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JOB 94-3, [11] Handwritten picture postcard from Schenker to Hammer, dated July 26, 1925
Schenker inquires as to Hammer's whereabouts, referring to a current scandal
surrounding the Albertina gallery in Vienna. He asks about "the first
print."
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OC 54/15 Typewritten letter from Moriz Schenker to Heinrich Schenker, dated July 24,
1925
Moriz Schenker tells his brother that he will ask his friend Sobotka to
intervene directly in the matter of obtaining the advance of 250 marks from Drei Masken
Verlag
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OC 54/32 Typed letter from Moriz Schenker to Schenker, dated July 28, 1925
Moriz Schenker has seen his friend Sobotka, who will arrange for the advance
from Drei Masken Verlag to be paid into his account.
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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.
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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.