OJ 9/10a, [1] Handwritten letter from Hermann Bahr to Schenker, dated July 4, 1895

Article can be split across two issues, though with disadvantages.

OJ 13/29, [2] Handwritten letter from Rosenthal to Schenker, dated May 26, 1896

Rosenthal thanks Schenker for his words of friendship.

OJ 11/42, [28] Handwritten postcard from Harden to Schenker, postmarked April 7, 1897

Harden has already accepted an article.

OJ 15/12, [B] Handwritten calling card from Weinberger to Schenker, undated

Thanks (unspecified)

OJ 15/12, [C] Handwritten calling card from Weinberger to Schenker, undated

Weinberger offers his services to Schenker.

OJ 9/3, [1] Handwritten letter from Guido Adler to Schenker, dated October 25, 1901

The Vienna chapter of the International Music Society invites Schenker to give a lecture.

OJ 13/29, [6] Handwritten letter from Rosenthal to Schenker, dated December 14, 1902

Rosenthal identifies Fritzi Neumann, and explains the background to her application.

OC 52/9 Typewritten letter from Robitschek and Winter (UE) to Schenker, dated July 23, 1903

UE offers Schenker the arrangement of Handel organ concertos.

OJ 14/15, [2] Handwritten letter from Schoenberg to Schenker, undated [September 15, 1903?]

Schoenberg accepts Schenker's offer [unspecified], and hopes to see him in Vienna two days later.

OJ 14/15, [8] Handwritten letter from Zemlinsky, Gutheil, and Schoenberg to Schenker, dated January, 1904

Invitation to attend a meeting to discuss the promotion of new music in Vienna through education and performance.

OJ 11/17, [1] Handwritten letter from Eduard Gärtner to Schenker, undated [August/September 1904?]

Eduard Gärtner welcomes the chance to hear some of Schenker's Lieder played, and asks if Schenker could visit him in Reichenau.

CA 41-42 Handwritten letter from Schenker to Cotta, dated October 1, 1906

Schenker goes back on his earlier agreement with Cotta, and makes an impassioned case for including the "Nachwort" as Section 3 of Part II of Harmonielehre.

OJ 5/35, [1] Handwritten draft letter from Schenker to Ernst Rudorff, dated January 21, 1908

Schenker makes a first approach to Rudorff; it concerns interpretation of a passage in Chopin's Ballade No. 2, Op. 38; — He asserts his belief in consulting -- and teaching students to consult -- only original sources, and in the Urtext principle.

OC 52/421 Typewritten contract (carbon copy) between Schenker and UE, dated June 30, 1908

Contract for Schenker's Instrumentations-Tabelle

WSLB 13 Handwritten postcard from Schenker to Hertzka (UE), dated August 13, 1908

Schenker reluctantly agrees to October for publishing the Instrumentation Table.

OC 52/444 Typewritten letter from Hertzka (UE) to Schenker, dated November 7, 1908

Hertzka details the distribution of first copies of the Instrumentations-Tabelle. — He makes a bid to publish Kontrapunkt.

OC 52/402 Typewritten letter from Hertzka (UE) to Schenker, dated March 21, 1909

Hertzka raises several possibilities for amplifying the Instrumentations-Tabelle, and calls for a meeting.

WSLB 47 Handwritten letter from Schenker to Hertzka (UE), dated November 9, 1909

Schenker resists attending a meeting with Hertzka and von Wöß regarding the printing of his edition of the Chromatic Fantasy & Fugue; asserts his rights as an author to control over his own material; and makes claims for the introduction to his Instrumentations-Tabelle, which was not accepted for inclusion in 1908 reprinting.

OC 52/70 Postal receipt for item from Schenker to Hertzka (UE), postmarked April 30, 1911

Postal receipt for item of April 30, 1911 sent to UE.

OJ 11/17, [2] Handwritten letter from Eduard Gärtner to Schenker, dated July 14, 1912

Eduard Gärtner regrets that he is unable to help.

OC 52/98 Typewritten letter from Hertzka (UE) to Schenker, dated September 16, 1912

In sending the first installment of Schenker's honorarium for the Last Five Sonatas of Beethoven, Hertzka apologizes for its delay. — He asks for a meeting about the Organization.

GdM Exh.332, [3] Handwritten letter from Schenker to Carl Lafite (Gesellschaft der Musikfreunde), dated September 20, 1912

Schenker turns down Lafite's proposal in polemical manner.

GdM Exh.332, [4] Handwritten letter from Carl Lafite (Gesellschaft der Musikfreunde) to Schenker, dated September 20, 1912

Lafite rejects Schenker's rebukes and regrets that because of the tone of Schenker's letter he is unable to pursue any further a yearlong course that he had had in mind for the next season.

OC 52/100 Typewritten letter from Hertzka (UE) to Schenker, dated September 27, 1912

Hertzka has tried and failed to telephone Dr. Harpner because he is ill.

OJ 5/14, [2] Handwritten draft letter from Schenker to the Gustav Marchet (Gesellschaft der Musikfreunde), dated September 27, 1912

Schenker details to the President of the Gesellschaft der Musikfreunde, Gustav Marchet, letters that he has received from the Society's General Secretary, Carl Lafite; he lodges his complaint at the way in which he has been treated, which he considers impolite and publicly demeaning, and withdraws his offer of lectures.

OC 52/102 Typewritten letter from Hertzka (UE) to Schenker, dated October 3, 1912

Hertzka gives his reaction to a letter from Hugo Heller to Schenker.

OC 52/104 Typewritten letter from Hertzka (UE) to Schenker, dated October 23, 1912

Hertzka will speak with Harpner next week.

OC 52/105 Typewritten letter from Hertzka (UE) to Schenker, dated November 9, 1912

Hertzka returns the compositions by Hans Weisse submitted for consideration, giving reasons. — He has to stand aside for a time from the "Alliance" [recte Organization] on health grounds.

OC 52/495 Typewritten letter from Hertzka (UE) to Schenker, dated November 28, 1912

Hertzka is sending another copy of Beethoven Op. 109, and is pleased to hear of Schenker's discoveries. -- He asks for a discussion regarding the proposed "Alliance" [recte "Organization"], on which he has some new ideas. -- He may look again at Hans Weisse's music in 1913.

OC 1A/16-17 Handwritten letter (carbon copy) from Schenker to Newlov, dated September 16, 1913

Schenker regrets that he is unable to offer Newlov lessons in the coming season.

OJ 5/27, [2] Handwritten letter from Schenker to Evelina Pairamall, dated November 12, 1913

Schenker thanks Evelina Pairamall warmly for sending him an article by Saint-Saens on manuscripts in Berlin, which covers an autograph manuscript of Beethoven's Ninth Symphony, and reports to her his own work on another autograph of that work. -- He asks if she is returning to Vienna soon, and promises to show her his discoveries, concluding with a joke employing musical technical terms.

OC B/176 Handwritten letter from Albert Kopfermann (Königliche Bibliothek zu Berlin) to Schenker, dated November 18, 1913

Kopfermann provides an estimate for the photography of Beethoven's Ninth Symphony that Schenker has requested; and notifies him of another source of this work in the Library's holdings.

OJ 10/1, [2] Handwritten letter from Dahms to Schenker, dated March 27, 1914

Dahms wishes to start his musical studies afresh in Schenker's "shool," asks whether there is anyone in Berlin who can teach him, also explores the possibility of coming to Vienna.

OJ 10/1, [3] Handwritten letter from Dahms to Schenker, dated April 13, 1914

Schenker outlines his financial situation and rehearses alternative plans for study with Schenker.

OJ 10/1, [6] Handwritten letter from Dahms to Schenker, dated July 15, 1914

Dahms communicates from the Black Forest, commiserating over Schenker's experiences with the Vienna Konzerthausgesellschaft.

OJ 15/34, [2] Handwritten letter from Viktor Zuckerkandl to Heinrich Schenker, undated [August 20, 1915]

Zuckerkandl reports on life in the military.

OJ 10/1, [13] Handwritten letter from Dahms to Schenker, undated but presumably November 1, 1915

Dahms acknowledges Schenker's letter with joy; he is committed to the struggle against the "other side."

OJ 10/1, [14] Handwritten field postcard from Dahms to Schenker, dated January 8, 1916

Dahms is able to do some work, longs for peace, looks forward to Op. 111.

OJ 10/1, [16] Handwritten field postcard from Dahms to Schenker, dated February 21, 1916

Visit to Vienna has to be deferred.

OJ 10/1, [19] Handwritten letter from Dahms to Schenker, undated but presumably May 1, 1916

Dahms laments the state of music and criticism in Berlin. — When the war is over he plans to draw a line under his life so far and start again.

OJ 10/1, [21] Handwritten letter from Dahms to Schenker, dated June 30, 1916

Dahms holds out hope for the position of music critic at Der Abend of Vienna, about which Schenker has inquired.— He reviews his past work; coming to Vienna is imperative.

OJ 10/1, [22] Handwritten postcard from Dahms to Schenker, dated November [recte August] 9, 1916

Dahms hopes to be going to Wilna.

OJ 10/1, [23] Handwritten letter from Dahms to Schenker, dated August 27, 1916

Dahms may be posted to Wilna, or may be discharged. He asks about the position of music critic at the Vienna Der Abend.

OJ 10/1, [25] Handwritten letter from Dahms to Schenker, dated November 26, 1916

Dahms reports on his situation, and seeks Schenker's interest in a forthcoming lecture in Vienna by Willi von Möllendorf.

OJ 11/35, 1 Handwritten letter from Halm to Schenker, dated January 4, 1917

Halm reports on his recent and forthcoming publications

OJ 10/1, [26] Handwritten letter from Dahms to Schenker, dated March 2, 1917

Dahms's nerves are bad and he has difficulty doing any serious reading. — Moellendorf has sent a review of the quarter-tone harmonium, and Dahms comments.

OJ 10/1, [27] Handwritten letter from Dahms to Schenker, dated March 18, 1917

Dahms reacts to Schenker's suggestion of a stipendium for study in Vienna.

DLA 69.930/1 Handwritten letter from Schenker to Halm, July 8, 1917

Schenker acknowledges Halm's letter; he discusses the relative merits of editions of Beethoven variations, and looks forward to seeing Halm's review of his "Beethoven editions"; he is putting the finishing touches to Kontrapunkt 2.

OJ 6/6, [5] Handwritten letter from Schenker to Valerie Violin, dated December 30, 1917

In response to the Violins' condolences on the death of his mother, Schenker reflects sadly on her life and needs between 1890 and the late 1910s, attributing blame largely to his younger brother Moriz, less to his older brother Wilhelm; — He explains why he and Jeanette are unable to visit the Violins in the cold and without adequate clothing.

OJ 5/38, [1] Handwritten letter from Heinrich Schenker and Jeanette Kornfeld to Wilhelm Schenker, dated January 24, 1918

Heinrich comments on the attack of the mumps, from which Wilhelm's children are suffering. Heinrich encourages Wilhelm and his family to move from Kautzen permanently, and in that connection will investigate the cost of having Julia Schenker's body moved from Waidhofen to Vienna for burial with the cooperation of the Vienna Kultusgemeinde. He envisions purchasing burial plots for Jeanette and himself adjacent to Julia's grave. He thanks Dodi for her invitation to stay with them if Vienna becomes intolerable.

OJ 14/45, [10] Handwritten letter from Moriz Violin to Heinrich Schenker, dated February 5, 1918

Schenker, Violin alleges, has accused him of a dearth of subject matter in letter writing; Violin defends himself on grounds that his life has been disrupted by military service and the impact of that on his physical and mental state. He accuses Schenker of insensitivity, and treating him like his pupils. He defends his wife for giving food to the Schenkers, and explains her motivation for so doing.

OJ 5/38, [2] Handwritten letter from Heinrich Schenker and Jeanette Kornfeld to Wilhelm and Dodi Schenker, dated February 5, 1918

Heinrich relays back the price of transferring Julia Schenker's body from Waidhofen to Vienna, and would hope to get a discount on that price via the Jewish Religious Community. He reports on the planned Festschrift for his 50th birthday, and his current troubles with UE. Jeanette characterizes their life as "farcical," and asks Dodi's advice in obtaining twine for repairing shirts. She comments on the Versailles Council of War as confirming Heinrich's warnings.

DLA 69.930/3 Handwritten letter from Schenker to Halm, dated February 7, 1918

Schenker writes scathingly of UE's business practices; describes his counter-tactics, and his experiences over Niloff, Instrumentations-Tabelle. He will read all of Halm's writings and asks for a reading-list

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 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 8/3, [59] Handwritten postcard from Heinrich Schenker and Jeanette Kornfeld to Moriz Violin, dated May 13, 1918

Schenker thanks Moriz Violin for an address; reports on planned visit to his brother Wilhelm Schenker, and food promised by him and items sent by Felix Hupka; Heinrich and Jeanette expect to spend the summer in Vienna.

OJ 15/15, [6] Handwritten postcard from Weisse to Schenker, dated May 27, 1918

Weisse, on three-month leave (June-August 1918) to finish work towards his doctoral degree, asks Schenker for tuition in counterpoint and thoroughbass.

OJ 11/17, [3] Printed funeral notice for Eduard Gärtner to Schenker, dated July 2, 1918

Announces death and date and time of funeral of Eduard Gärtner.

OJ 12/9, [22] Handwritten postcard from Karpath to Schenker, dated July 18, 1918

Karpath regrets that Schenker's letter came too late, and he was unable to act on it.

OJ 12/9, [23] Typewritten letter from Karpath to Schenker, dated July 28, 1918

Karpath contests Schenker's argument that failing to write an obituary for Eduard Gärtner was a neglect of duty, defends the position of the music critic, and draws attention to a commemorative article on Gärtner.

OJ 8/3, [60] Handwritten postcard from Schenker to Moriz Violin, dated July 28, 1918

Comments on the death of Fritz Wahle and the illness of Eduard Gärtner; is trying to negotiate the summer in the Tyrol, but may not succeed; congratulates Violin.

OJ 10/1, [34] Handwritten letter from Dahms to Schenker, dated July 29, 1918

Dahms thanks Schenker for his long letter; reports on his vacation in Munich and visit with Vrieslander; he is looking forward to studying with Schenker in Vienna.

OJ 14/5, [6] Handwritten fieldpostcard from Moriz Schenker and Hans Guttmann to Heinrich Schenker, dated August 8, 1918

Moriz Schenker regrets not having spoken to Heinrich but hopes to be in Vienna again soon; he has Hans Guttmann staying, and has written to Sophie Guttmann; note by Hans Guttmann.

OJ 8/3, [61] Handwritten postcard from Schenker to Moriz Violin, dated August 21, 1918

The Schenkers went to Mariazell on the 16th for a work-free vacation. - - Schenker has had difficulties with Wilhelm and Moriz Schenker. - - He describes visit to Hupka in Kapuvár (Hungary). - - Comments on Violin's forthcoming promotion to Lieutenant.

OJ 14/5, [7] Handwritten letter from Moriz Schenker to Heinrich Schenker, dated August 28, 1918

Moriz Schenker reports that he has received a letter from Sophie and Salo Guttmann; he has dispatched flour to Heinrich's Vienna address; he will be in Vienna soon and hopes to call on Heinrich.

OJ 14/5, [8] Handwritten letter from Moriz Schenker to Sophie and Salo Guttmann, dated August 28, 1918

Moriz Schenker promises Sophie and Salo Guttmann that he will help them by writing to a senior official and guaranteeing their war loan, and asks for details. — He will be traveling on business and hopes to see Hans Guttmann and Heinrich Schenker.

OJ 15/16, [36] Handwritten letter from Weisse to Schenker, dated September 30, 1918

Still in military service, Weisse asks Schenker for advice regarding the interpretation of the ritardandos in the first movement of Beethoven's Eighth Symphony.

DLA 69.930/4 Handwritten letter from Schenker to Halm, dated December 9, 1918

Schenker recounts to Halm how Sofie Deutsch had set up a trust for needy artists, leaving Schenker to identify beneficiaries. Schenker offers to transfer 1,600 Kroner to him from this trust.

OJ 11/35, 10 Handwritten letter from Halm to Schenker, dated December 14, 1918

Halm thanks Schenker for assistance over stipend; asks if Schenker has received compositions sent to him; Halm's post-War prospects may be better.

OJ 13/10, [6] Handwritten letter from Oppel to Schenker, dated February 19, 1919

Oppel thanks Schenker for EA, Opp. 110 and 111, which he has enjoyed, inquires after EA, Opp. 101 and 106, and Kontrapunkt 2, and raises a possible thematic link between two movements of Op. 110 (music example). His plan to study with Schenker has to be deferred; he will soon send compositions, and asks for unsparing criticism.

OJ 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.

WSLB 302 Handwritten letter from Schenker to Hertzka (UE), May 18, 1919

Schenker reminds Hertzka of Hans Weisse's doctoral dissertation, Der Kunstwalzer, and recommends it for publication. He laments, in provocatively vulgar language, that the Viennese have become subservient to the French.

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].

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.

OJ 6/6, [10] Handwritten letter from Heinrich Schenker to Moriz Violin, dated August 17, 1919

Schenker hopes that colleagues will support Moriz Violin. – The court has favored Emil Kornfeld unduly. – A move to Germany might save Schenker money, but he is uncertain how many of his pupils would follow him there (only Pairamall has indicated willingness). – He asks Weisse to act as an intermediary in booking a supply of wood for burning. – Dahms and Weisse are due for simultanous visits. – He is glad to hear Valerie Violin is better.

OJ 8/3, [69] Handwritten postcard from Heinrich Schenker to Moriz Violin, dated August 31, 1919

Heinrich and Jeanette have official permission to remain at Schloß Tantalier until September 15. -- They have been exhausted by the visits of Weisse and Dahms. -- Weisse [meanness] contrasts instructively with Dahms [generosity].

OJ 15/16, [40] Handwritten letter from Weisse to Schenker, dated September 1, 1919

Weisse thanks Schenker for his hospitality, and is glad to learn that he and Jeanette will be able to remain on holiday at Klammerth's castle.

OJ 13/10, [7] Handwritten letter from Oppel to Schenker, dated September 7, 1919

Oppel expresses his pessimism in the aftermath of the war and the prospects for his generation. He sends a chaconne for Schenker's comment, and reports his appointment as a teacher in theory and composition at the Kiel Conservatory. Alfred Einstein asked him for a review of the Erläuterungsausgabe, but he declined.

OJ 10/3, [2] Typewritten letter from Otto Erich Deutsch to Schenker, dated September 8, 1913

Deutsch encloses part of a letter from Ludwig Scheibler, which he says will interest Schenker. He has finished work on two volumes of his documentary biography.

OJ 15/5, [5] Handwritten note from Eberhard von Waechter to Schenker, dated October 11, 1919

Waechter regrets Schenker's refusal to agree to write articles for Der Merker, and expresses doubts about his "prophetic zeal."

OC 1 B/41-45 Handwritten draft letter from Schenker to Eberhard von Waechter, dated October 17, 1919

Schenker addresses the misunderstanding that has arisen, explaining his willingness to contribute articles to Der Merker once his current projects are in print.

OJ 15/5, [6] Handwritten letter from Eberhard von Waechter to Schenker, dated October 19, 1919

Waechter understands Schenker's wish not to pre-publish his Art of Performance in article form, and hopes that Schenker will provide a universal solution to the performance problem; explains the editorial control of Der Merker, encouraging Weisse to submit his two articles to it; expresses pleasure that he has procured from Halm reviews of Schenker's Harmonielehre and Kontrapunkt 1; is unable to send his Musikkritik der Gegenwart at present.

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.

OJ 11/16, [E] Handwritten letter from Furtwängler to Schenker, undated [1928‒30]

Furtwängler cancels meeting on account of illness.

OJ 11/16, [1] Handwritten letter from Furtwängler to Schenker, dated November [18 or 19,] 1919

Furtwängler prizes Schenker's approval higher than that of others; he is uncertain what role he is destined to play in the musical life of Vienna; he hopes to talk with Schenker.

OJ 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, [48] Handwritten letter from Dahms to Schenker, dated December 21, 1919

Dahms thanks Schenker for his advice on the next stage of instruction. He wrote to Halm, who confirmed what Schenker had said. He congratulates Schenker on the superhuman work that he is doing under current adverse circumstances.

OJ 10/3, [5] Handwritten letter from Otto Erich Deutsch to Schenker, dated January 8, 1920

Deutsch reports that Hertzka wants the music connoisseur edition of the "Moonlight" Sonata to include facsimiles only, not textually cleaned editions. Deutsch outlines the basis of the contract (editors will receive 8% of the retail price) and the production timetable. He asks if Schenker would rather take on a different facsimile due to competition from a Copenhagen publisher. Schenker's Theory of Harmony was not it stock in Vienna.

OJ 10/3, [6] Handwritten letter from Otto Erich Deutsch to Schenker, dated January 9, 1920

Deutsch is sorry that a customer prevented him for speaking with the Schenkers when they visited his store. Photographic originals will be needed for the connoisseur edition.

OC 52/446 Typed letter from Hertzka (UE) to Schenker, dated January 14, 1920

Hertzka has not yet gone to Frankfurt.—- He wants to publish the "Moonlight" Sonata in a series edited by Otto Erich Deutsch. — Would like to do new edition of complete Beethoven sonatas, but without wholesale reengraving. — Discusses financial arrangements for the latter, and for the Kleine Bibliothek. — Encloses the contract for Die letzten fünf Sonaten von Beethoven ... op. 101.

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.

DLA 69.930/9 Handwritten letter from Schenker to Halm, dated January 18, 1920

Schenker acknowledges receipt of OJ 11/35, 14 and 15, thanking Halm for the opportunity to see the two contracts, now enclosed. Schenker has been exploited by UE regarding EA 101 and the "Little Library," and must now protect himself and extract better working conditions. —Kontrapunkt 2 will show the world that his "Semper idem" motto applies at every level from strict counterpoint through to free composition. In a musical garden of Eden of genius, the rest of the world behaves like Adam and Eve. — Schenker congratulates Halm on his successes and thanks him for his support.

OJ 10/3, [8] Handwritten postcard from Otto Erich Deutsch Deutsch to Schenker, dated February 12, 1920

The Beethoven House will only allow reproduction of the manuscript of the "Moonlight" Sonata in return for a royalty. Deutsch has offered 5% of the retail price.

OJ 10/3, [9] Handwritten postcard from Otto Erich Deutsch to Schenker, dated March 1, 1920

Deutsch thanks Schenker for his suggestion of Brahms's Op. 117; Mr. Kalbeck has suggested Brahms's "Sapphische Ode" (Op. 95, No. 4) and "Nachtwandler" (Op. 86, No. 3).

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 52/221 Typed letter from Hertzka (UE) to Schenker, dated March 26, 1920

Hertzka seeks a meeting to discuss the letter of agreement about the Beethoven sonatas edition, and laments their difficulty in meeting.

OJ 10/3, [10] Handwritten postcard from Otto Erich Deutsch to Schenker, dated June 15, 1920

The Beethoven House has given permission for the reproduction of the "Moonlight" Sonata, and have suggested a photographer. Before arranging for the reproduction, Deutsch asks Schenker to send his existing prints to determine if they are suitable.

OJ 10/3, [11] Printed birth announcement from Deutsch Family [to Schenker], dated July 11, 1920

Otto Erich and Hanna Deutsch announce the birth of their son, Franz Peter, on July 11, 1920.

OJ 15/16, [42] Handwritten letter from Weisse to Schenker, dated July 11, 1920

Weisse wishes Schenker an enjoyable summer holiday, and looks forward to visiting him. He inquires about the possibility of moving into Reisnerstraße 38, in the event that the Schenkers move elsewhere, and informs his teacher about the organization of a lecture series at the Vienna Urania. He concludes with some remarks about literary works, Wedekind's Schloß Wetterstein and Jean Paul's Levana.

OJ 10/3, [12] Typewritten postcard from Otto Erich Deutsch to Schenker, dated July 12, 1920

Deutsch has written to Edward Speyer about the sketchleaf [of the "Moonlight" Sonata], and wishes Schenker success with his contract for the Little Library and Complete Edition.

OJ 8/3, [87] Handwritten picture postcard from Heinrich Schenker to Moriz Violin, dated July 14, 1920

The Schenkers like Seefeld and are busy with proofs, etc. — Will Violin visit them?

OJ 15/16, [43] Handwritten letter from Weisse to Schenker, dated July 19, 1920

Weisse reports his arrival for the summer in Ischl, and the grave illness that has befallen his grandfather there. He sends Schenker three excerpts from Jean Paul's review of Mme. de Staël's "On Germany" (1810), which he expects his teacher will find useful as cultural and political ammunition against the French.

OJ 10/3, [13] Typewritten postcard from Otto Erich Deutsch to Schenker, dated August 5, 1920

The photograph of Speyer's sketchleaves is still forthcoming. Deutsch has discovered that a Dr. Wilhelm Kux possesses a further sketchleaf of the "Moonlight" Sonata, and asks Schenker if he wants Deutsch to try secure a reproduction of it.

OJ 15/16, [44] Handwritten letter from Weisse to Schenker, dated August 10, 1920

Weisse explains that his grandfather's death prevents him from visiting Schenker in Seefeld, but hopes that he might nonetheless visit him elsewhere before the end of the summer holidays.

OJ 10/3, [14] Typewritten letter from Otto Erich Deutsch to Schenker, dated August 16, 1920

Deutsch has written to Wilhelm Kux [about his sketchleaf of the "Moonlight" Sonata], and has received a letter from Edward Speyer, in which Speyer explains that he cannot make a copy of his sketchleaf of the "Moonlight" Sonata while in the countryside. Speyer also writes that a further sketchleaf of the "Moonlight" Sonata is held in the Fitzwilliam Museum and has supplied a facsimile. Deutsch asks Schenker if he would like him to write to the Museum to request a photograph of the sketchleaf.

OJ 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 10/3, [15] Typewritten letter from Otto Erich Deutsch to Schenker, dated September 13, 1920

Deutsch asks Schenker to clarify whether bars are missing from the start of the "Moonlight" Sonata manuscript, as well as from the end. Deutsch outlines Universal Edition's intended format for the volume, and ask if Schenker approves of their proposals. Deutsch has written again to Wilhelm Kux requesting a copy of the sketchleaf, and reminds Schenker to examine the sketchleaf of the Sonata that was reproduced in the Musical Times.

OJ 10/3, [16] Typewritten letter from Otto Erich Deutsch to Schenker, dated October 1, 1920

Deutsch encloses images of Wilhelm Kux's sketchleaf of the "Moonlight" Sonata for Schenker to study. He is writing to the [Fitzwilliam] Museum in Cambridge about their sketchleaf of the Sonata.

OJ 10/3, [17] Typewritten letter from Otto Erich Deutsch to Schenker, dated November 6, 1920

Deutsch encloses two photographic prints of the Fitzwilliam Museum's "Moonlight" Sonata sketchleaf. Edward Speyer has not yet had his sketchleaf photographed, but has sent a description of its content, which Deutsch passes on.

OJ 10/3, [18] Typewritten postcard from Otto Erich Deutsch to Schenker, dated November 13, 1920

Deutsch has obtained a sheet with corrections for Beethoven's "Hammerklavier" Sonata, which he would like to show Schenker. The photographic images of the "Moonlight" Sonata will be made this week.

OJ 10/3, [19] Typewritten postcard from Leo Fischmann to Schenker, dated November 22, 1920

Leo Fischmann (legal attorney) invites Schenker to visit him at home.

OJ 10/3, [20] Typewritten letter from Otto Erich Deutsch to Schenker, dated November 26, 1920

Replying to Schenker's postcard of November 20th, Deutsch writes that the connoisseur edition is to be reproduced using photolithography, and repeats the particulars of the Fitzwilliam Museum's "Moonlight" Sonata sketchleaves. Speyer has allowed his sketchleaf of the Sonata to be photographed, and reports that he also owns a letter from Beethoven to Schlesinger (Paris) about corrections to the C minor Sonata (Op. 111). Universal Edition urgently requires a prospectus for the Beethoven day, and so Deutsch asks for sight of the draft of Schenker's Preface.

OJ 10/3, [21] Typewritten letter from Otto Erich Deutsch to Schenker, dated December 11, 1920

Deutsch encloses the photographs of Edward Speyer's "Moonlight" Sonata sketchleaves and asks Schenker to revise his Preface accordingly, before forwarding the photographs and Preface to him. The photographic reproduction of the Sonata manuscript in Bonn has been delayed by a chemical and glass shortage. Schenker's corrections were used for the prospectus.

OJ 10/3, [22] Typewritten letter from Otto Erich Deutsch to Schenker, dated December 23, 1920

Deutsch confirms receipt of Schenker preface for the "Moonlight" Sonata edition and five photographs of sketchleaves. He will send a formal contract in the next few days.

OJ 14/21, [1] Delivery note from Seidel'sche Buchhandlung to Schenker, dated January 26, 1921

Delivery note from Deutsch's book dealership (Seidel'sche Buchhandlung) for Frimmel, Beethoven-Forschung Vol. 1/8.

OJ 10/3, [23] Handwritten letter from Otto Erich Deutsch to Schenker, dated January 30, 1921

The overdue ["Moonlight" Sonata edition] contract is finally ready, and Deutsch hopes that Schenker is happy with the wording. The Bonn photographs are also ready. Schenker should expect to receive an edited version of his commentary, and perhaps also an English translation.

OJ 14/21, [2] Carbon copy of delivery note from Seidel'sche Buchhandlung to Schenker, dated 26 January, 1921, with additional annotations, dated February 9, 1921

Annotated carbon copy of a delivery note from Deutsch's book dealership (Seidel'sche Buchhandlung) for Frimmel, Beethoven-Forschung Vol. 1/8.

OC 24/22 Typewritten postcard from Otto Erich Deutsch to Schenker, dated June 28, 1921

Deutsch thanks Schenker for his postcard of June 26, 1921, and wishes him good luck in his new home and with his summer trip to Galtür. Deutsch has read issue 1 of Tonwille with great interest, and hopes that their connoisseur edition will be as successful.

OJ 15/15, [9] Handwritten postcard from Weisse to Schenker, postmarked August 22, 1921

Weisse is taking a very late summer holiday and so cannot visit Schenker in Galtür. He has finished composing a sonata and is writing out a fair copy.

OJ 14/45, [11] Handwritten letter from Moriz Violin to Schenker, dated September 1, 1921

Violin announces the formation of a piano trio ensemble with a violinist named Wolfsthal and the cellist Friedrich Buxbaum, inquires about the proposed edition of Handel's keyboard works, and reports on the incipient civil unrest in the wake of a national movement in Germany.

OJ 15/15, [10] Handwritten postcard from Weisse to Schenker, dated September 12, 1921

Nearing the end of a two-week holiday in Bad Ischl, Weisse hopes to see Schenker in Vienna the following Sunday.

OJ 10/3, [24] Typewritten letter from Otto Erich Deutsch to Schenker, dated September 24, 1921

Deutsch reports that the "Moonlight" Sonata edition is almost finished, but because of translation problems he has asked Dr. Kalmus to show Schenker the latest revision of the English preface. Schenker's photographic reproductions will be returned once a sample print-out of the edition has been prepared and approved. The edition will launch in the autumn, and Schenker's fee will have increased because of the delay.

OJ 14/45, [12] Handwritten letter from Moriz Violin to Schenker, dated October 30, 1921

Violin reports on his work, and on musicians in Hamburg, and congratulates Schenker on his (publication) successes.

OJ 10/3, [25] Typewritten letter from Otto Erich Deutsch to Schenker, dated November 15, 1921

Deutsch notes the advance payments for Vrieslander's and Hoboken's copies of the luxury edition of the "Moonlight" Sonata, both of which are to be delivered to Vrieslander.

OJ 10/3, [26] Typewritten postcard from Otto Erich Deutsch to Schenker, dated December 28, 1921

A payment of 1,200 marks from Seidel's Book Dealership, on behalf of Deutsch, has been made to Schenker's Deutsche Bank account.

OJ 10/3, [27] Typewritten postcard from Österreichisches Credit-Institut to Schenker, dated December 30, 1921

The Österreichisches Credit-Institut informs Schenker that 1,200 marks has been paid into his account from Seidel's Book Dealership, O. E. Deutsch & Co, Vienna.

OJ 6/7, [2] Handwritten letter from Schenker to Moriz Violin, dated January 29, 1922

Schenker offers to lend Violin his performing materials for two keyboard concertos by C. P. E. Bach. He inquires about musical life in Hamburg, reports on his most recent work, continues to despair of his financial situation.

OJ 14/45, [13] Handwritten letter from Moriz Violin to Schenker, dated February 2, 1922

In this direct reply to Schenker's previous letter, OJ 6/7, [2], Violin expresses his dismay that some of the performing material for keyboard concertos by C. P. E. Bach, including original cadenzas by Schenker, appear to have gone missing. — He reports on his growing number of pupils, on the acquisition of a piano for his apartment, and on Hamburg's extremely conservative musical tastes.

OJ 10/3, [28] Typewritten letter from Deutsch to Schenker, dated February 14, 1922

Deutsch offers to provide several books to Schenker instead of two or three hardback copies of the "Moonlight" Sonata edition, and then details several misprints and factual errors in Romain Rolland's biography of Beethoven.

OJ 14/21, [3] Delivery note from Seidel'sche Buchhandlung to Schenker, dated February 15, 1922

Delivery note from Deutsch's bookshop (Seidel'sche Buchhandlung) to Schenker for works by J. S. Bach, Mozart and Brahms.

OC 12/1 Handwritten letter from Theodor Frimmel to Deutsch, dated February 22, 1922 (forwarded from Deutsch to Schenker with marginal note dated Feburary 27, 1922)

Deutsch forwards Schenker a letter from Theodor Frimmel regarding errors in Rolland's Beethoven biography. In the original letter, Frimmel asks Deutsch to send his regards to the Schenkers.

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 10/3, [30] Typewritten letter from Deutsch to Schenker, dated April 8, 1922

Deutsch has learnt from Dr. [Greta] Kraus that Dr. Haas still does not want to allow them to reproduce facsimiles of Beethoven's "Spring" Sonata Op. 24, because he feels bound to Drei Masken. When Universal Edition have confirmed this to Deutsch, Deutsch will ask Schenker to propose a different Beethoven manuscript.

OJ 10/3, [31] Typewritten letter from Deutsch to Schenker, dated April 18, 1922

Deutsch informs Schenker that Drei Masken is publishing a facsimile of Beethoven's Piano Sonata in C minor, Op. 111.

OJ 10/3, [32] Typewritten postcard from Deutsch to Schenker, dated April 20, 1922

Deutsch thanks Schenker for his suggestions [for further facsimile editions] and has passed them on to Universal Edition.

OJ 10/3, [33] Typewritten postcard from Deutsch to Schenker, dated April 21, 1922

Deutsch has already written to Universal Edition about [Schenker's proposal for a facsimile edition of] Beethoven's Piano Sonata Op. 109. Should this plan be realized, he hopes that Schenker will provide a foreword.

OJ 10/3, [34] Typewritten letter from Deutsch to Schenker, dated April 26, 1922

Deutsch reports that Universal Edition has agreed to publish facsimile editions of Beethoven's Piano Sonatas Opp. 109 and 110; he asks what sources Schenker could make available. Deutsch would also like to know which Beethoven string quartet Schenker would recommend for a further facsimile edition.

OJ 10/3, [35] Typewritten letter from Deutsch to Schenker, dated May 12, 1922

Deutsch has passed Schenker's suggestions for facsimile editions on to Universal Edition, and asks for a reference for the Bekker article that Schenker mentioned.

OJ 10/3, [36] Typewritten postcard from Deutsch to Schenker, dated May 22, 1922

Deutsch asks Schenker to visit him in his office in the next few days.

JOB 94-3, [2] Handwritten letter from Schenker to Hammer dated May 25, 1922

Schenker sends a sketch of Mendelssohn's "Altdeutsches Lied"; — justifies an instance of his fingering questioned by Hammer; — complains about Hertzka; — promises to read Fiedler and Hildebrand.

OJ 10/3, [37] Typewritten postcard from Deutsch to Schenker, dated May 26, 1922

Deutsch reports that Drei Masken will not publish a facsimile edition of Beethoven's "Spring" Sonata Op. 24, and will instead publish editions of Beethoven's Piano Sonata in F-sharp Op. 78, a string quartet by Haydn, and Schubert's Winterreise and B minor Symphony.

OJ 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 15/16, [46] Handwritten letter from Hans and Hertha Weisse to Schenker, dated July 21, 1922

Weisse reports from Vienna that a sum of money has arrived, and will be paid to its intended recipient (Kohn), and gives an account of his and Hertha Weisse's travels in Vorarlberg following a visit to the Schenkers in Galtür.

OJ 8/4, [13] Handwritten postcard from Schenker to Moriz Violin, dated July 9, 1922

Schenker reports the publication of the second part of Kontrapunkt and continued difficulties with Universal Edition.

OJ 11/35, 20 Handwritten letter from Halm to Schenker, dated July 24 and August 19, 1922

Halm announces publication of his three suites for piano trio, and has arranged for two of them to be sent to Schenker. He thanks Schenker for sending him Kontrapunkt II, and expresses admiration for the "power of the broad conception" of Schenker's work. He is distressed at Schenker's attacks on other countries and glorification of Germany, and speaks with appreciation of French and Russian music. He describes his new publisher.

OJ 14/45, [14] Handwritten letter from Moriz Violin to Schenker, dated July 24, 1922

In this highly emotional letter, Violin describes his personal difficulties in the face of spiraling inflation in Germany.

OJ 8/4, [14] Handwritten postcard from Schenker to Moriz Violin, dated August 5, 1922

Schenker commends Walter Dahm's latest book, Die Offenbarung der Musik, to Violin as one which ought to have important consequences for the course of music.

OJ 14/45, [16] Handwritten lettercard from Moriz Violin to Schenker, dated September 13, 1922

Violin reports briefly about his son's health, then goes into the practical issues arising from Schenker's active search for a post at a German music institute.

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.

OJ 10/1, [72] Handwritten letter from Dahms to Schenker, dated October 28, 1922

Dahms chooses to remain in Italy in view of the "moral and physical devastation" that he hears reported from Germany. — He is committed to Schust & Loeffler for a Haydn biography. He reports on a review of his book "Offenbarung."

OJ 10/3, [38] Typewritten postcard from Deutsch to Schenker, dated October 30, 1922

Deutsch apologizes for the delay to Schenker's payment for the "Moonlight" Sonata facsimile edition, for which Deutsch himself is to blame. Schenker's debt to Seidel's Book Dealership is 301 marks and 300 kronen, which should be balanced by his income from the facsimile edition.

OJ 12/59, [1] Handwritten letter from Siegfried Fritz Müller to Schenker, October 31, 1922

Siegfried Fritz Müller suspends his lessons with Schenker on account of his father's financial circumstances.

OJ 10/3, [39] Typewritten letter from Deutsch to Schenker, dated December 29, 1922

Deutsch provides a full overview of Schenker income from the current sales reported by Universal Edition of the "Moonlight" Sonata facsimile edition, and also his debts at Seidel's Book Dealership; Schenker owes Deutsch 76.65 marks. Deutsch is dissatisfied with Universal Edition's behavior with respect to the publication.

OJ 11/2, [2] Handwritten letter from Emma Fischer to Schenker, dated February 23, 1923

Baroness Fischer gives names and addresses of five of her pupils to whom Der Tonwille should be sent; she regrets that Schenker will not spread his theory further by means of lectures.

OJ 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 6/7, [5] Handwritten letter from Heinrich Schenker to Moriz Violin, dated July 9, 1923

Having settled into country life in the Tyrol, Schenker returns to his work, in particular to the ongoing battles with Hertzka over the publication of Der Tonwille. He asks Violin’s opinion about a subscription plan for a periodical that would appear four times a year (instead of the current two), and hopes that his friend might spare a few days to visit him in Galtür.

OJ 14/45, [24] Handwritten letter from Moriz Violin to Heinrich Schenker, dated July 14, 1923

Violin has met an industrialist by the name of Max Temming who would be willing to help make Schenker’s work more widely accessible. Violin will probably not visit the Schenkers in Galtür this summer, as prices have gone up in Germany.

OJ 14/45, [25] Handwritten lettercard from Moriz Violin to Heinrich Schenker, dated August 16, 1923

Violin cannot come to the Tyrol to visit the Schenkers, on account of the turmoil in Germany and horrendous currency situation; he will come to Vienna for Christmas, but only for a few days.

OC 12/7-9 Handwritten letter from Halm to Schenker dated November 6‒10, 1923

Halm has sent the published score of a string quartet to Schenker. —Patronage has enabled him to publish three volumes of compositions; reports on current and past composition activities and publications. —Discusses what he has learned from Schenker's theories, and questions whether it would be a fault were Bruckner's symphonies not to contain the Urlinie; Halm's book on Bruckner's symphonies has gone into its second edition. —Halm suspects that Schenker may not "agree with" his compositions, and asks whether Schenker wishes to receives further scores. —Halm considers socialism a "historical necessity."

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 10/1, [81] Handwritten letter from Dahms to Schenker, dated November 20, 1923

Dahms has now received acknowledgement from Moriz Schenker. — He asks Schenker's help in approaching financier Castiglioni for financial backing for his planned bel canto book.

OJ 14/45, [27] Handwritten letter from Moriz Violin to Heinrich Schenker, dated December 11, 1923

Violin reports the conversion to a new, stable currency in Germany; Hamburg has been among the first cities to benefit from this, as a result of which he is somewhat better off and the prospects for the future appear brighter. He plans to come to Vienna for Christmas, if only for a few days; this will give him an opportunity to discuss arrangements for the distribution of copies of Der Tonwille to libraries and schools.

OJ 14/21, [6] Interim invoice from Seidel'sche Buchhandlung to Schenker, dated February 2, 1924

Delivery note from Seidel'sche Buchhandlung to Schenker for Beethoven's Piano Sonata in F-sharp, Op. 78.

OJ 14/45, [30] Handwritten letter from Moriz Violin to Schenker, dated February 5, 1924

Violin reports that Max Temming is keen to support his plan to promote Schenker's work. Following discussions with Schenker in Vienna, he makes some provisional calculations on how the gift of money would give Schenker more time to devote to his writings. He also thinks about the happy prospect of Schenker coming to Hamburg.

OJ 10/3, [40] Typewritten letter from Deutsch to Schenker, dated May 9, 1924

Deutsch thanks Schenker for the most recent (sixth) issue of Tonwille. He read Schenker's comments on Schubert's "Gretchen am Spinnrade" (Op. 2) with great interest, although he did not fully understand them. Deutsch encloses an announcement from the publisher Vieweg that may be of interest to Schenker.

UMdK Z 312 D/1924, [1] Typewritten letter from the Verein zur Speisung to the Akademie für Musik, dated May 21, 1924

The letter quotes the will of Mrs Sofie Deutsch, then announces that the Verein is in process of dissolution, and decrees that the capital in question be devolved upon the Akademie für Musik und darstellende Kunst, and refers the Akademie to its attorney.

OJ 10/1, [85] Handwritten letter from Dahms to Schenker, dated June 18, 1924

The Dahmses send birthday greetings. They are staying in the Abruzzi; will not get to Galtür; Dahms will visit Germany. He has read Tonwille 6 and 7 with interest.

OJ 15/15, [16] Handwritten postcard from Weisse to Schenker, dated August 4, 1924

Weisse has sent Schenker a volume of Kalbeck's Brahms biography, and reports that Universal Edition is about to send him the proofs for two of his compositions, a set of vocal quartets and a string quartet.

OJ 15/16, [52] Handwritten letter from Weisse to Schenker, dated August 28, 1924

Weisse is so absorbed in his work that he is unable to give Schenker a precise number of subscribers to Der Tonwille among his circle of pupils. He will see Gerald Warburg soon, but confesses that the latter felt hurt by Schenker’s article “The Mission of German Genius.” — Weisse will devote much time to composition during the coming season, and for this reason will forego taking further lessons from Schenker.

OJ 14/45, [33] Handwritten letter from Moriz Violin to Schenker, dated August 29, 1924

Violin reports on continued negotiations with Max Temming on the distribution of free copies of Der Tonwille, and gives a brief description of the Hamburger Fremdenblatt (in which something about Schenker's writings may have recently appeared). He expresses his embarrassment regarding the essay he had written at the behest of Otto Vrieslander on the occasion of Schenker's 50th birthday, but agrees to let him see it.

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 14/45, [36] Handwritten letter from Moriz Violin to Schenker, dated October 22, 1924

In the process of arranging for copies of Der Tonwille to be distributed, Violin discovers that a pupil of his paid twice as much for one issue as the marked price in Austria. He has made some inquiries into this matter, and asks Schenker what an issue currently costs in Austria. There are no respectable music institutions in Hamburg, so Violin will distribute copies there personally.

OJ 10/1, [86] Handwritten postcard from Dahms to Schenker, dated November 8, 1924

Dahms visited Germany for two weeks; invites the Schenkers to visit him in Venice.

OJ 9/34, [1] Handwritten letter from Cube to Schenker, dated January 21, 1925

Cube has had to extend his holiday to take care of his father, who has been forced to abandon his second marriage under pressure from his firm.

UMdK Z 163 D/1925, [1] Typewritten letter from Kallina (Bundesministerium) to the Akademie für Musik, dated February 23, 1925

The Akademie is instructed to draw up an endowment letter concerning the Sophie Deutsch stipends, and to avoid inclusion of slates of candidates; Schenker must determine how adjudication should be conducted after his death.

OJ 14/45, [109] Handwritten postcard from Moriz Violin to Schenker, undated, postmarked February 24, 1925

Visiting his dying brother Eduard in the Sophienspital in Vienna, Violin hopes to see Schenker if at all possible.

OJ 6/7, [21] Handwritten letter from Schenker to Moriz Violin, dated May 16, 1925

Making preparations with his solicitor for the legal action against Universal Edition, Schenker asks Violin to find out whether Max Temming paid for the additional subscriptions to Der Tonwille directly through Albert Gutmann in Vienna, or through the firm of Hofmeister in Leipzig. He is nearing completion of the contents of the first Meisterwerk yearbook and asks Violin whether he has yet made summer plans and whether these might include a trip to Galtür.

OJ 11/54, [2] Handwritten letter from Hoboken to Schenker, May 29, 1925

Hoboken wishes to become a pupil of Schenker; he has studied Schenker's theoretical works under Vrieslander, and describes his progress so far; outlines previous education in piano and music theory at the Hoch Conservatory,Frankfurt, and activity as composer and conductor; after breaking his shoulder, he neglected his musical studies; outlines the areas he wishes to study with Schenker; if accepted, he would take up residence in Vienna.

OJ 11/54, [3] Handwritten letter from Hoboken to Schenker, dated June 10, 1925

Acknowledges Schenker's communication; is pleased to become a pupil of Schenker; accepts fee and agrees to three lessons per week.

OJ 6/7, [24] Handwritten letter from Schenker to Moriz Violin, dated August 15, 1925

After expressing his sympathy for Violin, in response to his friend's depressing postcard, Schenker gives an account of some of the summer events, including a visit from Vrieslander and Hoboken and work on two essays for Meisterwerk 2. While continuing to rail against Hertzka and Universal Edition, he repeats the story of Drei Masken Verlag failing to send him 250 Marks upon receipt of the manuscript of Meisterwerk 1. His brother Moses is, however, acquainted with the principal owner of Drei Masken, Felix Sobotka, and through this connection the payment has been made.

OJ 8/4, [39] Handwritten picture postcard from Schenker to Moriz Violin, undated, postmarked August 27, 1925

Schenker sends greetings from the Tyrol, reports the publication of an article on him by Elsa Bienenfeld, which includes a reproduction of his pupil Alfred Rothberger's bronze medallion.

OJ 14/45, [45] Handwritten letter from Moriz Violin to Schenker, dated August 28, 1925

Violin, in a philosophical mood, thanks Schenker for his concerns; he paints a pessimistic picture of the world in general, embracing the injustices that his friend must also suffer.

OJ 11/54, [4] Handwritten letter from Hoboken to Schenker, dated September 28, 1925

Van Hoboken reports on his recent travels, describing the house that he has rented for a year in Vienna; he is to register in Vienna for nine months for study purposes; he thanks Schenker for the plan of work he has sent, and will start lessons with Schenker on October 13, 1925; encloses $60 in advance monthly payment.

OJ 15/15, [19] Handwritten letter from Weisse to Schenker, dated October 7, 1925

Weisse asks Schenker to look at some suitable frames for Hammer's portrait of him. He reports that several autograph manuscripts of Brahms are being put up for sale, of which that of the cadenzas Brahms wrote for Beethoven's Fourth Concerto are particularly interesting. He quotes from a letter by Gerald Warburg, indicating that Schenker's latest theoretical concepts are being taught at Damrosch's music school in New York.

FS 40/27, [2] Handwritten letter from Weisse to Schenker, dated October 17, 1925

Weisse has found Zelter's review of Haydn's Creation and has copied out the section concerned with "The Representation of Chaos." He finds nothing of value in the review, but says it must have pleased Haydn because it shows that the composer was entirely conscious of how he went about writing the work.

OJ 10/3, [41] Typewritten postcard from Deutsch to Schenker, dated October 20, 1925

Deutsch thanks Schenker for quickly providing his text [for the forthcoming Schubert issue of Moderne Welt]. He has written to Thomas Mann regarding the reference to Schubert's "Der Lindenbaum" in Mann's novel Der Zauberberg. The Deutsches accept Schenker's invitation for an afternoon snack, but can only come on a Sunday after Novemeber 2.

OJ 9/4, [1] Typewritten letter from Franz Schmidt (Akademie für Musik) to Schenker, dated October 21, 1925

Schmidt reports the response from the Federal Ministry of Education.

OC 54/41 Typewritten letter from August Demblin (DMV) to Schenker, dated November 6, 1925

Drei Masken Verlag in Munich have now transferred all matters of production concerning Meisterwerk I to their office in Vienna.

OJ 10/3, [42] Typewritten letter from Deutsch to Schenker, dated November 6, 1925

Deutsch informs Schenker that due to space constraints the editors have (without Deutsch's prior knowledge) cut the first four paragraphs of Schenker's article, leaving only the last two paragraphs, which refer particularly to Schubert. He asks Schenker to agree to this cut, but also offers him the option of removing his article so that it can be used in full elsewhere. Deutsch asks Schenker to look at a Beethoven manuscript at Heck's.

OJ 10/3, [43] Typewritten postcard from Deutsch to Schenker, dated November 7, 1925

Deutsch thanks Schenker for agreeing to the cuts to his article, and asks to come to the Schenkers on November 22 for the planned snack.

OJ 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 10/3, [45] Typewritten postcard from Deutsch to Schenker, dated December 9, 1925

Deutsch sends Schenker a dedication copy of the Schubert special issue of Moderne Welt, to which Schenker contributed an article. Deutsch had already requested a copy to be sent to Schenker from the publisher, but this has gone missing.

OJ 10/3, [46] Typewritten postcard from Deutsch to Schenker, dated December 15, 1925

Deutsch thanks Schenker for his postcard [not known to survive] and hopes to speak to him soon about the matters raised therein. Deutsch, however, could neither read nor understand a sentence from Schenker's postcard and affixes it to this reply.

OJ 11/54, [6] Handwritten letter from van Hoboken to Schenker, dated January 3, 1926

Van Hoboken sends New Year greetings; reports that he is to see in the Paris Conservatory Library the autograph manuscript of Beethoven's "Appassionata" Sonata, which Einstein has apparently already photographed; he will travel to Vienna on January 6 for lesson on January 9.

OJ 14/45, [50] Handwritten letter from Moriz Violin to Schenker, dated January 12, 1926

Violin asks Schenker if he would consider taking one of his pupils, Miss Agnes Becker, as a pupil for the remainder of the teaching year.

OJ 9/3, [4] Typewritten letter from Guido Adler to Schenker, dated February 10, 1926

Invitation to join the Conference Committee of the Beethoven Centennial Celebration 1927.

OJ 10/3, [47] Typewritten postcard from Deutsch to Schenker, dated February 15, 1926

Deutsch has received Schenker's request for a subscription to Die literarische Welt and has dispatched the required payment transfer form.

OJ 14/45, [51] Handwritten letter from Moriz Violin to Schenker, dated February 18, 1926

Violin, in the aftermath of two enormously successful trio concerts with Mauritz van den Berg and Friedrich Buxbaum, gives an account of Buxbaum's vanity and the difficulty this causes in rehearsals and more generally for the ensemble. His doctor has recommended that he spends three weeks in Bad Gastein this summer. He has not yet received Hammer's portrait of Schenker.

OJ 14/45, [52] Handwritten letter from Moriz Violin to Schenker, dated March 6, 1926

Responding to Schenker's continuing queries, Violin gives some details of recent illnesses, the cure for which his doctor has ordered him to spend part of the summer in Bad Gastein. He is awaiting the arrival of the Hammer portrait, and is considering the future of his piano trio ensemble.

OJ 10/1, [92] Typewritten letter from Dahms to Schenker, dated May 21, 1926

Dahms reports plans, with a young Munich publisher, to launch a popular music "almanach," anti-modern, propagandizing for "our ideas," and later a serious periodical. — He has to raise 10,000 Marks, and asks for Heinrich's help in doing this. — Margarete has had surgery.

OJ 14/45, [53] Handwritten letter from Moriz Violin to Schenker, dated June 7, 1926

Violin thanks Schenker for his recent postcard, gives a brief account of his own illnesses, and gives a somewhat longer account of those of his son Karl, which will complicate summer travel plans. He has learned from music shops in Hamburg that the Erläuterungsausgabe of Op. 106 is not yet published, and has also heard that Schenker's Beethoven sonata edition is no longer available; he asks Schenker if this is true.

OC 54/90 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 23, 1926

In response to Schenker’s query regarding advance payments for Das Meisterwerk in der Musik, the Vienna office of Drei Masken Verlag explain that they have instructions only to offer the remainder of the advance on the first Yearbook, and that no decision has yet been made with regard to the second.

OJ 10/1, [95] Handwritten letter from Dahms to Schenker, undated, presumably late June or early July, 1926

Dahms's almanach plans have failed. — Germany has shown its gratitude for his work by denying him a divorce [from Agnes] for 15 years.

OJ 14/45, [112] Handwritten postcard from Moriz Violin to Schenker, dated July 5, 1926

Violin announces his arrival in Bad Gastein, to improve his health. The rest of his family is in Bistrai, near Bielitz, in Silesia.

OJ 52/897 Receipt for bank transaction from the Post Office Savings Bank to Schenker, dated July 16, 1926

Receipt for sum of 232.14 shillings [from UE].

OJ 15/16, [56] Handwritten letter from Weisse to Schenker, dated August 20, 1926

The composition of a clarinet quintet has kept Weisse from writing to Schenker. Instead of writing a long letter to him about the first Meisterwerk Yearbook, he would like to meet with him in Vienna to discuss its content.

OJ 11/54, [8] Handwritten letter from Hoboken to Schenker, dated August 22, 1926

Hoboken will probably not now visit Schenker in Galtür; explains his and his wife's departure from Munich and their subsequent travels to Bern, Naples, and Capri, and reports that his house in Vienna should be ready for occupancy on October 1. — Vrieslander and he are considering founding a music journal, and wish to discuss the idea with Schenker.

OJ 9/35, [2] Handwritten letter from Gustav von Cube to Schenker, dated August 24, 1926

Responding to Schenker’s demand for final payment for his son’s lessons, Gustav von Cube has arranged for 250 Marks to be paid to Schenker in Galtür; he will send the remainder to Vienna.

OJ 5/7a, [3] (formerly vC 3) Handwritten letter from Schenker to Cube, dated August 26, 1926

Schenker has received indication of part-payment from Cube's father [for Cube's lessons] and promise of the remainder soon. Schenker travels to Vienna August 28. Weisse has completed a clarinet quintet.

OJ 14/45, [55] Handwritten letter from Moriz Violin to Schenker, dated September 5, 1926

Violin reports that he had to cut short his holiday in Bad Gastein because his son Karl was again seriously ill. The costs of treatment amounted to nearly 4000 Marks, and this sum must be paid by the end of the year.

OJ 5/17, [1, vsn 1] Handwritten draft letter from Schenker to Hindemith, undated [November 3, 1926]

In response to Hindemith's letter of October 25, 1926, Schenker's 15-page first draft states his preference for a meeting with Hindemith in Vienna. Schenker thinks differently from Hindemith: the notion of a "good musician" is a delusion; artistic property is comparable with material property; the music of today is quite different from that of the past, the rules of the masterworks do not govern it, hence it is not art at all. Schenker reserves the right to speak his own mind.

OJ 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 52/908 Typed letter from Hugo Winter (UE) to Schenker, dated December 28, 1926

Payments for Beethoven sonatas and Der Tonwille have been transferred.

OJ 14/45, [60] Handwritten letter from Moriz Violin to Schenker, dated January 3, 1927

Violin reports on his son Karl's continued health problems and also his affection for his "Onkel Heinrich" (and with it, a wish to be in Vienna rather than in Hamburg). Agnes Becker has apparently sent Schenker some analytical work on a sonata for comment. Finally, he announces a forthcoming concert, with (Egon) Pollak, of a concerto for two pianos by C. P. E. Bach in an arrangement by Schenker.

OC 52/909 Typed letter from Hugo Winter (UE) to Schenker, dated January 4, 1927

Encloses Schenker's royalty statement for the second half of 1926.

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.

OJ 10/3, [52] Typewritten postcard from Deutsch to Schenker, dated January 15, 1927

Deutsch asks Schenker if a (recent) edition of Beethoven’s Ninth Symphony was based on the facsimile edition. He has sent the manuscript (of Schenker’s second Meisterwerk yearbook) to the publishers. A Haydn facsimile and a Handel print can be discussed later.

OJ 10/3, [53] Typewritten postcard from Deutsch to Schenker, dated January 16, 1927

Deutsch asks Schenker what he wrote about Domenico Scarlatti and Chopin as non-German geniuses, for his forthcoming trip to Sweden. He has learned that Schubert was paid for two summers’ teaching for the Esterházy family; he has valued two song manuscripts belonging to the family at 4,000 marks.

OJ 11/54, [10] Handwritten letter from van Hoboken to Schenker, dated January 16, 1927

Van Hoboken acknowledges [non-extant] missive; has been unable to look up Gerald Warburg; asks for John Petrie Dunn's address; has seen Otto Vrieslander.

OJ 10/3, [54] Typewritten postcard from Otto Erich and Hanna Deutsch to Schenker, dated January 18, 1927

Vrieslander would like to give a lecture on Schenker and Beethoven at the centenary celebrations in Vienna; Deutsch asks Schenker to contact Vrieslander directly about this.

OJ 10/3, [55] Typewritten postcard from Otto Erich and Hanna Deutsch to Schenker, dated January 18, 1927

Deutsch asks Schenker not to mention his name in connection with the “curiosity” about Schubert mentioned in his postcard of January 15.

OJ 11/54, [12] Handwritten letter from van Hoboken to Schenker, dated January 28, 1927

Hoboken had to cancel his planned visit to John Petrie Dunn because of illness. — He reports on library visits in London and Paris, discusses manuscripts and conditions for photography, purchases. — He plans no further trips this season.

OJ 9/4, [3] Typewritten letter from Joseph Marx and Alexander Wunderer (Akademie für Musik) to Schenker, dated February 3, 1927

Schenker is asked to give the Federal Ministry of Education his opinion as to how the Sofie Deutsch stipends should be adjudicated after his death.

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.

OJ 14/45, [61] Handwritten letter from Moriz Violin to Schenker, dated February 23, 1927

Following a brief description of a recent illness, Violin replies to Schenker's question about accepting the Order of Merit from the Viennese Academy of Art and Science and advises him to accept it. He realizes that staying in Hamburg would be bad for his son's long-term health and has spoken to Artur Schnabel about the possibility of moving to Berlin or Frankfurt. An influential man in Frankfurt is the father-in-law of Paul Klenau; Violin knows of Klenau's respect for Schenker, and asks his friend to write to Klenau in support of his application for a post there.

OJ 8/4, [46] Handwritten postcard from Schenker to Violin, postmarked [February] 26, 1927

Responding to a request from Violin, Schenker says he will write to Paul von Klenau on behalf of Violin, apparently in connection with a possible position in Frankfurt.

OJ 8/4, [47] Handwritten postcard from Schenker to Violin, dated February 27, 1927

Schenker is about to write to Paul von Klenau on Violin's behalf, but asks whether he should wait until Easter, as suggested in Violin's previous letter.

OJ 14/45, [62] Handwritten letter from Violin to Schenker, dated March 2, 1927

Violin thanks Schenker for his willingness to intervene on his behalf with regard to a position in Frankfurt, and asks him to get in touch with Paul von Klenau before a possible meeting in person at Easter.

OJ 10/3, [57] Typewritten postcard from Deutsch to Schenker, dated March 13, 1927

Deutsch asks Schenker to recommend Dr. Willy Kahl (Cologne) to write for the Bonn General-Anzeiger. He reports the arrival of galley proofs (for the second Meisterwerk yearbook).

OJ 10/3, [58] Typewritten postcard from Deutsch to Schenker, dated March 24, 1927

Deutsch will probably attend a lecture given by Wolfgang Graeser, and encourages Schenker to do the same.

OJ 14/45, [63] Handwritten letter from Violin to Schenker, dated March 31, 1927

In reply to Schenker's recent postcards, Violin maintains that Klenau's support for his appointment in Frankfurt is important, as the Ministry of Education in Berlin can exert only a limited amount of pressure on the Frankfurt circle.

OJ 10/3, [59] Typewritten express postcard from Deutsch to Schenker, dated April 14, 1927

Deutsch invites the Schenkers for afternoon tea at the weekend; Hoboken and Vrieslander will also be there.

OJ 10/3, [60] Typewritten express postcard from Deutsch to Schenker, dated April 21, 1927

Deutsch looks forwarded to seeing the Schenkers at Hoboken’s place. The Society of the Friends of Music would like their print of a Haydn sketchleaf to be returned; Eusebius Mandyczewki is unable to find a copy of Scarlatti’s Op. 1 (a collection of six keyboard sonatas).

WSLB 375 Handwritten letter from Schenker to UE, dated April 25, 1927

Having gained access to the facsimile of the "Appassionata" Sonata, Schenker sends revisions to his edition.

OJ 10/3, [61] Typewritten postcard from Deutsch to Schenker, dated May 9, 1927

Deutsch asks Schenker to lend him the April 1927 issue of Der Schriftsteller. He is grateful for having been introduced to the artist Viktor Hammer. He recommends that Schenker visit the Beethoven exposition in the City Hall, and also the Planetarium, where an “optical organ” is on display.

OJ 10/3, [62] Typewritten postcard from Deutsch to Schenker, dated May 11, 1927

Deutsch has been invited to pose for an album of the Beethoven Committee; he enquires whether Schenker has accepted an invitation to do so, in which case he will do the same. He is delighted to learn that the (Photogram) Archive has been agreed.

OJ 5/7a, [10] (formerly vC 10) Handwritten letter from Schenker to Cube, dated June 1, 1927

Schenker congratulates Cube on appointment to professorship; reports that Oppel has been appointed to a professorship at the Leipzig Conservatory, and on the spread of Schenker's theory elsewhere; looks forward to visit from Cube.

OJ 10/3, [63] Typewritten postcard from Deutsch to Schenker, dated June 4, 1927

Deutsch has found a reference to the autograph manuscript of Beethoven’s Piano Sonata in G, Op. 79, and tells Schenker he can find out more about it from the British Museum. The Hammers are visiting him on Wednesday (June 8), and he hopes that the Schenkers will be able to join them.

OJ 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.

WSLB 385 Handwritten postcard from Schenker to UE, dated June 30, 1927

Has UE forgotten to send him a copy of his own revised edition of the "Appassionata" Sonata?

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.

DLA 69.930/15 Handwritten letter from Schenker to Halm, dated July 11, 1927

Thanking Halm for his Beethoven book, he believes that their misunderstandings could be removed and hopes Der freie Satz will help bring that about; gives order of publication for Meisterwerk II and Der freie Satz, and compares his "Das Organische der Fuge" with the work of others on Bach. — Schenker took no part in the Vienna Beethoven festival. — Describes his correspondence with Hindemith.

OJ 52/898 Receipt for bank transaction from the Post Office Savings Bank to Schenker, dated July 14, 1927

Receipt for sum of 221.48 shillings [from UE].

OJ 11/16, [6] Handwritten letter from Furtwängler to Schenker, dated July 18, 1927

Furtwängler mentions several mutual acquaintances, and hopes to see Schenker in Vienna.

OJ 10/3, [66] Typewritten postcard from Deutsch to Schenker, dated August 2, 1927

Deutsch has obtained a copy of the first edition of Schindler’s Beethoven biography, which he will send to Galtür.

OJ 6/7, [35] Handwritten letter from Schenker to Violin, dated August 5, 1927

In a wide-ranging letter, Schenker underscores the importance of his friend's taking a holiday, and tries to persuade him to visit him in Galtür. There he was visited by Reinhard Oppel, who has been appointed to a theory post at the Leipzig Conservatory, where he will teach from Schenker's texts. He comments at length on the decline of society, as exemplified by the July Revolt. The second Meisterwerk volume has gone to the bookbinders; until it is published, he will be working on Der freier Satz.

OJ 11/54, [14] Handwritten letter from van Hoboken to Schenker, dated August 7, 1927

Hoboken reports on recent travels, including the July 15, 1927 Vienna riots. – He has made progress on his index of Haydn's works, and has purchased some Beethoven first editions. – He hopes to meet Furtwängler soon, and has recently heard from Vrieslander. – He asks Schenker to inscribe a copy of Meisterwerk 2 to John Petrie Dunn.

OJ 89/1, [2] Handwritten letter from Schenker to van Hoboken, dated August 12, 1927

Schenker acknowledges van Hoboken's letter, OJ 11/54, 14, dated August 7, 1927; encloses seven articles; responds regarding Haydn, Furtwängler, the "Appeal" for the Photogrammarchiv, an exhibition in Frankfurt, John Petrie Dunn, Reinhard Oppel, Das Meisterwerk in der Musik, vol. II, Otto Erich Deutsch, and an honorarium; and sends best wishes for the Hobokens' trip to Switzerland, reporting on von Cube.

OJ 14/45, [67] Handwritten letter from Violin to Schenker, dated August 13, 1927

Violin reports that he was hoping to get away, but things came up that he had to deal with, which made the summer the saddest of his life. His wife and son will move to Vienna in the fall, and he will be there for Christmas.

OJ 89/1, [3] Handwritten letter from Schenker to van Hoboken, dated August 20, 1927

Schenker has a reply from Furtwängler, saying that he is about to see Hoboken. — Final proofs of Meisterwerk II have arrived; where should he have a copy sent to Hoboken? — Discusses possible meeting with Furtwängler (refers to Furtwängler's attitude toward the "moderns"). — Reports visit by von Cube.

OJ 11/54, [15] Handwritten letter from van Hoboken to Schenker, dated August 28, 1927

Hoboken reports on meeting with Furtwängler regarding the Photogrammarchiv, and expresses the hope that it will be possible to interest Furtwängler in performance according to the sources in the Archive; he encloses the final version of the "Aufruf" for the Archive, and discusses negotiations with the Austrian National Library and Ministry of Education. — Comments on Oppel's plan to teach in Leipzig. — Agrees to Schenker's lesson plan and fee for 1927/28. — Describes his travel plans, which include meetings with Louis Koch in Frankurt, Ludwig Schiedermair in Bonn, contact with John Petrie Dunn in England, C. S. Terry in Scotland, and Maurice Cauchie in Paris, and photographing [of sources] at the [Paris] Conservatory.

OJ 89/1, [4] Handwritten letter from Schenker to van Hoboken, dated September 6, 1927

Schenker comments on Hoboken's Appeal [for the Photogrammarchiv], sets out what is necessary for correctly reading an autograph manuscript and understanding its relationship to the first edition, and rails against the tendency of performers, including Furtwängler, to think such matters trivial.

OJ 5/7a, [11] (formerly vC 11) Handwritten postcard from Schenker to Cube, dated September 7, 1927

Schenker acknowledges Cube's postcards; Cube will receive the appeal [for photostats of MSS].

WSLB 388 Handwritten postcard from Schenker to UE, dated September 10, 1927

Acknowledges copy of revised edition of the "Appassionata" Sonata.

OJ 89/1, [5] Handwritten letter from Schenker to van Hoboken, dated September 13, 1927

Schenker acknowledges OJ 11/54, [17], and discusses the nature of a "prospectus" and the suitability of Vrieslander's text for that purpose. — He expresses an interest in Hoboken's latest discoveries, and asks whether the latter could inquire in London as to the whereabouts of the autograph manuscript of Beethoven's Op. 106.

OJ 11/54, [18] Handwritten letter from van Hoboken to Schenker, dated September 18, 1927

Van Hoboken reports on his visit to John Petrie Dunn: his career, his grasp of Schenker's theory, his situation at Edinburgh University, his publications. — Tomorrow he is to visit C. S. Terry.

OJ 11/32, [2] Typed letter from Robert Haas to Schenker, dated September 30, 1927

Haas invites Schenker to view the Photogrammarchiv.

OJ 10/3, [69] Typewritten picture postcard from Deutsch to Schenker, dated October 6, 1927

Deutsch regrets that Drei Masken Verlag has not yet sent Schenker his complimentary copies [of the second Meisterwerk yearbook]; they will send an invoice for the production costs. Hoboken ought to receive an honor from the Austrian state only after the Photogrammarchiv is up and running. Deutsch has much to show Schenker from the first editions of Beethoven sonatas. He wants to arrange a time to go through the corrections to Schubert’s Symphony in B minor.

OJ 10/3, [70] Typewritten picture postcard from Deutsch to Schenker, dated October 11, 1927

Deutsch has seen Otto Vrieslander, who surprisingly did not mention the recent publication of his songs. He explains how different early print-runs of Beethoven’s works may display telling differences, and how parallel publications in different cities could sometimes show changes attributable to the composer (as is typically found in Chopin).

OJ 10/3, [71] Typewritten picture postcard from Deutsch to Schenker, dated October 15, 1927

Deutsch accepts an invitation to the Schenkers on Wednesday, October 19. – Drei Masken Verlag have told him that they have already paid Schenker’s honorarium and sent him complementary copies [of the second Meisterwerk yearbook] in January and that the second payment came to him from their branch in Vienna. – He has been working on a Beethoven catalogue but must now turn his attention to Mozart, and then to Schubert.

OJ 10/3, [72] Typewritten picture postcard from Deutsch to Schenker, dated October 24, 1927

Deutsch has spoken to Alfred Kalmus about the revisions that Schenker (with Deutsch’s assistance) has proposed for a reprinting of the score of Schubert’s “Unfinished” Symphony. Kalmus said that time was pressing and he was unable to show the two men the changes before the work went to press.

OJ 9/8, [4] Handwritten picture postcard from Wilhelm Altmann to Schenker, dated November 8, 1927

Altmann thanks Schenker for Masterwork 2; — Has retired but is temporarily continuing in his position; — Reports publication of his handbook for string quartet players.

OJ 14/45, [68] Handwritten letter from Violin to Schenker, dated November 13, 1927

Violin thanks Schenker for sending him the second volume of Meisterwerk, which he regards as a milestone in offering the strongest statement of his theories. He is accompanying a cellist in early January and will not be able to get to Vienna at Christmas after all. His wife and son – who is now able to get up and around – are hoping to go to Vienna at Easter.

OJ 10/3, [73] Typewritten postcard from Deutsch to Schenker, dated November 14, 1927

Deutsch has had a telephone call from Alfred Kalmus, who reported that Schenker’s revised copy of Schubert’s “Unfinished” Symphony has been messed up, that it will be returned to him, with a second, clean copy, and that Kalmus may visit Schenker to apologize for this. – Deutsch will lend Schenker a copy of stories by Balzac, two of which may be of interest from a musical point of view. He also hopes that work can be found for the precocious Gerald Warburg.

OJ 8/4, [52] Handwritten postcard from Schenker to Violin, dated November 16, 1927

Schenker congratulates Violin on obtaining many private pupils, and for his continued activity as a performer. He expresses his joy that Violin's son Karl will be visiting Vienna next year.

OJ 10/3, [74] Typewritten postcard from Deutsch to Schenker, dated November 22, 1927

Deutsch suspects that with the typesetters' "messing up" of Schenker’s revised copy of Schubert’s “Unfinished” Symphony the material has been made illegible. — He has been in contact with people regarding a possible radio talk by Schenker, and one by himself on the redesigning of the Mozarteum. — He reports that the pianist Heinz Jolles would like Schenker to prepare an edition of one of Beethoven’s variation sets (WoO 80 or the “Diabelli”), and that Josef Braunstein is gratified to hear of Schenker’s interest in his recent book on the "Leonore" overtures.

OJ 89/1, [7] Handwritten letter from Schenker to van Hoboken, dated December 5, 1927

Schenker praises a notice in the Neue freie Presse about the Photogrammarchiv, and speaks of the task that lies ahead.

OJ 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.

OC 52/910 Typed letter from Hugo Winter (UE) to Schenker, dated December 29, 1927

Announces that Schenker's 1927 royalty has been transferred.

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 52/899 Receipt for bank transaction from the Post Office Savings Bank to Schenker, dated January 16, 1928

Receipt for sum of 148.02 shillings [from UE].

OJ 10/3, [76] Typewritten picture postcard from Deutsch to Schenker, dated January 27, 1928

Deutsch has spoken to Alfred Kalmus about the revisions that Schenker (with Deutsch’s assistance) has proposed for a reprinting of the score of Schubert’s “Unfinished” Symphony. Kalmus said that time was pressing and he was unable to show the two men the changes before the work went to press.

OJ 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 11/54, [22] Handwritten letter from Hoboken to Schenker, dated March 11, 1928

Hoboken recounts the difficulties he is having in getting 2,500 photographs of autograph manuscripts made at the Paris Conservatory.

OJ 89/2, [4] Handwritten letter from Schenker to Hoboken, dated March 16, 1928

Schenker speaks of Hoboken's Photogrammarchiv as a "grand contribution," and of the work to be done there; reports on a copy of Beethoven Sonata, Op. 90, by Archduke Rudolph. — He will show Hoboken recent articles by Dahms and Vrieslander, and inquires about Hoboken's birthday.— Furtwängler may come to Vienna permanently.

OJ 10/3, [80] Typewritten postcard from Deutsch to Schenker, dated March 19, 1928

Deutsch reports that Eusebius Mandyczewski, the Archivist at the Gesellschaft der Musikfreunde, would like to prepare a revised edition of Schubert’s “Unfinished” Symphony, and asks Schenker if he would be prepared to make his textual notes on the symphony available to him.

OJ 11/54, [23] Handwritten letter from Hoboken to Schenker, dated March 21, 1928

Hoboken has still made no progress on photographic work at the Paris Conservatory. — He will go to Rotterdam and Münster. — Speaks of the importance of his Archive work and contacts he has made. Will probably go to a concert featuring music of Alban Berg. — He asks Schenker to intervene with O. E. Deutsch.

OJ 10/3, [81] Typewritten postcard from Deutsch to Schenker, dated March 25, 1928

Deutsch’s plans to give a pre-concert talk on the radio have been messed up by Max Ast at Austrian Radio. -- He asks Schenker to tell him about the authentic copies of Beethoven’s works made for Archduke Rudolph. -- He has been on the track of a German mass for the dead by Schubert (the Deutsche Trauermesse) and would like to show Schenker his work on it.

OJ 10/3, [82] Typewritten postcard from Deutsch to Schenker, dated March 26, 1928

Deutsch writes about the sketches for a symphony in E major by Schubert, in the possession of the Royal College of Music in London. He would like to have a copy made so that the work can be published – possibly by Oxford University Press. The costs should be borne by the publisher, not the Photogram Archive, which would nonetheless get a copy of the reproduction.

OJ 89/2, [5] Handwritten letter from Schenker to Hoboken, dated March 26, 1928

Schenker conveys Deutsch's response to van Hoboken's questioning of a planned facsimile of Schubert sketches. — Schenker discusses strategy for persuading Paris to supply photographs for the Photogrammarchiv.

OJ 10/3, [83] Typewritten picture postcard from Deutsch to Schenker, dated April 16, 1928

Deutsch has had sharp words with Max Ast at Austrian Radio. He wants to give a talk on Schubert’s lost “Gastein” (or “Gmunden”) Symphony and hopes that publicity from the broadcasting company will eventually lead to the rediscovery of the manuscript. Eusebius Mandyczewski is preparing a new edition of the “Unfinished” Symphony for Breitkopf & Härtel; the Philharmonia pocket score, with Schenker’s and Deutsch’s revisions, is now in print. Deutsch has discovered that the first edition of Beethoven’s Piano Sonata Op. 90 exists in two versions.

OJ 9/34, [11] Handwritten letter from Cube to Schenker, dated April 24, 1928

Cube describes difficulties with his colleagues, loss of pupils, and reactions to his lecture; Scheuermann and Schmemann will put Schenker exhibits in their shop windows, items requested; inquires after Weisse journal plan.

WSLB 395 Handwritten postcard from Schenker to UE, dated April 25, 1928

Schenkers asks for the Tonwille volumes to be sent to Julius Gold.

OJ 5/7a, [14] (formerly vC 14) Handwritten letter from Schenker to Cube, dated April 29, 1928

Schenker sympathizes with Cube over the hostilities he faces; contrasts his own theory to the approach of Riemann. Has arranged for Hammer portraits to be sent to Cube [for bookshop exhibits], and directs him to biographical information about himself. Describes the trials of his 20s, which were surpassed by the difficulties he faced later with publishers and organizations. Upholds Joachim and Messchaert as models of performance art, and speaks of his contact with Brahms. Asks whether Cube will be joining him in Galtür in the summer.

OJ 10/3, [84] Typewritten picture postcard from Deutsch to Schenker, dated May 1, 1928

Deutsch has picked up a copy of his and Schenker’s recent edition of the “Unfinished” Symphony; he has made a complaint to Universal Edition and let the publisher know of Schenker’s displeasure with the-- He is going away for a few days, but returning to give a radio broadcast on Schubert’s settings of Walter Scott.

OJ 10/3, [85] Typewritten picture postcard from Deutsch to Schenker, dated May 15, 1928

Deutsch thanks Schenker for his kind words (about his recent radio broadcast) and describes the difficulties in preparing things for publication in Radio Wien. He informs Schenker that Brahms’s arrangement of a Schubert song has already been published. He has discovered that the Guitar Quartet believed to be by Schubert is an arrangement, and that an early cantata, Die Advokaten, is also based on the work of another composer.

OJ 9/34, [12] Handwritten letter from Cube to Schenker, dated May 24, 1928

Cube acknowledges receipt of the Hammer engravings and reports on the planned Scheuermann exhibition; reports on a forthcoming lecture and seminar, and the growth of his student numbers.

OJ 5/7a, [15] (formerly vC 15) Handwritten postcard from Schenker to Cube, dated May 28, 1928

Schenker sends Cube an article written for the Beethoven centenary festival and suggests a "connection" between Bonn and Düsseldorf; refers to American professors teaching the Urlinie in the USA; outlines summer plans.

OJ 10/3, [87] Handwrittenwritten picture postcard from Hanna and Otto Erich Deutsch to Schenker, dated June 10, 1928

The Deutsches hope to see the Schenkers once before both couples go away for the summer, and they invite them for tea on Tuesday, June 12.

OJ 10/3, [88] Typewritten picture postcard from Deutsch to Schenker, dated June 14, 1928

Deutsch can show Schenker the reissue (Titelauflage) of Beethoven’s Sonata Op. 6 if he is interested. -- On the 27th, he is giving a radio broadcast on Schubert’s lost symphony; he has obtained funding ($1,000) for the person who finds it. -- He is giving another radio talk on July 3, on Schubert’s incidental music to Rosamunde.

OJ 6/7, [38] Handwritten letter, with envelope, from Schenker to Moriz Violin, dated June 23, 1928

Schenker thanks Violin for his kind birthday greetings, explaining the discrepant birth dates assigned to him. He reaffirms his spiritual solidarity with his friend. He has read some articles and reviews mentioning his work, at all of which he laughs.

OJ 5/7a, [17] (formerly vC 17) Handwritten letter from Schenker to Cube, dated July 13, 1928

Schenker offers consoling words for low turn-out to Düsseldorf lecture; praises recent article by Cube, but corrects overstated connection between himself and Brahms and Joachim.

OJ 52/900 Receipt for bank transaction from Post Office Savings Bank, dated July 16, 1928

Receipt for sum of 162.26 shillings [from UE].

OJ 14/45, [71] Handwritten letter from Moriz Violin to Schenker, dated July 18, 1928

Owing to a "complete breakdown," Violin is recovering at a sanatorium in Schierke, from where he writes. In response to Schenker's previous postcard, Violin had written more than once to Prof. [Fritz?] Stein for the return of the manuscript of a Handel arrangement by Schenker, and he will chase him up in August. A pupil of his, Harry Hahn, has taken upon himself to lecture on Schenker's theories at the local society of composers; for this he has prepared classroom-size enlargements of voice-leading graphs of a Bach prelude and a Schubert waltz, and has proved a surprisingly competent and persuasive speaker.

WSLB 397 Handwritten postcard from Schenker to UE, dated August 5, 1928

Schenker asks why he has not received his royalty.

OC 52/914 Typed letter from Ernst Roth (UE) to Schenker, dated August 20, 1928

UE understands that the royalty payment has now been made.

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 10/3, [92] Typewritten postcard from Deutsch to Schenker, dated September 27, 1928

Deutsch gives Schenker information about Brahms’s arrangement of a Schubert song ("Ellens zweiter Gesang") and the guitar quartet attributed to Schubert.

OJ 10/3, [94] Typewritten postcard from Deutsch to Schenker, dated October 3, 1928

Deutsch apologies for being late to his meeting with Schenker, because his clock was running 10 minutes slow.

OJ 9/34, [14] Handwritten letter from Cube to Schenker, dated October 4, 1928

Cube acknowledges OJ 5/7a, [18] and [19], and comments; reports on his own recent activities and plans, and on events in the Conservatory, on a forthcoming Schubert festival, and Radio Vienna. He is about to return the Hammer etching.

OJ 5/7a, [20] (formerly vC 20) Handwritten postcard from Schenker to Cube, dated October 8, 1928

Schenker acknowledges receipt of Hammer portrait; urges Cube when in Cologne to visit Gerhard Albersheim's parents and Felix Hupka.

OJ 8/4, [58] Handwritten postcard from Schenker to Moriz Violin, dated October 9, 1928

Schenker is glad to hear that his friend's setback was only a minor one. He has received a nice letter from Harry Hahn, together with a copy of his lecture and the splendid voice-leading diagrams.

OJ 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.

PhA/Ar 56, [9] Typewritten letter of confirmation from Schenker to Kromer, dated December 12, 1928

Schenker acknowledges receipt of Beethoven photograms.

OC 52/915 Typed letter from Hugo Winter (UE) to Schenker, dated December 27, 1928

Announces that Schenker's 1928 royalty has been transferred.

OJ 14/45, [75] Handwritten letter from Violin to Schenker, dated February 25, 1929

Violin has heard terrible things from Vienna on account of the extremely cold weather, and hope that the Schenkers are in good health. His brother-in-law will take him on holiday at Easter, and also pay for a family holiday in the summer.

OJ 14/45, [76] Handwritten letter from Moriz Violin to Schenker, dated March 3, 1929

On the point of departing for the Riviera with his brother-in-law – possibly via Vienna – Violin asks Schenker to make a quick assessment of his voice-leading reduction of Bach's first Two-Part Invention, in C major.

OJ 6/7, [42] Handwritten letter, with envelope, from Schenker to Moriz Violin, dated March 7, 1929

In reply to Violin's previous letter, Schenker writes out a graphic analysis of Bach's Two-Part Invention in C major, and wishes him an enjoyable holiday on the French Riviera.

OJ 14/45, [77] Handwritten letter from Violin to Schenker, dated March 20, 1929

Violin thanks Schenker for his letter with the voice-leading sketch of Bach's C major Invention, and for the article from Der Kunstwart on the Photogram Archive. He is enjoying the climate of Nice, and seems to be getting on well with the French language; a lady who overheard him playing the piano praised his expressive playing.

OJ 9/34, [16] Handwritten letter from Cube to Schenker, dated March 26, 1929

Cube is listening by radio to music being performed in Vienna. The two caricatures are his fellow composition teachers at Duisburg. Reports on his work at Cologne Conservatory: success with previous lectures, and forthcoming lecture series.

OJ 9/34, [17] Handwritten letter from Cube to Schenker, dated April 5, 1929

Miss Edith Sauerbrey may call on Schenker.

OJ 9/34, [18] Handwritten letter from Cube to Schenker, dated May 14, 1929

Cube explores the possibility of a student of his, Erich Voss, studying with Schenker.

OJ 5/7a, [23] (formerly vC 23) Handwritten letter from Schenker to Cube, dated May 15, 1929

Gerhard Albersheim will leave a space in Schenker's calendar that Schenker offers to Erich Voss; will teach him himself because Weisse may not be up to date with Der freie Satz; Voss to contact him.

OJ 14/45, [79] Handwritten letter from Violin to Schenker, dated June 16, 1929

In spite of an earlier promise, Violin says he cannot visit the Schenkers in Galtür because he must stay with his son, who has had an inflammation of his kidney following the news of the death of Otto Schreier. He will instead take his son on a holiday in the Harz Mountains, and hopes to visit Vienna in the autumn or over Christmas.

OJ 5/7a, [24] (formerly vC 24) Handwritten postcard from Schenker to Cube, dated July 6, 1929

Schenker has heard again from Erich Voß about lessons and shows signs of annoyance. Has completed his "Eroica" study, and Der freie Satz looms.

OJ 89/3, [3] Typewritten letter (carbon copy) from Hoboken to Schenker, dated July 7, 1929

Hoboken recounts recent travels. — Is now at Kliffende, where he is about to build a house. — Reports meetings with Hubermann and Harburger; encloses a letter and articles from the latter. — Refers to a Vrieslander problem.

OJ 89/3, [4] Handwritten letter from Schenker to Hoboken, dated July 12, 1929

Schenker thanks Hoboken for the Harburger items and agrees to write to Vrieslander.

OJ 5/7a, [25] (formerly vC 25) Handwritten postcard from Schenker to Cube, dated July 14, 1929

Voß is coming to Vienna.

OJ 52/901 Receipt for bank transaction from the Post Office Savings Bank to Schenker, dated July 19, 1929

Receipt for sum of 97.60 shillings [from UE].

WSLB 411 Handwritten picture postcard from Schenker to UE, dated July 19, 1929

Requests half-yearly statement of account.

WSLB 414 Handwritten letter from Schenker to UE, dated July 27, 1929

Schenker comments on Schmid's remarks; inquires after editorship of Mozart edition.

OJ 15/16, [62] Handwritten letter from Weisse to Schenker, dated August 5, 1929

Weisse, absorbed by Schenker's ideas (especially the concept of "tonal space") tells of his plans to write about his teacher's significance as a contemporary theorist. He describes his progress in composition, which includes the completion of a set of six bagatelles for piano and a Clarinet Quintet, and much work on an Octet. He asks about progress on Der freie Satz and about the publication of Schenker's analysis of the "Eroica" Symphony, and reports his and Hertha's joy in parenthood.

WSLB 417 Handwritten letter from Schenker to UE, dated August 9, 1929

Reacting to Edmund Schmid's follow-up remarks, Schenker points up a favorable passage and comments wrily on a critical one.

OJ 11/16, [7] Handwritten letter from Furtwängler to Schenker, dated August 30, 1929

Furtwängler comments retrospectively on the Heidelberg affair, and rejoices over the "Eroica" monograph.

OJ 11/54, [26] Typewritten letter from Hoboken to [Reinhard Oppel], dated August 30, 1929

Hoboken advises Oppel on ordering materials from the Photogrammarchiv for study purposes. — He hopes to see him in Kiel in late September.

OJ 89/3, [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 15/15, [44] Handwritten postcard from Weisse to Schenker, postmarked October 13, 1929

Weisse seeks to arrange a meeting with Schenker during the week.

OJ 14/45, [80] Handwritten letter from Violin to Schenker, dated November 19, 1929

Violin apologizes for not having written, but does not want to burden Schenker with negative thoughts. He will try to help find a publisher for the "Eroica" analysis, and also offers some thoughts of comfort on hearing the news that Schenker's brother and sister-in-law have separated. He has little energy left, but is somehow able to muster it when needed, e.g. at a sold-out orchestral concert in which he played better than ever. He promises to be in Vienna over Christmas.

OJ 11/16, [8] Handwritten letter from Furtwängler to Schenker, dated December 16, 1929

Furtwängler asks to visit Schenker on December 19th.

OJ 89/3, [A] Handwritten letter from Schenker to Hoboken, undated [between November 14, 1928 and January 1, 1929]

Schenker asks Hoboken to send a copy of a Schubert minuet to Munich, and draws his attention to a Landshoff article and notice about the Andreas Bach book.

OJ 6/7, [45] Handwritten letter from Schenker to Violin, dated December 23, 1929

Schenker, expressing misgivings about the medical profession, nonetheless hopes that Karl Violin's impending operation is successful. He is still awaiting news about a publisher for the "Eroica" monograph; Furtwängler's illness has delayed some lines of enquiry, and Hertzka (at Universal Edition) has not been cooperative.

OJ 52/902 Receipt for bank transaction from the Post Office Savings Bank to Schenker, dated January 2, 1930

Receipt for sum of 1,250 shillings [from UE].

OJ 52/903 Receipt for bank transaction from the Post Office Savings Bank to Schenker, dated January 22, 1930

Receipt for sum of 78 shillings 25 groschen [from UE].

OJ 6/7, [47] Handwritten letter from Schenker to Violin, dated March 2, 1930

Schenker reports on two concerts at which Hans Weisse's Octet was performed for the first time. Furtwängler was enchanted by it, Schenker was impressed by the quality of the voice-leading in general, the construction of the finale movement (a passacaglia) in particular. He was touched to see that a pupil of Weisse's, Dr. Felix Salzer, had subvented the cost of the rehearsals and concerts, and the provision of food and drink for the audience; this he compared with Antony van Hoboken's reluctance to help him with the publication costs of his recent work.

OJ 15/16, [63] Handwritten letter from Weisse to Schenker, dated March 3, 1930

Weisse has delayed in replying to Schenker's recent letter because he has been corrected copies of his Clarinet Quintet and Octet, which he will submit to the City of Vienna Prize competition. He asks Schenker to help publicize the first performance of the Octet, at the small auditorium of the Musikverein, and asks for the addresses of Angi Elias and Marianne Kahn so that he can send them personal invitations. His wife is about to give birth to a second child, and he hopes that Schenker's personal doctor Julius Halberstam might also be interested in hearing the Octet.

OJ 89/4, [2] Typewritten letter (carbon copy) from Hoboken to Schenker, dated March 19, 1930

Hoboken compares performances of Beethoven's Missa solemnis by Furtwängler and Klemperer. — He has experienced pains in his arm, and has taken recuperative lessons from Rudolf Breithaupt. — He details work he has been doing for the Photogramm Archive, work of his own, and that for Schenker.

OC B/136-138 Handwritten letter from Gerhard Albersheim to Schenker, dated March 20–21, 1930

After correction by Schenker, Albersheim has finalized an article on Schenker's work, which he will submit to a journal. He will now prepare himself for the state examinations.

OJ 89/4, [4] Typewritten letter (carbon copy) from Hoboken to Schenker, dated March 29, 1930

Hoboken questions Schenker's separation of "artist" from "person," and says that he does not want to become an eternal student.

OJ 15/15, [46] Handwritten postcard from Weisse to Schenker, dated April 14, 1930

Weisse expresses his unease about the dedication to Furtwängler of an article on the "Urlinie," by Walter Riezler. He thinks that Furtwängler, who does not really understand the term, may have put Riezler up to writing it.

OC 54/296 Handwritten letter from Furtwängler to Schenker, dated April 16, 1930

Furtwängler encloses a letter from Karl Straube, and cautions Schenker against publishing with Breitkopf.

OC 54/298 Typewritten letter from Furtwängler to Schenker, dated May 30, 1930

Furtwängler is angry at Straube's reply, and may sound out Max Hesse — He has resigned his Vienna position.

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.

OJ 6/7, [50] Handwritten letter from Schenker to Moriz Violin, dated July 31, 1930

Schenker assures his friend that he understands his difficulties, and that he can be proud of holding his head high above those who do not understand music, or are incapable of interpreting it beautifully. His own problems are focussed around money, especially as his brother (Moses) has not given him the second part of his inheritance. He has sought to find cheaper ways of producing the music examples for his latest writings: he is more satisfied with the Eroica examples than the engraved illustrations from previous volumes of Das Meisterwerk in der Musik, and is planning to issue Der freie Satz with a volume of examples that is separate from the text. He repeats the news, from an earlier letter, of his being mentioned in Romain Rolland's most recent Beethoven book, and of his entry in Meyers Konversations-Lexicon, and also reports on an item about him in the Deutsche Tonkünstler-Lexikon.

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 6/7, [51] Handwritten letter, with envelope, from Schenker to Violin, dated October 21, 1930

Writing after a long and serious illness, Schenker assures his friend that he is alive and well. The doctors have pronounced him generally fit, but he suffers from a painful tightening of the thorax, and also a flickering that causes him to "lose" letters and notes. He has had to give many double-lessons of late, in theory, which he finds tiring. To Hoboken, who, though gifted, is concerned only about his money and often comes to lessons without having prepared anything, he would rather play than give over-long lectures. He is concerned, for his own sake as much as for Weisse's, about the lectures in Berlin that Weisse will deliver, and about his eagerness to debate with Alfred Lorenz; he is glad that Violin is going to Berlin, and will give him instructions about what to do there. His Beethoven sonata edition brings in 100 shillings per month – a good deal for the publishers – and his brother still has half of his inheritance. But he is still alive – with Der freie Satz.

OJ 15/15, [47] Handwritten postcard from Weisse to Schenker, dated November 9, 1930

Weisse asks Schenker for the address of Reinhard Oppel, who may be able to provide names of people in Berlin whom Weisse could invite to his forthcoming lecture there.

OJ 5/7a, [33] (formerly vC 33) Handwritten postcard from Schenker to Cube, dated November 10, [1930]

Discusses attendance at Weisse's forthcoming lecture in Berlin; refers to two articles in Die Musik.

WSLB 423 Handwritten postcard from Schenker to UE, dated November 11, 1930

Schenker confirms the consent he has given to the Kiel student body.

PhA/Ar 56, [4] Handwritten letter from Schenker to Haas, dated November 12, 1930

Schenker offers Haas a line of inquiry for tracing Beethoven source materials.

OJ 11/32, [4] Typed letter from Robert Haas to Schenker, dated November 17, 1930

The proposed C. P. E. Bach contract is not yet clinched; hopes to see Schenker and Hoboken soon.

OJ 6/7, [52] Letter from Schenker to Moriz Violin, in Jeanette Schenker's hand, dated November 26, 1930

Schenker summarizes the achievements and ambitions of several of his pupils and followers (Albersheim, Cube, Vrieslander, Roth, Jonas, and Weisse), noting that Weisse is the most ambitious of all of these though he is not completely at home in the new theory. He fears that something might go wrong at Weisse's forthcoming lecture at the Central Institute for Music Education, and hopes that Violin will listen with a sharp ear. Weisse will give a trial run of the lecture at the Schenkers' apartment.

OJ 15/15, [49] Handwritten postcard from Weisse to Schenker, dated November 28, 1930

Weisse is delighted by the chance to rehearse his forthcoming lecture at Schenker's apartment. His Sextet will be performed at the Musikverein in Vienna; he goes through a list of Schenker's circle of adherents who might be invited to his forthcoming lectures at the Central Institute for Music Education and Teaching in Berlin.

OJ 11/54, [29] Typewritten letter from Hoboken to Schenker, dated December 5, 1930

Hoboken depicts the abundance of music in Berlin, contrasting Furtwängler, Klemperer and Kleiber. — He has decided to withdraw his planned financing of the Photogramarchiv's collected edition of C. P. E. Bach.

OJ 11/54, [30] Handwritten letter from Hoboken to Schenker, dated January 5, 1931

Hoboken sends New Year's greetings and speaks of next lesson.

OJ 11/54, [33] Handwritten picture postcard from Hoboken to Schenker, dated April 27, 1931

Hoboken reports when he will be back in Vienna.

OJ 11/54, [34] Handwritten letter from Hoboken to Schenker, dated April 29, 1931

Hoboken may stay at the Semmering spa for a few more days, and discusses his next appearance for a lesson. — He discusses Specht's Bildnis Beethovens.

OJ 5/7a, [38] (formerly vC 38) Handwritten letter from Schenker to Cube, in Jeanette Schenker's hand, dated June 30, 1931

Schenker encloses the [Mozart calling] card, and sends an article from Der Kunstwart; he emphasizes that Moriz Violin's new institute is a "school," not a "seminar," and offers detailed advice; comments that his theory from Harmonielehre to Meisterwerk constitutes a self-contained whole; recommends use of C. P. E. Bach's Versuch with his theory applied to the examples; and foretells the Urlinie-Tafeln that should be available to Violin/Cub in Hamburg and to Weisse in New York. His eyes have suffered and need complete rest.

OJ 9/34, [27] Handwritten letter from Cube to Schenker, dated September 8, 1931

Line drawing of Moriz Violin. Cube reports on health of Violin's son; discusses his relationship with Violin, and the prospects of the Schenker Institute in Hamburg; Cube will be assisting at a lecture given by Hans Weisse.

OJ 89/5, [1] Handwritten letter from Schenker to Hoboken, dated September 29, 1931

Schenker tells Hoboken not to concern himself too much with the Urlinie: it is the linear progressions that really matter.

OJ 5/11, [1a] First draft of a handwritten letter from Schenker to Furtwängler, in Jeanette Schenker’s hand, dated November 11‒16, 1931

OJ 5/11, [1b] Second draft of a handwritten letter from Schenker to Furtwängler in Jeanette and Heinrich Schenker’s hand, dated November 11‒16, 1931

OJ 9/34, [31] Handwritten letter from Cube to Schenker, dated May 8, 1932

Cube sends Schenker an Urlinie graph of Schubert's song "Der Dopplegänger," and offers an extended commentary. Describes his work and state of mind, and comments on working with Moriz Violin; he expresses fears for the Hamburg Schenker Institut. He has just got married.

OJ 9/34, [32] Handwritten letter from Cube to Schenker, dated May 11, 1932

Cube reports a conversation with Moriz Violin.

OJ 11/54, [39] Handwritten postcard from Hoboken to Schenker, dated May 12, 1932

Hoboken will come to see Schenker on Friday.

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 12/6, [13] Handwritten letter from Jonas to Schenker, dated July 14, 1932

Jonas reports on his visit to Berlin, where he failed to meet with Furtwängler; — discusses Brahms-Handel Saul and Beethoven Op. 109. — He has heard about the Fünf Urlinie-Tafeln from Hoboken and Salzer; — discusses plans for publishing his Das Wesen des musikalischen Kunstwerkes. — Has received books from Alfred Einstein.

FS 40/1, [10] Handwritten postcard from Schenker to Salzer, dated July 16, 1932

Salzer will receive four copies of Fünf Urlinie-Tafeln, and is asked to distribute them.

OJ 11/32, [10] Typed letter from Robert Haas to Schenker, dated July 22, 1932

Haas sends summer greetings and urges holding a Board of Trustees' meeting in September.

FIBA 13/MO1 Handwritten letter from Schenker to Rudolf von Ficker, dated July 27, 1932

Schenker requests a meeting with Ficker in Igls.

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.

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, [15] Handwritten letter from Jonas to Schenker, dated September 5, 1932

Jonas encloses sample page-make-up by Saturn-Verlag, and asks Schenker to send addresses for recipients of invitations [to subscribe]. Reports on his professional prospects and contacts in Berlin, and on reviewing.

OJ 89/5, [5] Typewritten letter (carbon copy) from Hoboken to Schenker, dated September 5, 1932

Hoboken sets out his plans to leave Vienna, pack his furniture and put his music collection in store, and how he sees the continuation of his lessons with and work under Schenker.

OJ 5/18, 13 Handwritten letter from Schenker to Jonas, dated September 7, 1932

Der freie Satz is complete, and Anthony van Hoboken has volunteered [financial] assistance. Schenker wonders whether van Hoboken might not provide support for Jonas, too.

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 11/16, [12] Handwritten letter from Furtwängler to Schenker, dated September 22, 1932

Furtwängler was prevented from visiting Schenker in August by having to go into the Cottage Sanatorium, Vienna. He hopes to see Schenker during the winter, and asks whether he might like to do the ceremonial address for the Brahms Centenary.

OJ 89/5, [7] Typewritten letter (carbon copy) from Hoboken to Schenker, dated September 22, 1932

Hoboken is pleased at completion of Der freie Satz and reaffirms his financial assistance for its printing. — Encloses a letter from Robert Haas and proposes a three-way meeting. — Refers to the impact of his divorce has on his financial affairs. — May be able to assist Jonas's publication.

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 11/16, [13] Handwritten letter from Furtwängler to Schenker, dated November 16, 1932

Furtwängler is in Vienna and wants to visit Schenker today.

OJ 5/18, 17 Handwritten letter from Schenker to Jonas, incorrectly dated September 1932 [recte: December 1, 1932]

Schenker discusses likely sales for Jonas's Das Wesen, and will himself help promote the book; warns Jonas against Hoboken.

OC 18/37-38 Handwritten letter from Furtwängler to Schenker, dated December 10, 1932

Furtwängler shares Schenker's assessment of Ludwig Karpath, and has not written a letter for publication. — He has been exploring possibilities for Schenker in Berlin, particularly taking over a masterclass at the Akademie der Künste, with additional lectures at the Stern'sches Conservatory. — He has heard from Hans Weisse. — He encloses a review by Herman Roth, and comments on the latter's character.

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 18/43 Typewritten letter from Karpath to Schenker, dated December 31, 1932

Karpath answers Schenker's accusations against Joseph Marx among others, in a placatory manner. — He encourages Schenker to ask Furtwängler for the awaited letter. — He will contact Marx and Franz Schmidt.

Sbb 55 Nachl. 13, [8] Handwritten letter from Schenker to Furtwängler, dated January 24, 1933

Schenker has received a letter from Karpath, and alerts Furtwängler that he will be hearing from him about the proposed letter to the newspaper; Schenker reports on recent visit by Joseph Marx re the adaptation of Harmonielehre; Schenker would now be willing to associate with the Akademie, but appointments there come about only by intrigue.

OC 18/47 Typewritten letter (carbon copy) from Furtwängler to Karpath, dated February 6, 1933

Letter of recommendation by Furtwängler, which stresses expressly Schenker's great significance as a music theorist.

OJ 5/18, 23 Handwritten letter from Schenker to Jonas, dated February 7, 1933

Schenker returns four essays with praise. Salzer is informed that the price for Jonas's Einführung has been set too high; Schenker advises caution with Hoboken.

OJ 12/6, [20] Handwritten letter from Jonas to Schenker, dated March 20, 1933

Van Hoboken is willing to advance 600 Mk for the Einführung; Jonas inquires, in that regard, after the plan to reprint Schenker's Harmonielehre, indicating that he had previously prepared a reformulation of that work for teaching purposes; — he alludes to introductory lectures to Furtwängler concerts, and the Handel-Brahms Saul project.

OJ 12/6, [21] Handwritten postcard from Jonas to Schenker, dated May 2, [1933]

Jonas thanks Schenker for Brahms study; — he will be in Vienna to see Hoboken on 16th and will visit Schenker.

OJ 12/6, [22] Handwritten letter from Jonas to Schenker, dated May 9, 1933

Jonas acknowledges OJ 5/18, 25. — If agreement can be reached on his Einführung, he hopes for publication in the fall; — he has read the two articles by Schenker; — he sends a recent article on Photogrammarchive; — he will be in Vienna on 16th.

OJ 9/34, [37] Handwritten letter from Cube to Schenker, dated May 11, 1933

Cube, in response to OJ 5/7a, [45], defends his choice of a descent from 3, with neighbor-note 4, in his analysis of the first theme of Beethoven Op. 26, mvt 1, with graphs as "proof"; he also defends political developments in Germany, and attributes his threatened hunger to Violin's return to Vienna.

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.

OJ 9/15, [3] Handwritten notecard from Elsa Bienenfeld to Schenker, dated June 6, 1933

Bienenfeld thanks Schenker for her visit to him on June 2, 1933, and invites him to meet Felix Weingartner on June 14, 1933.

OJ 5/7a, [47] (formerly vC 47) Handwritten letter from Schenker to Cube, dated July 18, 1933

Schenker reports on a newspaper article and abortive radio program about his theory, by Theo Goos; also on Jonas's forthcoming book, on van Hoboken, Moriz Violin, and Hans Wolf; and on progress with Der freie Satz.

OJ 11/32, [17] Typewritten letter from Robert Haas to Schenker, dated September 20, 1933

Haas promises to have the Griesinger Haydn book delivered, and mentions several other matters.

OJ 5/18, 28 Handwritten postcard from Schenker to Jonas, dated October 5, 1933

Schenker is circulating Jonas's article to draw attention to his [forthcoming] book. — He does not have van Hoboken's current address.

OJ 5/18, 29 Handwritten postcard from Schenker to Jonas, dated October 7, 1933

Schenker is forwarding issues [of the periodical containing Jonas's article] to Hoboken.

OJ 12/6, [46] Handwritten postcard from Jonas to Schenker, dated October 31 [1933]]

Jonas has been sick; — he has seen Furtwängler briefly; — Jonas believes that he will not have space for the planned appendix on the Photogramm Archive in his book; — he inquires about Hoboken.

OJ 5/18, 30 Handwritten postcard from Schenker to Jonas, dated November 6, 1933

Schenker reports van Hoboken's pending arrival in Vienna; — He refers to Furtwängler and Richard Strauss.

OJ 12/6, [25] Handwritten letter from Jonas to Schenker, dated December 3, 1933

The majority of Jonas's Das Wesen des musikalischen Kunstwerks has gone to the printer; — Furtwängler has promised to recommend it to the Berlin Hochschule für Musik; — no word from van Hoboken. Jonas inquires after Free Composition.

OJ 5/18, 31 Handwritten letter from Schenker to Jonas, dated December 8, 1933

Schenker congratulates Jonas on handing over his volume to the printer; — he gives van Hoboken's current address; — he has eye trouble; — comments on Furtwängler, and on economic difficulties for music teachers in Vienna.

OJ 5/18, 32 Handwritten letter from Schenker to Jonas, dated December 13, 1933

The music examples in Das Meisterwerk were engraved; Schenker draws attention to and commends an article [by Israel Citkowitz].

OJ 5/18, 33 Handwritten letter from Schenker to Jonas, dated December 21, 1933

Schenker sends article [by Citkowitz]. — In response to Jonas's quoting from a Jewish lexikon, he refers to the sermons by Cardinal Faulhaber, and writes of his pride in being Jewish but in having assimilated thoroughly enough to establish favorable relations with the Catholic church, antisemites, and the news media. — Implying a parallel between himself and Jesus, he offers his "monotheistic theory of music" as "a new message to the world from the Jews." — He has no copy of his Syrische Tänze; — writes of the work's history.

OJ 89/7, [2] Handwritten letter from Schenker to Hoboken, dated January 13, 1934

Schenker encourages Hoboken to continue to live in Vienna, praising its racial diversity; — Der freie Satz is near completion; — sales of Beethovens Neunte Sinfonie are going well.

OJ 89/7, [3] Typewritten letter (carbon copy) from Hoboken to Schenker, dated January 15, 1934

Hoboken explains his indecision over future residence in Vienna.

OJ 89/7, [4] Handwritten letter from Schenker to Hoboken, dated January 17, 1934

Hoboken will probably not need to send money [for printing costs of Der freie Satz] until 1935.

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 12/6, [30] Handwritten letter from Jonas to Schenker, dated March 16, 1934

Jonas has mailed off the book [to his publisher]; he hopes that Schenker will approve of it [when eventually he sees it]. It comprises four chapters and two appendices. — He thanks Schenker for the gift of his Syrian Dances. — The Director of the Hochschule für Musik in Berlin, Fritz Stein, has written that he cannot arrange a position for Jonas, whereas Jonas (with support from Furtwängler) had sought only students to whom to give [private] lessons. — Jonas alludes to difficult conditions under which he is working, and describes his conflict with piano teacher Georg Bertram. — Relations with van Hoboken are strained, despite Jonas's having included an appendix about the Photogrammarchiv in his book.

OJ 12/6, [29] Handwritten letter from Jonas to Schenker, dated March 30, 1934

Jonas wishes the Schenkers a happy Easter. — His book expected out April 20: Jonas wonders if it would be a good idea to ask Furtwängler for a letter for it.

OJ 5/18, 38 Handwritten letter from Schenker to Jonas, dated April 7, 1934

Further to OJ 5/18, 37, Schenker reports his conversation with Hoboken, who praised Jonas's book, then asked Schenker's opinion on how best to display the music examples. Schenker attempts diplomatically to explain Hoboken's pettiness. — Furtwängler is in Vienna. — Schenker praises Jonas's activities.

OJ 12/6, [31] Handwritten letter from Jonas to Schenker, dated April 15, 1934

Jonas acknowledges three communications; Hoboken has increased his subvention for Jonas's book; Furtwängler has agreed to write a supporting letter. — Jonas proposes a series of individual critical introductions to most frequently performed piano works and concertos.

OJ 5/18, 41 Handwritten letter from Schenker to Jonas, dated April 23, 1934

Free Composition is completed. Schenker is pleased that Hoboken has come round; — he gives Weisse's address; — Schenker has ordered five copies of Jonas's book; — he reports that Salzer has completed a new book; — questions Jonas about his new plan, but welcomes it; — Goos may not realize that Schenker is a Jew.

FS 40/1, [23] Handwritten letter from Schenker to Salzer, dated June 11, 1934

Hoping that he and Jeanette will be able to get away on the 15th, Schenker reports a conversation with Furtwängler, and the latter's praise for Jonas.

OJ 12/6, [32] Handwritten letter from Jonas to Schenker, dated June 11, 1934

Publication of Jonas's book has been delayed until June 22; — he may give a lecture in conjunction with Edwin Fischer; — his Beethoven sketches article is in press; — Hoboken is considering Jonas's proposed elucidatory edition plan in conjunction with a putative publication by the Photogram Archive.

OJ 15/22, [7] Handwritten letter from Willfort to Schenker, dated June 14, 1934

Willfort, writing from Berlin, has been unable to make contact with Furtwängler. — He has spent time with Jonas; — is disappointed that Schenker will not be in Vienna to hear him conduct the Brahms' "Tragic" Overture; — gives travel plans; — inquires after Schenker's reaction to his work on the "Moonlight" Sonata.

OJ 12/6, [33] Handwritten letter from Jonas to Schenker, dated June 29, 1934

Jonas describes his summer travel plans, including Bayreuth; hopes to meet Schenker in Vienna in August. Reports state of play on his book, a proof copy of which Furtwängler is reading. Reports on recent lecture, and prospect of another lecture.

OJ 14/1, [2] Handwritten letter from Salzer to Schenker, dated July 16, 1934

Salzer reports that he has secured his contract with Saturn Verlag. — He and his wife have agreed to separate.

OJ 12/6, [34] Handwritten letter from Jonas to Schenker, dated July 19, 1934

Jonas acknowledges two postcards, thanks Schenker for his note [re Das Wesen des musikalischen Kunstwerks]; has heard nothing from Hoboken; Furtwängler is too busy to read the book now; Jonas is going to Bayreuth. An errata list will have to be produced for the book.

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 15/22, [8] Handwritten letter from Willfort to Schenker, dated July 30, 1934

Willfort reports progress in his conducting career; he will be in Vienna next academic year; has the prospect of a radio concert with RAVAG in September.

OJ 12/6, [36] Handwritten letter from Jonas to Schenker, dated August 6, [1934]

Jonas alludes to the Dolfuss assassination; gives his reactions to Bayreuth (which he has just visited) and the Wagner cult. — He is seeing his publisher about the proposed commentary editions.

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.

OJ 5/18, 51 Handwritten letter from Schenker to Jonas, dated August 18, [1934]

Schenker re-sends a postcard that has been returned; mentions a visit by the Hobokens

OC 44/20 Handwritten postcard from Jonas to Schenker, dated [September 3, 1934]

Jonas would like to pay a visit to Schenker; — he has heard nothing from Hoboken; — he is remaining in Vienna.

OC 44/21 Handwritten postcard from Jonas to Schenker, dated September 18, [1934]

Jonas is back in Berlin; reports on elucidatory editions, and seeks advice; — he refers to Klemperer and Furtwängler, — he has received letter from Landshoff; — forthcoming lectures 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 11/16, [15] Handwritten letter from Furtwängler to Schenker, dated September 26, 1934

Furtwängler apologies for not visiting Galtür in the summer; he spent the vacation on his own work; he will be in Vienna and hopes to see Schenker; he intends to write publicly about Schenker's work; comments on current political situation. — Finds Jonas's book excellent.

OJ 5/18, 57 Handwritten postcard from Schenker to Jonas, dated September 28, 1934

Schenker has written to Furtwängler but doubts whether the latter will be able to help. — He passes on advice from Robert Haas regarding Hans Wolf's situation.

OJ 5/18, 59 Handwritten letter from Schenker to Jonas, dated October 16, 1934

Schenker cautions Jonas that he detects "something afoot" with Hoboken and his wife. — Mentions Hans Wolf's reentry problems and reports on German students coming to him. —An article on Schenker has been included in Spanish Enciclopedia universale. —Reports on Zuckerkandl, Breisach, von Cube, and Weisse.

OC 44/9 Handwritten letter from Jonas to Schenker dated October 27, 1934

Jonas acknowledges OJ 5/18, 59 and 60; Hoboken has no reason to complain about his behaviour. — As a result of Hoboken's distribution of complimentary copies, Jonas has received letters of appreciation. —Reacts critically to Willi Reich and his magazine 23. — Describes plans for forthcoming events in Hamburg.

OJ 12/6, [39] Typewritten letter (carbon copy) from Jonas to Schenker, dated November 28, 1934

Jonas has agreed to let his publisher proceed with a lawsuit against Willi Reich; he has written up the documentary evidence of the case and asks Schenker to circulate it among his circle. — He reports his activities in Berlin. — He reports his dispute with the Jüdischer Verlag.

OJ 12/6, [40] Handwritten letter from Jonas to Schenker, dated December 19, 1934

Jonas encloses a translation of an English review of his book; comments despairingly. — Lawsuit against Willi Reich comes to court on December 22. — Jonas hopes to give lectures in Vienna. —Asks if Schenker knows Carl Johann Perl. —Holiday good wishes.

OJ 12/6, [41] Handwritten letter from Jonas to Schenker, dated January 13, 1935

Jonas hopes Schenker is well; ‒ he plans to be in Vienna from 22 to about 28 January; — he is reading the Hildebrand-Fiedler correspondence.

OJ 70/3, [1] Handwritten draft of a letter from Moriz Violin to Moriz Rosenthal, undated, probably dating from c. January 20, 1935]

Violin regrets having failed to honor an agreement with Rosenthal to write an "outpouring from the heart" regarding Schenker's theory, and proceeds to draft a statement on the "presuppositions of the Urlinie," which he will re-draft in light of Rosenthal's comments.

OJ 12/6, [43] Handwritten letter from Jonas to Jeanette Schenker, dated March 9, 1935

Jonas thanks Jeanette for the opportunity to look at work of Schenker's [unspecified]; Jonas, Salzer, and Saturn Verlag wish to bring out a music journal in Schenker's memory: Jonas requests access to unpublished materials; he inquires whether Jeanette has reached an understanding with Saturn Verlag over aphorisms.

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.

OJ 15/22, [11] Handwritten letter and envelope from Willfort to Jeanette Schenker, dated July 18, 1935

Willfort explains his involvement in plans for a re-edition of the Harmonielehre, and thanks Jeanette for two photographs.

OJ 11/16, [17] Typewritten letter from Furtwängler to Jeanette Schenker, dated January 15, 1936

Furtwängler thanks Jeanette Schenker for the gift of Der freie Satz.

OJ 12/24, [12] Handwritten postcard from Kromer to Jeanette Schenker, dated September 18, 1939

Kromer thanks Jeanette for her call and card, reports that Ratz is not in Vienna.

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Diary entry by Schenker for 23 September 1916

Diary entry by Schenker for 29 September 1916

Diary entry by Schenker for 30 September 1916

Diary entry by Schenker for 2 October 1916

Diary entry by Schenker for 6 October 1916

Diary entry by Schenker for 20 October 1916

Diary entry by Schenker for 21 October 1916

Diary entry by Schenker for 23 October 1916

Diary entry by Schenker for 24 October 1916

Diary entry by Schenker for 30 October 1916

Diary entry by Schenker for 4 November 1916

Diary entry by Schenker for 11 November 1916

Diary entry by Schenker for 27 November 1916

Diary entry by Schenker for 6 December 1916

Diary entry by Schenker for 7 December 1916

Diary entry by Schenker for 15 December 1916

Diary entry by Schenker for 28 December 1916

Diary entry by Schenker for 12 January 1917

Diary entry by Schenker for 21 January 1917

Diary entry by Schenker for 22 January 1917

Diary entry by Schenker for 26 January 1917

Diary entry by Schenker for 28 January 1917

Diary entry by Schenker for 29 January 1917

Diary entry by Schenker for 30 January 1917

Diary entry by Schenker for 3 February 1917

Diary entry by Schenker for 7 March 1917

Diary entry by Schenker for 11 March 1917

Diary entry by Schenker for 12 March 1917

Diary entry by Schenker for 20 March 1917

Diary entry by Schenker for 25 March 1917

Diary entry by Schenker for 27 March 1917

Diary entry by Schenker for 3 April 1917

Diary entry by Schenker for 6 April 1917

Diary entry by Schenker for 14 April 1917

Diary entry by Schenker for 18 April 1917

Diary entry by Schenker for 22 April 1917

Diary entry by Schenker for 23 April 1917

Diary entry by Schenker for 25 April 1917

Diary entry by Schenker for 28 May 1917

Diary entry by Schenker for 13 June 1917

Diary entry by Schenker for 19 June 1917

Diary entry by Schenker for 30 June 1917

Diary entry by Schenker for 2 July 1917

Diary entry by Schenker for 3 July 1917

Diary entry by Schenker for 7 July 1917

Diary entry by Schenker for 10 July 1917

Diary entry by Schenker for 13 July 1917

Diary entry by Schenker for 17 July 1917

Diary entry by Schenker for 27 July 1917

Diary entry by Schenker for 29 July 1917

Diary entry by Schenker for 30 July 1917

Diary entry by Schenker for 3 August 1917

Diary entry by Schenker for 4 August 1917

Diary entry by Schenker for 16 August 1917

Diary entry by Schenker for 25 August 1917

Diary entry by Schenker for 26 August 1917

Diary entry by Schenker for 27 August 1917

Diary entry by Schenker for 30 August 1917

Diary entry by Schenker for 31 August 1917

Diary entry by Schenker for 1 September 1917

Diary entry by Schenker for 3 September 1917

Diary entry by Schenker for 5 September 1917

Diary entry by Schenker for 8 September 1917

Diary entry by Schenker for 10 September 1917

Diary entry by Schenker for 11 September 1917

Diary entry by Schenker for 16 September 1917

Diary entry by Schenker for 16 October 1917

Diary entry by Schenker for 23 October 1917

Diary entry by Schenker for 31 October 1917

Diary entry by Schenker for 15 November 1917

Diary entry by Schenker for 16 November 1917

Diary entry by Schenker for 22 November 1917

Diary entry by Schenker for 25 November 1917

Diary entry by Schenker for 7 December 1917

Diary entry by Schenker for 20 December 1917

Diary entry by Schenker for 23 December 1917

Diary entry by Schenker for 20 December 1918

Diary entry by Schenker for 21 December 1918

Diary entry by Schenker for 24 December 1918

Diary entry by Schenker for 25 December 1918

Diary entry by Schenker for 28 December 1918

Diary entry by Schenker for 3 January 1919

Diary entry by Schenker for 4 January 1919

Diary entry by Schenker for 6 January 1919

Diary entry by Schenker for 7 January 1919

Diary entry by Schenker for 11 January 1919

Diary entry by Schenker for 14 January 1919

Diary entry by Schenker for 16 January 1919

Diary entry by Schenker for 23 January 1919

Diary entry by Schenker for 27 January 1919

Diary entry by Schenker for 2 February 1919

Diary entry by Schenker for 6 February 1919

Diary entry by Schenker for 8 February 1919

Diary entry by Schenker for 10 February 1919

Diary entry by Schenker for 11 February 1919

Diary entry by Schenker for 15 February 1919

Diary entry by Schenker for 16 February 1919

Diary entry by Schenker for 19 February 1919

Diary entry by Schenker for 22 February 1919

Diary entry by Schenker for 25 February 1919

Diary entry by Schenker for 2 March 1919

Diary entry by Schenker for 3 March 1919

Diary entry by Schenker for 4 March 1919

Diary entry by Schenker for 8 March 1919

Diary entry by Schenker for 15 March 1919

Diary entry by Schenker for 16 March 1919

Diary entry by Schenker for 18 March 1919

Diary entry by Schenker for 23 March 1919

Diary entry by Schenker for 25 March 1919

Diary entry by Schenker for 26 March 1919

Diary entry by Schenker for 29 March 1919

Diary entry by Schenker for 30 March 1919

Diary entry by Schenker for 5 April 1919

Diary entry by Schenker for 6 April 1919

Diary entry by Schenker for 9 April 1919

Diary entry by Schenker for 11 April 1919

Diary entry by Schenker for 12 April 1919

Diary entry by Schenker for 13 April 1919

Diary entry by Schenker for 15 April 1919

Diary entry by Schenker for 16 April 1919

Diary entry by Schenker for 20 April 1919

Diary entry by Schenker for 23 April 1919

Diary entry by Schenker for 26 April 1919

Diary entry by Schenker for 27 April 1919

Diary entry by Schenker for 29 April 1919

Diary entry by Schenker for 30 April 1919

Diary entry by Schenker for 5 May 1919

Diary entry by Schenker for 18 May 1919

Diary entry by Schenker for 19 May 1919

Diary entry by Schenker for 22 May 1919

Diary entry by Schenker for 1 June 1919

Diary entry by Schenker for 2 June 1919

Diary entry by Schenker for 29 July 1925

Diary entry by Schenker for 10 October 1925

Diary entry by Schenker for 5 January 1926

Diary entry by Schenker for 8 March 1926

Diary entry by Schenker for 23 March 1926

Diary entry by Schenker for 28 June 1926

Diary entry by Schenker for 9 August 1926

Diary entry by Schenker for 25 August 1926

Diary entry by Schenker for 26 August 1926

Diary entry by Schenker for 6 September 1926

Diary entry by Schenker for 17 September 1926

Diary entry by Schenker for 23 September 1926

Diary entry by Schenker for 11 October 1926

Diary entry by Schenker for 23 November 1926

Diary entry by Schenker for 29 November 1926

Diary entry by Schenker for 18 December 1926

Diary entry by Schenker for 20 December 1926

Diary entry by Schenker for 31 January 1927

Diary entry by Schenker for 17 March 1927

Diary entry by Schenker for 18 May 1927

Diary entry by Schenker for 6 June 1927

Diary entry by Schenker for 24 June 1927

Diary entry by Schenker for 16 July 1927

Diary entry by Schenker for 17 July 1927

Diary entry by Schenker for 19 July 1927

Diary entry by Schenker for 20 July 1927

Diary entry by Schenker for 21 July 1927

Diary entry by Schenker for 24 July 1927

Diary entry by Schenker for 25 July 1927

Diary entry by Schenker for 26 July 1927

Diary entry by Schenker for 31 July 1927

Diary entry by Schenker for 11 August 1927

Diary entry by Schenker for 12 August 1927

Diary entry by Schenker for 15 August 1927

Diary entry by Schenker for 19 August 1927

Diary entry by Schenker for 20 August 1927

Diary entry by Schenker for 24 August 1927

Diary entry by Schenker for 2 September 1927

Diary entry by Schenker for 5 September 1927

Diary entry by Schenker for 6 September 1927

Diary entry by Schenker for 7 September 1927

Diary entry by Schenker for 8 September 1927

Diary entry by Schenker for 16 November 1927

Diary entry by Schenker for 27 December 1927

Diary entry by Schenker for 30 December 1927

Diary entry by Schenker for 13 January 1928

Diary entry by Schenker for 18 January 1928

Diary entry by Schenker for 19 March 1928

Diary entry by Schenker for 30 March 1928

Diary entry by Schenker for 4 April 1928

Diary entry by Schenker for 3 June 1928

Diary entry by Schenker for 5 June 1928

Diary entry by Schenker for 11 June 1928

Diary entry by Schenker for 13 June 1928

Diary entry by Schenker for 5 July 1928

Diary entry by Schenker for 13 July 1928

Diary entry by Schenker for 19 July 1928

Diary entry by Schenker for 21 July 1928

Diary entry by Schenker for 27 August 1928

Diary entry by Schenker for 28 August 1928

Diary entry by Schenker for 1 September 1928

Diary entry by Schenker for 7 September 1928

Diary entry by Schenker for 27 September 1928

Diary entry by Schenker for 8 October 1928

Diary entry by Schenker for 3 December 1928

Diary entry by Schenker for 31 December 1928

Diary entry by Schenker for 24 January 1929

Diary entry by Schenker for 11 March 1929

Diary entry by Schenker for 8 April 1929

Diary entry by Schenker for 12 April 1929

Diary entry by Schenker for 19 April 1929

Diary entry by Schenker for 2 May 1929

Diary entry by Schenker for 4 May 1929

Diary entry by Schenker for 10 May 1929

Diary entry by Schenker for 7 June 1929

Diary entry by Schenker for 19 June 1929

Diary entry by Schenker for 12 July 1929

Diary entry by Schenker for 15 July 1929

Diary entry by Schenker for 29 July 1929

Diary entry by Schenker for 13 August 1929

Diary entry by Schenker for 23 August 1929

Diary entry by Schenker for 27 August 1929

Diary entry by Schenker for 2 September 1929

Diary entry by Schenker for 3 September 1929

Diary entry by Schenker for 5 September 1929

Diary entry by Schenker for 30 November 1929

Diary entry by Schenker for 8 January 1930

Diary entry by Schenker for 21 January 1930

Diary entry by Schenker for 29 January 1930

Diary entry by Schenker for 4 February 1930

Diary entry by Schenker for 27 February 1930

Diary entry by Schenker for 27 May 1930

Diary entry by Schenker for 7 July 1930

Diary entry by Schenker for 2 August 1930

Diary entry by Schenker for 22 August 1930

Diary entry by Schenker for 23 August 1930

Diary entry by Schenker for 29 August 1930

Diary entry by Schenker for 30 August 1930

Diary entry by Schenker for 31 August 1930

Diary entry by Schenker for 8 September 1930

Diary entry by Schenker for 9 September 1930

Diary entry by Schenker for 30 September 1930

Diary entry by Schenker for 24 October 1930

Diary entry by Schenker for 11 November 1930

Diary entry by Schenker for 23 December 1930

Diary entry by Schenker for 31 December 1930

Diary entry by Schenker for 28 July 1931

Diary entry by Schenker for 30 July 1931

Diary entry by Schenker for 7 September 1931

Diary entry by Schenker for 7 November 1931

Diary entry by Schenker for 26 December 1931

Diary entry by Schenker for 8 January 1932

Diary entry by Schenker for 23 February 1932

Diary entry by Schenker for 24 February 1932

Diary entry by Schenker for 3 May 1932

Diary entry by Schenker for 19 May 1932

Diary entry by Schenker for 20 May 1932

Diary entry by Schenker for 19 June 1932

Diary entry by Schenker for 20 June 1932

Diary entry by Schenker for 6 July 1932

Diary entry by Schenker for 12 July 1932

Diary entry by Schenker for 19 July 1932

Diary entry by Schenker for 24 July 1932

Diary entry by Schenker for 11 August 1932

Diary entry by Schenker for 19 August 1932

Diary entry by Schenker for 21 August 1932

Diary entry by Schenker for 28 August 1932

Diary entry by Schenker for 7 September 1932

Diary entry by Schenker for 12 September 1932

Diary entry by Schenker for 26 September 1932

Diary entry by Schenker for 15 October 1932

Diary entry by Schenker for 18 November 1932

Diary entry by Schenker for 21 November 1932

Diary entry by Schenker for 4 March 1933

Diary entry by Schenker for 20 April 1933

Diary entry by Schenker for 4 May 1933

Diary entry by Schenker for 20 June 1933

Diary entry by Schenker for 29 June 1933

Diary entry by Schenker for 2 July 1933

Diary entry by Schenker for 4 August 1933

Diary entry by Schenker for 8 August 1933

Diary entry by Schenker for 10 August 1933

Diary entry by Schenker for 11 August 1933

Diary entry by Schenker for 15 August 1933

Diary entry by Schenker for 18 August 1933

Diary entry by Schenker for 19 August 1933

Diary entry by Schenker for 27 August 1933

Diary entry by Schenker for 3 September 1933

Diary entry by Schenker for 6 September 1933

Diary entry by Schenker for 8 September 1933

Diary entry by Schenker for 9 September 1933

Diary entry by Schenker for 12 September 1933

Diary entry by Schenker for 2 October 1933

Diary entry by Schenker for 21 November 1933

Diary entry by Schenker for 23 November 1933

Diary entry by Schenker for 28 November 1933

Diary entry by Schenker for 4 December 1933

Diary entry by Schenker for 15 December 1933

Diary entry by Schenker for 13 January 1934

Diary entry by Schenker for 16 March 1934

Diary entry by Schenker for 8 April 1934

Diary entry by Schenker for 13 April 1934

Diary entry by Schenker for 16 April 1934

Diary entry by Schenker for 20 April 1934

Diary entry by Schenker for 29 August 1934

Diary entry by Schenker for 31 August 1934

Diary entry by Schenker for 5 September 1934

Diary entry by Schenker for 6 September 1934

Diary entry by Schenker for 10 September 1934

Diary entry by Schenker for 22 October 1934

Diary entry by Schenker for 30 November 1934

ML100 .R52 1919, [1] Schenker entry in Hugo Riemanns Musiklexikon, 9th edition, ed. Alfred Einstein (1919)

OC 2/p. 60, [3] Review: Bekker, "Musiker-Faksimiles"

OC 2/p. 79, [4] Schenker entry in Hugo Riemanns Musiklexikon, 11th edition (1929)