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OJ 10/13, [1] Handwritten letter from Dunn to Schenker, dated April 18, 1926
Having [mistakenly] been informed that Der freie Satz is out of print, Dunn
asks Schenker for help in obtaining a copy.
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OJ 10/13, [2] Handwritten lettercard from Dunn to Schenker, dated May 13, 1926
Dunn acknowledges a message from Schenker, regrets that Der freie Satz is not
yet published, tells of plans for an abbreviated English translation of Kontrapunkt for his
pupils at the University of Edinburgh.
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OJ 10/13, [3] Handwritten lettercard from Dunn to Schenker, dated June 27, 1926
Dunn thanks Schenker for the copy of Meisterwerk 1, reports that an adaptation of
the first volume of Schenker’s Counterpoint is complete, and explains how it will be made
available in multiple copies.
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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.
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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.
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OJ 10/13, [4] Handwritten letter from Dunn to Schenker, dated February 1, 1927
After a long silence, Dunn sends Schenker his abridged translation of
Kontrapunkt, vol. 2, Parts III–IV, expresses regret that Hoboken’s illness prevented him
from visiting, and hopes that they might meet up in London in June.
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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.
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OJ 5/7a, [9] (formerly vC 9) Handwritten letter from Schenker to Cube, dated February 15, 1927
Schenker acknowledges and returns Cube's review; reports on the progress of his
own publications.
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OJ 6/7, [32] Handwritten letter from Schenker to Violin, dated February 16, 1927, with postscript
from Fanny Violin
Replying to Violin's previous letter, Schenker expresses surprise about (Egon)
Pollak's enthusiasm for C. P. E. Bach's Double Concerto. He also expresses uncertainty about
whether to accept an honor from the Academy of Arts and Science in Vienna. A translation and
adaptation of part of his Counterpoint, vol. 2, has been prepared; and Herman Roth's book on
counterpoint has also been published. He sends little Karl a picture of himself, and leaves
space for Violin's sister Fanny to add a short greeting.
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OJ 10/13, [5] Handwritten letter from Dunn to Schenker, dated February 22, 1927
Dunn thanks Schenker for [Hammer’s] portrait, expresses pleasure at Schenker’s
approval of the English adaptation of Kontrapunkt, vol. 2, and intends to translate the
“Bridges to Free Composition.”
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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.
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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.
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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.
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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.
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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.
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OJ 9/34, [9] Handwritten letter from Cube to Schenker, dated October 29, 1927
Cube has had 'flu; reports on his [conservatory] teaching of Schenkerian theory
(though disguised from the authorities), his private teaching, his work in composition; he has
joined the Reichsverband deutscher Tonkünstler und Musiklehrer. Dunn has sent him his
translation [of part of Kontrapunkt], which he thinks may serve classroom use better than that
of Vrieslander. He is enjoying using his radio; sends two Galtür portraits; his father has had a
son.
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OJ 10/13, [6] Handwritten letter from Dunn to Schenker, dated November 14, 1927
Dunn thanks Schenker for the copy of Meisterwerk 2 sent to him, and comments
on the clarity with which Bach’s C minor Fugue (WTC I) is revealed; his musical instincts
found confirmation in Schenker’s theories, and after the war he obtained all of Schenker’s
books; he proposes that they meet some time, perhaps by making a side-trip from to Austria
from Leipzig, where his wife grew up.
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OJ 12/6, [2] Handwritten postcard from Jonas to Schenker, dated February 9, 1928
Jonas asks for address of John Petrie Dunn.
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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.
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OJ 5/38, [44] Handwritten letter from Heinrich to Wilhelm Schenker, dated May 2, 1928
Heinrich, amplifying on the diet prescribed to him, tells his brother not to
eat fruit with high sugar concentrations (e.g. oranges). His doctor advises him to take an
extra holiday in midwinter, which he cannot afford. He is utterly at a loss to understand
the domestic circumstances of their brother Mozio.
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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.
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OJ 10/13, [7] Handwritten letter from Dunn to Schenker, dated June 16, 1928
Dunn sends Schenker greetings on his 60th birthday; his English adaptation is
a success, but its impact is limited by the fact that a less enlightened colleague teaches
first-year counterpoint. – He outlines his latest work, a study of orchestration from a
theoretical point of view, and hopes that he and his wife might visit the Schenkers the
following summer.
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OJ 89/2, [6] Handwritten letter from Schenker to Hoboken, dated June 22, 1928
With thanks for birthday greetings, Schenker expresses how highly he values the
Photogrammarchiv while endorsing van Hoboken's turning down of an "honor" that he was offered. —
Schenker has, at Einstein's request, updated his entry in Riemann's Musiklexikon. — With the
success of the Urlinie through Der Tonwille, he no longer considers himself isolated.
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OJ 9/34, [13] Handwritten letter from Cube to Schenker, dated July 6, 1928
Cube reports on Scheuermann exhibit, and consequent interest and sales, encloses
associated newspaper article; also on recent lecturing and composition activity. He is unlikely
to visit Schenker this year; recalls people at Galtür.
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OC 30/122-124 Handwritten copy or draft of letter from Schenker to Dunn, in Jeanette Schenker’s
hand, dated July 8, 1928
Schenker thanks Dunn for birthday greetings; welcomes him as a fighter for his
cause; discusses the relationship of strict counterpoint to free composition; and declares
enthusiasm for Dunn’s forthcoming book on orchestration.
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OJ 5/44, [1] Handwritten letter from Schenker to Arthur Waldeck, dated September 23, 1929
Schenker encourages Waldeck to spread his (Schenker's) ideas in America, and
apprises him of Dunn's translation of Kontrapunkt and his own recent and forthcoming
publications.
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OJ 15/16, [65] Handwritten letter from Weisse to Schenker, dated November 27, 1930
Weisse thanks Schenker for the essay "Rameau oder Beethoven?". He is surprised
to hear that Jonas has sought Schenker's help in finding employment, and urges Schenker not
to write a letter of recommendation until a concrete piece of work materializes. He is about
to go to Berlin to deliver two lectures on Schenker's theories, and has heard that Moriz
Violin and Reinhard Oppel will be there; he would like to give one of these lectures at
Schenker's home before a small audience of his most dedicated pupils, and suggests a date
and time for this.
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OJ 10/13, [8] Handwritten letter from Dunn to Schenker, dated December 30, 1930
Dunn thanks Schenker for sending Meisterwerk 3; he finds himself in complete
agreement on the merits of jazz, which he holds responsible for the decline of contemporary
music.
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OJ 10/12, [1] Handwritten letter from Aline Dunn to Schenker, dated February 19, 1931
Aline Petrie Dunn reports the death of her husband from a road accident on
February 4, 2007.
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OJ 15/15, [56] Handwritten picture postcard from Weisse to Schenker, dated February 25,
1931
Weisse thanks Schenker and clarifies a remark of his own regarding the
analysis of a Bach prelude; comments on the content of an edition of Mozart’s letters, and
expresses shock at the death of John Petrie Dunn.
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OJ 10/12, [2] Handwritten letter from Aline Dunn to Schenker, dated April 28, 1931
Aline Petrie Dunn thanks Schenker for his letter of condolence; encloses the
clipping of the obituary and Tovey’s appreciation and a German translation; she has been in
Italy and Germany, following the memorial service for her husband.
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NYnscl MP.0008.01/1/1, 2 Handwritten letter from Schenker to Arthur Waldeck, dated November 8,
1932
Schenker stipulates the conditions for granting publication rights for a
translation of his Harmonielehre, and asks which other Schenkerians in the U.S. Waldeck is
acquainted with.
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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.