Schenker Documents Online: Schenker Institute, Hamburg: Prospectus

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Profiles Person Place Organization Work by Schenker Journal Musical Composition Downloads Print Preview Save Page (PDF) Save Page (EPub) Save Page (All Formats)	Schenker Institute, Hamburg: Prospectus Documents associated with this entity: Correspondence Diaries Prospectus of the Schenker Institute, Hamburg, undated [1931-34] Source: OJ 58/4[1] SCHENKER-INSTITUT Private / höhere Lehr- und Forschungsanstalt / für Musik Gegründet 1931 Die Ausbildungsstätte für höchste / künstlerische und wissenschaftliche Ansprüche Direktion: Felix-Eberhard v. Cube Sekretariat: Hamburg 13, Louisenallee 2, I. Stock, Fernsprecher 44 27 70 Sprechstunden: Mo., Mi., Fr. von 12-13 Uhr {3}In einem Privatinstitut wird die individuelle Ausbildung, welche die spezifischen Anlagen jedes einzelnen Studierenden sorgfältig entwickelt, in Verbindung mit der Universalität der zur Wahl gestellten Lehrfächer besonders gepflegt. Das Schenker-Institut ist die einzige Lehranstalt auf dem Kontinent, welche neben der Unterweisung in allen klassischen und modernen Tonsatzlehren ihren Studienplan auf den neuzeitlichen Forschungsergebnissen und Lehrmethoden des Wiener Musikgelehrten und - Pädagogen Prof. Dr. Heinrich Schenker aufbaut. Das Institut umfaßt folgende Abteilungen: A. Konservatorium der Musik für Laien, Anfänger und Liebhaber der Musik. B. Vorbereitung auf die staatl. Privatmusiklehrerprüfung für alle Studierenden, welche die Berechtigung zur Erteilung von berufsbildendem Musikunterricht anstreben. C. Meisterschule für Komponisten und Instrumentalsolisten für alle diejenigen, welche die höchste z. Zt. erreichbare Qualifikation als Tonsetzer, Solisten oder Pädagogen erlangen wollen. D. Institut für Musiklehrerfortbildung. Für die Aufnahme in die Abteilung B und C ist Mittelschulreife bzw. Abitur erforderlich. Aufnahme in D nur nach Ablegung der staatl. Privatmusiklehrerprüfung. Absolventen des Instituts erhalten ein Abgangszeugnis. Die am Institut absolvierten Semester werden von auswärtigen Hochschulen auf Antrag in Anrechnung gebracht. {3} VORLESUNGS - UND ÜBUNGSPLAN \|Historicum\|Prof. Dr. Wilhelm Heinitz\| \|Hist. Repetitorium\|Ingrid Nottebohm\| \|Psychol. Pädag., Philosophicum\|Dr. Wilhelm Schmidt-Scherf\| \|Mathematicum\|Dr. Helmut Baumann\| \|Komposition, Theoreticum I, II, III\|Felix-Eberhard v. Cube\| \|Theor. Repetitorium\|Hans Wingert\| \|Musik. Elementarlehre\|Ursula Bosch\| \|Chorklasse\|Herbert Langhans\| \|Kammermusikklasse\|Hannele Semann-Osbahr\| \|Opernkorrepetition\|Kapellmst. Friedrich Buck\| \|Dramat. Unterricht\|Gertrud Buck-Möllnitz\| \|Orchesternachwuchs\|Johannes Lorenz\| \|Labor für Elektromusik\|Herbert Weigelt\| {4} Das Institut übernimmt auch die theoretische Ausbildung von Schülern externer Privatlehrkräfte. Für jedes Solohauptfach stehen einige Hamburger Solisten zur Verfügung. Honorarbedingungen : \|Instrumental-Einzelunterricht:\|jährlich DM\| \|Unterstufe\|240.-\| \|Mittelstufe\|360.-\| \|Oberstufe\|480.-\| \|Theoretische Fächer - (Klassenunterricht)\|480.-\| \|Vollstudium pauschal\|720.-\| Eintritt: 1. April und 1. Oktober: für Laien jederzeit Kündigung: 1. Januar, 1. April, 1. Oktober jeweils 4 Wochen vorher schriftlich Zahlung monatlich oder quartalsweise voraus Freiplätze in beschränkter Anzahl nach Prüfung durch die Sozialbehörde (Änderungen vorbehalten) --Schacht & Westerlich-- fn1. Although undated, this document is presumed to postdate May 1933, the point at which Moriz Violin, who founded the Institute in 1931 but whose name is conspicuously absent here from the faculty and administration lists, left Hamburg for good (see OJ 9/34, [37], May 11, 1933). Download all selected files as or or (check files to select/deselect) Where appropriate save: English and German versions German version only English version only Correspondence 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 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. 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. 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. 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. 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. 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 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. OeNB Mus.Hs. 36390/1 [2] Handwritten letter from Violin to Schenker, dated November 4, 1931 Violin thanks Schenker for his package. He has been swamped by administrative business concerning the Schenker Institute, but is sometimes able to argue about musical matters with Felix-Eberhard von Cube. He thanks Schenker for correcting a mistake on Cube’s part concerning the analysis of the end of the C major Prelude from the first book of Bach’s Well-tempered Clavier. OJ 9/34, [31] Handwritten letter from Cube to Schenker, dated May 8, 1932 Cube sends Schenker an Urlinie graph of Schubert's song "Der Dopplegänger," and offers an extended commentary. Describes his work and state of mind, and comments on working with Moriz Violin; he expresses fears for the Hamburg Schenker Institut. He has just got married. OJ 9/34, [34] Handwritten letter from Cube to Schenker, dated September 12, 1932 Cube outlines the conflict between Moriz Violin and the school authorities over inspection of the Hamburg Schenker-Institut, portrays his own differences of opinion with Violin, and asks for Schenker's opinion. OJ 5/7a, [44] (formerly vC 44) Handwritten postcard from Schenker to Cube, postmarked September 16, 1932 In response to OJ 9/34, [34], Schenker thinks Cube right, but would need to see the inspection before giving judgment. OC 30/18-30 Draft letter from Schenker to Albert Einstein, undated [November 20, 1932] In this unsent letter, Schenker tells Einstein about his works and the difficulties he has encountered in promoting them, and calls upon the physicist for help in gaining financial support for the publication of Free Composition. OJ 9/34, [35] Handwritten letter from Cube to Schenker, dated December 7, 1932 Cube reports on his current state of mind, his work on a Bach graph (commenting on a graph by Angi Elias), promises to send an article on Schenker that has appeared in the Frankfurter Zeitung, on the difficulties of the Schenker-Institut, and on Moriz and Karl Violin. OJ 9/34, [38] Handwritten letter from Cube to Schenker, dated September 7, 1933 Cube reports on his poor health and straitened cirumstances, teaching at two conservatories and private pupils; he eagerly awaits Der freie Satz, and reports on his investigation of diatonic systems. OJ 9/34, [42] Handwritten letter from Cube to Schenker, dated October 4, 1934 Quotes letter from Furtwängler in extenso touching on reasons for dismissal and articulating the importance of Schenker's theory; Cube describes the impact of this letter on his Director. The names of Schenker, Halm, and Kurth were deleted from a recent text of his, and censorship has been imposed. Describes his own recent activities. Outlines his geometric theory of the diatonic components of tonality. Encloses photograph of his wife and son; describes hardships. Denies rumors that he has cheated Moriz Violin, and refers to the resulting backlash on him: Violin has a "complex", feels downtrodden by everyone. LC ASC 27/45, [13] Handwritten curriculum vitae from Moriz Violin to Schoenberg, undated [July 20, 1939] Violin's curriculum vitae. OJ 70/35, [6] Typewritten testimonial (carbon copy) from Schoenberg concerning Moriz Violin, dated July 21, 1939 Schoenberg letter of recommendation to "whom it may concern." 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