and thanks him for the Schenker Institute prospectus.
-
OJ 10/3, [151] Typewritten letter from Deutsch to Schenker, dated July 29, 1931
Deutsch reports illness in his family over the summer. -- He is glad to see
Schenker’s article on the lost Mozart letter in print, and mentions other places in which it
was reproduced. He has made some discoveries about Lord Horatio Nelson and Haydn, which
have, however, been misrepresented in the press.
-
OJ 10/3, [152] Typewritten letter from Deutsch to Schenker, dated August 19, 1931
Replying to Schenker’s recent letter and postcard, Deutsch says that he will
be out of the country in the first half of September (travelling with a choir). He is
delighted with the recent review [of the third Meisterwerk yearbook], and is always happy to
see Schenker’s work praised. His wife and family have now recovered from illnesses. He is
still awaiting a letter from Drei Masken Verlag.
-
OJ 9/34, [26] Handwritten letter from Cube to Schenker, dated August 19, 1931
Cube informs Schenker that Moriz Violin's son has been taken ill; Cube sends
Schenker a copy of the Schenker Institute prospectus.
-
OJ 5/7a, [39] (formerly vC 39) Handwritten postcard from Schenker to Cube, undated [August 22, 1931]
Acknowledges OJ 9/34, [26] and asks for further copies of the prospectus of the Schenker
Institute, Hamburg.
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OJ 15/16, [80] Handwritten letter from Weisse to Schenker, dated August 25, 1931
Weisse, on holiday, will not be returning to Vienna before making his way ‒
via Nuremberg and Berlin ‒ to Hamburg, where his ship to America sets sail on September 17.
He gives Schenker the address of the Mannes Music School, and reports that he has heard
nothing of late from Furtwängler.
-
OJ 15/16, [81] Handwritten letter from Weisse to Schenker, dated September 5, 1931
Weisse outlines his travel plans before leaving for America. He has accepted
an invitation from Moriz Violin to give a lecture in Hamburg on September 16, the day before
he sets sail.
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OJ 6/8, [5] Handwritten letter from Schenker to Violin, dated September 6, 1931
In this long, sentimental letter, Schenker thanks Violin for founding a
Schenker Institute in Hamburg and reflects on the intertwining of their fates through their
connection with C. P. E. Bach. He also advises on the wording of the Institute’s
prospectus.
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OJ 9/34, [27] Handwritten letter from Cube to Schenker, dated September 8, 1931
Line drawing of Moriz Violin. Cube reports on health of Violin's son; discusses his
relationship with Violin, and the prospects of the Schenker Institute in Hamburg; Cube will be assisting at
a lecture given by Hans Weisse.
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OJ 10/3, [153] Typewritten picture postcard from Deutsch to Schenker, dated September 25,
1931
Deutsch is back in Vienna, and hopes to see Schenker the following
week.
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OJ 11/54, [35] Handwritten letter from Hoboken to Schenker, dated September 27, 1931
Hoboken encloses a check for 39 past lessons and reports on his work during
the summer. -- He comments on books by Hans Meyer and Cassirer.
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OJ 6/8, [6] Handwritten letter from Schenker to Violin, dated September 28, 1931
Schenker is heartened that Herman Roth, once again, seems to be supporting his
cause. Schenker recommends a series of possible “guest speakers” at the Schenker Institute
and asks if there is some sort of monument or commemorative space devoted to C. P. E. Bach
in Hamburg.
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OJ 89/5, [1] Handwritten letter from Schenker to Hoboken, dated September 29, 1931
Schenker tells Hoboken not to concern himself too much with the Urlinie: it is
the linear progressions that really matter.
-
OJ 12/9, [28] Typewritten letter and envelope from Karpath to Schenker, dated October 23,
1931
To Schenker's inquiry regarding Moriz Violin, Karpath gives information as to
how in the era of Perger and Bopp at the Vienna Conservatory professors and teachers were
addressed.
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OJ 10/3, [154] Typewritten letter from Deutsch to Schenker, dated October 8, 1931
Deutsch has been in touch with Robert Haas about a civic honor being conferred
upon Hoboken in the hopes of keeping him, the Photogram Archive, and his personal library in
Vienna. He asks if Schenker might request a letter from Furtwängler recommending this
action, and be able to get Julius Korngold to write something about the importance of
Hoboken’s collections.
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OJ 10/3, [155] Typewritten picture postcard from Deutsch to Schenker, dated October 9,
1931
Deutsch has learned, from an 1892 exhibition catalogue, that the Moscheles
family owned Beethoven sketch manuscripts and that G. B. Davy owned a number of autographs,
and a sketchbook for the Cello Sonata Op. 102, No. 2.
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OJ 10/3, [156] Typewritten letter from Deutsch to Schenker, dated October 13, 1931
Deutsch reports that Hoboken is probably going to keep his personal library in
Vienna. He is not optimistic that “V” [Moriz Violin] will be accorded the title of
Professor, which can be conferred only by the Vienna Academy and not to people living [i.e.
working] outside it.
-
OJ 15/16, [82] Handwritten letter from Weisse to Schenker, dated October 15, 1931
Weisse describes his new life in America; — is touched by the spirit that
pervades the Mannes Music School; — has given a lecture to the faculty on the role of a
theorist in a music school. — He reports that he has 22 pupils, and is about to meet George
A. Wedge, Dean of the Institute of Musical Art. — He asks whether Schenker has had any news
from Hamburg.
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OJ 10/3, [157] Typewritten letter from Deutsch to Schenker, dated October 16, 1931
In advance of a meeting to discuss the conferral of an honor upon Anthony van
Hoboken, Deutsch asks Schenker to sound out Ludwig Karpath cautiously about enlisting his
support for this action.
-
OJ 9/34, [28] Handwritten letter from Cube to Schenker, dated October 16, 1931
Cube reports enrollment and quality of students at the Schenker Institute,
Hamburg; his own teaching is increasingly small-group-tuition based, drawing on Tonwille and
Meisterwerk. Karl Violin is recovering.
-
OJ 6/8, [7] Handwritten letter from Schenker to Violin, dated October 17, 1931
Schenker offers Violin words of comfort in the light of a misappropriation of
the title “Professor.” He also describes progress on Chopin’s Op. 10, No. 12, and the Bach
Prelude in C major for the Five Analyses in Sketchform, and his work on a document of Anton
Schindler purporting to convey Beethoven’s instructions on the performance of the Op. 14
sonatas.
-
OJ 10/3, [158] Handwritten picture postcard from Hannah Deutsch to Schenker, dated October 20,
1931
Deutsch’s meeting, first mentioned in his letter of October 16, has been
postponed by two days, until Thursday, October 22.
-
OJ 9/34, [29] Handwritten letter from Cube to Schenker, dated October 20, 1931
Encloses graph of J. S. Bach, Wohltemperirtes Clavier, Book I, Prelude in C major and asks Schenker's
opinion of several aspects of his graphing.
-
OJ 10/3, [159] Typewritten letter from Deutsch to Schenker, dated October 23, 1931
Deutsch enumerates three points arising from his meeting the previous day
(October 22, 1931) with Robert Haas and Wilhelm Weckbecker: that the minister (for
education) should be approached regarding the conferral of a civic honor upon Anthony
Hoboken by the Austrian state; that Hoboken’s character and reputation should in the
meantime be “cleaned up,” by appealing to the Vienna police authorities; that Hoboken should
invite – separately – Weckbecker and Ludwig Karpath to his home to examine his personal
library. He asks Schenker to get in touch with Karpath about this, but to do so tactfully
and with reference to these three points.
-
OJ 6/8, [8] Handwritten letter from Schenker to Violin, dated October 23, 1931
Schenker has written to Ludwig Karpath concerning the matter of Violin’s
appropriation of the title of “Professor” (as discussed in Schenker’s letter of October 17).
He hopes that his friend's difficulties are now entirely behind him.
-
OJ 10/3, [160] Typewritten letter from Deutsch to Schenker, dated October 24, 1931
Deutsch is pleased that his “plotting” to obtain for Hoboken a civic honor
from the Austrian state is working so far. He has spoken on the telephone with Ludwig
Karpath and will see him next week. Hoboken’s character seems not to have been blotted by an
incident in Munich some time ago: whatever misdeed he may have for which he had been
accused, and which led to his (brief) incarceration, can never be proved.
-
OJ 5/7a, [40] (formerly vC 40) Handwritten letter from Schenker to Cube, undated [c. October 29, 1931]
Angi Elias has made a fair copy of Cube's latest graph of the C major Prelude
(Wohltemperirtes Clavier, Book I), which Schenker may use in his seminar; Cube to write thanking
Elias; Schenker comments on changes to Cube's graph.
-
OJ 15/16, [83] Handwritten letter from Hertha Weisse to the Schenkers, dated November 5,
1931
Hertha Weisse thanks the Schenkers for an invitation to their place, and asks
Jeanette to suggest two possible dates.
-
OJ 11/16, [9] Handwritten letter from Furtwängler to Schenker, dated November 8, 1931
Furtwängler would hear with Schenker. — He has heard good news of Weisse from
Violin.
-
OJ 5/11, [1a] First draft of a handwritten letter from Schenker to Furtwängler, in Jeanette
Schenker’s hand, dated November 11‒16, 1931
-
OJ 5/11, [1b] Second draft of a handwritten letter from Schenker to Furtwängler in Jeanette and
Heinrich Schenker’s hand, dated November 11‒16, 1931
-
OJ 15/15, [63] Handwritten picture postcard from Hertha Weisse to Jeanette Schenker, dated November
16, 1931
Hertha Weisse accepts an invitation from Jeanette Schenker.
-
OJ 11/54, [36] Handwritten postcard from Hoboken to Schenker, dated November 26, 1931
Hoboken's next lesson will be December 2: Chopin mazurkas.
-
OJ 8/5, [7] Handwritten picture postcard from Schenker to Violin, dated November 27,
1931
Inquiring about Violin’s difficulties at the Schenker Institute in Hamburg,
Schenker observes that there are many fewer conservatory students in Vienna, and also in
Berlin, because music teachers earn so little.
-
OJ 10/3, [161] Typewritten letter from Deutsch to Schenker, dated December 19, 1931
Deutsch has a few things to give Schenker and much to tell him about, and
gladly accepts an invitation for December 26 or 30.
-
OJ 11/32, [9] Handwritten picture postcard from Robert Haas to Schenker, dated December 22, 1931
Seasonal greetings
-
OJ 6/8, [9] Handwritten letter from Schenker to Violin, dated December 24, 1931
Thanking Violin for his recent letter, Schenker bemoans the present condition
of the world, and expresses the hope that his health will enable to see him through the
worst of the days to come.
-
OJ 12/24, [2] Handwritten calling card from Kromer to the Schenkers, dated December 30,
1931
New Year's greetings
-
OJ 11/54, [37] Handwritten letter from Hoboken to Schenker, dated January 1, 1932
Hoboken sends New Year's greetings, refers to an article about the Photogram
Archive, and outlines his travel plans.