WSLB 73 Handwritten letter from Schenker to Hertzka (UE), dated December 17, 1910
Schenker has received gratitude from abroad for his edition of the Chromatic
Fantasy & Fugue, and asks for a copy to be sent to Otto Vrieslander. — He accuses the
Viennese of hostility and intellectual theft.
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.
WSLB 118 Handwritten letter from Schenker to Hertzka (UE), date June 4, 1912
Schenker urges Hertzka to contact Dr. Harpner in connection with the planned
Organization. He reiterates his demands regarding payment for the planned last five
Beethoven sonata edition, specifying the sums, and disputes Hertzka's
counterargument.
WSLB 133 Handwritten letter from Schenker to Hertzka (UE), undated [August 26,
1912]
Recounting the backstory of the move to found an [Austrian] organization of
musicians, and painting it as a rearguard action by performers against the dominance of Neue
freie Presse chief critic Julius Korngold and certain concert agents, Schenker reports an
approach from Hugo Heller in Germany, and presses Hertzka to reveal how committed he is to
the cause. — Remarking on the lack of coverage of music in [Austrian] newspapers, he
complains at the timid tone of Universal Edition's advertising of his own
works.
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, [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 11/36, [1] Handwritten letter from Hammer to Schenker dated September 12, 1913
Hammer approaches Schenker regarding piano lessons for his wife.
DLA 69.930/2 Handwritten letter from Schenker to Halm, dated January 17, 1918
Schenker has received Halm's article about him, and expresses his appreciation.
Schenker's mother died in December 1917; he looked after her and his siblings from the time his
father died [1887]. Addresses a reservation on Halm's part—speaking to him as "leader to
leader"—and confirms his concept of the Volk. Schenker has a plan to put to Halm.
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.
OC 1 B/34r Handwritten draft letter from Schenker to Türkel, dated February 24, 1918
Schenker addresses legal obstructions regarding Sofie Deutsch's will, and
threatens to go back on an earlier disclaimer if he continues to be deprived of the inheritance
due to him; notifies Türkel that he has already paid out the first stipend, to Otto Vrieslander,
and has promised the second and third to two composers (unnamed).
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 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 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 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 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 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 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 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 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 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 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, [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 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, [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 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 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 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 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, [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 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 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 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 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 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 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 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.
JOB 94-3, [9] Handwritten picture postcard from Heinrich and Jeanette Schenker to Hammer, dated
July 19 [1924]
Heinrich and Jeanette send greetings from the Tyrol; they are expecting the
Vrieslanders.
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 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, [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.
DLA 69.930/13 Handwritten letter from Schenker to Halm, dated October 6, 1924
Asks Halm to send some of his chamber music to Rudolf Pollak, with prospect of
performance of the A major string quartet. —Deplores current situation over Sofie Deutsch
stipends. —Reports difficulties with UE and intention to change publisher.
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.
OC 54/2 Typed letter from Alfred Einstein & August Demblin (DMV) to Schenker, dated
November 27, 1924
Having had soundings from Otto Vrieslander about taking over the publishing of
Der Tonwille, Drei Masken Verlag now approach Schenker directly, asking him to come to an
agreement with Universal Edition about the the future of the publication.
OC 54/11 Typewritten postcard from Otto Vrieslander to Schenker, dated January 19,
1925
Vrieslander thanks Schenker for Tonwille 10, remarks about negotiations with
Universal Edition and Drei Masken Verlag, and promises to send him an offprint of his recent
essay on C. P. E. Bach.
OC 54/15 Typewritten letter from Otto Vrieslander to Schenker, dated January 24,
1925
Vrieslander reports a recent meeting at Drei Masken Verlag with Alfred
Einstein, whose character he rates highly and who assured him that he was looking forward to
publishing Schenker's work.
OC 54/16-18 Draft letter from Schenker to Drei Masken Verlag, dated January 28, 1925
Schenker agrees to the idea of a yearbook, entitled "Das Meisterwerk in der
Musik," as put forward by Drei Masken Verlag, and now asks for a draft contract to be sent,
and for them to typeset some of his work so that he has an idea how long the manuscript for
the yearbook should be. He also vents his hostility towards Emil Hertzka at Universal
Edition.
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.
JOB 94-3, [10] Handwritten letter from Schenker to Hammer dated March 12, 1925
Wherever Hammer may travel, Schenker declares, he will never lose his
Germanness. Schenker asserts the superiority post-WWI of the German nation over those of the
west. -- He describes his own pianism: his "fingers are like musical brains." -- He gives an
account of the dispute with Universal Edition and the outcome of negotiations with Drei
Masken Verlag.
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 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.
OC B/190 Handwritten postcard from Wilhelm Altmann to Schenker, postmarked June 15,
1925
Altmann thanks Schenker for the medallion; he will be unable to visit
Galtür.
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 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 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.
JOB 94-3, [12] Handwritten letter from Schenker to Hammer, dated August 23, [1925]
Heinrich and Jeanette consider the test proof of the Schenker mezzotint
finished and urge him to finalize it. Heinrich tells Hammer about Anthony van
Hoboken.
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.
JOB 94-3, [15] Handwritten letter from Schenker to Hammer, continued by Weisse, dated October 5,
1925
Schenker informs Hammer that he has recommended Otto Vrieslander as the author
of a short article about him to accompany the Hammer mezzotint for publication in the
journal Die Musik. Weisse continues the letter, ordering prints of the mezzotint for
Schenker and himself, and detailing arrangements for payment.
JOB 94-3, [16] Handwritten letter from Schenker to Hammer, dated November [recte October] 11,
1925
Schenker reports that the tube [containing a print of the mezzotint portrait
of him, for making a printing block] has been sent to the publisher [of Die Musik], and he
now waits to see whether the latter will commission an article to accompany it. He comments
on the Albertina's purchase of a print of the portrait.
JOB 94-3, [17] Handwritten postcard from Schenker to Hammer, dated October 18, 1925
Schenker quotes Schuster's response acknowledging receipt of the portrait and
anticipates publishing it [in Die Musik], perhaps with an accompanying
essay.
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, [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 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 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.
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.
OC 54/83 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 15, 1926
Drei Masken Verlag are sending Schenker ten hard-bound complimentary copies of
the first Meisterwerk Yearbook, although he may contractually be entitled only to five
hard-bound and five paper-bound copies. They ask him to send the addresses to which review
copies may be sent. (Schenker has made some pencil notes about the receipients of the
complimentary copies.)
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 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.
OC B/193 Handwritten postcard from Wilhelm Altmann to Schenker, postmarked August 3,
1926
Altmann thanks Schenker for Meisterwerk I and describes his summer
travels.
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 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.
OC 54/101 Typed letter from Drei Masken Verlag (Vienna) to Schenker, dated October 12,
1926
Drei Masken Verlag in Vienna will forward Schenker’s query about the lack of
publicity for the first Meisterwerk Yearbook to their Munich office.
OC 54/104 Typed letter from August Demblin and Alfred Einstein (DMV) to Schenker, dated
October 15, 1926
Drei Masken Verlag think that an advertisement for the first Meisterwerk
Yearbook in the December 1926 issue of Die Musik would be timely; they also report that
sales of the book have been slow.
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.
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.
OC 54/193 List of review copies for Das Meisterwerk in der Musik, vol. 1
List of review copies for the first Meisterwerk
yearbook.
OC 54/129 Typed letter from Otto Vrieslander to Schenker, dated February 10, 1927
Vrieslander assures Schenker that he has prepared the graphs for Mozart’s
Symphony in G minor with the utmost care, with due regard to his
instructions.
OC 54/131 Typed postcard from Otto Vrieslander to Schenker, postmarked February 14,
1927
Vrieslander explains the way he has dealt with Schenker’s detailed comments on
the graph of Mozart’s Symphony in G minor.
OC 54/132 Typed letter from Otto Vrieslander to Schenker, dated February 15, 1927
Vrieslander informs Schenker that Alfred Einstein (DMV) has decided to engrave
the music examples for the second Meisterwerk volume in order to ensure a flawless
reproduction. He also reports that the width of the pages in the supplement will be
expanded, and notifies Schenker of the changes that he will make to the music examples
following this decision. Vrieslander states he has officially enquired with Einstein about
potential problems in the printing process, making clear that Schenker will not be able to
bear any additional costs for printing errors.
OC 54/133 Copy of a letter from Otto Vrieslander to Alfred Einstein (DMV), dated February 15,
1927
Following Einstein’s determination to have the Urlinie graphs engraved, not
hand-drawn, Vrieslander asks that the engraver pays particular attention to the shape of the
large slurs, and suggests a meeting with the engraver to go over further problems. If the
graphs were relegated to an appendix, they could be as wide as necessary, for sake of
clarity.
OC 54/134 Typed letter from Otto Vrieslander to Schenker, dated February 20, 1927
Vrieslander, at pains to ensure that the music illustrations in the second
Meisterwerk Yearbook are accurately and elegantly printed, reports that the engravers are
having difficulty interpreting Schenker’s music examples. He is putting his own work to one
side in order to work exclusively on creating clear and elegant graphs; he proposes to come
to Vienna in mid-March to go through all his work with Schenker.
OC 54/135 Typed letter from DMV to Schenker, dated February 24, 1927
Drei Masken Verlag inform Schenker that there is a delay with the production
of the music examples for the second Meisterwerk yearbook. They anticipate that he will
receive the proofs soon.
OC 54/140 Typed postcard from Otto Vrieslander to Schenker, dated March 24, 1927
Vrieslander, in Vienna, makes arrangements to meet Schenker on March 25 to go
over the music illustrations for the second Meisterwerk Yearbook, leaving the following day
available if necessary.
OC 54/142 Postal receipt for a package to Drei Masken Verlag (München), dated March 28,
1927
Postal receipt for a package containing materials for Meisterwerk 2 (corrected
engravings, new copies of music examples and the "Chaos" sketch).
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.
OC 54/145 Typed letter from August Demblin (DMV) to Schenker, dated April 25, 1927
Drei Masken Verlag inform Schenker that they have sent all of the material for
the second Meisterwerk volume to the printers, and that he should expect to receive three
copies of the page proofs and two copies of the music examples in due
course.
WSLB 380 Handwritten postcard from Schenker to UE, dated May 27, 1927
Schenker asks that a complimentary copy of his Fifth Symphony monograph be sent
to Vrieslander.
OC 52/840 Typed postcard from Barbara Rothe (UE) to Schenker, dated May 31, 1927
A copy of Schenker's Fifth Symphony monograph has been dispatched to
Vrieslander as requested.
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 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 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 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, [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 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 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 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 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 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 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 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 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 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 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 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 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 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 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, [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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 10/3, [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 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 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 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 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 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 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 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 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 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 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 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.
OC 54/304 Typewritten letter from Deutsch to Schenker, dated June 10, 1930
Deutsch returns a letter from Furtwängler; he finds Vrieslander’s essay about
Schenker difficult to read. He advises him to proceed with the printing of his essay on the
"Eroica" Symphony, even if it proves possible for another publisher to take it over at a
late stage. He is still looking for someone to arrange Schubert’s piano-duet marches [for
orchestra or wind band].
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.
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 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.
WSLB-Hds 191.565 Handwritten letter from Schenker to Deutsch, dated July 20, 1930
In this 16-page response to a letter from Deutsch, Schenker thanks his
correspondent for his unstinting assistance (in relation to the third Meisterwerk
yearbook) and underlines the importance of a collected edition of the works of C. P.
E. Bach. — He then launches a long and detailed denunciation of Anthony van
Hoboken’s character, referring in particular to his treatment of Otto Vrieslander,
his ambivalence towards projects associated with the Photogram Archive, and his
absconding to Berlin to study the piano with Rudolf Breithaupt; Hoboken is
thoroughly undeserving of a high honor conferred by the Austrian
state.
WSLB-Hds 191.568 Handwritten letter from Schenker to Deutsch, dated August 23, 1930
Schenker is sending Deutsch copies of letters written by Leo Kestenberg
praising his theories for their practical application to composition and
performance, noting that Furtwängler is championing his cause everywhere. -- He then
launches into a tirade against the city of Vienna for snubbing him and his
work.
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.
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 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 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 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 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 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 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.
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 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.
OJ 5/7a, [42] (formerly vC 42) Handwritten letter from Schenker to Cube, dated January 20, 1932
Schenker acknowledges an enclosed review and letter, and comments on [Ludwig]
Rottenberg. That music has cohesiveness (Zusammenhang) has finally been recognized; this must be
disseminated.
OJ 6/8, [13] Handwritten letter, with envelope, from Schenker to Violin, dated June 12,
1932
Schenker refers to his “betrayal” by Herman Roth and shares with Vrieslander’s
letter on the subject. He updates Violin on the forthcoming publication of the Fünf
Urlinie-Tafeln, accusing the Mannes School of getting more publicity and profits from the
sale of the work than it deserves.
OJ 5/7a, [43] (formerly vC 43) Handwritten postcard from Schenker to Cube, dated July 6, 1932
Schenker acknowledges OJ 11/54, [33], and reports publication of songs and
Ländler by Vrieslander.
OJ 89/5, [4] Handwritten postcard from Schenker to Hoboken, dated August 5, 1932
The Ganche edition is much worse than Hoboken has said. Reports on Vrieslander
publication.
OJ 5/18, 12 Handwritten postcard from Schenker to Jonas, dated August 28, 1932
Schenker will return to Vienna in September and would like Jonas to visit him. —
Questions about Stern Conservatory and songs by Vrieslander.
OJ 12/6, [14] Handwritten postcard from Jonas to Schenker, dated August 30, [1932]
Jonas is leaving today for Berlin, and will write to Schenker from
there.
OJ 11/32, [11] Typed letter from Robert Haas to Schenker, dated September 15, 1932
Haas asks Schenker to call on him in relation to a letter from van Hoboken
regarding the Photogrammarchiv.
OJ 5/18, 14 Handwritten letter from Schenker to Jonas, dated September 23, 1932
Schenker sends further addresses [for Jonas's subscription appeal]. —He fears
Hoboken may reduce his support.
OJ 12/6, [38] Handwritten letter from Jonas to Schenker, dated September 25, [1932]
Jonas reports letter from Hoboken re subscriptions to his Einführung; also
reports re publishing (Breithaupt), reviewing (for Einstein), and imminent broadcast talks,
and teaching next academic year; also re Sandra Droucker lecture on Schenker in
Oslo.
OJ 12/6, [16] Handwritten letter from Jonas to Schenker, dated October 1, 1932
Further on Hoboken and the number of subscriptions; Jonas thanks Schenker for
approving an article about the Photogrammarchiv that he hopes will be published in Die
Musik.
OJ 12/6, [17] Handwritten letter from Jonas to Schenker, dated November 27, 1932
Jonas has received a preliminary refusal from Anthony van Hoboken [over
subscriptions for Das Wesen des musikalischen Kunstwerks], and seeks Schenker's advice;
reports contact with Furtwängler; comments on lectures given by Webern.
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.
OC 18/32-33 Handwritten letter from Weisse to Schenker, dated November 28, 1932
Weisse is uneasy about disparity among translations of Schenker's writings
into English, and suggests that he work with potential translators to arrive at an agreed
set of technical terms. He has renewed contact with Vrieslander, who has sent him a copy of
his recently published songs and Ländler. His work in New York is going well and his family
is thriving, but he sees and hears about a great deal of suffering, on account of the
economic collapse in America.
OJ 6/8, [14] Handwritten letter, with envelope, from Schenker to Violin, dated December 19,
1932
In this characteristically long end-of-year letter to his friend, Schenker
mentions his forthcoming edition of Brahms’s study of consecutive octaves and fifths,
Jonas’s book on his achievements as a theorist, Zuckerkandl’s book on opera, and the
possibility of an English translation of his Theory of Harmony.
OC 38/346v Handwritten letter from Violin to Schenker, dated December 22, 1932
In this partly incoherent message which responds to Schenker’s recent letters,
especially that of December 19, Violin urges his friend to remain optimistic. He will
discuss things with Furtwängler that should be beneficial. He asks to borrow Hindemith’s
letter to Schenker.
OeNB H Autogr.856/20-1 Handwritten letter from Schenker to Josef Marx, dated December 25, 1932
Schenker has read articles by Marx in a newspaper expressing disatisfaction at
musical life in Vienna; Schenker asks urgently to have a face-to-face meeting with Marx to
discuss these matters and probably others concerning Moriz Violin.
OJ 6/8, [16] Handwritten letter from Schenker to Violin, dated December 29, 1932
Schenker advises Violin to keep up the pressure on Josef Marx regarding a
possible position at the Vienna Akademie; he will do the same. He again discourages his
friend from approaching Anthony van Hoboken with an appeal for financial
assistance.
OJ 6/8, [20] Handwritten letter from Schenker to Violin, dated January 19, 1933
Schenker gives Violin an account of a three-hour meeting he had with Joseph
Marx, who expressed his highest regard for Schenker's theories; he expects that his writings
will be adopted by the Vienna Akademie and that Violin will also profit from Marx’s interest
and goodwill.
OJ 15/16, [89] Handwritten letter from Weisse to Schenker, dated February 15, 1933
Weisse has received a copy of Otto Vrieslander's recently published songs and
has written Vrieslander a long, critical letter. — He reports on initiatives to have some of
Schenker's writings translated into English, and on the success of his analysis of the Bach
C major Prelude. Their having purchased copies of the Five Analyses in Sketchform/Fünf
Urlinie-Tafeln, published by the David Mannes School, is further testimony of Schenker's
success on American soil.
OJ 15/16, [90] Handwritten letter from Hans Weisse to Schenker, dated March 17, 1933
Weisse reports the success of his lecture on the C minor prelude from the
Well-Tempered Clavier, Book 1. — He is currently giving two lectures on a Haydn's sonata. —
He inquires about the possibility of having Schenker's foreground graphs for the "Eroica"
Symphony printed separately and sold to his pupils, for a series of lectures planned for the
following year; the profits entirely to Schenker. — He sees little prospect visiting Europe
in the summer, as his financial situation has worsened: the Mannes School has been forced to
reduce his teaching for the next season. — He expresses his doubts about Vrieslander's
ability to reshape Schenker's Harmonielehre as a school textbook, and about the value of
Harmonielehre itself in the light of his teacher's most advanced theoretical
ideas.
OJ 5/18, 24 Handwritten letter from Schenker to Jonas, dated March 22, 1933
Schenker recounts Joseph Marx's requirements for adapting his Harmonielehre
for teaching purposes, and the involvement of Alfred Kalmus at UE. — Refers to Vrieslander's
adaptation of Kontrapunkt and Jonas's of Harmonielehre. — Reports Hans Weisse's success;
alludes to the Handel-Schenker Saul project.
OJ 15/16, [91] Handwritten letter from Hans Weisse to Schenker, dated March 30, 1933
In this long letter, Weisse expresses his bitter regret about Otto
Vrieslander's reaction to his criticism of a recently published collection of his
(Vrieslander's) songs, and to Schenker's exaggerated claims of their worth. Weisse defends
his critical stance on the grounds that objective discussions are the only worthwhile ones,
and that he took the trouble to write about the songs in a 14-page letter to Vrieslander
only for the sake of art (in the Schenkerian sense) and feels hurt both by Vrieslander's
personal reaction to Weisse's criticism and by Schenker's defence of the older pupil. — In
the final paragraph, he inquires again about gaining permission to make multiple copies of
Schenker's foreground graph of the "Eroica" Symphony.
OC 18/30 Typewritten letter from Frederick E. Auslander to Schenker, dated April 8,
1933
Auslander and Weisse plan to wait for clarity over the Marx Harmonielehre plan. —
Meanwhile, Auslander will publish extracts from Schenker's works in a magazine, with a view to
complete translations later.
FS 40/1, [16] Handwritten letter from Schenker to Salzer, dated June 30, 1933
Schenker expresses pleasure that the seminar is grasping the "truth of the
genius's art," and comments that it is a Jew who has been called upon to reveal this truth. — He
reports Vrieslander's indignation that Furtwängler's address [to the Brahms centennial] did not
refer to Schenker. — The letter makes heavy use of Latin phrases.
OJ 5/7a, [48] (formerly vC 48) Handwritten postcard from Schenker to Cube, dated September 16, 1933
Schenker acknowledges OJ 9/34, [38], and reports on publications by Oswald Jonas,
and the activities of Reinhard Oppel and Otto Vrieslander.
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.
FS 40/1, [17] Handwritten letter from Schenker to Salzer, dated September 24, 1933
Schenker sets [seminar] meeting date and reports on publications by Jonas,
Vrieslander, and von Cube.
OJ 8/5, [20] Handwritten postcard from Schenker to Violin, dated September 26, 1933
Schenker has just given Hans Wolf a lesson, and insists on a full program of
tuition for him at a decent rate of pay. He reports that Vrieslander is writing a book about
him, and says that he will give him a copy of Jonas’s recent article when he next sees him.
He has written a letter to Alfred Weissberger on his friend’s behalf.
OJ 15/16, [94] Handwritten letter from Hans Weisse to Schenker, dated March 15, 1934
Weisse apologizes for long silence, largely on account of depression at the
lack of enrollment at Mannes and of enthusiasm for his recently published Violin Sonata. —
At Mannes he lectures about his own work, because it is important to show how Schenkerian
theory can have a practical application for composers; his pupil Israel Citkowitz is the
only cause for optimism. — At Columbia University, where he "smuggles" Schenkerian theory
into his lectures, enrolment continues to be large. — He sends a copy of his Violin Sonata,
and promises his Variations on a Popular American Song. — He is not coming to Europe this
summer. — Universal Edition is going ahead with a schools' version of Schenker's
Harmonielehre, but he is surprised that Alfred Kalmus expects him to be involved in an
American edition of this.
OJ 89/7, [7] Typewritten letter (carbon copy) from Hoboken to Schenker, dated March 15,
1934
Hoboken outlines plans to expand publicity for the Photogram Archive. —
Reports re his work on Chopin's Scherzo Op. 54, which he will bring to his April 3 lesson. —
Refers to the invitation to Schenker to contribute to the journal of the
Reichsmusikkammer.
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.
OJ 12/6, [35] Handwritten letter from Jonas to Schenker, dated July 25, 1934
Jonas has changed his travel plans; describes Bayreuth; sends corrigenda list
for his Das Wesen; Roth is working on continuo realizations of Handel.
OJ 5/18, 48 Handwritten picture postcard from Schenker to Jonas, dated July 29, 1934
Schenker reiterates praise for Jonas's chapter on text and music; acknowledges
errata list. — Printing [of Der freie Satz] has begun. — Comments on Herman
Roth.
OJ 5/18, 50 Handwritten picture postcard from Schenker to Jonas, dated August 7, 1934
Schenker suggests the publisher should send Vrieslander a copy of Jonas's
book; — Hoboken's plans to be in Vienna.
OC 44/43 Handwritten letter from Jonas and Hans Wolf to Schenker, dated September 24,
1934
Jonas reports on complimentary copies of Das Wesen and the plans for the
elucidatory editions. — He hopes to enlist Furtwängler in supporting Hans Wolf's application
to reenter Austria from Germany, but thinks a letter from Schenker to Furtwängler would be
more effective.
OJ 10/18, [10] Handwritten notecard from Elias to Jeanette Schenker, dated February 17,
1935
Miss Elias sends Jeanette Schenker a clipping of Moriz Violin's obituary for
Heinrich, together with publication details of Otto Vrieslander's edition of C. P. E. Bach's
Kurze und Leichte Klavierstücke.
OJ 15/22, [10] Handwritten letter and envelope from Willfort to Jeanette Schenker, dated July 5,
1935
Willfort lays out his plans for an abbreviated edition of Schenker's
Harmonielehre, and explains his negotiations with Alfred Kalmus of UE.