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Friend of Valerie and Moriz Violin, and also of Wilhelm Furtwängler. The latter often stayed with her in the Universitätsstraße when in Vienna (see e.g. Sbb 55 Nachl 13, [1], November 5, 1919; OJ 11/16, [3], November 26, 1920).

Contributor:

  • Marko Deisinger

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Correspondence

  • 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 6/6, [6] Handwritten letter from Schenker to Moriz Violin, dated February 17, 1918

    Schenker warns Violin to expect a letter from Vrieslander concerning a contribution to a Festschrift for Schenker's 50th birthday, and then airs a number of grievances against Moriz and Valerie concerning jars of jam, Sunday visits, and insufficient food.

  • Sbb 55 Nachl. 13, [1] Handwritten letter from Schenker to Furtwängler, dated November 5, 1919

    Having attended for the first time a concert conducted by Furtwängler, Schenker congratulates him on his achievement then, proclaiming him a "counterweight" to the present [in his opinion inadequate] generation of conductors, and heir to the Mahler mantle. Schenker comments on Viennese concert-goers and their fickleness. — He commends Moriz Violin to Furtwängler, in case the latter can provide an introduction to Hausegger.

  • OJ 8/3, [91] Handwritten postcard from Heinrich and Jeanette Schenker to Moriz Violin, dated October 16, 1920

    Schenker is curious how Violin gets on with Ferdinand Pfohl. — Is Violin seeking a teaching position in Hamburg? — Reports on delivery of Kontrapunkt 2 to Cotta. — Will visit Wally next Sunday.

  • OJ 11/16, [3] Handwritten letter from Furtwängler to Schenker, dated November 26, 1920

    Furtwängler proposes that they meet on Tuesday [November 30, 1920].

  • OJ 6/7, [3] Handwritten letter from Schenker to Moriz Violin, dated May 6, 1922

    This wide-ranging letter describes the difficulties encountered with Emil Hertzka at Universal Edition, concerning an attack on the music critic Paul Bekker planned for the "Miscellanea" of Tonwille 2. — He expresses his displeasure with Weisse for putting his success as a composer in the way of aiding his teacher's cause, and for exploiting his teacher's generosity. — Ends with generous praise for Violin's musicianship.

  • 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 6/7, [8] Handwritten letter from Schenker to Moriz Violin, dated February 14, 1924

    Schenker reports continuing trouble with Hertzka, especially over delays to the publication of Tonwille 5 and 6, which were supposed to appear the previous year, and is beginning to think about legal action. Hertzka has made his position so difficult that he feels obliged to turn down Max Temming's offer of direct financial support for his work. He asks Violin to help find a post in Hamburg for Carl Bamberger, a gifted pupil who, though he neglected his piano studies for a while, is keen to make up for lost time. Finally, he asks if Violin received any of the four volumes of the Beethoven piano sonata edition.

  • OJ 6/7, [28] Handwritten letter from Schenker to Moriz Violin, dated March 1, 1926

    In a wide-ranging letter responding to Moriz Violin's previous letter, Schenker asks his friend to confide in him his personal troubles. He offers his support in the wake of the recent display of vanity of the cellist Friedrich Buxbaum. He is trying to find a way of getting the Hammer portrait to him safely, possibly by having it sent directly from Artaria's art shop. Finally he confirms the lack of musical giftedness of his new pupil Agnes Becker, recently arrived from Hamburg where Violin had been teaching her.

  • 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.

  • 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.

Diaries