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OC 52/861 Typed letter from Alfred Kalmus (UE) to Schenker, dated July 28, 1930
50.66 shillings has been transferred.
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OC 54/197 Handwritten letter from Georg Tomay to Schenker, dated July 1, 1930
Tomay informs Schenker that Karl Piller has been entrusted with printing the
third Meisterwerk volume. He also encloses a manuscript leaf of Fig. 49 and requests
direction on how to proceed.
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OC 54/198 Postal receipt for a letter from Schenker to Georg Tomay, July 3, 1930
Postal receipt for a package containing Fig. 49 for the third Meisterwerk
volume, along with materials concerning the Finale.
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OC 54/199-200 Handwritten letter from Georg Tomay to Schenker, dated July 9, 1930
Tomay encloses the imprints of the music examples for the third Meisterwerk
volume, along with the original manuscripts, and requests clarification on various matters.
He invites Schenker to send corrections at his earliest convenience, and informs him that
the printing of the appendix will be undertaken in Leipzig instead of Vienna owing to a
significant reduction in production costs.
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OC 54/201 Receipt from Georg Tomay to Schenker, dated July 14, 1930
Receipt for a payment to Georg Tomay for his work on the third Meisterwerk
volume.
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OC 54/202 Postal receipt for a package to Georg Tomay, dated July 14, 1930
Postal receipt for a package containing the corrected proofs of Figures 1–49 for
the third Meisterwerk volume.
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OC 54/203 Handwritten letter from Georg Tomay to Schenker, dated July 24, 1930
Tomay encloses blueprint matrices of select music examples for the third
Meisterwerk yearbook for Schenker's consideration, and anticipates that the pages for the
fourth movement will reach him in approximately one week.
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OC 54/204 Handwritten letter from Georg Tomay to Schenker, dated July 26, 1930
Tomay encloses various figures for the third Meisterwerk volume for Schenker's
consideration, and also informs Schenker that he will soon dispatch corrected copies of the
figures concerning movements 1–3 of Beethoven's Third Symphony for his approval to
publish.
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OC 54/205 Receipt for a payment to Georg Tomay, dated July 28, 1930
Receipt for a payment to Georg Tomay for work on the third Meisterwerk
yearbook.
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OC 54/206 Handwritten letter from Georg Tomay to Schenker, dated July 29, 1930
Tomay responds to Schenker's questions about marking up corrections in the
music examples for the third Meisterwerk volume, and notifies him that he will send
blueprints of the music examples as soon as they have been produced.
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OC 54/207 Handwritten letter from Georg Tomay to Schenker, dated July 31, 1930
Tomay encloses blueprints of music examples for the third Meisterwerk volume
for Schenker's consideration. He anticipates that he will soon be in a position to send
corrected copies of the graphs for movements 1–3 of Beethoven's Third Symphony, with the
hope to secure Schenker's approval to publish.
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OC 54/219 Invoice from Karl Piller, dated July 12, 1930
Invoice for preliminary printing costs for the third Meisterwerk
volume.
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OC 54/220 Receipt from Karl Piller, dated July 22, 1930
Receipt for preliminary printing costs for the third Meisterwerk
volume.
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OC 54/228 Typewritten letter from August Demblin (DMV) to Schenker, dated July 18,
1930
Drei Masken Verlag acknowledge the receipt of Schenker’s signed contract for
the third Meisterwerk yearbook.
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OC 54/229 Telegram from Drei Masken Verlag to Schenker, dated July 22, 1930
Telegram confirming receipt of the manuscript for Das Meisterwerk vol.
3.
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OC 54/230 Typewritten letter from August Demblin (DMV) to Schenker, dated July 24,
1930
Drei Masken Verlag acknowledge receipt of the manuscript of the third
Meisterwerk yearbook; Schenker will shortly receive the galley-proofs and is asked to return
them with corrections as quickly as possible.
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OC 54/231 Typewritten letter from August Demblin (DMV) to Schenker, dated July 25,
1930
Drei Masken Verlag report that Röder (Leipzig) has received the manuscript of
the third Meisterwerk yearbook. They enclose a typography sample, and some samples for the
paper cover, for which they have tried to match the color of the cloth bindings of the first
two yearbooks.
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OC 54/309 Postal receipt for package sent from Schenker to Deutsch, postmarked July 2,
1930
Schenker returns Röder's sample brochure [for Meisterwerk III] to Deutsch with
Furtwängler letter.
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OC 54/310 Typewritten letter from Deutsch to Schenker, dated July 4, 1930
Deutsch gives further details of the production costs for the third
Meisterwerk yearbook and makes some recommendations, including the printing of the
Urlinie-Tafeln of the "Eroica" as a booklet, not as loose pages.
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OC 54/311 Handwritten letter from Deutsch to Schenker, dated July 14, 1930
Deutsch sends Schenker the contract from Drei Masken Verlag for the third
Meisterwerk yearbook, and asks him to sign it and return it to the publishers. He thinks
that an edition of the [collected] works of C. P. E. Bach is a worthy cause. He hopes that
Hoboken will soon receive the new honor from the Austrian government, for services to
scholarship.
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OC 54/312 Handwritten picture postcard from Deutsch to Schenker, dated July 21,
1930
Deutsch is sending the text manuscript of Schenker’s third Meisterwerk
yearbook to Drei Masken Verlag.
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OC 54/313 Postal receipt for package sent from Schenker to Deutsch, postmarked July 21,
1930
Schenker sends a 16-page letter and a clipping.
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OC 54/314 Typewritten picture postcard from Deutsch to Schenker, dated July 28,
1930
Deutsch asks Schenker not to return any proof corrections (to the text of the
third Meisterwerk yearbook) until he has seen his own.
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OC 54/315 Typewritten letter from Deutsch to Schenker, dated July 30, 1930
Deutsch makes further reports on the anticipated costs of the third
Meisterwerk yearbook. -- He has come across an arrangement of Beethoven’s Op. 74 Quartet as
a symphony and found some important early editions of the Op. 22 Sonata. -- He would like
Schenker to meet his friend [Leopold] Liegler, whose theories about literature resonate with
the concept of Urlinie.
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OJ 12/50, [6] Handwritten letter from Bernhard Martin to Schenker, undated [?July c.10,
1930]
Bernhard Martin reports using Schenker's analysis of the Haydn E-flat major
piano sonata [Tonwille 3] with his secondary school class. -- As a violinist he is working
on the Brahms Op. 78 violin sonata. -- He inquires after the "Eroica monograph." --
Universal Edition has still not rectified his defective copy of Schenker's Harmonielehre. --
He asks about Furtwängler's studies with Schenker.
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OJ 14/45, [115] Handwritten postcard from Moriz Violin to Schenker, dated July 3, 1930
Violin is spending two weeks with Karl in Schierke, in the Harz Mountains. In
the fall, he will have to make a decision about what to do about his son.
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OJ 14/45, [86] Handwritten letter from Moriz Violin to Schenker, dated July 23, 1930
Violin despairs of the future for his son, who has just turned 17, and about
life in general. He has faith only in Schenker, whom he sees as truly a product of his time,
because of his intimate attachment to the great achievements of bygone eras. He thinks that
the rest of the world will recognize in half a century what he knows now; he has no interest
in Furtwängler, who may appear to be modest in Schenker's company, but is no less arrogant
than any other idiot when left to his own devices. He is concerned about things that might
interfere with the completion of Schenker's last works.
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OJ 5/38, [65] Handwritten picture postcard from Heinrich to Wilhelm Schenker, dated July 9,
1930
Heinrich sends Wilhelm a picture postcard showing the balcony of the hotel
room where he and Jeanette are staying. He has had no news from Mozio, or from Jetty
Bednař.
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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.
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OJ 6/7, [49] Handwritten letter from Schenker to Moriz Violin, dated July 10, 1930
Acknowledging his recent letter to Jeanette, Schenker expresses his regret
that Violin and his son Karl are still troubled by health problems and reports some recent
news. Furtwängler's intervention with Breitkopf & Härtel on behalf of Weisse's Octet was
in vain; he had also sought the same firm's agreement to publish the "Eroica" analysis, but
this will now appear as the third Meisterwerk Yearbook. The Schenkers are expecting many
visitors in Galtür, including Furtwängler, Reinhard Oppel, Schenker's nephew and his wife,
and Jeanette's sister and family. Hoboken is prepared to fund the publication of a collected
edition of the works of C. P. E. Bach (with financial support from the city of Hamburg), but
Schenker is cautious about this because his paid involvement in the project might result in
work that would jeopardize progress on Der freie Satz. He has been included in the latest
edition of Meyers Konversations-Lexicon, and has received favorable citation in Romain
Rolland's latest Beethoven book.
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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.
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OJ 71/20, [1] Handwritten copy of a letter from Leo Kestenberg to Hans Weisse, in the hand of
Jeanette Schenker, dated July 15, 1930
Kestenberg, on the recommendation of Wilhelm Furtwängler, would like Weisse to
give lectures in Berlin but first wants to know more about his background.
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WSLB 421 Handwritten postcard from Schenker to Hugo Winter (UE), dated July 23,
1930
Schenker reminds Winter to send him his [half-yearly]
statement.
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WSLB-Hds 191.565 Handwritten letter from Schenker to Deutsch, dated July 20, 1930
In this 16-page response to a letter from Deutsch, Schenker thanks his
correspondent for his unstinting assistance (in relation to the third Meisterwerk
yearbook) and underlines the importance of a collected edition of the works of C. P.
E. Bach. — He then launches a long and detailed denunciation of Anthony van
Hoboken’s character, referring in particular to his treatment of Otto Vrieslander,
his ambivalence towards projects associated with the Photogram Archive, and his
absconding to Berlin to study the piano with Rudolf Breithaupt; Hoboken is
thoroughly undeserving of a high honor conferred by the Austrian
state.