-
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 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.
-
WSLB-Hds 95662 Handwritten postcard from Schenker to Seligmann, dated August 29, 1906
In this amusing message congratulating Seligmann on his latest feuilleton,
Schenker comments on the proper speed for the “little duet” between Giovanni and Zerlina and
notes the gulf separating the performance of Don Giovanni at the Salzburg Festival (the
conductor is not named) and the Mozart performances conducted by Mahler (at the Vienna State
Opera).
-
WSLB 4 Handwritten letter from Schenker to Hertzka (UE), dated April 22, 1908
Schenker promises material the next day, and extols the work's
structure.
-
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 5/35, [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 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.
-
WSLB-Hds 94476 Handwritten letter from Schenker to Seligmann, dated July 17, 1909
Schenker thanks Seligmann for helping him to get a friend’s essay on Byron’s
Manfred published in a Viennese newspaper. He then asks whether it would be possible to make
a judgment about painters, and paintings, on purely objective grounds, as he (Schenker) has
been aiming to do with composers and musical works.
-
WSLB 53 Handwritten letter from Schenker to Hertzka (UE), dated February 15, 1910
Schenker advocates Moriz Violin's pamphlet "Über das sogenannte 'Continuo'"
for publication and explains its connection with a planned "historical
concert."
-
CA 118 Handwritten letter from Schenker to Cotta, dated August 19, 1910
A fire at his hotel causes Schenker to ask whether Cotta has sent him final
proofs recently. — He inquires whether he might travel to Stuttgart to present his plan for
the Handbibliothek in person.
-
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.
-
WSLB 84 Handwritten letter from Schenker to Hertzka (UE), dated November 19, 1911
Schenker offers UE an arrangement of the Mozart A major piano concerto,
arguing the case for its publication despite existing editions. -- He is impatiently
awaiting proofs of his monograph Beethovens neunte Sinfonie.
-
OC 52/67 Typewritten letter from Hertzka (UE) to Schenker, dated November 24, 1911
Hertzka is unable to take up Schenker's offer of an arrangement of a Mozart
piano concerto. -- Proofs of Beethovens neunte Sinfonie are expected any
day.
-
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, [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.
-
WSLB 132 Handwritten letter from Schenker to Hertzka (UE), dated August 25, 1912
Schenker returns the contract for Die letzten fünf Sonaten von Beethoven
signed. — Proclaiming "Ex Austria lux," he says that Austria's tradition from Haydn to
Brahms and Dvořák[sic] will now be followed by Schenker's "explanation" (Aufklärung) of that
tradition, which will spawn a new generation of composers superior to the present
"cacophony," with Universal Edition as the agent of that "rebuilding of tonal music" (Aufbau
der Tonkunst). — He alludes to the possibility of teaching for the Gesellschaft der
Musikfreunde's proposed "Hochschule." — He prompts Hertzka to act on the Organization of
Musicians project in the fall.
-
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 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 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 15/16, [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 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.
-
OC 52/923 Typed letter from Hertzka (UE) to Schenker, dated June 6, 1919
Hertzka acknowledges receipt of WSLB 302; he cannot entertain early publication
of Weisse's work but wishes to get to know it now. — He hopes to have work from Schenker's pen
as soon as work for Cotta is finished. — He proposes that the Foreword to Die letzten fünf
Sonaten von Beethoven ... op. 111 be omitted [in an future edition].
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WSLB 303 Handwritten letter from Schenker to Hertzka (UE), dated June 12, 1919
Schenker promises to send Hans Weisse to see Hertzka. In reacting unfavorably to
Hertzka's suggestions that the Foreword to Die letzten fünf Sonaten von Beethoven, Op. 111 be
discarded for its second edition, Schenker puts up a stout defense of his use of polemic in his
writings, contending that art, life, and politics are inextricably interconnected. He claims
that his pronouncements on politics now will prove correct in the long run. His sole concern is
with the truth; he is not interested in pandering to his readers.
-
DLA 69.930/8 Handwritten letter from Schenker to Halm, dated October 27, 1919
Schenker writes of the deteriorating intellectual conditions in Germany and
Austria with respect to other nations, and of the devastating political and psychological
consequences. Schenker praises Halm's Klavierübung for its sensitivity to voice leading, and
speaks of it as an antidote to the decline of musical literacy. He hopes to talk with Halm about
these matters when he moves to Germany.
-
Sbb 55 Nachl. 13, [1] Handwritten letter from Schenker to Furtwängler, dated November 5, 1919
Having attended for the first time a concert conducted by Furtwängler, Schenker
congratulates him on his achievement then, proclaiming him a "counterweight" to the present [in
his opinion inadequate] generation of conductors, and heir to the Mahler mantle. Schenker
comments on Viennese concert-goers and their fickleness. — He commends Moriz Violin to
Furtwängler, in case the latter can provide an introduction to Hausegger.
-
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, [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.
-
OC 52/223 Handwritten draft contract, in Jeanette Schenker's hand, between UE and Schenker for
the Kleine Bibliothek and Beethoven sonatas edition, undated [March 17,?] 1920
Handwritten draft contract jointly for the Kleine Bibliothek and Beethoven
sonatas edition.
-
OC 52/447 Draft Contract between UE and Schenker for the Beethoven Sonatas edition, dated March
23, 1920
Draft contract for the Beethoven Sonatas edition.
-
OC 52/448 Typed contract between UE and Schenker for the Beethoven sonatas edition, dated July
10, 1920
Contract between UE and Schenker for the Beethoven sonatas collected edition.
-
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 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.
-
OC 1B/10-11 Handwritten letter from Schenker to Hertzka (UE), dated February 22‒23, 1922
Schenker returns materials for the Fifth Symphony article, reports a delay in
providing information for the facsimile edition of the "Spring" Sonata, and complains that he
has futilely lavished time on the purification of the German language for the second edition of
Die letzten fünf Sonaten ... Op. 109. — He agrees in principle to Hertzka's idea of an
"Urlinie-Ausgabe" of the Beethoven sonatas, and agrees to announce it in Tonwille 2, but asks
how the first seventeen sonatas are to be done retrospectively, and rejects the suggestion that
his pupils might make the preparatory graphs.
-
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 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 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 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 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.
-
DLA 69.930/10 Handwritten letter from Schenker to Halm, dated September 25, 1922
Acknowledges OJ 11/35, 20 and composition; expects to be able to comment on
Halm's Klavierübung in Tonwille 4; reports Leipzig University's decision not to appoint him;
speculates on the impact of Kontrapunkt 2 and Der freie Satz; public difficulty in accepting
Urgesetze. — Aristide Briand: The importance of being well-read on a topic before commenting in
public: Schoenberg and Reger; newspapers. — Maximilian Harden: although faithful to Schenker,
Harden had not mastered the topics on which he wrote. — National Govenment: Schenker's
publishing plans, including "The Future of Humanity": man's anthropomorphic thinking is a
delusion, he needs to adapt to nature, to return to a primitive state, to abandon "development"
and "progress" and return to primordial laws; inferior man wants to "govern" (bowel wants to
become brain); Schenker deplores "artifice" (French) as against nature (German). — Things
French: praises German superiority over French in its joy of work. — Higher Plane: the German
should not abase himself before the Frenchman.
-
DLA 69.930/11 Handwritten letter from Schenker to Halm, dated November 2, 1922
Schenker acknowledges receipt of two booklets on youth and the new republic,
returns them, comments on them critically: idealistic German democrats desire maximal
remuneration with minimal work; illustrates point by difficulties with maids in Schenker
household; German democrats naively overestimate social and intellectual status of non-German
commoners (French, British, American); Schenker decries cosmopolitanism and those Germans who
advocate individuality at the expense of society; Schenker praises the fascists as countering
communism and social leveling, compares Mussolini's Italy favorably with present-day
Germany.
-
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 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.
-
JOB 94-3, [5] Handwritten letter from Schenker to Hammer dated October 24, 1923
Schenker invites Hammer and his wife for November 7; — The problem of the
"middleman" (performer, etc.) in music, by contrast with painting; — he reports on Hertzka's
proposal to make Tonwille a quarterly publication.
-
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 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.
-
OC 12/10-12 Handwritten letter from Halm to Schenker dated dated February 1–6, 1924
Halm offers to send two of his books in return for Schenker's Opp. 109, 110, 111;
he discusses the role of improvisation in his own music; he seeks "corporeality" in music, and
its absence in Brahms troubles him; argues the case for Bruckner; asks Schenker to choose a
passage exhibiting non-genius in his or Oppel's music and discuss it in Der
Tonwille.
-
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.
-
DLA 69.930/12 Handwritten letter from Schenker to Halm, dated April 3‒4, 1924
In response to matters raised by Halm in two previous letters, Schenker discusses
figuration, distinguishing between that which works only on the surface and that which arises
out of the middle and background, drawing on primal intervals. He also concedes that he heard
Bruckner improvising, and criticizes it adversely. He refers to Reger, and outlines plans for
forthcoming volumes of Der Tonwille.
-
OC 54/5-7 Draft letter from Schenker to Drei Masken Verlag, dated as sent on December 9,
1924
In the light of an exchange of letters with UE, Schenker suggests that the new
publication have a new title (Die Urlinie) but that the old typeface and format be retained.
He suggests that the new periodical should include articles on each of the Chopin etudes and
the four Brahms symphonies, and on symphonies by Beethoven, Mozart, Schubert and Haydn, from
all of which book-length studies could subsequently be made.
-
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 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.
-
OC 54/56 Typewritten letter from Alfred Böhme (DMV) to Schenker, dated January 14,
1926
Drei-Masken Verlag says that there are plans to publish the autograph manuscript
of Mozart’s Don Giovanni in facsimile. They are in the process of finishing the first
Meisterwerk Yearbook, note Schenker’s wish for wider Urlinie graphs in future
yearbooks.
-
OC 54/57 Typewritten letter from DMV to Schenker, dated January 15, 1926
Drei Masken Verlag in Munich have now transferred all matters of production
concerning the first Meisterwerk Yearbook to their office in Vienna.
-
OC 54/58 Typewritten letter from August Demblin and Alfred Einstein (DMV) to Schenker, dated
January 16, 1926
The facsimile edition of Mozart’s Don Giovanni will not be ready for some time; a
facsimile of Beethoven’s Op. 57 is planned, not by DMV but by a Paris
printing-house.
-
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.
-
OC 54/65-66 Draft of a publicity note for Das Meisterwerk in der Musik, dated February 15,
1926
A draft statement of the principles lying behind Schenker’s Meisterwerk series
of Yearbooks, together with a provisional table of contents for the second
Yearbook.
-
OC B/192 Two typewritten letters from Wilhelm Altmann to Schenker, dated June 9,
1926
Letter 1: Altmann replies to Schenker's inquiry about manuscripts of two
Mozart symphonies. Letter 2: Altmann gives his summer travel plans; delay in publishing
article about Schenker in Die Musik; advice for Weisse over choice of
publisher.
-
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.
-
OC 54/111 Typed letter from Otto Erich Deutsch to Schenker, dated January 8, 1927
Deutsch thanks Schenker for his recent communications, including a copy of the
contract with Drei Masken Verlag for the Meisterwerk Yearbook, and asks for a copy of
relevant extracts from the correspondence with the publishers. He reports progress in the
establishment of a Photogram Archive at the Austrian National Library, with the cooperation
of Dr Robert Haas and financial support from Anthony van Hoboken; similar plans to
photographically reproduce autograph manuscripts are underway at the Beethoven House in
Bonn, and (for manuscripts of Bach and Handel) also in England. He advises Schenker that
proofs will start arriving from the printing-house Waldheim in a few weeks, and expresses
his delight in being able to assist Schenker in the promotion of his work.
-
OC 54/124 Typed letter from Otto Vrieslander to Schenker, dated January 20, 1927
Vrieslander has received the Urlinie graphs for two essays in the second
Meisterwerk Yearbook, and explains to Schenker that he will exercise the utmost care in
preparing them for publication.
-
WSLB-Hds 191.559 Handwritten postcard from Schenker to Deutsch, dated June 6, 1927
Schenker asks Deutsch to make inquiries at the British Museum on his behalf,
concerning the autograph manuscript of Beethoven’s Sonata Op. 79. He is annoyed with Hertzka
for letting someone else take on the editing of Mozart’s piano sonatas for Universal
Edition.
-
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 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 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 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 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, [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 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 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 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.
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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.
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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.
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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).
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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.
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WSLB 414 Handwritten letter from Schenker to UE, dated July 27, 1929
Schenker comments on Schmid's remarks; inquires after editorship of Mozart
edition.
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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.
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OC 52/853 Typed letter from Ernst Roth (UE) to Schenker, with enclosure, dated August 5,
1929
Encloses additional remarks by Edmund Schmid.
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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.
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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.
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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.
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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.
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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.
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OC 54/305 Typewritten letter from Deutsch to Schenker, dated June 19, 1930
A new print of works by C. P. E. Bach has arrived at Hoboken’s; Deutsch would
like Schenker to look at it. -- He advises Schenker to make corrections to Tomay’s
calligraphy [of the voice-leading graphs] as soon as they are ready, and not to wait until
September, if the "Eroica" monograph is to be published by the end of the
year.
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PhA/Ar 36, [1] Carbon copy of a typewritten letter from Anthony van Hoboken to Heinrich Schenker,
dated September 15, 1930
Hoboken sends his scoring of a C. P. E. Bach harpsichord concerto for Schenker to
check in connection with a planned new collected edition of the works of that
composer.
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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.
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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."
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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.
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OC 20/402 Handwritten letter from Weisse to Schenker, dated February 20, 1931
Weisse describes the extraordinary success of his second lecture (at the
Society for Music Pedagogy in Vienna). He asks his teacher's opinion about his rhythmic
interpretation of the Bach's Prelude in D minor, BWV 926, and of the third movement of
Brahms's String Quartet in C minor, Op. 51, No. 2.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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 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.
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OC 50/14 Typewritten letter from Elsa Bienenfeld to Schenker, dated July 15, 1931
Bienenfeld explains her disagreement with Schenker’s acceptance in an article
of a Mozart letter of questionable authenticity, and inquires whether in the event of a
negative judgment he still wishes there to be a review.
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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.
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FS 40/1, [3] Handwritten letter from Schenker to Salzer, dated September 14, 1931
Schenker asks for a meetings to discuss lesson schedule.
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OJ 5/11, [1a] First draft of a handwritten letter from Schenker to Furtwängler, in Jeanette
Schenker’s hand, dated November 11‒16, 1931
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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
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OJ 12/6, [11] Typewritten letter from Jonas to Schenker, dated March 24, 1932
Furtwängler liked his essay; Jonas describes his lectures at the Conservatory;
the situation with Einstein over publishing his review of Meisterwerk 3; asks about
permission to consult Brahms's arrangement of Saul.
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OJ 89/5, [3] Handwritten letter from Schenker to Hoboken, dated July 31, 1932
Schenker welcomes a visit from Hoboken and Miss Boy, and encloses a clipping of
an article.
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OJ 12/6, [19] Handwritten letter from Jonas to Schenker, dated January 28, 1933
Jonas still has no response from Hoboken re: his Einführung; encloses four
essays; reports on forthcoming article, his teaching and advocacy of critical editions,
planned radio lectures and performance, and other work.
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OJ 5/7a, [46] (formerly vC 46) Handwritten letter from Schenker to Cube, dated May 14, 1933
Schenker disagrees with Cube's assertion in OJ 9/34, [37], that the Urlinie of the theme of
Beethoven, Op. 26, first movement, was a third-progression, not a fifth-progression, giving graphic proofs and
explaining Cube's misuse of the neighbor note. Hitler has done "historical service" in getting rid of Marxism;
someone is needed to get rid of musical Marxists; Schenker has created the tools. He provides background to
Moriz Violin's departure from Hamburg, reports on Jonas, Weisse, and Oppel, and inquires whether Cube has heard
from Furtwängler.
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OJ 6/8, [27] Handwritten letter from Schenker to Violin, dated November 9, 1933
Schenker reports that Hoboken has asked to come for coffee, and he has invited
him for Saturday, as a result of which he offers his tickets for a concert conducted by Carl
Bamberger to Violin and his daughter.
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FS 40/1, [20] Handwritten letter from Schenker to Salzer, undated [January 8, 1934]
Invitation to listen to Toscanini recording; Der freie Satz is finished.
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OJ 5/7a, [49] (formerly vC 49) Handwritten postcard from Schenker to Cube, dated May 8, 1934
Schenker congratulates Cube on the graph he has sent, and reports on Der freie
Satz and the continuation of the Urlinie-Tafeln.
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OJ 5/18, 47 Handwritten letter from Schenker to Jonas, dated July 22, 1934
Schenker praises Jonas's book highly; gives Hoboken's current address; —
Furtwängler has written a recommendation for Moriz Violin, who would like go to Jerusalem;
asks whether Vrieslander and Oppel are subscribers. — Comments on Bayreuth and
Wagner.
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OJ 5/7a, [51] (formerly vC 51) Handwritten letter from Schenker to Cube, dated October 26, 1934
Acknowledges OC 9/34, [42], and its contents; comments on the "youth of today" – organic
connection is the best thing for them; asks publisher of Schäfke book. Once Der freie Satz is in
print, he will give his mind to the continuation of the Urlinie-Tafeln. Schenker's name is included in
the Spanish Enciclicopedia universale.
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OJ 9/10, [4] Printed invitation from the Photogrammarchiv to Jeanette Schenker, dated February
14, 1936
Invitation to celebrate the enlargement of the
Photogrammarchiv
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LC ASC 27/45, [26] Handwritten letter from Moriz Violin to Schoenberg, dated March 29, 1941
Violin thanks Schoenberg for his recent stay in Los Angeles, and comments on
Schoenberg's lecture "Composition with Twelve Tones," which he attended during that stay. —
He reminds Schoenberg to advocate for him for an engagement with the New York New Friends of
Music; and he mentions for the first time his plan to found an institute in San
Francisco.
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OJ 70/35, [9] Handwritten open letter from Schoenberg dated September 16, 1949, with handwritten
letter from Schoenberg to Moriz Violin, dated October 14, 1949
Schoenberg sends a copy of his open letter on his 75th birthday, embedded
within a letter in which he expresses pleasure at Violin's report of his Carmel
performance.