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Correspondence

  • OC 18/55 Handwritten letter from Furtwängler to Schenker, dated March 2, 1933

    Furtwängler asks if he can visit Schenker that evening.

  • 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 15/16, [90] Handwritten letter from Hans Weisse to Schenker, dated March 17, 1933

    Weisse reports the success of his lecture on the C minor prelude from the Well-Tempered Clavier, Book 1. — He is currently giving two lectures on a Haydn's sonata. — He inquires about the possibility of having Schenker's foreground graphs for the "Eroica" Symphony printed separately and sold to his pupils, for a series of lectures planned for the following year; the profits entirely to Schenker. — He sees little prospect visiting Europe in the summer, as his financial situation has worsened: the Mannes School has been forced to reduce his teaching for the next season. — He expresses his doubts about Vrieslander's ability to reshape Schenker's Harmonielehre as a school textbook, and about the value of Harmonielehre itself in the light of his teacher's most advanced theoretical ideas.

  • OJ 15/16, [91] Handwritten letter from Hans Weisse to Schenker, dated March 30, 1933

    In this long letter, Weisse expresses his bitter regret about Otto Vrieslander's reaction to his criticism of a recently published collection of his (Vrieslander's) songs, and to Schenker's exaggerated claims of their worth. Weisse defends his critical stance on the grounds that objective discussions are the only worthwhile ones, and that he took the trouble to write about the songs in a 14-page letter to Vrieslander only for the sake of art (in the Schenkerian sense) and feels hurt both by Vrieslander's personal reaction to Weisse's criticism and by Schenker's defence of the older pupil. — In the final paragraph, he inquires again about gaining permission to make multiple copies of Schenker's foreground graph of the "Eroica" Symphony.

  • OJ 5/18, 24 Handwritten letter from Schenker to Jonas, dated March 22, 1933

    Schenker recounts Joseph Marx's requirements for adapting his Harmonielehre for teaching purposes, and the involvement of Alfred Kalmus at UE. — Refers to Vrieslander's adaptation of Kontrapunkt and Jonas's of Harmonielehre. — Reports Hans Weisse's success; alludes to the Handel-Schenker Saul project.

  • OJ 89/6, [4] Handwritten letter from Schenker to Hoboken, dated March 22, 1933

    Schenker thanks Hoboken for money transferred, for contact with Dlabač, and for information about Jonas. — Oktaven u. Quinten may be published within three weeks. — Schenker has warned Kalmus about paper quality and lithographer. — He expresses reservations about Joseph Marx for inability to understand his work. — Weisse has 90 students enrolled for his course [at Mannes School]; and Furtwängler deems Schenker the "great music theorist."

  • OJ 9/8, [6] Typewritten postcard from Wilhelm Altmann to Schenker, dated March 22, 1933

    Altmann did not know of the letter from Brahms to Kalbeck about which Schenker had written him. — He hopes for an economic upturn [now Hitler is in power].

Diaries