{recto}
[missing]
{verso}


14. Dez. 22.


Liebster H.! 1

Wie traurig daß ich Dir erst heute, wie schön daß ich Dir noch von der beseligenden Nachwirkung, mit Dir wieder von Angesicht zu Angesicht gesprochen zu haben, berichten kann. Wie schön: weil es nicht verwindbar ist, wie traurig: weil Bubis Krankheit u. der dadurch überdimensional vergrößerte Lebenskampf alle besseren Regungen erstickt. Wir hätten wieder bange Tage. Jetzt will es wieder hoffnungsvoller werden.

Der Kunstbetrieb in Deutschland wird von Tag zu Tag hoffnungsloser, widerwärtiger! Was gibts nun für Hertzkainder? 2 Was machen Straubeanträge? Furtwängler ist immer mehr aus zu schalten. Dieser Tage war er Mittelpunkt einer Schönberg-Aufführung in Berlin!

Was bekommst Du denn für Prozente z. B. bei der Harmonielehre? Du mußt nämlich wissen, daß dieser Tage eine Schülerin von mir den I. Band kaufte ca 1200 Mark bezahlte u. die Innenumschlagseite mit einem Zettel der U. E. überklebt war. Durchs Licht besehen, schimmerte „Cottas Verlag“ durch! 3

Von morgen ist doppeltes Posto u.s.w

{recto}
Dir u. Frau Lie-Lie
alles Erdenklich von uns!
Dein
[signed:] Floriz

© Transcription William Drabkin, 2011

{recto}
[missing]
{verso}


December 14, 1922


Dearest Heinrich! 1 >

How sad that it was only today that I could give you my news; but how lovely that I could still benefit from the calming effect of being able to speak with you face to face again. How lovely: because this is something I shall never be able to do without; how sad, because my little boy's illness, and the immeasurably greater struggle to survive that has resulted from it, has suffocated all my better emotions. We have been through some difficult days. Now things appear to be more hopeful.

The prospect for the arts in Germany becomes more hopeless and objectionable from one day to the next! What sort of trouble are the likes of Hertzka 2 up to? What has become of your petitions to Straube? Furtwängler is increasingly not to be counted upon: these days he was at the center of a Schoenberg performance in Berlin!

What percent royalty do you get, for example, for your Theory of Harmony ? You ought to know that a pupil of mine recently paid 1,200 Marks for the first volume, and a slip of paper from UE was pasted over the inside cover. Through the light, the words "Cotta's Publishing House" shone through! 3

Tomorrow, the postal charges are doubled, etc.

{recto}
To you and Lie-Lie
all best wishes from us!
Your
[signed:] Floriz

© Translation William Drabkin, 2011

{recto}
[missing]
{verso}


14. Dez. 22.


Liebster H.! 1

Wie traurig daß ich Dir erst heute, wie schön daß ich Dir noch von der beseligenden Nachwirkung, mit Dir wieder von Angesicht zu Angesicht gesprochen zu haben, berichten kann. Wie schön: weil es nicht verwindbar ist, wie traurig: weil Bubis Krankheit u. der dadurch überdimensional vergrößerte Lebenskampf alle besseren Regungen erstickt. Wir hätten wieder bange Tage. Jetzt will es wieder hoffnungsvoller werden.

Der Kunstbetrieb in Deutschland wird von Tag zu Tag hoffnungsloser, widerwärtiger! Was gibts nun für Hertzkainder? 2 Was machen Straubeanträge? Furtwängler ist immer mehr aus zu schalten. Dieser Tage war er Mittelpunkt einer Schönberg-Aufführung in Berlin!

Was bekommst Du denn für Prozente z. B. bei der Harmonielehre? Du mußt nämlich wissen, daß dieser Tage eine Schülerin von mir den I. Band kaufte ca 1200 Mark bezahlte u. die Innenumschlagseite mit einem Zettel der U. E. überklebt war. Durchs Licht besehen, schimmerte „Cottas Verlag“ durch! 3

Von morgen ist doppeltes Posto u.s.w

{recto}
Dir u. Frau Lie-Lie
alles Erdenklich von uns!
Dein
[signed:] Floriz

© Transcription William Drabkin, 2011

{recto}
[missing]
{verso}


December 14, 1922


Dearest Heinrich! 1 >

How sad that it was only today that I could give you my news; but how lovely that I could still benefit from the calming effect of being able to speak with you face to face again. How lovely: because this is something I shall never be able to do without; how sad, because my little boy's illness, and the immeasurably greater struggle to survive that has resulted from it, has suffocated all my better emotions. We have been through some difficult days. Now things appear to be more hopeful.

The prospect for the arts in Germany becomes more hopeless and objectionable from one day to the next! What sort of trouble are the likes of Hertzka 2 up to? What has become of your petitions to Straube? Furtwängler is increasingly not to be counted upon: these days he was at the center of a Schoenberg performance in Berlin!

What percent royalty do you get, for example, for your Theory of Harmony ? You ought to know that a pupil of mine recently paid 1,200 Marks for the first volume, and a slip of paper from UE was pasted over the inside cover. Through the light, the words "Cotta's Publishing House" shone through! 3

Tomorrow, the postal charges are doubled, etc.

{recto}
To you and Lie-Lie
all best wishes from us!
Your
[signed:] Floriz

© Translation William Drabkin, 2011

Footnotes

1 Receipt of this lettercard is recorded in Schenker's diary at OJ 3/4, p. 2485, December 18, 1922: "Von Fl. (Br.): Bubi wieder schlimm; erkundigt sich nach unseren Verhältnissen." ("From Floriz (letter): little boy in a bad way again; asks about our situation.").

2 "Hertzkainder": this appears to be a made up word, from “Hertzka” (Schenker’s publisher at Universal Edition) and “Kinder” (children), perhaps implying Hertzka's protégés.

3 Violin may have been unaware that, when Cotta declined to publish the second part of Kontrapunkt, UE took over the entire Neue Musikalischen Theorien und Phantasien series.

Commentary

Format
2p printed lettercard, holograph addresses recto, holograph message and signature verso
Provenance
Schenker, Heinrich (document date-1935)--Schenker, Jeanette (1935-c.1942)--Ratz, Erwin (c.1942-c.1945)--Jonas, Oswald (c.1945-1978)--University of California, Riverside (1978--)
Rights Holder
Heirs of Moriz Violin, reproduced here by kind permission
License
Permission to publish granted by the heirs of Moriz Violin, June 25, 2006. Any claim to intellectual rights on this document should be addressed to the Schenker Correspondence Project, Faculty of Music, University of Cambridge, at schenkercorrespondence [at] mus (dot) cam (dot) ac (dot) uk

Digital version created: 2011-06-27
Last updated: 2011-06-27