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  • Sextett
  • Sextet (1925)


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  • OJ 6/7, [16] Handwritten letter from Schenker to Moriz Violin, dated January 24, 1925

    Responding point by point to Violin's previously letter (OJ 14/45, [41]), Schenker congratulates his friend on the success of his recent concert. He writes at length about Hertzka's last efforts to hold onto Der Tonwille, and about successful negotiations with Drei Masken Verlag over its successor, Das Meisterwerk in der Musik. He has now to prepare enough material for a yearbook comprising fifteen gatherings by July 1, so that the volume can be published by Christmas. Finally, he echoes Violin's assessment of Hans Weisse, adding a few disparaging remarks about his character.

  • OJ 6/7, [19] Handwritten letter from Schenker to Moriz Violin, dated April 10, 1925

    Continuing the story of the ongoing financial battle against Hertzka and Universal Edition, Schenker thanks Violin for providing confirmation of the subscriptions paid for by Max Temming, then recounts that, at a meeting with Hertzka and his bookkeeper, the order-book for Der Tonwille had several pages torn out. Schenker is upset that his lawyer Dr. Baumgarten, though an old friend, is not fully supportive of his position and would prefer seek a compromise with Hertzka; this, Schenker feels, would rob him of much of his hard-earned royalties, especially from the Beethoven sonata edition. He now asks Violin to find a contact – outside Hamburg – who would be willing to order nine copies of Tonwille 1, as evidence that this issue is still in demand, despite Hertzka's claims to the contrary. He has attended a performance of Hans Weisse's Sextet, of which he found the variation movement and the trio section of the scherzo to be the most satisfactory parts.

  • OC 52/644 Handwritten letter from Moriz Violin to Schenker, dated April 21, 1925

    Violin has had the order for nine copies of Tonwille 1 placed in Berlin, and has collected the receipts. He has not heard from Weisse, but attended a performance of his String Sextet and, like Schenker, found the variations and the trio section of the scherzo the most successful.

  • OJ 6/7, [20] Handwritten letter from Schenker to Moriz Violin, dated May 4, 1925

    In a wide-ranging letter, Schenker sends Violin money for arranging the order of Der Tonwille (which must consist of multiple copies of Tonwille 1); Hertzka's representative, Robert Scheu, is currently studying the papers relating to Schenker's threat of legal action. Schenker continues to express his astonishment at Furtwängler's ignorance of sonata form, a fact that does not prevent him from earning huge fees for conducting in New York. He has turned down a request from a lady who teaches in New York and a former pupil (now in St. Gallen), who wish to spend some time with him in Galtür. He enquires about the personal difficulties that Violin writes about in his letter, and asks him to say more; they will invite his sister for a visit. He will send him a copy of the medallion (designed by Alfred Rothberger); the portrait by Viktor Hammer is not yet finished.

  • OJ 15/16, [55] Handwritten letter from Weisse to Schenker, incomplete, written c. August 5, 1925

    Weisse apologizes for not having written for a long time. He has seen Furtwängler and reports that the conductor knows nothing of his writings and has no idea about the Urlinie. Universal Edition have declined to publish his Sextet. (In the missing portion of the letter, which is summarized in Schenker's diary, he asks his teacher's help in finding another publisher, perhaps with Wilhelm Altmann's intervention.)

  • 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.

  • OJ 15/15, [49] Handwritten postcard from Weisse to Schenker, dated November 28, 1930

    Weisse is delighted by the chance to rehearse his forthcoming lecture at Schenker's apartment. His Sextet will be performed at the Musikverein in Vienna; he goes through a list of Schenker's circle of adherents who might be invited to his forthcoming lectures at the Central Institute for Music Education and Teaching in Berlin.

  • OJ 15/15, [51] Handwritten postcard from Weisse to Schenker, dated [December] 3, 1930

    Carl Bamberger has just returned from Tokyo, and Weisse would like to bring him to the Schenkers on Friday (December 5).